To see the other types of publications on this topic, follow the link: Flannery.
Dissertations / Theses on the topic 'Flannery'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Flannery.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Srigley, Susan Michelle. "Flannery O'Connor's sacramental art /." Notre Dame : Ind. : University of Notre Dame press, 2004. http://catalogue.bnf.fr/ark:/12148/cb392681937.
Full text
2
Cofer, Jordan Ray. "The Theology of Flannery O'Connor: Biblical Recapitulations in the Fiction of Flannery O'Connor." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/31790.
Full textAbstract:
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
3
Srigley, Susan M. "Prophetic vision and moral imagination in Flannery O'Connor's fiction /." *McMaster only, 2001.
Find full text
4
Beaty, Kelly Lynne Haggard. "Flannery O'Connor and the Reader." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626112.
Full text
5
Reiniche, Ruth Mary. "Sign Language: Flannery O'Connor's Pictorial Text." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/325225.
Full textAbstract:
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.
6
Cook, Jonathan Neil. "The Carnivalesque Laughter of Flannery O?Connor." NCSU, 2006. http://www.lib.ncsu.edu/theses/available/etd-04212006-002139/.
Full textAbstract:
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.
7
Zimmer, René. "Le Bestiaire dans l'œuvre de Flannery O'Connor." Montpellier 3, 2007. http://www.theses.fr/2007MON30040.
Full textAbstract:
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
8
Matvienko-Sikar, Paula Ann. "Cutting'aesthetic teeth' : Flannery O'Connor's habit of art." reponame:Repositório Institucional da UFSC, 1993. https://repositorio.ufsc.br/xmlui/handle/123456789/157800.
Full textAbstract:
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.
9
Rosbrook, Bernadette, and res cand@acu edu au. "Flannery O'Connor's Letters and Fiction: A corresponding identity." Australian Catholic University. School of Arts and Sciences, 1998. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp214.03092009.
Full textAbstract:
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
10
Griffiths, Melanie A. "Religious tensions in six stories of Flannery O'Connor." Honors in the Major Thesis, University of Central Florida, 1994. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/127.
Full textAbstract:
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
11
Rosbrook, Bernadette. "Flannery O'Connor's letters and fiction: A corresponding identity." Thesis, Australian Catholic University, 1998. https://acuresearchbank.acu.edu.au/download/620661d3b5e9a2acd10f843f212b48c4451073beec2de6b85613616a4f0cb5c1/7025113/65071_downloaded_stream_296.pdf.
Full textAbstract:
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 ""cultural"" and ""essential"" impulses simultaneously. This leads inevitably to the identification of the ways in which O'Connor, in her letters, repeatedly adopts perspectives that facilitate her disengagement from immediate surroundings. It is evident that her experience of the world is mediated through her use of two responses - comedy and resoluteness. O'Connor's comic sense allows her an individual, complex response to the discursive cultural influences in her life. Her use of comedy in her letters foreshadows the function of humor in her stories: in her fiction, O'Connor develops further the possibilities of a comic engagement with life. O'Connor's resoluteness testifies to her involvement in something ""essential"". It is an integral part of her religious consciousness and reflects the long-range, expansive dimensions of her personal vision. In that it allows her to disengage with irrelevant or distracting considerations, resoluteness becomes invaluable for ensuring the integrity of O'Connor's vocation as a writer. It is evident that resoluteness describes both O'Connor's own response to life and the operation of truth in her stories. The detachment intrinsic to communication by letter fosters the detachment that, for O'Connor, becomes the means for an intense engagement with life and a positive self-construction. This is crucial for the maintenance of an individual, authentic perspective and is therefore essential both for O'Connor's personal autonomy and for her success as an artist.
12
Prown, Katherine Hemple. "Flannery O'Connor, Fyodor Dostoevsky and the Antimodernist Tradition." W&M ScholarWorks, 1988. https://scholarworks.wm.edu/etd/1539625432.
Full text
13
Pires, Caroline Caputo. "Multiplicidade discursiva em Flannery O’Connor: perspectivas psicossociais." Universidade Federal de Viçosa, 2011. http://locus.ufv.br/handle/123456789/4829.
Full textAbstract:
Made available in DSpace on 2015-03-26T13:44:21Z (GMT). No. of bitstreams: 1
texto completo.pdf: 408697 bytes, checksum: 14f2d121a82138f47fe9b2baa19e92f8 (MD5)
Previous issue date: 2011-02-28<br>This work deals with the thematic issue of human beings’ development and social adaptation in Flannery O’Connor’s A Good Man is Hard to Find. These topics guide the study towards the identification and questioning of man’s source of anxieties, deformities, grotesqueness, and suffering, in order to discuss the characters’ behavior in relation to themselves and to other members of the society in which they live. Intra and interpersonal relationships between characters in relation to the community are the key elements for the structural and thematic development of the narratives in the short stories “A Good Man Is Hard to Find,” “Good Country People,” “The River,” and “The Displaced Person.” From different points of view, the author portrays life in society, through characters who, in identifying themselves with each other, transfer their personal dissatisfaction and consequent repulsion, from situations in their own lives to others who become victims of their moral and physical aggressions. In the light of this, the methodological approach to this study is based on Sigmund Freud’s theories about the unconscious mind and on Mikhail Bakhtin’s theories about the dialogical and interdisciplinary text. Therefore, it is important to understand how the characters relate themselves to the superego, as their attitudes are more consequences than causes of their social inadequacies.<br>Este trabalho aborda a temática do desenvolvimento e da adaptação social do ser humano na obra literária da autora norte americana Flannery O’Connor. Tais tópicos orientam o estudo na busca de identificar e questionar a origem das ansiedades, deformidades, atitudes grotescas e sofrimentos do homem ao discutir o comportamento das personagens e o modo como elas se relacionam consigo mesmas e com os membros da sociedade com os quais convivem. As análises dos relacionamentos intra e interpessoais das personagens em relação à comunidade tornam-se uma ação que motiva os contos “A Good Man is Hard to Find”, “Good Country People”, “The River” e “The Displaced Person”. Sob diferentes pontos de vista, a autora retrata a vida em sociedade, através de personagens que ao se identificarem, de alguma forma, umas com as outras, transferem suas insatisfações pessoais e não-aceitações de situações referentes às próprias vidas, a outras pessoas, que se tornam vítimas de agressões morais e físicas. Baseando-se nisto, a abordagem é feita a partir das teorias de Sigmund Freud, sobre o inconsciente humano, e Mikhail Bakhtin sobre o texto dialógico e interdisciplinar. Nessa perspectiva, é importante entender como as personagens relacionam-se com o superego uma vez que suas atitudes são mais consequências do que causa de suas inadequações sociais.
14
Polson, Richard. "Shocked by Flannery O'Connor the possibility of new endings /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
Full text
15
Lopez-Schadeck, Joëlle. "L'initiation au mystère chez Flannery O'Connor : étude d'un récit parabolique." Montpellier 3, 2000. http://www.theses.fr/2000MON30062.
Full text
16
Eubanks, Karissa A. "Evangelicalism and epiphanies of grace in Flannery O'Connor's short fiction." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/378.
Full textAbstract:
The majority of critics interested in the religious elements of Flannery O'Connor's fiction argue that her texts illustrate her professed Catholic faith. For many of these scholars, the author's nonfiction figures predominately in their interpretations of her fiction. This thesis highlights the presence of Evangelical theology in O'Connor's short fiction by utilizing an approach that is underrepresented in scholarly examinations of her works: reading O'Connor's texts without considering the author's personal beliefs. Through this approach, the Evangelical dimensions of O'Connor's short stories become apparent. This thesis contends that each of the six short stories discussed exemplifies Evangelical theology as they emphasize the fallen nature of humanity, depict the action of grace as transformative, and suggest that willful cooperation is not necessary to salvation. By demonstrating that O'Connor's short fiction reproduces Evangelical theology, this thesis aims to provide scholars with a basis for reconsidering the relationship of her works to the literary tradition of the largely Protestant South.<br>B.A.<br>Bachelors<br>Arts and Humanities<br>English Literature
17
Zamic, Stephen George. "The mimetic roots of Flannery O'Connor's The violent bear it away." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/MQ52089.pdf.
Full text
18
Binkevičienė, Jolanta. "Ryšys tarp katalikiškų, grotesko ir pietų aspektų Flannery O'Connor trumpose istorijose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050601_115742-35157.
Full textAbstract:
This work attemptes to disclose the aspects of Catholicism, Grotesque and Southernism in Flannery O’Connor’s short stories. It proves that the author used the three aspects in order to reveal the core of Southern society through the looking-glass of Catholicism for that purpose that employing grotesque characters and situations, which also provided the tools for a critique.
Catholic, grotesque and southern aspects, although sometimes in disguise, are the subject freely canvassed in Flannery O'Connor's fiction because she was in the position to see things in a way that was denied to many others. She was a devout Catholic all her life; she possessed a gift for writing coupled with emotional maturity; and overriding all, she had both vision and humility. She was also born and raised in the American South (Georgia) and lived most of her adult life there. Consequently, as a fiction writer, O'Connor was furnished with the unique opportunity to both observe and record the Protestant South with its Calvinist backdrop, through the lens of her Catholic faith. The stories O'Connor wrote are a valuable testament to a region that she once described as
"no longer Christ centred but still Christ haunted". (62, 527)
She saw the South as a region where most people were merely grotesque in the way they lived, thought and acted lacking a central authority that unified faith, morals and liturgical practice, but with definite empathy, she saw those same people attempting to wrestle in various and... [to full text]
19
Barcala, Débora Ballielo. "O grotesco e a personagem feminina em contos de Flannery O'Connor /." Assis, 2017. http://hdl.handle.net/11449/148989.
Full textAbstract:
Orientadora: Cleide Antonia Rapucci<br>Banca: Alexander Meireles da Silva<br>Banca: Antonio Roberto Esteves<br>Resumo: O presente trabalho pretende analisar os contos "A Stroke of Good Fortune", "A Temple of the Holy Ghost", "Good Country People", "A View of the Woods", "Revelation" e "Parker's Back", da escritora estadunidense Flannery O'Connor considerando o que neles há de grotesco. Será dada especial atenção à representação do corpo grotesco, isto é, o corpo deformado, amputado, modificado, doente. Uma vez considerados os elementos grotescos, serão realizadas análises das personagens femininas nos contos: como elas são construídas e o que isso pode representar em termos de subversão da autoridade patriarcal e das particularidades da escrita de Flannery O'Connor. Por fim, serão feitas aproximações entre o grotesco e a representação da mulher nos textos da autora. Para a realização desta pesquisa, tomaremos por base as obras dos teóricos sobre o grotesco Wolfgang Kayser (2013), Mikhail Bakhtin (2013) e Mary Russo (2000); além de estudos sobre a escrita de Flannery O'Connor como a obra de Katherine Prown (2001) e outros teóricos que abordam análise de personagens<br>Abstract: The present work intends to analyse the short stories "A Stroke of Good Fortune", "A Temple of the Holy Ghost", "Good Country People", "A View of the Woods", "Revelation" and "Parker's Back", by the American writer Flannery O'Connor, considering what is grotesque in them. Special attention is going to be paid to the representation of the grotesque body - the deformed, amputee, modified, sick body. Once the grotesque elements are considered, analyses of the female character is going to be carried out: how they are constructed and what it may represent in terms of subversion of the patriarchal authority and of the particularities of Flannery O'Connor's writing. Finally, approximation between the grotesque and the representation of the woman is going to be done based on the author's stories. This research is going to be based on the works of the grotesque theorist Wolfgang Kayser (2013), Mikhail Bakhtin (2013) and Marry Russo (2000), besides studies about Flannery O'Connor's writing such as the work of Katherine Prown (2001) and other theorists of character analysis<br>Mestre
20
Novak, Kenneth Paul. "The religious significance of the medieval body and Flannery O'Connor's fiction." Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6441.
Full textAbstract:
Flannery O'Connor based what she called her "anagogic vision" on the medieval way of seeing the world that allowed the reader of a text to discern "different levels of reality in one image or one situation." In my thesis I focus on the ways in which O'Connor revives this literary strategy and adapts it to address the modern cultural context. Accordingly, I examine in particular how her fiction engages Descartes' worship of consciousness and Nietzsche's supposition that "God is dead" by anagogically endowing her characters' bodies with two layers of signification. The first signified body is the spiritually-dead body, which belongs to the character who believes he is a god unto himself by virtue of his intellect. Since the character accepts his mind as his essence of being, his body appears in O'Connor's stories as the image of a soulless identity, a corpse. When the character recognizes the rightful place of the soul, the whole person emerges from the second signified body.
21
Howell, Evan. "‘Some Can’t Be That Simple’: Flannery O’Connor’s Debt to French Symbolism." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2913.
Full textAbstract:
In this thesis, I trace the influence of French Symbolist poetry on the works of Flannery O’Connor. Many of O’Connor’s influences are well-known and documented, including Catholicism, the South, modern fiction, and her battle with lupus. However, I argue that Symbolism, via its influence on Modernist literature, is another major influence. In particular, I focus on several aspects of O’Connor’s writing: the recurrence of the same symbol across multiple works, the central location of symbols in several stories, the use of private symbols of the author’s invention, and use of symbol, rather than language, to convey transcendence. Aided by the scholarship of critics such as Richard Giannone, Laurence Porter, and Margaret Early Whitt, I argue that there is much in the aesthetic of Flannery O’Connor to suggest that her writing is, in part, a legacy of the French Symbolists.
22
Rowell, Jenny. "The Women Behind the Magnolia : An Exploration of Flannery O'Connor's Portrayal of Southern White Women." Thesis, Högskolan Dalarna, Engelska, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5475.
Full text
23
Matheny, Kathryn. "The Freedom of Flexibility: Lessons from the Child Characters in Flannery O'Connor." TopSCHOLAR®, 2005. http://digitalcommons.wku.edu/theses/508.
Full textAbstract:
Flannery O'Connor had a penchant for repetition, often revisiting the same character types, plot devices, and overriding ideas in two or more stories. This repetition always goes hand in hand with reinterpretation. Even when the characters and plots seem suspiciously similar, the differences signal both O'Connor's fascination with her subject and her persistent attempts to understand it. This thesis will explore O'Connor's revisions of stories in which child characters play an integral part. The later story in the three pairs I will examine gives a clearer picture of what O'Connor believed were the freedoms of childhood. O'Connor's adults rarely arouse much pity because they move decisively toward either redemption or damnation. Her child characters, however, aren't quite as rigidly written. They do not suffer from O'Connor's predestination; they can accept or reject the future offered to them in a way the adults cannot. While some of these children seem to serve only as pawns in the adults' confrontations with grace, others are the focus of their own stories. All, however, control their own fates, even when they are least likely to have that power. The depiction of childhood in O'Connor's short stories goes beyond simply seeing the world as it is, reporting the inflexibility of adulthood. O'Connor asks her readers to recognize the benefits of becoming childlike themselves. A simple faith opens adults' eyes and allows them to accept both their weaknesses and the strength of God that accompanies awareness of weakness. O'Connor also shows us that if we refuse to become childlike, if we do not let a child's life influence ours, we may end up influencing theirs. Just as it is important to soften ourselves for our own sakes, it is doubly important that we do so to keep them from learning our bad habits.
24
Tarchouna, Nessima. "La Rhétorique du sacré et du profane dans l'oeuvre de Flannery O'Connor." Paris 3, 1985. http://www.theses.fr/1985PA03A012.
Full text
25
McAllister, Jean. "The end of self : struggles toward transcendence in the fiction of Charles Williams, Flannery O'Connor and Graham Greene /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/9442.
Full text
26
Reed, Elizabeth. "The Fiction of Truth: Intergenerational Conflict in the Life and Works of Flannery O'Connor." Oberlin College Honors Theses / OhioLINK, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1396880375.
Full text
27
Lisenbee, William J. "The Crossroads of Eternality and Southern Distortion: An Analysis of Flannery O'Connor's Fiction." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/320.
Full textAbstract:
The purpose of this analysis was to explore how social and cultural values in the South determine meaning in Flannery O’Connor’s fiction. Since Christianity is the predominant religion in the South, only O’Connor’s stories with obvious Christian themes and characters were chosen. Several modern literary theories, along with select criticism of O’Connor’s literature, were used to investigate the fluidity of words and their corresponding meanings in O’Connor’s fiction. Although Flannery O’Connor’s language and depictions are often open-ended, there were definite bounds located, namely, Biblical allusions and Southern cultural standards. These findings demonstrated that the language in O’Connor’s fiction is neither an arbitrary system nor is it driven by the author’s history or intent. It is, therefore, recommended that a cultural approach be applied to Flannery O’Connor’s literature if the goal is to comprehend her religious themes.
28
Santos, António Carlos Santos Teixeira. "As representações do corpo na obra de Flannery O' Connor: uma perspectiva comparatista." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2010. http://hdl.handle.net/10362/5498.
Full textAbstract:
Dissertação apresentada para cumprimento dos requisitos necessários à
obtenção do grau de Mestre em Línguas, Literaturas e Culturas
(Especialização em Estudos Literários Norte-Americanos)<br>Este trabalho visa investigar a natureza das representações do corpo na obra de Flannery
O’Connor e o paralelo estético e ideológico e religioso que essas representações
guardam com a pintura flamenga dos séculos XV e XVI, no quadro do conceito de arte
grotesca e corpo grotesco, tal como foram apresentados por Mikhail Bakhtin em
Rabelais and His World. Defender-se-á que, para estes autores, a única representação
possível do transcendente é o corpo e que este é representado grotesco, não como forma
de ironia, mas antes segundo a visão de Deus em que os autores acreditavam.
29
O'Gorman, Farrell. "Peculiar crossroads : Flannery O'Connor, Walker Percy, and Catholic vision in postwar southern fiction /." Baton Rouge, La. : Louisiana State University Press, 2008. http://www.loc.gov/catdir/toc/fy051/2004011064.html.
Full text
30
Iwersen, Maria Helena Negrao. "Shape and face of good and evil in Flannery O'Connor's Everything that rises must converge." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/23876.
Full textAbstract:
Resumo: Everything That Rises Must Converge de Flannery O'Connor foi publicado em 1965, ano posterior â sua morte. Embora-esta dissertação discuta como o título - extraído de uma afirmação de Teillard de Chardin - aplica-se -às nove histórias da coleção, seu principal objetivo é mostrar, através de exemplos tirados do texto, como o bem e o mal se manifestam em cada história. Esta análise textual baseia-se num sistema gradativo das virtudes e dos vícios (os sete pecados capitais) desenvolvido pelo teólogo e erudito medieval Grosseteste. A Parte I apresenta uma biografia, amplamente baseada nas cartas de Miss O'Connor publicadas recentemente, e uma perspectiva global da polêmica excessivamente acirrada à sua obra duradoura. As feições principais de sua arte são discutidas aqui: seu enfoque - como escritora católica - do sul protestante, o uso do grotesco, seu pendor para a violência, seu conceito de mal e de graça, sua falta de sentimento, e sua aparente falta de compaixão e de senso de beleza. A Parte II considera o conceito de mal de Miss O'Connor (tanto quanto de Teillard) e sua magua com uma sociedade tecnológica complacente que despreza os valores espirituais. No âmago da dissertação, a Parte III oferece múltiplos exemplos das formas do bem e do mal, como também do imagismo, na sinopse de cada história, e a Parte IV examina os motivos - o mal, o grotesco e a graça redentora. A Parte V discute a visão de Miss O1 Connor e o modo com que ela empregou o choque e o riso para contrapor ao torpor espiritual e para conscientizar o leitor de que o demoníaco pode levar ao sagrado. Escritora admiravelmente talentosa, com humor selvagem, ela odiava o mal, escarnecia dos intelectuais bombásticos, acreditava nas possibilidades da salvação sempiterna - e conservou até o fim um maravilhoso sentido e respeito pelo mistério.
31
Prown, Katherine Hemple. "Revisions and evasions: Flannery O'Connor, Southern literary culture, and the problem of female authorship." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539623836.
Full textAbstract:
A look at the early manuscripts of Flannery O'Connor's two novels, Wise Blood and The Violent Bear It Away, reveals that she worked hard to remove any traces of feminine sensibility or perspective from her work, hoping to distinguish it as superior to the efforts of other southern "penwomen." Both novels underwent a long and difficult transformation from stories centered upon the exploits of a diverse group of characters to novels whose sole focus was on a few male protagonists. Eager to develop her art within a framework acceptable to southern New Critical authorities like John Crowe Ransom, Allen Tate, andrew Lytle, Robert Penn Warren and the male-dominated literary establishment they represented, O'Connor attempted to cultivate a distinctly "unladylike" writing style. In the process, she radically altered the scope of her fictional landscape, banishing female characters, silencing female voices, and redirecting her satirical gaze from the masculine to the feminine. This dissertation considers O'Connor's unpublished fiction as evidence of her ambivalent relationship to a literary culture founded upon the racial and gender-based hierarchies that had traditionally characterized southern society. at the same time, this dissertation takes a revisionist look at southern literary history, focusing in particular on the role Ransom, Tate, Lytle, and Warren played in defining the "Southern Tradition" so as to exclude women, blacks, and the uneducated masses. Finally, this study reconsiders O'Connor's published novels in light of the manuscripts and explores the ways in which she veiled her female identity through the use of male characters and masculinist narrative conventions.
32
Mavity, Pesach Mosisah. "Setting Free the Beasts: Animal Representation in the Fiction of Flannery O'Connor and William Faulkner." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1470349088.
Full text
33
Skillern, Ada. "Southern Post-Modernism, Anti-Romanticism and Gender Difference in Flannery O'Connor and Some Other Southern Contemporaries." TopSCHOLAR®, 1999. http://digitalcommons.wku.edu/theses/758.
Full textAbstract:
Flannery O' Connor has long been an established southern writer of the mid-twentieth century. This paper discusses briefly the tenets of both Modernism and Post-Modernism as literary movements of the twentieth-century, then looks specifically at how O'Connor's fiction makes her a key hallmark figure in the movement known as Post-Modernism, but also as one of the first female southern writers to utilize very anti-Romantic themes and style. Further, this paper attempts to examine through a discussion of various contemporary male and female southern writers the depth of O'Connor's influence on their own works. Attention is also given to the differences found in voice, theme and tone between southern contemporary male and female writers today, and explanations are offered as to why these marked differences exist.
34
Maxwell, Catherine Anne. "A comparative study of form and theology in the works of Flannery O'Connor and Simone Weil." Thesis, University of Leeds, 1998. http://etheses.whiterose.ac.uk/2320/.
Full textAbstract:
In this comparative study of the form and theology of Flannery O'Connor and Simone Weil I interrogate how Weil's philosophical writings and her theology illuminate O'Connor's use of both narrative and non-fictional forms, and her Catholicism. The Introduction analyses how Weil's concept of superposed reading provides a new method of approaching both O'Connor, her writings, and O'Connor studies, and focuses on how such apparently different women interconnect. Chapter One explores how both Weil and O'Connor attempt to write their theologies on the souls of their readers yet are each subject to constraints imposed by form. Weil's concept of locating equilibrium between incommensurates is discussed, and her distinctively philosophical approach to fictions and fictionality is used to investigate O'Connor's notion of prophetic fictions and the writer's role. Chapter Two assesses how both writers revivify Christian paradoxes. Weil's monstrous concept of affiiction, and O'Connor's use of the grotesque genre to jolt secular man into an awareness of the sacred are scrutinised. Chapter Three studies how both writers consider an encounter between God and man is possible through the action of grace. My Conclusion interrogates how Weil's work can deepen our understanding of O'Connor's writings, and examines how successful O'Connor is at realising a truly Christian literature. I conclude that despite being a writer of powerful fictions, O'Connor can not be totally successful in her mission as writer-prophet because ultimately fiction escapes orthodoxy.
35
Thomas, Wendy L. "More instructive than a long trip to Europe, the effects of lupus on Flannery O'Connor's short stories." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0012/MQ35534.pdf.
Full text
36
山辺, 省太. "生の政治と死の宗教 : Flannery O’Connor のThe Violent Bear It Away". 名古屋大学アメリカ文学・文化研究会, 2013. http://hdl.handle.net/2237/19103.
Full text
37
Oberhausen, Tammy. "The Southern Misfit and the Dream of Escape in the Fiction of Carson McCullers and Flannery O’Connor." TopSCHOLAR®, 1990. http://digitalcommons.wku.edu/theses/1791.
Full textAbstract:
The misfit and the dream of escape are popular motifs in American literature, particularly in the literature of the South. Critical studies of works employing these themes have largely ignored the connection between the two. The Southern misfit – the Southerner who fails to or refuses to conform to his society’s strict standards – often dreams of escaping the restrictions of the South for some Northern “promised land.” In the works of two Georgia writers, Carson McCullers and Flannery O’Connor, the related themes receive different treatments. Carson McCullers’s misfits in the novels The Heart is a Lonely Hunter and The Member of the Wedding are adolescent girls who fail to meet their society’s expectations to be ladylike and free of personal ambitions, and McCullers seems sympathetic to her misfits’ longing to escape. In Flannery O’Connor’s short stories, her misfits are often intellectuals who feel unappreciated and alienated in their “culturally stagnant” hometowns, but O’Connor usually demonstrates that the real problem of these intellectuals is not the restrictions of the South but the characters’ own lack of self-awareness.
38
Carroll, Rachel Louise. "The return to the body in the work of Sylvia Plath, Angela Carter, Leonora Carrington, and Flannery O'Connor." Thesis, University of Newcastle Upon Tyne, 1996. http://hdl.handle.net/10443/299.
Full textAbstract:
This thesis examines the role of the body in Sylvia Plath's The Bell Jar (1963), Angela Carter's Nights at the Circus (1985), Leonora Carrington's fiction of 1937-41, and Flannery O'Connor's fiction of 1949-65. Critical emphasis is placed upon ambivalent and paradoxical representations of the body and on the significance of the body as a site of crises in identity and memory. The implications of the problematic status of the body are addressed through a theoretical framework, informed by French feminist thought, which attempts to articulate an exchange between subjectivity and politics, psychoanalysis and history. Part I introduces the 'return to the body' as a critical inquiry which investigates the conjunction of femininity and materiality and the role of the body in the construction of sexual difference. It is proposed that in Plath's The Bell Jar the body is the site of an impasse of identity and memory; this impasse is contested by Carter's novel and interrogated in the narratives of Carrington and O'Connor. Part II demonstrates the subversive and utopian effect to which Carter employs the paradoxical body in Nights at the Circus. As a site of unresolved contradictions, the ambivalent body invokes transformations in identity and anticipates revolutions in history. Part III explores the 'savage' state of symbolic dereliction suggested by the place of feral women in Carrington's Surrealist myths of origin. It also proposes that a founding violence is discovered by Carrington in the construction of woman' as spectacle and femininity as masquerade. Part IV proposes that the irrational forces of history are registered in traumatic form in the grotesque bodies of O'Connor's narratives. It also addresses a politics of origin which implicates women, as agents and victims, in the violence of an oppressive social order.
39
Frendo, Ruth. "The tyranny of the soul : mind, body and humanity in Katherine Anne Porter, Caroline Gordon and Flannery O'Connor." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391537.
Full text
40
Irving, Catherine Janet Sarah. "A jungle of shadows : interpenetrations of the anagogical and the grotesque in the short stories of Flannery O'Connor." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/18692.
Full textAbstract:
Flannery O'Connor (1925-64) has become established in critical thought both as a "Christian" writer and a writer of the "grotesque". Indeed, to be true to the nature of her art, neither designation can be easily discarded. It is the premise of this study that O'Connor's mature, post-l 952 work, specifically her collected short fiction, draws on the modes of the anagogical and the grotesque to represent a vision highly conscious of both ultimate reality and the deficiency of a sinful, evil-inflicted world. These modes can be envisaged as antitheses: the anagogical, in its traditional medieval sense, implies a positive means to God via the created, sacramental world; the grotesque, conventionally and pessimistically perceived, infers a negative impetus towards the chaotic or demonic. In Chapter One, I investigate the conceptual parameters of the anagogical, beginning with a consideration of its medieval status as the hermeneutical level concerned with apocalyptic eventualities and disclosure of the divine presence. In my discussion of the anagogical operating through nature, art, individuals and everyday objects, I emphasise the Thomistic principle that the literal or material serves as a starting point for configuring anagogy. I argue that to address a modern audience unfamiliar with, or unsympathetic towards, traditional Christian imagery, O'Connor enlarged her view of the anagogical mode to incorporate elements of the grotesque. In Chapter Two, I explore the bounds of what constitutes the grotesque, drawing attention to its double-faced nature, to its inextricable merging of terror and comedy. Highlighting O'Connor's reliance at various points on both emphases of the grotesque, I examine the contrasting theories of Wolfgang Kayser and Mikhail Bakhtin. I discuss also the negative way of representation that the grotesque makes possible. The supposition of this strategy is that degradation or distortion of a phenomenon causes its meaningfulness to be communicated anew. It remains a point of debate as to whether desired interpretation can be achieved. O'Connor's mature work importantly conveys a paradoxical understanding of the grotesque as registering both depravity and renewal.
41
Christovich, Michelle M. "Eloquent Distortion: The Southern Grotesque and Ideal Femininity in the works of Flannery O'Connor, Eudora Welty, and Carson McCullers." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/206.
Full textAbstract:
In this paper, I will examine works of Flannery O’Connor, Eudora Welty, and Carson McCullers, three Southern women writers who wrote during the first half of the twentieth century. While these authors differ in a number of ways, each of them produced work that deals, often explicitly, with ideal Southern womanhood and the expectations this ideal places upon women. Additionally, each of these three authors uses the grotesque as a tool for examining ideal womanhood, most often represented through the ideal of the Southern Lady. This paper is concerned with analyzing the link between the grotesque and the ideal of the Southern Lady, specifically the ways in which O’Connor, Welty, and McCullers employ the grotesque as a tool for exposing the limiting and destructive nature of this ideal.
42
Hawley, Rachel S. "VILE HUMOR: GIVING VOICE TO THE VOICELESS THROUGH DARK COMEDY IN SOUTHERN GOTHIC LITERATURE." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/337.
Full textAbstract:
The American South is a rich source of literature that combines the humorous and the horrific in its attempts to explain and expose the region's deep-seated social turmoil. One of the most prolific genres to come out of the South is southern gothic literature that, though not always humorous is known for its use of grotesque imagery and reliance on highly charged melodramatic narratives. When these works are comic, they don't merely reflect the region's strife but attempt to transform it. This dissertation looks at how southern gothic writers Beth Henley, Fannie Flagg and Flannery O'Connor use dark comedy in their works as defiant acts designed to question the status quo and reform the southern landscape by creating ruptures where marginalized people can assert themselves into the norms of American culture. Drawing on several different definitions of comedy, including Barecca's works on female narratives and linguistic theories of jokes, this work defines dark comedy and identifies where humor and horror come together in the works of these southern gothic writers to form particularly dark comic moments. Then, it uses Butler's theory of sites of rupture to explain how dark comedy can be transformative. In Giving an Account of Oneself, Butler explains Foucault's regime of truth as a system that is always both self-reflexive and social - a system where the norms that govern recognition create boundaries where subjects are formed. She goes on to conclude that ruptures can occur within the "horizon of normativity" whereby those relegated to the margins can gain entry and be encompassed within the governing norms. Dark comedy, then, occurs at or even creates that site of rupture in the individual and in the society that experiences it, and allows for the individual, and by extension society, to change its understanding of what is normal and resides within the margins. Within the text, then, dark comedy changes the governing norms to include the once marginalized oddities.
43
Cronin, Maurice. "From the image of the reader to the figure of the writer : a Pragmatic Approach to the Question of Aesthetics and Ideology in the Work of Flannery O'Connor." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA128.
Full textAbstract:
Cette thèse a pour but principal de renouveler l’étude de la question du rapport entre l’esthétique et l’idéologique dans l’oeuvre de Flannery O’Connor. Contrairement aux études antérieures menées sur cette question, elle sera abordée ici dans le cadre d’une théorie du discours littéraire, c’est-à-dire d’une théorie qui prend en compte les dimensions à la fois performatives et réflexives propres aux textes littéraires. Ce postulat théorique a des conséquences importantes pour l’étude du rapport entre les textes littéraires et les contextes sociaux, politiques, historiques et littéraires de leur mise en circulation et de leur réception. Il implique, notamment, que les ouvrages littéraires inscrivent et négocient dans leur texture même les conditions de leur mise en circulation et de leur réception, et ainsi, que la question de leur contexte doit être abordée en premier par l’étude de cette inscription et de cette négociation textuelles. Pour autant qu’elle tient pleinement compte de la logique médiate de cette inscription et de cette négociation—et notamment des effets médiateurs des figures du lecteur et de l’auteur, ainsi que du genre et du champ littéraire—l’approche pragmatique adoptée dans cette thèse permet non seulement de mener à bien cette étude, mais également de montrer sous un nouveau jour la complexité et la singularité de la signature littéraire de Flannery O’Connor<br>The principal aim of this dissertation is to provide a fresh approach to the vexed question of the relationship between the aesthetic and the ideological in the work of Flannery O’Connor. Unlike existing studies of this question in the critical literature, the approach adopted in this dissertation is based on the premise that it can best be treated in the context of a theory of literary discourse, one, in particular, that takes full consideration of the reflexive and performative dimensions of literary works. This theoretical assumption has considerable consequences for the study of the relationship between literary texts and the social, political, historical and literary contexts of their reception and circulation. In particular, it suggests that literary texts inscribe and negotiate the social and historical conditions of their circulation and reception, and that the question of their context should be approached first and foremost through the study of this textual inscription and negotiation. Insofar as it takes full consideration of the mediatory logic that such textual negotiation entails—in particular the mediating presence and effect of the figures of the reader and the author, the genre of the work, and the literary field—literary pragmatics will be seen to provide an approach which not only enables this study, but also reveals in a new light both the complexity and the singularity of Flannery O’Connor’s literary signature
44
Harrington, B. R. "Moment centered cinema : uniting Flannery O'Connor's "haunting moments" and Sergei Eisenstein's "intellectual montage" in the screenplay of 'A Severe Mercy'." Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/11569/.
Full textAbstract:
In the summer of 2014, I was hired to adapt the best-selling spiritual memoir, 'A Severe Mercy', into a feature film screenplay. My task was complicated by the nature of the source material, as Sheldon Vanauken's largely philosophical testimony was unsuited to the visual nature of cinematic storytelling. I faced further difficulty in that I needed to respect the essence of the original faith-based material, yet make it palatable for the mainstream marketplace. This dissertation contributes to a new movement in Hollywood in which the action and spectacle-driven movie loses its prominence. My adaption of 'A Severe Mercy' is, I hope, part of the next generation of visual stories, particularly those that deal with spiritual or faith-based material. My method of doing this is to emphasize the key narrative moments that occur in characters, allowing these moments to take precedence over external beats, or actions in the plot. By deconstructing the work of writer Flannery O'Connor, I identify a method of heightening the key lynchpins of a character's arc of transformation. O'Connor used radical juxtapositions in the narrative, a technique I have name "haunting moments". The practical application of my theoretical framework owes much to Sergei Eisenstein's work on cinematic narrative. His technique of "intellectual montage" is akin to O'Connor's "haunting moments" and the new interventions I am seeking to realize with 'the beat' in my own creative practice. I argue that cinema offers exciting possibilities for radical juxtapositions due to the affinity for paradox inherent in the multiple layers of the medium (e.g., sound, visual, linguistic). I demonstrate this by drawing on examples of how this works in other cinematic projects and in my own.
45
Jonsson, Frida. ""I done something wrong" : En karnevalteoretisk analys av gränsöverskridande i A Good Man is Hard to Find, A Curtain of Green och Trash." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297175.
Full textAbstract:
This study seeks to question old and common misconceptions concerning the american literary genre Southern Gothic. By using the carnival theory, the theory about the "grotesque" by Mikhail Bakhtin, this study seeks to explain and reach a better understanding of some works defined as Southern Gothic - so called because of the significance that is attributed in the genre to the geographical location in the southern United states. This study analyzes carnivalesque transgression in short story collections by Flannery O´Connor, Eudora Welty and Dorothy Allison, and the main purpose is to investigate if the genre really is as dark as it is often described by critics; pessimistic, absurdly shocking and without any affirmation regarding the beauty and strength of life. Transgression is here defined as the transgression made by fictional characters when their bodies and their actions refuses to conform to the norms established by "the official world". By using Bachtins terminology my main thesis is to investigate positive and life-affirming transgression in A Good Man is Hard to Find, A Curtain of Green and Trash. The study further investigates the ways in which the bodies of the fictional characters become grotesque and in what way the characters through their behaviour become carnivalesque. The short stories are also compared with eachother from both a tematic and historic perspective: can changes through time be observed? Does the grotesque form or expression change in any way from Welty to Allison? The conclusion of the study is that both grotesque and carnivalesque forms can be found in the short stories, and it can be considered carnivalesue in a true Bakhtinian way, as both positive and affirming. The study also finds that the grotesque tends to become more positive and life-affirming through time.
46
Hobaugh, Gregory Charles. "Reformed apologetics and American literature a dialogue of worldviews /." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.
Full text
47
McCabe, Bryan Thomas. "Cars, collisions, and violence in Southern literature." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003133.
Full text
48
Bilke, Christy Ann. "The Ghost of Domesticity| A Haunting of the Minds and Bodies of Women in the Works of Flannery O'Connor and Shirley Jackson." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10827027.
Full textAbstract:
<p> This thesis examines the representation of domesticity in the psychological and physical lives of women in literature. The interpretive question of the argument asks, how does the haunting of domesticity affect and create meaning in the lives of female characters? Domesticity is an idea that has been used to as a means of submission by a domineering other. The idea of domesticity is a catalyst that is used to help Hulga Hopewell from Flannery O’Connor’s “Good Country People” and Eleanor Vance from Shirley Jackson’s <i> The Haunting of Hill House</i> to break away from oppressive influences; by examining these feminist narratives we will see how two women attempt to survive the physical and mental hauntings of domesticity and its effects on their minds and bodies as they try to preserve the self. Hulga and Eleanor are women who are not following the expectations of family nor society, as they choose to take different paths in life, they face judgment and criticism for not following societal norms. These women will struggle against the domesticity that has been passed down for generations through their mothers. Hulga is forced to move back home, where she tries everything to avoid her mother’s brand of domesticity, and Eleanor runs away trying to escape the bonds of domesticity. Both women come face to face with their deepest fears when they confront this haunting; and ultimately will be physically and mentally traumatized.</p><p>
49
Marion, Carol A. v. "Distorted Traditions: the Use of the Grotesque in the Short Fiction of Eudora Welty, Carson Mccullers, Flannery O'connor, and Bobbie Ann Mason." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4591/.
Full textAbstract:
This dissertation argues that the four writers named above use the grotesque to illustrate the increasingly peculiar consequences of the assault of modernity on traditional Southern culture. The basic conflict between the views of Bakhtin and Kayser provides the foundation for defining the grotesque herein, and Geoffrey Harpham's concept of "margins" helps to define interior and exterior areas for the discussion. Chapter 1 lays a foundation for why the South is different from other regions of America, emphasizing the influences of Anglo-Saxon culture and traditions brought to these shores by the English gentlemen who settled the earliest tidewater colonies as well as the later influx of Scots-Irish immigrants (the Celtic-Southern thesis) who settled the Piedmont and mountain regions. This chapter also notes that part of the South's peculiarity derives from the cultural conflicts inherent between these two groups. Chapters 2 through 5 analyze selected short fiction from each of these respective authors and offer readings that explain how the grotesque relates to the drastic social changes taking place over the half-century represented by these authors. Chapter 6 offers an evaluation of how and why such traditions might be preserved. The overall argument suggests that traditional Southern culture grows out of four foundations, i. e., devotion to one's community, devotion to one's family, devotion to God, and love of place. As increasing modernization and homogenization impact the South, these cultural foundations have been systematically replaced by unsatisfactory or confusing substitutes, thereby generating something arguably grotesque. Through this exchange, the grotesque has moved from the observably physical, as shown in the earlier works discussed, to something internalized that is ultimately depicted through a kind of intellectual if not physical stasis, as shown through the later works.
50
Schwartz, John Benjamin. "Breaking and Connecting in the Short Stories of Flannery O'Connor: "The Look of This Fiction is Going to be Wild" (Grace Minus Nature Equals Mystery)." Oberlin College Honors Theses / OhioLINK, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1396882030.
Full text