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Theologica Xaveriana ISSN: 0120-3649 ISSN: 2011-219X [email protected] Pontificia Universidad Javeriana Colombia Poggi, Alfredo Ignacio A Southern Gothic Theology: Flannery O’Connor and Her Religious Conception of the Novel∗ Theologica Xaveriana, vol. 70, 2020, pp. 1-23 Pontificia Universidad Javeriana Colombia DOI: https://doi.org/10.11144/javeriana.tx70.sgtfoc Available in: https://www.redalyc.org/articulo.oa?id=191062490018 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative doi: https://doi.org/10.11144/javeriana.tx70.sgtfoc A Southern Gothic Theology: Una teología gótica sureña: Flannery O’Connor y su concepción religiosa de la Flannery O’Connor and novela Her Religious Conception Resumen: Mary Flannery O’Connor, a ∗ menudo considerada una de las mejores of the Novel escritoras norteamericanas del siglo XX, parece haber respaldado la existencia de la a “novela católica” como género particular. Alfredo Ignacio Poggi Este artículo muestra las características University of North Georgia descritas por O’Connor sobre este género, https://orcid.org/0000-0001-9663-3504 puntualizando la constitución indefinida y problemática de dicha delimitación. Independientemente de la imposibilidad RECIBIDO: 30-07-19. APROBADO: 18-02-20 de definir el término, este artículo sostiene además que la explicación de O’Connor sobre el género trasciende el campo lite- rario y muestra una visión distintiva de Abstract: Mary Flannery O’Connor, often consi- la fe cristiana y una teología sofisticada dered one of the greatest North American writers of que denomino “gótico sureño”. -
Flannery O'connor's Images of the Self
University of New Hampshire University of New Hampshire Scholars' Repository Doctoral Dissertations Student Scholarship Fall 1978 CLOWNS AND CAPTIVES: FLANNERY O'CONNOR'S IMAGES OF THE SELF MICHAEL JOHN LEE Follow this and additional works at: https://scholars.unh.edu/dissertation Recommended Citation LEE, MICHAEL JOHN, "CLOWNS AND CAPTIVES: FLANNERY O'CONNOR'S IMAGES OF THE SELF" (1978). Doctoral Dissertations. 1210. https://scholars.unh.edu/dissertation/1210 This Dissertation is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. 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 ' ave 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. -
The Significance of the Automobile in 20Th C. American Short Fiction
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2021 The Significance of the Automobile in 20th .C American Short Fiction Megan M. Flanery Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the African American Studies Commons, American Literature Commons, American Material Culture Commons, American Popular Culture Commons, and the United States History Commons Recommended Citation Flanery, Megan M., "The Significance of the Automobile in 20th .C American Short Fiction" (2021). Electronic Theses and Dissertations. 2220. https://digitalcommons.georgiasouthern.edu/etd/2220 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. THE SIGNIFICANCE OF THE AUTOMOBILE IN 20TH C. AMERICAN SHORT FICTION by MEGAN M. FLANERY ABSTRACT Midcentury American life featured a post-war economy that established a middle class in which disposable income and time for leisure were commonplace. In this socio-economic environment, consumerism flourished, ushering in the Golden Age of the automobile: from 1950 to 1960, Americans spent more time in their automobiles than ever before, and, by the end of the decade, the number of cars on the road had more than doubled. While much critical attention has been given to the role of the automobile in American novels, less has been given to its role in American short stories. -
The Displaced Person
BOOKS BY Flannery O'Connor Flannery O'Connor THE NOV E L S Wise Blood COMPLETE The Violent Bear It Away STORIES STORIES A Good Man Is Hard to Find Everything That Rises Must Converge with an introduction by Robert Fitzgerald NON-FICTION Mystery and Manners edited and with an introduction by Robert and SaUy Fitzgerald The Habit of Being edited and with an introduction by Sally Fitzgerald Straus and Giroux New York ~ I Farrar, Straus and Giroux 19 Union Square West, New York 10003 Copyright © 1946, 194il, 195(l, 1957, 1958, 1960, [()61, Hi)2, 1963, 1964,l()65, 1970, 1971 by [he Estate of Mary Flannery O'Connor. © 1949, 1952, [955,1960,1\162 by Contents O'Connor. Introduction copyright © 1971 by Robert Giroux All rights reserved Distributed in Canada by Douglas & McImyre Ltd. Printed in the United States of America First published in J(171 by Farrar, Straus and (;iroux INTRODUCTION by Robert Giroux Vll Quotations from Inters are used by permission of Robert Fitzgerald and of the Estate and are copyright © 197 r by the Estate of Mary Flannery O'Connor. The ten stories The Geranium 3 from A Good ManIs Hard to Find, copyright © [953,1954,1955 by Flannery O'Connor, The Barber 15 arc used by special arrangement with Harcourt Hrace Jovanovich, Inc Wildcat 20 The Crop 33 of Congress catalog card number; 72'171492 The Turkey 42 Paperback ISBN: 0-374-51536-0 The Train 54 The Peeler 63 Designed by Herb Johnson The Heart of the Park ~h A Stroke of Good Fortune 95 Enoch and the Gorilla lOS A Good Man Is Hard to Find II7 55 57 59 61 62 60 58 56 A Late Encounter with the Enemy 134 The Life You Save May Be Your Own 14'5 The River 157 A Circle in the Fire 175 The Displaced Person 194 A Temple of the Holy Ghost The Artificial Nigger 249 Good Country People 27 1 You Can't Be Any Poorer Than Dead 292 Greenleaf 311 A View of the Woods 335 v The Displaced Person / I95 them. -
Journal of the Short Story in English, 60 | Spring 2013 [Online], Online Since 01 June 2015, Connection on 06 May 2021
Journal of the Short Story in English Les Cahiers de la nouvelle 60 | Spring 2013 Varia Editor: Linda Collinge-Germain Electronic version URL: https://journals.openedition.org/jsse/1333 ISSN: 1969-6108 Publisher Presses universitaires de Rennes Printed version Date of publication: 1 June 2013 ISBN: 0294-0442 ISSN: 0294-04442 Electronic reference Journal of the Short Story in English, 60 | Spring 2013 [Online], Online since 01 June 2015, connection on 06 May 2021. URL: https://journals.openedition.org/jsse/1333 This text was automatically generated on 6 May 2021. © All rights reserved 1 TABLE OF CONTENTS Foreword Linda Collinge-Germain Articles Heavy Nothings in Virginia Woolf’s “Kew Gardens” Mathilde La Cassagnère Being and Time in Ernest Hemingway’s “Cat in the Rain” Daniel Thomières E.H. Young’s “The Stream,” Good Housekeeping, and the Cultivation of Active Readers Stella Deen The Power of Illusion and the Illusion of Power in Mary Orr’s “The Wisdom of Eve” and Mankiewicz’s All About Eve Alice Clark-Wehinger The First Fruits of Literary Rebellion: Flannery O’Connor’s “The Crop” Jolene Hubbs “Pariah” de Joan Williams : Femme invisible, pour qui vis-tu ? Gérald Préher Light and Change: Repressed Escapism in What We Talk About When We Talk About Love Paul Sweeten “He was a shit, to boot”: Abjection, Subjection and Feminism in “Black Venus” Richard Pedot “Spoiled People”: Narcissism and the De-centered Self in Richard Ford’s Women with Men Ian McGuire Loose Canons: Reader, Authors and Consumption in Helen Simpson’s “The Festival of the Immortals” Ailsa Cox Note Parody in “Startling Revelations from the Lost Book of Stan” by Shalom Auslander Morgane Jourdren Journal of the Short Story in English, 60 | Spring 2013 2 Foreword Linda Collinge-Germain 1 The current issue of the Journal of the Short Story in English is a general issue. -
Journal of the Short Story in English, 60 | Spring 2013 the First Fruits of Literary Rebellion: Flannery O’Connor’S “The Crop” 2
Journal of the Short Story in English Les Cahiers de la nouvelle 60 | Spring 2013 Varia The First Fruits of Literary Rebellion: Flannery O’Connor’s “The Crop” Jolene Hubbs Electronic version URL: https://journals.openedition.org/jsse/1349 ISSN: 1969-6108 Publisher Presses universitaires de Rennes Printed version Date of publication: 1 June 2013 ISBN: 0294-0442 ISSN: 0294-04442 Electronic reference Jolene Hubbs, “The First Fruits of Literary Rebellion: Flannery O’Connor’s “The Crop””, Journal of the Short Story in English [Online], 60 | Spring 2013, Online since 01 June 2015, connection on 06 May 2021. URL: http://journals.openedition.org/jsse/1349 This text was automatically generated on 6 May 2021. © All rights reserved The First Fruits of Literary Rebellion: Flannery O’Connor’s “The Crop” 1 The First Fruits of Literary Rebellion: Flannery O’Connor’s “The Crop” Jolene Hubbs 1 In Flannery O’Connor’s fiction, other scholars see the writer embracing a male literary tradition, citing as evidence her works’ “androcentric and often misogynistic characters, narrators, and plots” (Prown 159) as well as “the toughness of the narrative style and subject matter” (Gordon, Imagination 30). These critics read “The Crop,” one of the six stories that comprised O’Connor’s 1947 University of Iowa master’s thesis, as a repudiation of the role of the female author. Katherine Hemple Prown asserts that O’Connor’s experiences at Iowa taught her “that her literary reputation depended upon her ability to keep her fiction free from the taint of femininity” by “bury[ing] her female self beneath layers of masculinist forms and conventions” (38, 161). -
ABSTRACT Reading As an Imitatio Christi: Flannery O'connor and the Hermeneutics of Cruci-Form Beauty Daniel Mark Train, Ph
ABSTRACT Reading as an Imitatio Christi: Flannery O’Connor and the Hermeneutics of Cruci‐Form Beauty Daniel Mark Train, Ph.D. Mentor: Ralph C. Wood, Ph.D. At its simplest, this dissertation proposes two, possibly counterintuitive but mutually dependent, claims: 1) that O’Connor’s fiction can be, even must be, considered “beautiful,” and 2) that O’Connor writes the way she does to make her audience better readers. Given the dark, shocking, grotesque, even carnivalesque character that pervades all her fiction, this first claim is likely to give the greatest offense or at least engender the most skepticism. But, as I argue throughout this work, it is essential that we be able to first conceive of her work as beautiful in order to also preempt one of the main objections to my second claim, a claim that O’Connor herself would be wary of endorsing in so far that it suggests and then elevates the didactic or pedagogical function of her art. To say she hopes to make better readers out of us would seem to suggest that her real contribution is as a schoolmarm rather than as an artist. Even worse, it would seem to place O’Connor squarely in that category of writing that she so abhorred: sentimental, pietistic moralizing in the guise of “fiction.” And yet, if we can entertain the possibility of O’Connorʹs work as exemplifying beauty, I argue that we can also: 1) avoid suggesting as so many have that O’Connorʹs work perpetrates a fundamental violence on her characters and/or readers (thereby further ratifying modern assumptions regarding the essential inevitability of violence); and 2) entertain the possibility that a non‐ violent, non‐manipulative apprehension of the beautiful is in fact the ability to see or more clearly, or as in this case, to read more clearly. -
California State University, Northridge The
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE ,,THEOLOGICAL MOMENT IN ELEVEN SHORT STORIES OF FLANNERY O'CONNOR A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in English by Ruth Gwendolyn -Fowler May, 1975 The thesis of Ruth Gwendolyn Fowler is approved: "\ California State University, Northridge May, 1975 ii DEDICATION I wish to thank my husband, R. Lee Fowler, for the innumerable sacrifices he has made in order that I might attain the Master of Arts degree. In addition, Dr. Benjamin Saltman, with great patience and kindness, aided me in the writing of this thesis. My children, Rhonda and Richard, have encouraged and helped me every step of the way. To these individuals and others, such as Dr. Elaine Plasberg and Dr. William Walsh, I extend my gratitude and appreciation. iii TABLE OF CONTENTS Dedication .......................... ; •••••••••••••••• iii Table of Contents •••••••••••••••••••••••••••••••••••• iv- Abstract.•••••••••••••••••••••••••••••••••••••••••••••• v I .....•.•..•...•.•...•..•••.•.•.••...•.....•..•....• 1 II •••••••••••••••••· •••••••••••••••••••••.•••••••••••• 9 II I. ~ •••.•••••.••••••••••••••••••••••••••••.••••••••• 46 Attachment A ••••••••••••••••••••••••••••.•••••••••••• 90 Footnotes ••••••••••••••.•••••••••••••.••••.••.••••••• 91 Bibliography •••••••••••••••••••••••••••••••.••••••••• 96 iv ·'!-· ABSTRACT THE THEOLOGICAL MOMENT IN ELEVEN SHORT STORIES OF FLANNERY O'CONNOR by Ruth Gwendolyn Fowler Master of Arts in English May, 1975 The concept of grace permeates every -
Flannery O'connor's Art and the French
University of South Carolina Scholar Commons Theses and Dissertations 2017 Flannery O’Connor’s Art And The rF ench Renouveau Catholique: A Comparative Exploration Of Contextual Resources For The Author’s Theological Aesthetics Of Sin and Grace Stephen Allen Baarendse University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Comparative Literature Commons Recommended Citation Baarendse, S. A.(2017). Flannery O’Connor’s Art And The French Renouveau Catholique: A Comparative Exploration Of Contextual Resources For The Author’s Theological Aesthetics Of Sin and Grace. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4485 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. FLANNERY O’CONNOR’S ART AND THE FRENCH RENOUVEAU CATHOLIQUE: A COMPARATIVE EXPLORATION OF CONTEXTUAL RESOURCES FOR THE AUTHOR’S THEOLOGICAL AESTHETICS OF SIN AND GRACE by Stephen Allen Baarendse Bachelor of Arts Taylor University, 1990 Master of Arts Indiana University, 1996 ______________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Comparative Literature College of Arts and Sciences University of South Carolina 2017 Accepted by: Meili Steele, Major Professor Martin Donougho, Committee Member Robert Brinkmeyer, Jr., Committee Member Bradford Collins, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Stephen Allen Baarendse, 2017 All Rights Reserved. ii DEDICATION To Sara, my best friend and helpmeet An excellent wife who can find? She is far more precious than jewels. -
Trabajo Fin De Grado
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Universidad de Zaragoza Trabajo Fin de Grado Flannery O’Connor and her South: A study through “Good Country People” Autor Daniel Sánchez Guía Directora Marita Nadal Blasco Facultad de Filosofía y Letras 2018 Resumen: El objetivo de este trabajo es analizar cómo la autora estadounidense Flannery O’Connor (1925-1964) acomete la doble tarea de atacar los viejos valores y clichés tradicionalmente asociados al sur de EEUU, y que han forjado gran parte de su identidad, a la vez que transmite una ideología católica con especial énfasis en la revelación divina. Este último objetivo resulta especialmente relevante en esta autora y su obra, ya que era una ferviente creyente. Para ello, se tomará como referencia uno de sus relatos, “Good Country People” (1955), el cual recoge abundantes muestras de los elementos antes citados. Se incluye también una biografía de la autora que ahonda en sus motivaciones ideológicas y literarias, así como una breve reseña histórica del periodo a estudiar y un resumen de la obra tomada como referencia. Palabras clave: Gótico sureño, religión, mitoclasmo, grotesco, epifanía. Abstract: The objective of this paper is to analyze how American author Flannery O’Connor (1925-1964) undertook a double task through her fiction: the attack on the old values and clichés associated with the South of the United States, which have forged a great part of its identity, while at the same time transmitting a Roman Catholic message with a special emphasis on divine revelation. -
Flannery O'connor Flannery O'conrwr
BOOKS BY Flannery O'Connor Flannery O'Conrwr NOVELS THE Wise Blood COMPLETE The Violent Bear It Away " STORIES STORIES A Good Man Is Hard to Find Everything That Rises Must Converge with an introduction by Robert FitzgeTald NON-FICTION Mystery and Manners edited and with an introduction by RobeTt and Sally FitzgeTald The Habit of Being edited and with an introduction by SaUy FitzgeTald Farrar, Straus and Giroux New York Farrar, Straus and Giroux 19 Union Square Wesi, New York 10003 Copyright© 1946, 1948, 1956, 1957, 1958, 1g6o, 1961, 11)62, 11)63, 1g64,1¢5, 1970, 1971 by the Estate of Mary Flannery O'Connor. Copyright© 1949, 1952, 1955, 1g6o, 1¢2 by Contents Flannery O'Connor. Introduction copyright© 1971 by Robert Giroux All rights reserved Distributed in Canada by Douglas & Mcintyre Ltd. Printed in the United States of America First published in 1971 by Farrar, Straus and Giroux INTRODUCTION by Robert Giroux Vll Quotations from letters are used by permission of Robert Fitzgerald and of the Estate The Geranium and are copyright © 1971 by the Estate of Mary Flannery O'Connor. The ten stories 3 from A Good Manis Hard to Find, copyright© 1953, 1954, 1955 by Flannery O'Connor, The Barber IS are used by s~ial arrangement with Harcourt Brace Jovanovich, Inc. Wildcat 26 The Crop 33 Library of Congress catalog card number: TZ-171492 The Turkey 42 Paperback ISBN: o-374-51536-o ··)~ The Train 54 The Peeler 63 Designed by Herb Johnson The Heart of the Park 8r A Stroke of Good Fortune 95 www.fsgbooks.com Enoch and the Gorilla 108 A Good Man Is Hard -
Flannery O'connor's Mothers and Daughters Author(S): Louise Westling Source: Twentieth Century Literature, Vol
Flannery O'Connor's Mothers and Daughters Author(s): Louise Westling Source: Twentieth Century Literature, Vol. 24, No. 4 (Winter, 1978), pp. 510-522 Published by: Hofstra University Stable URL: http://www.jstor.org/stable/441199 Accessed: 24/03/2009 13:51 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=hofstra. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Hofstra University is collaborating with JSTOR to digitize, preserve and extend access to Twentieth Century Literature. http://www.jstor.org Flannery O'Connor's Mothers and Daughters LOUISE WESTLING On first reading Flannery O'Connor, Evelyn Waugh remarked, "If these stories are in fact the work of a young lady, they are indeed remarkable."' She would have been pleased with this reaction because she did not want to be easily identifiable as female.