Hiding in Plain Sight: the Vanishing Male Figure in Gone with the Wind.” Emmeline Gros

Total Page:16

File Type:pdf, Size:1020Kb

Hiding in Plain Sight: the Vanishing Male Figure in Gone with the Wind.” Emmeline Gros ”Hiding in Plain Sight: The Vanishing Male Figure in Gone With the Wind.” Emmeline Gros To cite this version: Emmeline Gros. ”Hiding in Plain Sight: The Vanishing Male Figure in Gone With the Wind.”. Dixie Matters: New Perspectives on Southern Femininities and Masculinities. Ed. Urszula Niewiadomska- Flis. Studies in Literature and Culture. Lublin: Wydawnictwo KUL (KUL Publishers) 10 (2013): 173-95., 2013. hal-01816142 HAL Id: hal-01816142 https://hal.archives-ouvertes.fr/hal-01816142 Submitted on 12 Sep 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. H IDING IN P LAIN S IG H T : T H E V ANI sh ING M ALE F IGURE IN G ONE W ITH THE W IND E mm ELINE GRO S UNI V ER S ITÉ V ER S AILLE S S T QUENTIN EN Y V ELINE S ET UNI V ER S ITÉ TOULON - V AR , F RANCE “It is precisely because the Southern aristocracy (was) at the end of the nineteenth century and the beginning of the twentieth, [a] dying culture that (its) members were held to increasingly rigid definitions of gentility. The codes that governed their social worlds had to be laid bare so that they could be more easily adhered to and enforced. However, when such codes are so clearly articulated, aristocratic power becomes demystified and therefore vulnerable; class-and/or race-based ascendancy, when exposed as artifice, can no longer claim its power is a product of natural or moral order. In short, when you make a social code hard and fast, social roles become command performances. The script becomes both more readable and more reproducible— and a greater temptation for rule-breakers and rebels” — (CROWELL 19). While Judith Butler’s observation that “gender is an identity tenuously constructed in time … through a stylized repetition of acts” (2501) has been widely discussed, the extent to which the performative nature of gender identities may be addressed in a “masculine” context has received less attention. In the field of southern stud- ies in particular, representations of masculinity have, it seems, (until the last few years or so), attracted far less commentary than studies dealing with slaves or free blacks or with representations of rebel(le)s and jezebels, perhaps because, as the edi- tors of Constructing Masculinity put it, “[w]hite heterosexual masculinity has tradition- ally been structured as the normative gender and thus taken for granted” (Berger, Wallis, and Watson 2). It is in this sense, John Mayfield suggests, that “we know 176— HIDING IN PLAIN SIGHT quite a bit about [southern] women by looking at how they defined themselves in relation to men [and] we know much about slaves and free blacks based upon how they defined themselves in relation to white men,” while deploring that patriarchy“ serves almost as a mathematical constant here, something by which other points can be calculated” (xiv).1 Not surprisingly maybe, much work on theorizing and analyzing white hegem- onic masculinity takes it as a starting point that hegemonic masculinity and white- ness have retained their powers as signifiers and normative practices because they are invisible. As Sally Robinson explains, the argument goes “one cannot question, let alone dismantle, what remains invisible from view” (1). Such a theoretical ap- proach, of course, not only naturalizes men, but also contributes to the replication of a specific ideology of gender; one that relies on clearly-established (if not always stable) gender roles, differences and binaries and that allows for the markedness— and thus scrutinization—of some categories (women, blacks, black rapists, etc.) while encouraging the crystallization of others. In the plantation South, “beaux,” “cavaliers,” “patriarchs,” planters, or gentlemen came to be emulated as the ideal of manhood. The assumption that a white man represented a universal, ahistori- cal, and disembodied model of manhood obviously froze the meaning of southern white masculinity; in turn enshrining, as McPherson notes, “certain Souths and certain southerners while forgetting others” (5). Southern men (like so many men elsewhere), to use Kimmel’s formulation, have thus remained the “invisible gender. Ubiquitous in positions of power, men are invisible to themselves” (The History of Men 5). Of course, “(race and gender) invisibility is … a luxury. Only white people in our society have the luxury not to have to think about race every minute of their lives. And only men have the luxury to pretend that gender does not matter” (Kimmel, Gendered 7). As David Savran notes, far from being universal, “masculinity and femi- ninity are always historically contingent, always in the process of being reimagined and redefined according to changing material conditions” (8). Accordingly, he adds, gendered identity, precisely because it is so susceptible to change, is “of all identifi- cations the one most subject to intensive social pressures, the most anxiety-ridden, the most consistently imbricated in social, political, and economic negotiations, and thus the most sensitive barometer of culture” (8). Gender, in other words, matters and it is thus necessary to observe masculinity—like femininity—in action as per- formance, for “gender, like time and space, is continually negotiated, continually in the act of becoming …” (Cohen & Wheeler xiii).2 177— Heeding Kimmel’s caution, my line of argument will attempt to problematize this doxa of invisible/visible masculinity, using the Civil War in the South as an identity-shattering “marker” that, I believe, can make masculinity “visible” in ways that can be both progressive and reactionary. In other words, and rather than ap- proaching masculinity as the norm that “goes unanalyzed and therefore, operates implicitly and oppressively” (Dinshaw 72), the present study will set out to revisit southern men’s experiences from a gendered perspective and to offer a discussion of gender that will proceed to a (de)construction of white, invisible, normative mascu- linities, trying to uncover what Michael Kimmel has called “invisible,” or “gender- less,” masculinity, and study men “as men.” Margaret Mitchell’s Gone With the Wind provides a particularly fruitful ground for gender analysis, especially as both the time of the narrative (pre-Civil War times) and the time of composition (1936) appealed to strong imageries of masculinity, i.e. the effective display of “visible” masculine qualities, such as honor, courage, self- control, mastery, etc. Of course, to wonder why Southern plantations emerged as the regretted lost Garden of Eden or to ask why the confederate hero of the South was translated into such mythic status is to enter vexed territory. The simplest explana- tion, however, may involve the collective response to the new rugged individualism and capitalism of the era. With the “shifting cultural and intellectual climate of the 1890s” and later, the transition to an urban economy and the pressures of a newly modernized society—which Nina Silber described in terms of a “masculinity crisis in America” (166) and Amy Kaplan defined as the reconstruction of masculinity that took place at the turn of the century and beyond—the allure of a more stable patriarchal order is not hard to imagine, perhaps especially since the South had been defeated and had come to seem forever lost. The Civil War veteran in particular fit- ted the role perfectly. As critic Maurice Thompson explains, “the return to romance is simply a young, strong, virile generation pushing aside a flabby one. The little war we had with Spain did not do so much for us; the thing was already done by our schools, churches, gymnasiums, out-door sports; the war acted simply as a faucet through which our vigor began to act … a return to a healthier, more authentic American past” (1920). It is thus not too difficult to imagine why such figures of masculinity (the veter- an, the chivalric hero, or the gentleman) would unconsciously or consciously present vectors of optimism by proposing a reassuring worldview when circumstances on the home front (and abroad) were not so clement. Such tales, by depicting an illusory time when manners were seen as being more refined and more civilized linked the 178— HIDING IN PLAIN SIGHT private psyche of the listener/reader to the public enthusiasm for tales of heroism and virile manhood in an age that offered little possibility for heroism, honor, and respectability.3 Predictably, critics have attributed the immense success of the novel to GWW’s assistance in the maintenance and endurance of the Old South’s ideologi- cal structure, encouraging readers and viewers alike to look away from the changes of the South and to find refuge in the fantasy of “fair ladies and cavaliers” as the in- troductory lines to the film adaptation would put it. Emulating the hegemonic ideal of manhood and eschewing the ambiguity that is to be found in the narrative, critics have therefore often posited men (like women)—Ashley and Rhett in particular— on either side of a masculine spectrum, pitting the Confederate soldier against the Carpetbagger, the rascal against the queer, the new order against the old order, or as Nina Silber puts it, categorizing men along the lines of asexuality or bestial sexuality. Soft vs. hard masculinity, home vs. battlefront, here are some of the divisions that maintain the rightful order of southern society—or so it seems.
Recommended publications
  • A Study on Scarlet O' Hara's Ambitions in Margaret Mitchell's Gone
    Chapter 3 The Factors of Scarlett O’Hara’s Ambitions and Her Ways to Obtain Them I begin the analysis by revealing the factors of O’Hara’s two ambitions, namely the willingness to rebuild Tara and the desire to win Wilkes’ love. I divide this chapter into two main subchapters. The first subchapter is about the factors of the two ambitions that Scarlett O’Hara has, whereas the second subchapter explains how she tries to accomplish those ambitions. 3.1. The Factors of Scarlett O’Hara’s Ambitions The main female character in Gone with the Wind has two great ambitions; her desires to preserve the family plantation called Tara, and to win Ashley Wilkes’ love by supporting his family’s needs. Scarlett O’Hara herself confesses that “Every part of her, almost everything she had ever done, striven after, attained, belonged to Ashley, were done because she loved him. Ashley and Tara, she belonged to them” (Mitchell, 1936, p.826). I am convinced that there are many factors which stimulate O’Hara to get these two ambitions. Thus, I use the literary tools: the theories of characterization, conflict and setting to analyze the factors. 3.1.1. The Ambition to Preserve Tara Scarlett O’Hara’s ambition to preserve the family’s plantation is stimulated by many factors within her life. I divide the factors that incite Scarlett O’Hara’s ambitions into two parts, the factors found before the war and after. The factors before the war are the sense of belonging to her land, the Southern tradition, and Tara which becomes the source of income.
    [Show full text]
  • Gone with the Wind
    Gone With The Wind by Margaret Mitchell STYLED BY LIMPIDSOFT Contents PART ONE4 CHAPTER I.................... 5 CHAPTER II.................... 42 CHAPTER III................... 77 CHAPTER IV................... 119 CHAPTER V.................... 144 CHAPTER VI................... 180 CHAPTER VII................... 248 PART TWO 266 CHAPTER VIII.................. 267 CHAPTER IX................... 305 CHAPTER X.................... 373 CHAPTER XI................... 397 2 CONTENTS CHAPTER XII................... 411 CHAPTER XIII.................. 448 CHAPTER XIV.................. 478 CHAPTER XV................... 501 CHAPTER XVI.................. 528 PART THREE 547 CHAPTER XVII.................. 548 CHAPTER XVIII................. 591 CHAPTER XIX.................. 621 CHAPTER XX................... 650 CHAPTER XXI.................. 667 CHAPTER XXII.................. 696 CHAPTER XXIII................. 709 CHAPTER XXIV................. 746 CHAPTER XXV.................. 802 CHAPTER XXVI................. 829 CHAPTER XXVII................. 871 CHAPTER XXVIII................ 895 CHAPTER XXIX................. 926 CHAPTER XXX.................. 952 3 CONTENTS PART FOUR 983 CHAPTER XXXI................. 984 CHAPTER XXXII................. 1017 CHAPTER XXXIII................ 1047 CHAPTER XXXIV................ 1076 CHAPTER XXXV................. 1117 CHAPTER XXXVI................ 1164 CHAPTER XXXVII................ 1226 CHAPTER XXXVIII............... 1258 CHAPTER XXXIX................ 1311 CHAPTER XL................... 1342 CHAPTER XLI.................. 1377 CHAPTER
    [Show full text]
  • Interpretation of Scarlett's Land Complex in Gone with the Wind
    102 INTERNATIONAL JOURNAL OF NEW DEVELOPMENTS IN ENGINEERING AND SOCIETY, VOL.1, NO.4, Interpretation of Scarlett‘s Land Complex in Gone with the Wind from the Perspective of Humanity Shutao Zhou College of Humanities and Social Sciences, Heilongjiang Bayi Agricultural University, Daqing 163319, China [email protected] Abstract: The famous novel Gone with the Wind by Tara was leisurely and wealthy. In this context, a Margaret Mitchell takes the Civil War as the young girl who was just sixteen years old lived a background. With the three marriage experiences of carefree life without a single worry, and the only Scarlett as the main line, her strong feeling of land thing she thought of was how to attract the attention complex runs through the whole book. The red land of men. She did not realize the importance of land at at Tara witnessed Scarlett‘s gradual growth and all. maturity, revealing the eternal blood ties between When her father persuaded Scarlett to give up her land and Scarlett. This paper, by analyzing Scarlett‘s obsession with Ashley and give Tara to her, she life course, explores the development of the land would not mind or even be hostile to the idea of complex which is a process from unconsciousness to being the master of the land. As her father gave her fight for the land. Scarlett‘s land complex gave her a the generous gift, she said in fury, ―I wouldn‘t have vivid image. Cade on a silver tray,‖ ―And I wish you‘d quit Key words: Scarlett; Tara; Land Complex pushing him at me! I don‘t want Tara or any old plantation.
    [Show full text]
  • Gone with the Wind Part 1
    Gone with the Wind Part 1 MARGARET MITCHELL Level 4 Retold by John Escott Series Editors: Andy Hopkins and Jocelyn Potter Pearson Education Limited Edinburgh Gate, Harlow, Essex CM20 2JE, England and Associated Companies throughout the world. ISBN: 978-1-4058-8220-0 Copyright © Margaret Mitchell 1936 First published in Great Britain by Macmillan London Ltd 1936 This adaptation first published by Penguin Books 1995 Published by Addison Wesley Longman Limited and Penguin Books Ltd 1998 New edition first published 1999 This edition first published 2008 3579 10 8642 Text copyright ©John Escott 1995 Illustrations copyright © David Cuzik 1995 All rights reserved The moral right of the adapter and of the illustrator has been asserted Typeset by Graphicraft Ltd, Hong Kong Set in ll/14pt Bembo Printed in China SWTC/02 All rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Publishers. Published by Pearson Education Ltd in association with Penguin Books Ltd, both companies being subsidiaries of Pearson Pic For a complete list of the titles available in the Penguin Readers series please write to your local Pearson Longman office or to: Penguin Readers Marketing Department, Pearson Education, Edinburgh Gate, Harlow, Essex CM20 2JE, England. Contents page Introduction V Chapter 1 News of a Wedding 1 Chapter 2 Rhett Butler 7 Chapter 3 Changes 9 Chapter 4 Atlanta 16 Chapter 5 Heroes 23 Chapter 6 Missing 25 Chapter 7 News from Tara 31 Chapter 8 The Yankees Are Coming 36 Chapter 9 Escape from Atlanta 41 Chapter 10 Home 45 Chapter 11 Murder 49 Chapter 12 Peace, At Last 54 Activities 58 Introduction ‘You, Miss, are no lady/ Rhett Butler said.
    [Show full text]
  • MITCHELL, MARGARET. Margaret Mitchell Collection, 1922-1991
    MITCHELL, MARGARET. Margaret Mitchell collection, 1922-1991 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Mitchell, Margaret. Title: Margaret Mitchell collection, 1922-1991 Call Number: Manuscript Collection No. 265 Extent: 3.75 linear feet (8 boxes), 1 oversized papers box and 1 oversized papers folder (OP), and AV Masters: .5 linear feet (1 box, 1 film, 1 CLP) Abstract: Papers of Gone With the Wind author Margaret Mitchell including correspondence, photographs, audio-visual materials, printed material, and memorabilia. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library at least two weeks in advance for access to these items. Collection restrictions, copyright limitations, or technical complications may hinder the Rose Library's ability to provide access to audiovisual material. Terms Governing Use and Reproduction Special restrictions apply: Requests to publish original Mitchell material should be directed to: GWTW Literary Rights, Two Piedmont Center, Suite 315, 3565 Piedmont Road, NE, Atlanta, GA 30305. Related Materials in Other Repositories Margeret Mitchell family papers, Hargrett Rare Book and Manuscript Library, University of Georgia and Margaret Mitchell collection, Special Collections Department, Atlanta-Fulton County Public Library. Source Various sources. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Margaret Mitchell collection, 1922-1991 Manuscript Collection No.
    [Show full text]
  • Why Atlanta for the Permanent Things?
    Atlanta and The Permanent Things William F. Campbell, Secretary, The Philadelphia Society Part One: Gone With the Wind The Regional Meetings of The Philadelphia Society are linked to particular places. The themes of the meeting are part of the significance of the location in which we are meeting. The purpose of these notes is to make our members and guests aware of the surroundings of the meeting. This year we are blessed with the city of Atlanta, the state of Georgia, and in particular The Georgian Terrace Hotel. Our hotel is filled with significant history. An overall history of the hotel is found online: http://www.thegeorgianterrace.com/explore-hotel/ Margaret Mitchell’s first presentation of the draft of her book was given to a publisher in the Georgian Terrace in 1935. Margaret Mitchell’s house and library is close to the hotel. It is about a half-mile walk (20 minutes) from the hotel. http://www.margaretmitchellhouse.com/ A good PBS show on “American Masters” provides an interesting view of Margaret Mitchell, “American Rebel”; it can be found on your Roku or other streaming devices: http://www.wgbh.org/programs/American-Masters-56/episodes/Margaret-Mitchell- American-Rebel-36037 The most important day in hotel history was the premiere showing of Gone with the Wind in 1939. Hollywood stars such as Clark Gable, Carole Lombard, and Olivia de Haviland stayed in the hotel. Although Vivien Leigh and her lover, Lawrence Olivier, stayed elsewhere they joined the rest for the pre-Premiere party at the hotel. Our meeting will be deliberating whether the Permanent Things—Truth, Beauty, and Virtue—are in fact, permanent, or have they gone with the wind? In the movie version of Gone with the Wind, the opening title card read: “There was a land of Cavaliers and Cotton Fields called the Old South..
    [Show full text]
  • Museum of History and Holocaust Education Legacy Series Jean Ousley Interview Conducted by Adina Langer January 29, 2018 Transcribed by Adina Langer
    Museum of History and Holocaust Education Legacy Series Jean Ousley Interview Conducted by Adina Langer January 29, 2018 Transcribed by Adina Langer Born in 1945, Jean Ousley met her father for the first time after he returned from service in World War II. Her mother worked at the Kellogg Plant in Battle Creek, Michigan, and then as a welder at a factory in California. As an adult, Ousley led the Georgia chapter of the American Rosie the Riveter Association because of her mother’s contributions to the war effort. Full Transcript Interviewer: Today is January 29, 2018. My name is Adina Langer, and I'm the curator of the Museum of History and Holocaust Education at Kennesaw State University, and I'm here at the Sturgis Library with Jean Ousley. First of all, do you agree to this interview? Ousley: Yes, absolutely. Interviewer: Could you please state your full name? Ousley: Interesting, because I told you I'm Jean, but remember, my story is that I'm Gloria Jean. I was named because my grandmother wanted my name to be Gloria, but then I think my mother was trying to exert her independence, and she never called me Gloria. So Jean is—Gloria Jean Spriggs Ousley. Interviewer: OK. And what's your birthday? Ousley: April 22, 1945. Interviewer: And where were you born? Ousley: I was born in Gainesville in the Hall County Hospital in Gainesville, Georgia. Interviewer: So, before we talk about your childhood, I'd like to go back a bit further and talk about your parents. What were your parents' names? Ousley: My father was Samuel Eldo Spriggs—the middle name kind of unusual—from basically Gwinnett County, Georgia, I guess.
    [Show full text]
  • Gone with the Wind: Changes in the Southern Society Brought by the Civil War, Especially Changing the Role and Status of Women
    MASARYK UNIVERSITY Faculty of Education Department of English Language and Literature Gone with the Wind: Changes in the Southern Society Brought by the Civil War, especially Changing the Role and Status of Women Diploma Thesis Brno 2010 Supervisor: Mgr. Pavla Buchtová Author: Bc. Hana Konečná I declare that I have worked on this thesis independently, using only the sources listed in the bibliography. …………………………………………….. Hana Konečná 2 Acknowledgement I would like to thank my supervisor Mgr. Pavla Buchtová for her valuable advice and comments. I would also like to thank my family and friends for providing priceless moral support and encouragement. 3 Table of Contents 1. Introduction ................................................................................................................. 5 2. Margaret Mitchell – her Life and Work. .................................................................. 8 3. The South before the Civil War ............................................................................... 18 3.1. Society ................................................................................................................. 20 3.2. Economy.............................................................................................................. 30 3.3. Education ............................................................................................................. 33 3.4. Social Status of Women ...................................................................................... 38 4. The South during the
    [Show full text]
  • A Feminist Analysis of Margaret Mitchell's Gone with the Wind
    www.ijcrt.org © 2018 IJCRT | Volume 6, Issue 1 January 2018 | ISSN: 2320-2882 “Drapes” and “new dress”: A Feminist Analysis of Margaret Mitchell’s Gone with the Wind Sanya Khan, M.A. in English, Jamia Millia Islamia University Dr. M.Q. Khan, Principal, GCD, Itanagar Neither Melanie Hamilton Wilkes nor Scarlett O’Hara is born a woman but become so due to the social constructs around them. However, Scarlett is the rebel who emerges above the womanhood she was born into. Set in the backdrop of the American Civil War, Margaret Mitchel’s Gone with the Wind invites a feminist analysis for its delineation of the paradoxical women characters like Melanie Hamilton Wilkes, the traditional Southern lady and Scarlett O’Hara, the belle-gone-bad. If one portrays the Damsel in Distress, the other is the femme fatalè. Scarlett represents the new woman who knows how to survive as the fittest creature in this world like a Darwinian human. Melanie and even Scarlett’s mother are the misfit ones due to their psycho-physical frailty and superficial femininity. The society for which they offer their frailty and weakness fails to save them from death and destruction. The ultimate death of these ladies symbolise the downfall of the conventional womanhood and gives space for the rise of the strong, independent woman that Scarlett is. Melanie is portrayed as innocent, affectionate and submissive. She "Spoke kind and flattering words from a desire to make people happy" as Mitchell puts it (Faust, 10). She is too naive to fathom the evil around her like Jane Bennet of Pride and Prejudice.
    [Show full text]
  • Gone with the Wind Chapter 1 Scarlett's Jealousy
    Gone With the Wind Chapter 1 Scarlett's Jealousy (Tara is the beautiful homeland of Scarlett, who is now talking with the twins, Brent and Stew, at the door step.) BRENT What do we care if we were expelled from college, Scarlett. The war is going to start any day now so we would have left college anyhow. STEW Oh, isn't it exciting, Scarlett? You know those poor Yankees actually want a war? BRENT We'll show 'em. SCARLETT Fiddle-dee-dee. War, war, war. This war talk is spoiling all the fun at every party this spring. I get so bored I could scream. Besides, there isn't going to be any war. BRENT Not going to be any war? STEW Ah, buddy, of course there's going to be a war. SCARLETT If either of you boys says "war" just once again, I'll go in the house and slam the door. BRENT But Scarlett honey.. STEW Don't you want us to have a war? BRENT Wait a minute, Scarlett... STEW We'll talk about this... BRENT No please, we'll do anything you say... SCARLETT Well- but remember I warned you. BRENT I've got an idea. We'll talk about the barbecue the Wilkes are giving over at Twelve Oaks tomorrow. STEW That's a good idea. You're eating barbecue with us, aren't you, Scarlett? SCARLETT Well, I hadn't thought about that yet, I'll...I'll think about that tomorrow. STEW And we want all your waltzes, there's first Brent, then me, then Brent, then me again, then Saul.
    [Show full text]
  • Gone with the Wind and the Lost Cause Caitlin Hall
    Georgia Southern University Digital Commons@Georgia Southern University Honors Program Theses 2019 Gone with the Wind and The Lost Cause Caitlin Hall Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the Literature in English, North America Commons Recommended Citation Hall, Caitlin, "Gone with the Wind and The Lost Cause" (2019). University Honors Program Theses. 407. https://digitalcommons.georgiasouthern.edu/honors-theses/407 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in University Honors Program Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Gone with the Wind and the Myth of the Lost Cause An Honors Thesis submitted in partial fulfillment of the requirements for Honors in the Department of Literature. By Caitlin M. Hall Under the mentorship of Joe Pellegrino ABSTRACT Margaret Mitchell’s Gone with the Wind is usually considered a sympathetic portrayal of the suffering and deprivation endured by Southerners during the Civil War. I argue the opposite, that Mitchell is subverting the Southern Myth of the Lost Cause, exposing it as hollow and ultimately self-defeating. Thesis Mentor:________________________ Dr. Joe Pellegrino Honors Director:_______________________ Dr. Steven Engel April 2019 Department Name University Honors Program Georgia Southern University 2 TABLE OF CONTENTS Acknowledgements
    [Show full text]
  • Gone with the Wind and the Southern Way of Life: the Civil War As Described in Margaret Mitchell’S Novel”
    University of Lleida Faculty of Arts Department of English and Linguistics Final Degree Project: “Gone with the Wind and the Southern Way of Life: the Civil War as described in Margaret Mitchell’s Novel” Svetozara Georgieva Hristova Instructor: Emma Domínguez English Studies Lleida, June 14, 2013 Abstract This essay examines the American Civil War of 1861 – 1865, which is also known as the bloodiest war that the United States has ever experienced. The pretext for the war was the abolition of slavery in the South, and after many battles the Southern states lost: as a consequence, they experienced major changes in their economic and social life. This interesting piece from American history can be traced out throughout the characters’ lives in the novel Gone with the Wind which has been thoroughly analyzed in order to draw nearer and to comprehend the changes in the Southern way of life before and after the war. The author, Margaret Mitchell, was born in Atlanta, Georgia, and grew up with the stories about the war. As a result, Gone with the Wind studies not only its causes, but also the years after its end – a period which is not generally a subject of history and receives little attention – and the effects that such reversals have on former planters and slaves. From the position of contemporaneity, the reader can see that such changes in a society do not end with the laying down of an act, or in this case the end of the war, but they continue during many years; thus, the modern world can draw conclusions and lessons for events that are happening at the moment.
    [Show full text]