Academic literature on the topic 'Flannery'

This thesis examines the way Flannery Oâ Connorâ s stories draw upon and transfigure various biblical texts. With sometimes shocking freedom, she twists open the original stories or references, reworking and redistributing their basic elements. Often reversing the polarity of the original stories, Oâ Connorâ s stories dramatize elements of biblical texts coming alive in different times and social settings and with quite different outcomes. At the same time, her stories still address many of the same issues as the biblical texts she transforms. This study focuses on three Oâ Connor stories: â A Good Man is Hard to Find,â which reworks the story of the rich young ruler in Matthew 19, Mark 10, and Luke 18; â Parkerâ s Back,â which transforms elements of Mosesâ encounter with the burning bush in Exodus juxtaposed with Saulâ s conversion experience in Acts 9; and â Judgment Day,â which interacts with portions of Paulâ s descriptions of the resurrection of the dead in 1 Corinthians 15. This study draws upon the work of theologically-oriented Oâ Connor scholars, as well as Oâ Connorâ s own letters and essays. I hope, through this approach, to open up a new way of responding to Oâ Connorâ s biblical echoes.<br>Master of Arts

Flannery O'Connor makes the invisible visible. Just as a speaker of sign language punctuates her narrative with signs that are at once pictures and words, O'Connor punctuates the narratives of her novels with moments or pauses in the forward motion of her text that are somehow framed--in a mirror, or in a window, for example--and that also are at once pictures and words. These pictorial moments not only occur in the reader's present, but because of the way they are stylized, they are simultaneously: open windows into the historical world of the mid-twentieth century; they look backward into the classical past; and they offer a veiled look into the mystery of a Divine reality. Examination of the chronological development and refinement of Flannery O'Connor's pictorial technique by considering the meaning conveyed by the arrangement of figures in a single panel cartoon, the contextual significance found in literary tableaux and filmic montage, the use of the pictorial "camera eye," and the imprinting of tattoo on the human body, presents a new perspective in interpreting her work. Early manifestation of the pictorial technique is evident in O'Connor's college cartoons. When that cartoonist becomes a novelist that tendency for exaggeration is evident in his or her pictorial renditions of characters and situations, as is the case with former cartoonists Faulkner, Updike, West, Cantor, and O'Connor herself. O'Connor does not abandon the power of the pictorial in delivering a message. Instead she embraces it and envelops it in narrative.

Critics often point out the incongruity between Flannery O?Connor?s grotesque humor and her self-proclaimed Christian purpose. This paper uses Mikhail Bakhtin?s conception of the carnivalesque to argue that O?Connor?s use of grotesque humor is essential to her purpose. Both O?Connor and Bakhtin distrust all-encompassing ideologies that claim to authoritatively categorize and explain existence. In the carnivalesque laughter created by the grotesque realism of Rabelais, Bakhtin finds a way to undermine worldviews that claim ultimate authority. Similarly, O?Connor uses concrete and grotesque, but humorous images to displace her readers? expectations and undermine their natural desire to explain existence at the expense of mystery. By opening her readers up to mystery, O?Connor prepares them to see the world, and the people in it, as they truly are: complex, flawed, and beautiful.

Le Bestiaire dans l’œuvre de Flannery O’Connor répertorie et analyse les principales occurrences animalières dans la production littéraire de l’auteur. Le bestiaire constitue un système complexe qui puise ses sources non seulement dans la culture littéraire et cinématographique contemporaine, mais également dans l’âme primitive, les mythologies, les livres des anciens naturalistes, les deux Testaments et l’hagiographie, les bestiaires médiévaux et la symbolique chrétienne ainsi que dans les contes et légendes populaires. A partir de son tétramorphe, Flannery O’Connor nomme les animaux, leur conférant non seulement le droit d’exister avec toutes leurs valeurs, mais leur prêtant également des rôles dans lesquels ils peuvent exprimer leur talent. S’il est vrai que les animaux mis en scène semblent désacralisés dans la mesure où ils apparaissent très généralement sous leur pôle négatif, il n’en demeure pas moins qu’ils peuvent tous être considérés comme des passeurs psychopompes bienveillants, dont la fonction thérapeutique est fondamentale. Si les prédicateurs, apprentis prophètes et mystiques qui peuplent l’œuvre ne progressent guère dans leur quête, c’est parce qu’ils ne maîtrisent pas la portée du signe qui leur est proposé. Cette incapacité à décoder les valeurs qui s’affichent dans chaque symbole mène nécessairement à l’impasse. Il convient de réactiver le langage de la symbolique chrétienne pour s’accomplir véritablement en prenant en considération la dimension anagogique de chaque créature, comme dans les bestiaires anciens qui peuplent encore les cathédrales<br>The Bestiary in Flannery O’Connor’s Works records and analyses the main animal occurrences in the author’s literary production. The bestiary makes up a complex system which stems not only from contemporary literary and film sources, but also from the primitive soul, from mythologies, books by ancient naturalists, the two Testaments and the lives of the saints, the medieval bestiaries and Christian symbolism as a whole, and popular tales and legends. Starting from her tetramorph, Flannery O’Connor names the animals; not only does she entitle them to exist, but she also gives them parts in which they can express their talent. While it is true that the animals on the stage lose some of their sacred quality as they generally appear in their negative peculiarities, they can still be regarded as benevolent gods of the dead, whose therapeutic function is essential. The preachers, prophets-to-be and mystics hardly advance in their quest in O’Connor’s world simply because they cannot apprehend the value of the sign they are confronted with. As they fail to decipher the message inherent in each symbol, they necessarily reach a deadlock in their lives. It becomes necessary to revive the language of Christian symbolism in order to reach complete fulfilment, taking into account the anagogical dimension of every living creature, as was the case with the ancient bestiaries that our cathedrals still harbour

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão<br>Made available in DSpace on 2016-01-08T18:15:41Z (GMT). No. of bitstreams: 1 95704.pdf: 2354607 bytes, checksum: 34a186b061e876fad881aeb705ee8e84 (MD5) Previous issue date: 1993<br>Este trabalho foi sugerido pela afirmação de Flannery O'Connor que sua "dedicação estética" nasceu através do contato com Art and Scholasticism de Jacques Maritain. O propósito foi chegar a uma interpretação do sentido da frase. Uma investigação detalhada foi feita do conteúdo de Art and Scholasticism, posteriormente contrastada com os resultados de uma pesquisa feita em seus ensaios e suas cartas, o que revelou numerosos ecos de diversos trechos constando no texto de Maritain. Três pontos principais foram escolhidos como critérios na análise do hábito artístico de O'Connor: 1) a prática de arte implica uma luta; 2) a arte somente pode ser percebida pelos sentidos; e 3) a prática de arte exige do artista a dedicação indivisa à obra nascente. O estudo conclui que, para O'Connor, o brotar da dentição estética, através da leitura de Art and Scholasticism, significou que, ao perceber na análise da natureza da arte algo com que podia concordar, ela reconheceu tanto sua própria capacidade de tornar-se uma artista literária, quanto sua vontade de assumir a tarefa de desenvolver em sua pessoa o hábito de arte.

This thesis attempts to demonstrate the way in which Flannery 0' Connor uses the personal letter as vehicle for negotiating her involvement with the world. It begins by examining the way in which O'Connor's letters function as a form of self-writing. Discussing her letters as an autobiographical text highlights the significance of detachment in the creation of a self-identity responsive to

This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>English