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Hans Urs Von Balthasar's Theological Aesthetics Applied to the Fiction Of THE CATHOLIC UNIVERSITY OF AMERICA Hans Urs von Balthasar’s Theological Aesthetics Applied to the Fiction of Flannery O’Connor A DISSERTATION Submitted to the Faculty of the Department of English School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Katherine LeNotre Washington, D.C. 2017 ABSTRACT Hans Urs von Balthasar’s Theological Aesthetics Applied to the Fiction of Flannery O’Connor Katherine LeNotre, Ph.D. Director: Virgil Nemoianu, Ph.D. Hans Urs von Balthasar’s Theological Aesthetics Applied to the Fiction of Flannery O’Connor confronts the grotesque beauty of Flannery O’Connor’s stories through Balthasar’s Christological aesthetics. Chapter one examines preliminary aesthetic themes for both Balthasar and O’Connor, followed by a brief survey of O’Connor criticism. Chapter two focuses on theological background, noting similar influences on Balthasar and O’Connor. I give a short history of neo-Thomism and its impact on O’Connor’s thought, then I trace her interest in la Nouvelle Théologie. The next section of the chapter goes over Balthasar’s relationship with Scholasticism and la Nouvelle Théologie, and finally his dialogue with Karl Barth on analogy. The chapter closes with a reading of O’Connor’s story “The Displaced Person” according to a Balthasarian Christological aesthetic. Chapter three deals with issues of authorship and character. It opens with O’Connor’s ideas about authorial intention and continues with Balthasar’s notion of divine authorship from the first volume of Theo-Drama, examining scenes from The Violent Bear it Away in light of Balthasar’s theology of vocation. A final section compares O’Connor’s grotesque characters, especially Hazel Motes from Wise Blood, with Balthasar’s “holy fools.” In Chapter four, I discuss Balthasar’s treatment of classical tragedy in its relation to plot. Balthasar considers the theological milieu of ancient drama is a precursor to Biblical revelation, and the tragic figure of the suppliant, especially in Sophocles’ plays, prefigures Christ. I examine O’Connor’s story “Parker’s Back” with regard to its re-enactment of a Christological plot. Chapter five considers the story “Judgment Day” in light of Balthasar’s theology of suffering. I then question the relationship between beauty and O’Connor’s vision, ending with a reading of the story “Revelation.” A sixth chapter concludes the dissertation with suggestions for the future of Balthasarian criticism and a final look at O’Connor’s vision of moral beauty. Hans Urs von Balthasar’s Theological Aesthetics Applied to the Fiction of Flannery O’Connor adds Balthasar’s voice to the many theologians spoken of alongside her fiction. The study also represents another step toward the greater recognition of Balthasar’s interest for literary scholarship. This dissertation by Katherine LeNotre fulfills the dissertation requirements for the doctoral degree in English approved by Virgil Nemoianu, Ph.D., as Director, and by Ernest Suarez, Ph.D., and Nicholas J. Healy, Ph.D., as Readers. _______________________________________ Virgil Nemoianu, Director _______________________________________ Ernest Suarez, Reader _______________________________________ Nicholas J. Healy, Reader ii To my husband Gaston and our three children born during its composition: Beatrice, Bernard, and Gerard. iii CONTENTS Chapter 1 Introduction: Aesthetics………………..…1 Chapter 2 Theology and Beauty………………….….46 Chapter 3 The Christological Character……….…...80 Chapter 4 The Christological Plot………………….125 Chapter 5 Beauty and the Cross…………………… 155 Chapter 6 Conclusion…………………………………183 iv List of Abbreviations By Flannery O’Connor: CW Collected Works of Flannery O’Connor MM Mystery and Manners HB The Habit of Being By Hans Urs von Balthasar: GL The Glory of the Lord: A Theological Aesthetics (seven volumes) TD The Theo-Drama (five volumes) v ACKNOWLEDGEMENTS I thank my parents, Gregory and Patrice Wolfe, for their heartening support throughout my education. I thank Dr. Nemoianu for his timely help and encouragement. I am grateful to Dr. Louise Cowan, who inspired me to continue studying literature; may she rest in peace. I thank my friends and fellow-students Sara Sefranek, Veronica Phair, and Lindsay Rerecich for their companionship and enthusiasm. I cannot properly thank my husband Gaston for his unreserved attention to my interests. But I do thank him. vi Chapter 1: Introduction The fiction of Flannery O’Connor is known for grotesquery and ugliness, not for beauty. Yet there is a kind of beauty in her work, and it springs from her theological beliefs. The intersection of aesthetics and theology forms the subject of Hans Urs von Balthasar’s great study The Glory of the Lord: A Theological Aesthetics. The theological aesthetics of Balthasar as expressed in this work and in his Theo-Drama provide a hermeneutic for Christian art. For Balthasar, beauty is a crucial point of contact between the secular and religious spheres. The beauty we encounter is analogous to the beauty of God; the wonder engendered by beauty prepares us for the wonder of God’s glory. Christ is the necessary link between finite and infinite beauty, and Balthasar includes the grotesque pain of the cross as part of beauty’s dramatic character. This sacrifice is the enduring “tragedy” of God’s great play, the “Theo-Drama” of creation. I will examine these themes from Balthasar as they relate to O’Connor’s work and apply them to particular stories and novels. O’Connor’s work represents characters whose beliefs shape their aesthetic sense; they also shows how aesthetics can be a starting point for belief in God. These aesthetically charged characters and events appear in literary art which is itself an aesthetic object. O’Connor’s stories rely on the ultimate unity of beauty with goodness emphasized by Balthasar and uncover the potential for beauty in suffering. 1 2 There are likenesses between the thinking of O’Connor and Balthasar, but there was no direct influence between the two. O’Connor was a writer from Milledgeville, Georgia who died in 1964 at the age of 39, having produced a small but lasting body of fiction. The last volume of Balthasar’s most important work was not published until 1987, a year before the death of the Swiss priest and theologian. Thus O’Connor could not have read the “great triptych” even if it had it been translated immediately. In a 1961 letter to Thomas Stritch, O’Connor wrote, “I don’t know any new German theologians. All I know is Guardini and Adam” (HB 449). The only record we have of O’Connor even reading Balthasar’s name comes from her friend, critic Bill Sessions, who spent time in Germany with a Fulbright scholarship: At a vespers service at the Freiburg Cathedral during Lent 1958, I also heard a homily, about which I wrote O’Connor, by the Swiss priest Hans Urs von Balthasar, now considered by many one of the greatest Catholic theologians of the last century. Recalling these thinkers now, almost fifty years later, has a simple point: Flannery wanted to know about each one and wrote me for firsthand impressions. (57-58)1 Her interest could not have moved her to investigate even Balthasar’s earlier books since O’Connor read only English, and his work was translated in the last two 1 Sessions, W. A. “’Then I discovered the Germans’: O’Connor’s Encounter with Guardini and German Thinkers of the Interwar Period.” In Flannery O’Connor’s Radical Reality. Columbia, SC: U of South Carolina P, 2006. Gretlund, Jan Nordby and Karl-Heinz Westarp, eds. 56-67. 3 decades. It is a sign of the quality of her reading that we remark on this language barrier as a limitation; she was an artist with a serious interest in theology, curating a significant personal library of theological works. Conversely, Balthasar’s theology draws upon a life-long interest in aesthetics.2 He began his intellectual career not as a theologian, but as a doctoral student in German studies. His three-volume Ph.D. dissertation "Geschichte des eschatologischen Problems in der modernen deutschen Literatur" was later published as Apocalypse of the German Soul;3 it examines works of German literature for philosophical-theological themes. Alois Haas writes that “Today, he would be able to point out triumphantly—if the ‘specialists’ who always speak of interdisciplinary work were serious about it—that his approach was interdisciplinary when such a thing was still a scholarly scandal” (56).4 He then transitioned to theology during his Jesuit novitiate, but Balthasar’s subsequent publications return to this aesthetic background in various ways. As a translator of plays, a literary critic, and finally a proponent of theological aesthetics, this interest was often explicit. However, an aesthetic preoccupation can be seen implicitly throughout his oeuvre, even in his works of theology about prayer or the Church Fathers. Throughout the triptych, artists’ voices (and even images) are presented as 2 One of Aidan Nichols’ books looks at Balthasar’s earliest essays, which are about aesthetics: Scattering the Seed: A Guide through Balthasar’s Early Writings on Philosophy and the Arts. Washington, DC: Catholic U of America P, 2006. 3 Apokalypse der deutschen Seele. Studien zu einer Lehre von letzten Haltungen, vols. 1-3, Salzburg and Leipzig: Verlag Anton Pustet, 1937-39. 4 Haas, Alois M., “Hans Urs von Balthasar’s ‘Apocalypse of the German Soul.’” In Hans Urs von Balthasar: His Life and Work. Ed. David L. Schindler. Communio Books. San Francisco: Ignatius Press, 1991. 45-57. 4 relevant contributions to theological arguments.5 Even when the arts are far from Balthasar’s topic at hand, he often chooses analogies and examples about music, painting, and literature. His work is eminently interesting for students of literature.
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