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Journal articles on the topic 'Carson McCullers'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Brown, John L., Josyane Savigneau, and Joan E. Howard. "Carson McCullers: A Life." World Literature Today 76, no. 1 (2002): 160. http://dx.doi.org/10.2307/40157106.

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2

Proehl, Kristen B. "Tomboyism and Familial Belonging in Carson McCullers’s The Member of the Wedding: Queer Sentiments." Jeunesse: Young People, Texts, Cultures 7, no. 1 (2015): 87–109. http://dx.doi.org/10.3138/jeunesse.7.1.87.

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This article brings queer-theoretical scholarship on the Southern Gothic into dialogue with the history of childhood and sentimental studies. Published in 1946, Carson McCullers’s The Member of the Wedding introduces readers to Frankie Addams, an awkward, unruly adolescent protagonist who resists the rigid gender and sexual norms of early twentieth-century Southern United States. While McCullers’s writing is often characterized as “Gothic” and “unsentimental,” this paper argues that her tomboy narrative invokes and revises the sentimental Bildungsroman of the mid-nineteenth century. Specifical

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3

Carey, William B. "Carson McCullers I-Adolescent Loneliness." Journal of Developmental & Behavioral Pediatrics 27, no. 5 (2006): 385. http://dx.doi.org/10.1097/00004703-200610000-00003.

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4

George, Courtney. "Introduction: Carson McCullers and Influence." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 26, no. 2 (2013): 100–102. http://dx.doi.org/10.1080/0895769x.2013.777260.

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5

De Proença Gonçalves, Giovana. "“NADA HUMANO É ESTRANHO PARA MIM”:." Miguilim - Revista Eletrônica do Netlli 11, no. 1 (2022): 265–90. http://dx.doi.org/10.47295/mgren.v11i1.236.

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Este artigo visa investigar as figurações que assume o grotesco em A Balada do Café Triste, única novela de Carson McCullers, publicada em 1943, na Harper’s Bazaar, e posteriormente incorporada à coletânea homônima, em 1951. Assim, mobilizamos dados sócio-históricos sobre o contexto da produção de McCullers e teorias sobre o grotesco dentro da literatura moderna, em especial na ficção sulista. Nos concentramos, principalmente, no grotesco como modo de construção de personagem, de maneira que nosso estudo enfoca esse elemento essencial da narrativa. Nosso principal contato teórico se desenvolve

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6

Bush, Rebecca. "Woman, Southern, Bisexual." Public Historian 41, no. 2 (2019): 94–115. http://dx.doi.org/10.1525/tph.2019.41.2.94.

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This report from the field examines the interpretation of two notable queer women from Columbus, Georgia: blues musician Gertrude “Ma” Rainey (1886–1939) and Southern Gothic author Carson McCullers (1917–1967). Although these women maintained complicated relationships with their hometown, the Columbus Museum is utilizing new ways to examine their sexuality in the context of their cultural contributions. Nuanced interpretation of Rainey’s and McCullers’s bisexuality offers opportunities to discuss connections between sexuality, gender, race, and economic realities. In presenting the museum’s ef

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7

Bell, Erin. "Happy objects and cruel optimism in Carson McCullers’ story ‘Correspondence’." Short Fiction in Theory & Practice 9, no. 2 (2019): 117–27. http://dx.doi.org/10.1386/fict_00005_1.

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This article discusses American author Carson McCullers’ 1942 short story titled ‘Correspondence’, in order to consider how the unique form of the epistolary short story amplifies themes of alienation and absence. Drawing upon contemporary affect theory as well as a close reading of the story, I consider how the letters in the text can be understood as what Sara Ahmed describes as ‘happy objects’, as well as how the process of letter writing becomes exemplary of Lauren Berlant’s theorization of cruel optimism. Based on her own disappointment with letters and letter writing, McCullers’ short te

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8

Carey, William B. "Carson McCullers II- Shifts in Environmental Perceptions." Journal of Developmental & Behavioral Pediatrics 27, no. 5 (2006): 409. http://dx.doi.org/10.1097/00004703-200610000-00007.

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9

Dews, Carlos. "My Autobiography of Carson McCullers by Jenn Shapland." Biography 43, no. 4 (2020): 836–40. http://dx.doi.org/10.1353/bio.2020.0089.

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10

Chamlee, Kenneth D. "Cafés and Community in Three Carson Mccullers Novels." Studies in American Fiction 18, no. 2 (1990): 233–40. http://dx.doi.org/10.1353/saf.1990.0007.

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11

Zhang, Duan. "NARRATIVE PERSPECTIVES IN THE HEART IS A LONELY HUNTER BY CARSON MCCULLERS." Cultural Communication And Socialization Journal 1, no. 1 (2020): 08–12. http://dx.doi.org/10.26480/ccsj.01.2020.08.12.

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Spiritual isolation and loneliness have always been the main topic of the works of the southern American writer Carson McCullers. Her superb literary creation lies in that, she not only integrates the theme of loneliness between lines of her works, but also strongly echoes and deepens that theme by use of brilliant narrative skills. The Heart is a Lonely Hunter is such a masterpiece on loneliness, decorated and permeated with exquisite narrative strategy. By means of the narrative theories of Gérard Genette and Shen Dan, and with NARRATIVE PERSPECTIVE as the starting point, the present paper t

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12

McCullers, Carson. "Flashes of Inspiration: From the Unpublished Autobiography of Carson McCullers." Women's Review of Books 16, no. 10/11 (1999): 20. http://dx.doi.org/10.2307/4023236.

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13

Brown, John L., Carson McCullers, and Carlos L. Dews. "Illumination and Night Glare: The Unfinished Autobiography of Carson McCullers." World Literature Today 74, no. 2 (2000): 376. http://dx.doi.org/10.2307/40155653.

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14

Larry Hershon. "Tension and Transcendence: “The Jew” in the Fiction of Carson McCullers." Southern Literary Journal 41, no. 1 (2009): 52–72. http://dx.doi.org/10.1353/slj.0.0035.

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15

Bell, Erin. "Carson McCullers’ COURT IN THE WEST EIGHTIES and the Framed (Male) Object." Explicator 73, no. 3 (2015): 195–200. http://dx.doi.org/10.1080/00144940.2015.1058229.

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16

Brantley, Will. "Strange Bodies: Gender and Identity in the Novels of Carson McCullers (review)." MFS Modern Fiction Studies 51, no. 3 (2005): 676–78. http://dx.doi.org/10.1353/mfs.2005.0053.

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17

Bell, Katherine. "Grotesque Encounters with Adolescence: Reading Carson McCullers' The Member of the Wedding." Changing English 18, no. 1 (2011): 67–73. http://dx.doi.org/10.1080/1358684x.2011.543512.

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18

Gleeson-White, Sarah. "Revisiting the Southern Grotesque: Mikhail Bakhtin and the Case of Carson McCullers." Southern Literary Journal 33, no. 2 (2001): 108–23. http://dx.doi.org/10.1353/slj.2001.0006.

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19

ZHOU, Yiyuan. "Self and Other: Mirror Figures in Carson McCullers’ Reflections in a Golden Eye." Comparative Literature: East & West 20, no. 1 (2014): 78–86. http://dx.doi.org/10.1080/25723618.2014.12015487.

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20

Wu, Cynthia. "Expanding Southern Whiteness: Reconceptualizing Ethnic Difference in the Short Fiction of Carson McCullers." Southern Literary Journal 34, no. 1 (2001): 44–55. http://dx.doi.org/10.1353/slj.2001.0027.

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21

Gleeson-White, Sarah. "A Peculiarly Southern Form of Ugliness: Eudora Welty, Carson McCullers, and Flannery O'Connor." Southern Literary Journal 36, no. 1 (2003): 46–57. http://dx.doi.org/10.1353/slj.2003.0032.

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22

Díez Bosch, Miriam, Josep-Lluís Micó Sanz, and Alba Sabaté Gauxachs. "Incomunicados: aislamiento espiritual en Dostoievski y su eco en la narrativa de Carson McCullers." Pensamiento. Revista de Investigación e Información Filosófica 78, no. 297 (2022): 239–48. http://dx.doi.org/10.14422/pen.v78.i297.y2022.013.

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Fiodor Dostoievski (1821-1881) rasga el alma humana hasta dejarla herida por el sufrimiento, la culpa y el aislamiento. Y, sin embargo, la derrota no gana la batalla. La escritora sureña estadounidense Carson McCullers (1917-1967) escribe sobre la soledad y la miseria del sur de los Estados Unidos con una mirada atenta a los paisajes desolados de la Rusia de Fiodor Dostoievski, no sólo físicos sino esencialmente metafísicos. Esta autora que ya leyó al maestro ruso a los 13 años explora las entrañas humanas desde un terreno rural, desolador, inhóspito y desafortunado, con diferencias raciales,

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23

박소진. "A Truth about ‘Deformed’ Love in Carson McCullers’ The Ballad of the Sad Cafe." Journal of English Language and Literature 57, no. 2 (2011): 315–37. http://dx.doi.org/10.15794/jell.2011.57.2.006.

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24

Gentry, Marshall Bruce, and Louise Westling. "Sacred Groves and Ravaged Gardens: The Fiction of Eudora Welty, Carson McCullers, and Flannery O'Connor." South Central Review 2, no. 4 (1985): 106. http://dx.doi.org/10.2307/3189282.

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25

Brinkmeyer, Robert H., and Louise Westling. "Sacred Groves and Ravaged Gardens: The Fiction of Eudora Welty, Carson McCullers, and Flannery O'Connor." American Literature 58, no. 2 (1986): 301. http://dx.doi.org/10.2307/2925837.

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26

Steeby, Elizabeth A. "Radical Intimacy Under Jim Crow “Fascism”: The Queer Visions of Angelo Herndon and Carson McCullers." Mississippi Quarterly 67, no. 1 (2014): 127–49. http://dx.doi.org/10.1353/mss.2014.0025.

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27

González Groba, Constante. "Carson McCullers and Lillian Smith : The Intersections of Gender and Race in the Jim Crow South." Journal of English Studies 5 (May 29, 2008): 119. http://dx.doi.org/10.18172/jes.124.

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Carson McCullers and Lillian Smith openly rejected a false conception of loyalty to fantasies like southern tradition or white supremacy, a loyalty that veiled a persistent lack of self-analysis. They exposed the cracks in the South’s pretended “unity” and homogeneity and criticized the self-destructive resistance to acknowledge that, as a socially constructed category, race is linked to relations of power and anticipated the instability of racial categorization that would be underscored by historical and scientific research later in their century. These two southern women writers opposed the

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28

Tischler, Nancy M. "Review: Sacred Groves and Ravaged Gardens: The Fiction of Eudora Welty, Carson McCullers, and Flannery O'Connor." Christianity & Literature 35, no. 4 (1986): 46–47. http://dx.doi.org/10.1177/014833318603500419.

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29

Psilopoulou, Katerina. "Writing the Grotesque in Jesmyn Ward's "Salvage the Bones"." REDEN. Revista Española de Estudios Norteamericanos 3, no. 1 (2021): 65–78. http://dx.doi.org/10.37536/reden.2021.3.1424.

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In her work, Jesmyn Ward has revitalized the Southern Gothic tradition and its tropes to better reflect the realities of Black American life in the 21st century. This essay explores the reconfiguration of the grotesque body in Ward's sophomore novel, Salvage the Bones, which follows an impoverished Black family in Mississippi in the days leading up to Hurricane Katrina. In contrast to her literary predecessors, Ward defines the grotesque as a state of debility imposed on Black bodies and then deemed uniquely problematic to them as a class and race, rather than the result of centuries of struct

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30

Taylor, John Martin. "Deconstructing My Namesake." Gastronomica 11, no. 4 (2011): 15–22. http://dx.doi.org/10.1525/gfc.2012.11.4.15.

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“Hoppin' John” Taylor describes the historical and literary antecedents of his namesake dish. He doubts the culinary historian Karen Hess's theoretical conclusions, but agrees that the pilau of cowpeas (Vigna unguiculata) and rice came to the lowcountry, the coastal plain of South Carolina, with the slave trade from West Africa. Hoppin’ john is eaten on New Year's for good luck. The dish and tradition spread from lowcountry rice plantations throughout the South. He demonstrates how culinary traditions lingered in the lowcountry long after rice was no longer grown there. Deconstructing the dish

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31

Bérubé, Renald. "Carson McCullers, Le cœur est un chasseur solitaire , Paris, Le livre de poche, coll. " Biblio ", 1985, 445 p." Urgences, no. 13 (1986): 120. http://dx.doi.org/10.7202/025251ar.

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32

Nash, Susan Smith. "Effective Learning Strategies in the Homes of Famous Artists and Writers Converted to Museums." Frontiers in Education Technology 2, no. 1 (2019): 1. http://dx.doi.org/10.22158/fet.v2n1p1.

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<p class="Normal1"><em>Homes of writers and artists that have been converted into museums are powerful frameworks for a wide range of both individual and group learning experiences. The museums have a unique ability to engage the learners on a deeper level by piquing their curiosity, and also by encouraging participative creative activities. The foundation is that of experiential learning, with an emphasis on authentic and content-based learning. Each visit to an artist’s home museum is a springboard for more universal learning experiences, particularly if the learner follows up an

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33

LeMahieu, Michael. "Post-54: Reconstructing Civil War Memory in American Literature after Brown." American Literary History 33, no. 3 (2021): 635–56. http://dx.doi.org/10.1093/alh/ajab059.

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Abstract From a cultural fad of Confederate flags to a spate of schools named after Confederate generals, the 1954 Brown v. Board decision revived the memory of the US Civil War. In their collective effort of “massive resistance,” white southerners considered themselves carrying on the legacy of their Confederate ancestors, rebelling against the federal government and insisting upon states’ rights. In response to this revival, many mid-century writers revised Civil War memory. Ralph Ellison, for example, considered the Brown decision as yet another battle in an ongoing Civil War. The works of

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34

Liu, Huimin. "The Grotesque World in The Heart is a Lonely Hunter." English Language and Literature Studies 12, no. 1 (2022): 49. http://dx.doi.org/10.5539/ells.v12n1p49.

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This article is going to explore the reasons leading the figures grotesque and the way out of such world, with the help of Bakhtin&rsquo;s theory of grotesque realism, via linking the duality of physical part with the grotesque to analyze the three main characters&rsquo; physical characteristics, social relationships and mental world. Singer, Mick and Biff are the distinct characters in Carson McCullers&rsquo;s novel The Heart is a Lonely Hunter. Their lives are shot through with frustration and discouragement and the intense privacy of their inner lives gives the reader the impres

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35

Petry, Alice Hall. "Understanding Carson McCullers, and: Art and the Accidental in Anne Tyler, and: Conversations with Joyce Carol Oates (review)." MFS Modern Fiction Studies 36, no. 4 (1990): 569–72. http://dx.doi.org/10.1353/mfs.0.0346.

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36

Sullivan, Erin, and Marie Louise Herzfeld-Schild. "Introduction: Emotion, History and the Arts." Cultural History 7, no. 2 (2018): 117–28. http://dx.doi.org/10.3366/cult.2018.0169.

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This introduction surveys the rise of the history of emotions as a field and the role of the arts in such developments. Reflecting on the foundational role of the arts in the early emotion-oriented histories of Johan Huizinga and Jacob Burkhardt, as well as the concerns about methodological impressionism that have sometimes arisen in response to such studies, the introduction considers how intensive engagements with the arts can open up new insights into past emotions while still being historically and theoretically rigorous. Drawing on a wide range of emotionally charged art works from differ

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37

Stuckey, W. J. "Sacred Groves and Ravaged Gardens: The Fiction of Eudora Welty, Carson McCullers, and Flannery O'Connor, and: Walker Percy and the Old Modern Age: Reflections on Language and the Telling of Stories, and: Flannery O'Connor's Library: Resources of Being (review)." MFS Modern Fiction Studies 31, no. 4 (1985): 749–51. http://dx.doi.org/10.1353/mfs.0.1138.

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38

Mandziuk, R. S. "THE TRANSFORMATION OF THE HISTORICAL MEMORY DISCOURSE IN PROSE BY CARCON McCULLERS." Тrаnscarpathian Philological Studies 11, no. 2 (2019): 119–23. http://dx.doi.org/10.32782/tps2663-4880/2019.11-2.21.

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39

Fowler, Doreen. "Carson McCullers's Primal Scenes:The Ballad of the Sad Café." Critique: Studies in Contemporary Fiction 43, no. 3 (2002): 260–70. http://dx.doi.org/10.1080/00111610209602184.

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40

Muhammad, Muhammad Moustafa. "From Alienation to Accommodation A Study of Carson McCullers’s The Member of the Wedding." مجلة کلیة الآداب . جامعة بنی سویف 1, no. 43 (2017): 5–60. http://dx.doi.org/10.21608/jfabsu.2017.72969.

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41

Avery, Tamlyn. "The Métis and the Multiple "Me" in Carson McCullers's The Member of the Wedding." Mississippi Quarterly 72, no. 1 (2019): 69–93. http://dx.doi.org/10.1353/mss.2019.0002.

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42

Proehl, Kristen B. "Tomboyism and Familial Belonging in Carson McCullers’s The Member of the Wedding: Queer Sentiments." Jeunesse: Young People, Texts, Cultures 7, no. 1 (2015): 87–109. http://dx.doi.org/10.1353/jeu.2015.0002.

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43

CASAS, Inès. "“Sexless And White” : Transgressing Gender Boundaries in Carson McCullers’s The Ballad of The Sad Café." Babel, no. 31 (January 1, 2015): 63–73. http://dx.doi.org/10.4000/babel.4070.

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44

Baumrin, Seth. "Where is My Grotowski? The Masquerade Plays On." New Theatre Quarterly 25, no. 4 (2009): 360–62. http://dx.doi.org/10.1017/s0266464x09000645.

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Seth Baumrin's present research focuses on Grotowski in the context of Poland and the Polska Zjednoczona Partia Robotnicza (PZPR, Polish United Party of Workers) during the years 1956 to 1989. For this he has consulted archives in Poland, notably in Wroclaw, and has conducted more than eighty interviews with people close to Grotowski and to the PZPR, as well as with Grotowski scholars. This research was integral to his participation in events in Poland during the Year of Grotowski, including the major theatre festival in Wroclaw, ‘The World as a Place of Truth’, organized and supported by the

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45

Krumland, Heidi. ""A big deaf-mute moron": Eugenic Traces in Carson McCullers's The Heart Is a Lonely Hunter." Journal of Literary & Cultural Disability Studies 2, no. 1 (2008): 32–43. http://dx.doi.org/10.3828/jlcds.2.1.5.

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46

Martin, Robert K. "Gender, Race, and the Colonial Body: Carson McCullers's Filipino Boy, and David Henry Hwang's Chinese Woman." Canadian Review of American Studies 23, no. 1 (1992): 95–106. http://dx.doi.org/10.3138/cras-023-01-07.

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47

Nicole Seymour. "Somatic Syntax: Replotting the Developmental Narrative in Carson McCullers’s The Member of the Wedding." Studies in the Novel 41, no. 3 (2010): 293–313. http://dx.doi.org/10.1353/sdn.0.0071.

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48

Helm, Matthew. "Discerning Love, Recuperating Hope: The "Search for God" in Carson McCullers's The Heart is a Lonely Hunter." Religion & Literature 53, no. 3 (2021): 123–44. http://dx.doi.org/10.1353/rel.2021.0019.

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49

Kaiser, W. "The Micropolitics of Fascism in Carson McCullers's The Heart Is a Lonely Hunter and Sinclair Lewis's It Can't Happen Here." Genre 47, no. 3 (2014): 285–307. http://dx.doi.org/10.1215/00166928-2797189.

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50

Thurschwell, Pamela. "Dead Boys and Adolescent Girls: Unjoining the Bildungsroman in Carson McCullers’s The Member of the Wedding and Toni Morrison’s Sula." ESC: English Studies in Canada 38, no. 3-4 (2013): 105–28. http://dx.doi.org/10.1353/esc.2013.0002.

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