DOCSLIB.ORG

Full Screen View

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Full Screen View Eudora Welty's Mothers and Daughters by Helen R. McLane A Thesis Submitted to the Faculty of the College of Humanities in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida April 1989 Eudora Welty's Mothers and Daughters by Helen R. McLane This thesis was prepared under the direction of the candidate's thesis advisor, Dr. Ann Peyton, Department of English. It was submitted to the faculty of the College of Humanities and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. As-s±stant D n, College of Humanities Chair erson, Department of English Dea~ ge ~f li::::rtf. J'AJ Date I ii ABSTRACT Author: Helen R. McLane Title: Eudora Welty's Mothers and Daughters Institution: Florida Atlantic University Degree: Master of Arts Year: 1989 In Eudora Welty's works, the importance of the mother- daughter relationship lies in its ability to expand the reader's understanding of the individual's search for enlightenment. As a wanderer acts and reacts to people and events, she is most often influenced by her mother, or mother-like figures, and other pairs around her. Welty's bonded women represent the historical, religious, psychological, and sociological studies of this interwoven human relationship; her characters are subtly crafted to develop a myriad of close and, at the same time, distant bonds. Welty emphasizes the mothers and daughters of Losing Battles, Delta Wedding, and The Optimist's Daughter though Virgie of The Golden Apples represents the strongest point for the conclusion that the mother-daughter relationship supports and enhances Welty's works. iii Table of Contents Chapter I Introduction . 1 Chapter II The Mother-Daughter Relationship: A Support for The Golden Apples . 4 Chapter III Mothers and Daughters: Those Around Virgie . 16 Chapter IV Virgie Rainey: The Need for Her Mother . 38 Chapter V Conclusion . • • • • • • 48 Works Cited . • . .50 iv CHAPTER I Introduction This essay is a study of three stories from Eudora Welty's The Golden Apples: "The Shower of Gold," "June Recital," and "The Wanderers." The strongest connecting link of the stories is Virgie Rainey because, as Ruth M. Vande Kieft describes her, she is the "most perceptive and emotionally mature of the wanderers" (Eudora Welty 138). She brings readers back to The Golden Apples. She demands attention. She is the heart of the work. Like the human body, The Golden Apples is supported by the mother-daughter attracting-opposing bond, a skeletal system. The work functions by the strength of its individual mothers and daughters, a muscular system. It flourishes with the energy of Virgie Rainey, its heart. And like The Golden Apples, Virgie is supported by her mothers who emphasize the mother-daughter relationship. Consequently, this essay looks separately at the mother-daughter relationship, the mothers and daughters of the work, and Virgie as influenced by relationships and individuals. 1 2 The beauty of Virgie is that she progresses not alone but with assistance. The wonderful, mysterious, contra­ dictory mother-daughter relationships tie Virgie to her mother Katie and also to her teacher Miss Eckhart. But Welty does not simply present two pairs, she surrounds and mingles them with others who accent the struggles, the confusions, the disasters, and the successes. Mothers and daughters form an interlocking system that enhances Virgie and controls The Golden Apples. Within the work, Welty develops a life in progressing, changing stages. The life is Virgie's. As seen in the three stories, the three moments of her life resemble the cycle of nature. The strong mother-daughter bond represents the cycle, which in turn, allows Virgie's stories to become support for the whole of The Golden Apples. The collection of stories, thus, is Virgie's life in three moments. Outside these stories, Welty creates momentary pieces of characters' lives in Losing Battles, Delta Wedding, and The Optimist's Daughter. When looking at Welty's mothers and daughters, how can one exclude Ellen Fairchild, Gloria Renfro, and Laurel McKelva? Though these characters are placed in differently constructed relationships from Virgie's, they support the attachments and rebellions that unite and repel mothers and daughters. Welty's multiplicity emphasizes the importance of this often over-looked bond: it is "the artist's obligation, not to be 3 overwhelmed by the world, but to include its disparities" (Fialkowski 66). However, none of the pairs illustrate better this "emotionally close and emotionally distant" bond than Virgie Rainey and her mothers. Critical works outside of literary studies support this connection. For example, Lucy Rose Fischer explains that the purpose for her own sociological study of mothers and daughters is to "understand the meaning of this apparent contradiction" (8). This paper highlights Welty's fictional characters who mimic this phenomenon of human life: Virgie embodies this duality. Whether she holds herself back or is held back by others to absorb experiences, she manifests Welty's encompassing theme: the individual's search and discovery of herself and her place in the world. CHAPTER II The Mother-Daughter Relationship: A Support for The Golden Apples and Beyond Why does Eudora Welty not emphasize the father-son relationship in The Golden Apples? Though she includes the interesting grouping of King MacLain and his twin sons Eugene and Ran, their ties link more at a distance than intimately. Therefore, Welty chooses mothers and daughters because of their endless cyclical nature and their nurtur­ ing qualities. Carol Pearson describes the heroic quest by gender: "Women seem to linger in the stages that empha­ size affiliation . and men in those that emphasize separateness and opposition" (7). The Golden Apples is a collection of stories that expresses one main character's attempt to mature and continue her search with aid from her mother, the lessons from her teacher, and the interrelated actions of other mothers and daughters around her. This miraculous character is Virgie Rainey. And she is made female for a designed purpose. Welty employs the feminine 4 5 because, as Carol P. Christ emphasizes, "Women's stories had not been told. And without stories there is no articulation of experience" (Diving Deep 1); "Woman's quest seeks a wholeness that unites the dualisms of spirit and body, rational and irrational, nature and freedom, spiritual and social, life and death" (9). Welty chooses the searcher and her search for The Golden Apples. By creating a girl who develops into a woman who appears an accomplished yet still struggling wanderer, Welty tells her readers that women can achieve high levels of mental awareness in similar ways to men yet remain unique. Instead of allowing readers to assume her characters have qualities that apply to both sexes, Welty creates females who emphasize the point themselves. However, in The Golden Apples the search for self is taking place aided and hindered by relationships. Welty crafts these relationships to support and debilitate women more so than men. Undoubtedly, she does not mean to imply that one gender is superior to the other. In emphasizing women, she justifies Nancy Chodorow's claim that "women's mothering has been taken for granted" (3). Welty uses mothers and daughters over fathers and sons for four reasons. First, Welty dramatizes the fact that "the father is rarely a child's primary parent" (Chodorow 3). No one disputes this claim. The woman bears, nurtures, rears, and 6 disciplines her young children. Since the father participates little, "the woman is the natural nourishing principle," becoming the strongest early connection the child makes (Neumann 283). Virgie's father is seldom mentioned, so that the mother-daughter relationship becomes her foundation. Second, this early tie is never forgotten. The searcher looking for herself is often led to or finds her own way back to her mother. To understand herself, to understand existence, the wanderer seeks the time before confusions and frustrations. This goal corresponds to the child's time before birth and to the comforting early days in her mother's arms. The woman as mother is the "quintessential accommodator," forsaking herself for others; yet as "conflict is a necessity," the child must separate to be on her own (Miller 125). She returns to fill necessary fragments for her understanding. Though stepping backward, returning to the mother is often the path to selfhood. Welty uses female characters because "men cannot provide the kind of return to oneness that women can" (Chodorow 194). The spiritual importance of the feminine was expressed in the duties early people gave to their women--caring for children, tending small animals, and farming--which elevated these activities beyond everyday "into the mysteries of preservation, formation, nourishment, and 7 transformation" (Neumann 282). Largely, ignorance of human procreation added to the mysteries, and women were revered for giving life (Stone notes anthropologists 125). Women transformed "nature into a higher, spiritual principle" (Neumann 286). Erich Neumann describes the mother and daughter of the Eleusinian Mysteries and the power that the people saw in the cyclical relationship. Edith Hamilton also describes the importance of Demeter and Persephone (over the Olympians), not simply because of their link to the earth and crops: "In their hour of grief, men could turn for compassion to the goddess who sorrowed and the goddess who died" (54). Through this historical, religious understanding of the power of the female body and spirit, readers can accept women as a means of returning to or of finding oneness. However, women no longer have the mystical power they once had, so that now Welty relies on the mystical inner qualities of the human consciousness. Men and women, therefore, should have similar abilities or chances for success.
Load more

Recommended publications
  • Eudora Welty the Little Store
    Untitled Document Mr. Claro -- Modern Nonfiction Reading Selection by Eudora Welty The Little Store EUDORA WELTY (b. 1909) published her Collected Stories in 1980, bringing together 576 pages of the short fiction for which she is celebrated. Her short stories first appeared in magazines, often the literary quarterlies, and became regular features of annual collections of the best fiction from periodicals. Two of her most enduring stories are "Why I Live at the P0.," which shows her comic genius, and "The Worn Path," which recounts the courage and perseverance of an old black woman. Among her novels are Delta Wedding (1946), Losing Battles (1970), and The Optimist's Daughter (1972), which won the Pulitzer Prize. "The Little Store" comes from The Eye of the Story (1978), which is a collection of her essays, most on the art of fiction. In 1983 she delivered the William E. Massey Lectures at Harvard and a year later brought them out as a volume of recollections, One Writer's Beginnings. She has won the Gold Medal of the National Institute of Arts and Letters, the National Medal for Literature, and the Presidential Medal of Freedom. In 1989 she departed from the word long enough to issue a collection of her photographs, called Photographs. Born in Jackson, Mississippi, she still resides in Jackson, Mississippi. In this small town, her observation and imagination have found all the material they require. When she writes an essay out of memonj, as she does in "The Little Store," she brings to reminiscence the storyteller's skills of narration and use of significant detail.
    [Show full text]
  • Taking Eudora Welty's Text out of the Closet: Delta Wedding's George Fairchild and the Queering of Saint George
    Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 7-17-2009 Taking Eudora Welty's Text Out of the Closet: Delta Wedding's George Fairchild and the Queering of Saint George James R. Wallace Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Wallace, James R., "Taking Eudora Welty's Text Out of the Closet: Delta Wedding's George Fairchild and the Queering of Saint George." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/67 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TAKING EUDORA WELTY’S TEXT OUT OF THE CLOSET: DELTA WEDDING’S GEORGE FAIRCHILD AND THE QUEERING OF SAINT GEORGE by JAMES R. WALLACE Under the Direction of Pearl A. McHaney ABSTRACT Eudora Welty’s characterization of George Fairchild (Delta Wedding) queers the heroic masculine ideal, St George, whose legendary exploits have been popularized in narrative literature, Catholic iconography, and children’s fairy tale. Lauded by the Fairchild women for his “difference,” George’s sexuality offers him an identity apart from the suffocating Fairchild family myth. George Fairchild’s queer sexuality and homoeroticism augments our critical understanding of Delta Wedding, the character, as well as other characters. The author’s subtly politicized construction of the novel’s ostensible hero subverts literary tradition, the gender binary, and patriarchal myth.
    [Show full text]
  • Preface to the Optimist's Daughter
    Preface to The Optimist’s Daughter. Jacques Cabau, Emmeline Gros To cite this version: Jacques Cabau, Emmeline Gros. Preface to The Optimist’s Daughter.. Eudora Welty Review, De- partment of English, Georgia State University, 2017, 9 (1), pp.21 - 28. 10.1353/ewr.2017.0002. hal-01816138 HAL Id: hal-01816138 https://hal.archives-ouvertes.fr/hal-01816138 Submitted on 14 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Preface The Optimist’s Daughter1 Jacques Cabau Emmeline GROS The Optimist’s Daughter, for which Eudora Welty received the Pulitzer Prize—the highest American literary distinction— in 1973, reads like a short story. It is, however, a great novel which features a unique combination of conciseness, subtility, and implicitness/ concise, subtle, and implicit writing. If critics praised the author’s qualities in the writing, the psychology, and the composition of the plot, they also admired the fine density of the story’s meditation on life and death, its focus on intergenerational conflict, on the crisis of civilization, and, more broadly, its exploration of the mystery of fate and of human relations. Conveyed with a profound subtlety and reading like a poem, symbols and mythological references weave through this work, which is as complex and subtle (unassuming) as its author.
    [Show full text]
  • The Role of the Home in Eudora Welty's Delta Wedding and the Optimist's Daughter Claire Elizabeth Crews
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks @ Georgia State University Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 5-5-2012 The Role of the Home in Eudora Welty's Delta Wedding and the Optimist's Daughter Claire Elizabeth Crews Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Crews, Claire Elizabeth, "The Role of the Home in Eudora Welty's Delta Wedding and the Optimist's Daughter." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/80 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE ROLE OF THE HOME IN EUDORA WELTY’S DELTA WEDDING AND THE OPTIMIST’S DAUGHTER by CLAIRE ELIZABETH CREWS Under the Direction of Pearl A. McHaney ABSTRACT Eudora Welty’s sense of place is often discussed by scholars, but they have limited their discussions of place in Welty’s texts to place as region or, more specifically, the South. In so doing, Welty is often pigeonholed as a regionalist writer. Looking at the home when considering place makes Welty’s texts more universal and appealing to readers of all regions and countries. Every individual either has a home or longs for one; all understand the pull toward a home of some kind. Using the theoretical lens of social and psychological theories of space, place, and the home, this study presents a close reading of the homes in Eudora Welty’s Delta Wedding and The Optimist’s Daughter .
    [Show full text]
  • THE WORLD of EUDORA WELTY a Thesis Presented
    TECHNIQUE AS REALITY: THE WORLD OF EUDORA WELTY ,~ A Thesis Presented to the Faculty of the Department of English Kansas State Teachers College, Emporia In Partial Fulfillment of the Requirements for the Degree Master of Arts by Philip Miller ?-' August 1967 L 880S£Z /. i t,~ . d~..l ; PREFACE Eudora Welty's novels and stories have been said to possess their own "special'" worlds. The word, "special," has been used with good reason. Not only does each work possess its own world which belongs exclusively to that work but, also each world is removed from any relation to a "real" world or to any notion Welty may have about one. She, like many modern writers, permits her stories to emerge from the minds of her characters without authorial omniscience or intervention•. In fact, in most of her works, her world is actually comprised of several private visions of her charac­ ters complexly intertwined. And this is what is particularly special about her work: that in each example, the situation and very dramatic conflict is rooted in a clash of private visions and the collision of ordinarily separate worlds. There is never any attempt on Welty's part to compare one vision over another, moralistically but, rather, each vision resolves itself existentially through the protagonist's acceptance or betrayal of his own way of seeing the world. Resolution comes not when a character finally sees the real world, objectively, but when he sees some common pattern in the great kalidioscope of visions that surround him--when he sees that pattern, really.
    [Show full text]
  • Eudora Welty: a Selective Bibliography
    EUDORA WELTY: A SELECTIVE BIBLIOGRAPHY 1941 A Curtain of Green (short stories). Garden City, N.Y.: Doubleday Doran. 1942 The Robber Bridegroom (short novel). Doubleday Doran. 1943 The Wide Net and Other Stories (short stories). New York: Harcourt Brace. 1946 Delta Wedding (novel). Harcourt Brace. 1948 Music from Spain (short story published in separate binding; limited edition). Greenville, MS: Levee Press. (This story became a major section of The Golden Apples, published the following year.) 1949 The Golden Apples (cycle of related stories). Harcourt Brace. 1954 The Ponder Heart (short novel). Harcourt Brace. 1955 The Bride of the Innisfallen and Other Stories . Harcourt Brace. 1964 The Shoe Bird (children's story). Harcourt Brace & World. 1970 Losing Battles (novel). New York: Random House. 1971 One Time, One Place: Mississippi in the Depression, A Snapshot Album (photographsby Welty with a fine introduction by her). Random House. 1972 The Optimist's Daughter (novel). Random House. 1978 The Eye of the Story (essays). Random House. 1980 Collected Stories. Harcourt, Brace, Jovanovich. 1984 One Writer's Beginnings (autobiography). Cambridge, MA: Harvard University Press. 1984 Conversationswith Eudora Welty , ed. Peggy Prenshaw (collected interviews). Jackson, MS: University Press of Mississippi. 1989 Photographs , with a foreword by Reynolds Price. University Press of Mississippi. 1991 Norton Book of Friendship , ed. Ronald A. Sharp and Eudora Welty. Norton. 1994 A Writer's Eye: Collected Book Reviews , ed. Pearl Amelia McHaney. University Press of Mississippi. 1995 More Conversations with Eudora Welty , ed. Peggy Prenshaw. University Press of Mississippi. 1998 Welty: Collected Novels . Library of Congress. 1998 Welty: Collected Essays and Memoirs.
    [Show full text]
  • How Welty Doesn't Crusade
    How Welty Doesn’t Crusade Maria Teresa Castilho Faculty of Letters, University of Oporto ISSN: 0873-0628 ANGLO SAXONICA SER. III N. 5 2013 How Welty Doesn’t Crusade y controlling her public persona and by firmly insisting both in interviews and in her essay, “Must a Novelist Crusade?”, that her Bfiction is apolitical, Eudora Welty made many critics feel what Warren French defended in 1983 and which I think is still true today: “I think that the reason why critics have scarcely known what to make of Eudora Welty’s work is that most of them, like the writers with whom they identify, can flourish only on denunciations of the very civilization that makes their trade possible” (Thirteen Essays 125). It also seems to me that critics have had some difficulties to accept both the writer’s own point of view on what she herself wrote and on her own criticism. In 1955, in “Writing and Analyzing a Story” Welty wrote: “The story and its analysis are not mirror-opposites of each other. They are not reflections, either one. Criticism indeed is an art, as a story is, but only the story is to some degree a vision; there is no explanation outside fiction for what its writer is learning to do” (Eye of the Story 110). Furthermore, in 1980, she also wrote: I have been told, both in approval and in accusation, that I seem to love all my characters. What I do in writing of any character is to try to enter into the mind, heart and skin of a human being who is not myself.
    [Show full text]
  • Welty Special Topics Class
    English 350 Major Authors: Eudora Welty Dr. Julia Eichelberger Spring 2010, MW 2‐3:15 Eudora Welty, Stories, Essays, and Memoir and Complete Novels (Library oF America) Suzanne Marrs, Eudora Welty: A Biography (Harcourt) Students in this course will explore all Eudora Welty’s short stories, three oF her novels, and her memoir. We will also spend some time with her photography, her essays, and some oF her unpublished letters (the subject oF my current research). During the First halF oF the semester we’ll read these works in chronological order. In the second halF oF the course, we will revisit these works, exploring how they’ve been interpreted by literary critics. Throughout the course we will consider biographical, historical, social, and cultural inFluences on Welty’s texts and on the lives oF the characters she writes about. We will also seek new and creative ways to interpret and do justice to her rich, multilayered literary art. Course requirements: 25% Reading journal and quizzes 10% Class participation 15% Short essay 8% Research report 22% Longer essay 15% Final exam Assignments: 25% Reading journal and quizzes You’ll keep a reading journal throughout the semester and are required to bring it to class every day. You may reFer to the journal For all quizzes and For part oF your exam. I’ll collect each person’s journal once beFore and once aFter midterm, to give you Feedback on the quality oF your entries. Sometimes I will also give you a prompt For an entry you’ll write in your journal during class.
    [Show full text]
  • Myths and Legends in the Stories of Eudora Welty Robert Keith Brower
    University of Richmond UR Scholarship Repository Master's Theses Student Research Winter 1972 Myths and legends in the stories of Eudora Welty Robert Keith Brower Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Recommended Citation Brower, Robert Keith, "Myths and legends in the stories of Eudora Welty" (1972). Master's Theses. Paper 346. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. MYTHS AUD LEGENDS IN THE STORIES OF EUDORA WELTY BY ROBERT KEITH BHOWER A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CA.L'lD ID ACY FOR THE DEGREE OF Hl\STER OF ARTS IN ENGLISH JANUARY, 1972 hY'l'HB AND LEGENDS Itl 'i1HE STORIES OP EUDOfu'\ NLLTY BY ROBI:R'l' KEITH 1rnmmn .i\PPHOVED: IHB::l J. HOODY HCDILL DIH.GC'i'Ol'{ UBFM.RY UNlVEf~SITY OF RICHMOND VIRGINIA TABLE OF CONTENTS CHAPTER PAGE Introduction • • • • • • • • • • • • • • • • • • • • 1 Selected Stories • • • • • • • • • • • • • • • • • • 6 !,h!:, Go!_den _ AE,Ele! • • • • • • • • • • • • • • • • • 33 The Natchez Stories • • • • • • • • • • • • • • • • 56 Conclusion • • • • • • • • • • • • • • • • • • • • • 78 Appendix A • • • • • • • • • • • • • • • • • • • • • 80 Appendix B • • • • • • • • • • • • • • • • • • • • • 81 Appendix c • • • • • • • • • • • • • • • • • • • • • 83 Bibliography • • • • • • • • • • • • • • • • • • • • 84 Vita • • • • • • • • • • • • • • • • • • • • • • • • 90 th.~ ~rte.tan VD!'! u,,,¥: •it ~giu~td.ott haa b~n cri~'irplad.. by th.a ~ltJ~ta;t.fJia i!ha·t· d.:tiiVGlll ·it to "l p:reooeQpation ~iitb. t:hll;.n1ftbl..o . l i11u1t. Li:k.61) ·any otbGr, giine:r1".l.i~atis1i,· t:hez:"l~ ~:l!'e.
    [Show full text]
  • Welty, Eudora, House Other
    NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 WELTY, EUDORA, HOUSE Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Welty, Eudora, House Other Name/Site Number: 2. LOCATION Street & Number: 1119 Pinehurst Street Not for publication: City/Town: Jackson Vicinity:, State: Mississippi County: Hinds 3. CLASSIFICATION Ownership of Property Category of Property Private: _ Building(s): X_ Public-Local: _ District: _ Public-State: X_ Site: _ Public-Federal: Structure: _ Object:_ Number of Resources within Properly Contributing Noncontributing 2 _ buildings 1 _ sites _ structures _ objects Total Number of Contributing Resources Previously Listed in the National Register: 3 Name of Related Multiple Property Listing: NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 WELTY, EUDORA, HOUSE Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this X nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property X meets __ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property __ meets __ does not meet the National Register criteria.
    [Show full text]
  • CHARACTER J ZATION in the FICTION Bachelor of Arts in Education East Central State College Ada, Oklahoma Submitted to the Facult
    CHARACTER J ZATION IN THE FICTION OF EUDORA WEL TY . By WAJ'JDA JUNE DEAN,, Bachelor of Arts in Education East Central State College Ada, Oklahoma 1958 Submitted to the Faculty of the Graduate School of the Oklahoma State University in partial fulfillment of the r equirements for the degree of MASTER OF ARTS May, 1961 OKLAHOMi. STATE UNIVERSIT1 LIBRARY OCT 10 1961 CHARACTERIZATI01'! I N THE FICTI ON OF EUDORA WELTY Thesis Approved: 47244 5 ii PREFACE The author whom this paper treats, Eudora Welty, was suggested to me by Dr . D. J. Milburn. After reading several of her early short stories, I felt that here was an outstanding contemporary writer. I was especially impressed by the remarkable variety of subject matter and manner of treatment. Miss Welty's work has been commended for excellent craftsmanship and ability to create mood and atmosphere. In this paper, I shall attempt a study of only one aspect of this craftsmanship, creation of characters, and shall attempt to assess her ability in relation to the t otal effect of her fiction. Because the work of Miss Welty has been published nationally only since 1941 and because her work exhibits such wi de diverstties in style and subject, there has been no study which attempt s to find the "heart" of all of her fiction or points out the r elative value of each of her works . Therefore, since the body of work is relatively small, I have cmsen for analysis characteri; from eacr; of her four collections of short stories, her one novel, and her two novelettes.
    [Show full text]
  • Modfilms International 300 N
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in "sectioning" the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]