DOCSLIB.ORG

Creating Shared Cultural Context with Popular Television a Th

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Creating Shared Cultural Context with Popular Television a Th Liberty University Rawlings School of Divinity American God Story: Creating Shared Cultural Context with Popular Television A Thesis Presented to the Faculty of Liberty University’s Rawlings School of Divinity in Candidacy for the Degree of Doctor of Ministry by Timothy Joseph Rosenberger Jr. Lynchburg, Virginia November 2019 Table of Contents Chapter 1 - Introduction ......................................................................................................... 1 Ministry Context .................................................................................................................................. 4 Problem Presented ............................................................................................................................ 7 Purpose Statement ............................................................................................................................. 8 Basic Assumptions ............................................................................................................................. 9 Definitions .......................................................................................................................................... 10 Limitations ......................................................................................................................................... 11 Delimitations ..................................................................................................................................... 12 Thesis Statement ............................................................................................................................. 13 Chapter 2 - Literature Review ........................................................................................... 14 The Intersection of Religion and Popular Culture .............................................................................. 14 Religion’s Merger with Media Culture .................................................................................................. 17 Media Speaks to Pressing Socio-religious Questions ........................................................................ 19 Using Popular Media to Transmit Religious Messages .................................................................... 20 Religious Themes in Popular Culture ..................................................................................................... 22 Pop Culture and Religious Curiosity ...................................................................................................... 23 Pop Culture’s Influence on and Usefulness for Religion ................................................................. 24 Using Pop Culture to Evangelize ............................................................................................................. 25 Theological Themes in American Horror Story .................................................................................. 26 American Horror Story Engages Live Socio-Religious Conversations ....................................... 27 Fascination by and Distrust of Modern Media Culture ..................................................................... 28 Missing Divinity in Media Culture Reveals Longing ....................................................................... 30 Theological Foundations............................................................................................................... 31 Theoretical Foundations ............................................................................................................... 42 Chapter 3 - Methodology ..................................................................................................... 49 Intervention Design ........................................................................................................................ 49 Curated Object ............................................................................................................................................... 49 Venue ................................................................................................................................................................ 51 Cohort ............................................................................................................................................................... 53 Time Commitment ........................................................................................................................................ 54 Practical Considerations ............................................................................................................................. 56 Implementation of the Intervention Design .......................................................................... 68 Chapter 4 - Results ................................................................................................................ 76 Pre-Intervention Interview Themes ......................................................................................... 76 Post-Intervention Interview Themes ....................................................................................... 89 Formative anecdotes .................................................................................................................... 100 Reincarnation .............................................................................................................................................. 100 Selling a Soul .............................................................................................................................................. 101 A Personal Hell ........................................................................................................................................... 102 Childlike Faith ............................................................................................................................................ 103 Chapter 5 - Conclusion ....................................................................................................... 105 Appendix……………………………………………………………………………………………………. 116 ii Chapter 1 - Introduction Churches in America are declining in membership1 as they watch their impact and significance in the broader context of American culture erode. In a well-intentioned effort to remain faithful to the gospel, in a world that seems increasingly estranged from it, churches have eschewed active engagement with the popular culture2 and, subsequently, increasingly have difficulties bridging the cultural divide between unchurched populations and their own members. The political views, spiritual practices, and cultural consumption of persons who are active and engaged church members increasingly diverge from those of mainstream America.3 This makes it difficult, if not impossible, for unchurched people to feel welcome and invited to join in the body of Christ. Churches may want to provide meaningful service and outreach to their communities, but they lack the shared cultural touchpoints and frameworks with unchurched populations that would enable rich and meaningful dialogue and welcome. There is a “growing disconnect between how the church continues to speak formally concerning spiritual experience and how those who are not Christians speak of that same reality.”4 Without change, churches will continue to decline in numbers of attendees, cultural impact, and prominence in national dialogues. While some churches might rightly fear capitulation to culture in ways that diminishes their fealty to the gospel, 1 Andy Stanley, Deep & Wide: Creating Churches Unchurched People Love to Attend (Grand Rapids, MI: Zondervan, 2016), 312; Stewart M. Hoover. and Knut Lundby, eds., Rethinking Media, Religion and Culture (Thousand Oaks, CA: SAGE Publications, 1997), 3. 2 Tim Stevens, Pop Goes the Church: Should the Church Engage Pop Culture? (Knoxville, TN: Power Publishing, 2008), 72. 3 Ibid., 82. 4 Robert K. Johnston, “Can Watching a Movie be a Spiritual Experience?” in Religion and Popular Culture in America, eds. Bruce David Forbes and Jeffrey H. Mahan (Berkeley, CA: University of California Press, third edition, 2017), 386. 1 willful ignorance of popular cultural trends and narratives make the church impotent rather than pure.5 Churches have recently embraced the idea that they, and their message, are countercultural. While there is something innately countercultural about the message of Christ, it is a message tied to the character of America, a nation broadly intended to take its culture from the traditions and folkways of Protestant Christians. The church has a responsibility to go and make disciples6 that supersedes any desire to be theologically pure or culturally insular. Churches that have recognized the importance of meaningful outreach and dialogue with their broader, secular communities are showing some signs of growth,7 but none seem to have unlocked a formula for broad cultural engagement and the successful creation of a common cultural language between churched and unchurched populations. The mediums across which churches now have opportunities to make disciples also lend themselves to an embrace of engagement with popular culture. For example, a major growth area for churches exists through social media and web presence – mediums dominated by popular, secular culture. Churches that once could conduct outreach only through scheduled, location-bound services and through the direct, personal outreach of members now have opportunities
Load more

Recommended publications
  • Sydney Program Guide
    4/23/2021 prtten04.networkten.com.au:7778/pls/DWHPROD/Program_Reports.Dsp_SHAKE_Guide?psStartDate=09-May-21&psEndDate=15-… SYDNEY PROGRAM GUIDE Sunday 09th May 2021 06:00 am Totally Wild CC C Get inspired by all-access stories from the wild side of life! 06:30 am Top Wing (Rpt) G Rod's Beary Brave Save / Race Through Danger Canyon Rod proves that he is a rooster (and not a chicken) as he finds a cub named Baby Bear lost in the Haunted Cave. A jet-flying bat roars into Danger Canyon to show off his prowess. 07:00 am Blaze And The Monster Machines (Rpt) G Treasure Track Blaze, AJ, and Gabby join Pegwheel the Pirate-Truck for an island treasure hunt! Following their treasure map, the friends search jungle beaches and mountains to find where X marks the spot. 07:30 am Paw Patrol (Rpt) G Pups Save The Runaway Turtles / Pups Save The Shivering Sheep Daring Danny X accidently drives off with turtle eggs that Cap'n Turbot had hoped to photograph while hatching. Farmer Al's sheep-shearing machine malfunctions and all his sheep run away. 07:56 am Shake Takes 08:00 am Paw Patrol (Rpt) G Sea Patrol: Pups Save A Frozen Flounder / Pups Save A Narwhal Cap'n Turbot's boat gets frozen in the Arctic Ice. The pups use the Sea Patroller to help guide a lost narwhal back home. 08:30 am The Loud House (Rpt) G Lincoln Loud: Girl Guru / Come Sale Away For a class assignment Lincoln and Clyde must start a business.
    [Show full text]
  • Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
    Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Television Academy
    Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Directing For A Comedy Series For a single episode of a comedy series. Emmy(s) to director(s). VOTE FOR NO MORE THAN FIVE achievements in this category that you have seen and feel are worthy of nomination. (More than five votes in this category will void all votes in this category.) 001 About A Boy Pilot February 22, 2014 Will Freeman is single, unemployed and loving it. But when Fiona, a needy, single mom and her oddly charming 11-year-old son, Marcus, move in next door, his perfect life is about to hit a major snag. Jon Favreau, Director 002 About A Boy About A Rib Chute May 20, 2014 Will is completely heartbroken when Sam receives a job opportunity she can’t refuse in New York, prompting Fiona and Marcus to try their best to comfort him. With her absence weighing on his mind, Will turns to Andy for his sage advice in figuring out how to best move forward. Lawrence Trilling, Directed by 003 About A Boy About A Slopmaster April 15, 2014 Will throws an afternoon margarita party; Fiona runs a school project for Marcus' class; Marcus learns a hard lesson about the value of money. Jeffrey L. Melman, Directed by 004 Alpha House In The Saddle January 10, 2014 When another senator dies unexpectedly, Gil John is asked to organize the funeral arrangements. Louis wins the Nevada primary but Robert has to face off in a Pennsylvania debate to cool the competition. Clark Johnson, Directed by 1 Television Academy 2014 Primetime Emmy Awards Ballot Outstanding Directing For A Comedy Series For a single episode of a comedy series.
    [Show full text]
  • Television Academy Awards
    2019 Primetime Emmy® Awards Ballot Outstanding Directing For A Comedy Series A.P. Bio Handcuffed May 16, 2019 Jack agrees to help Mary dump her boyfriend and finds the task much harder than expected, meanwhile Principal Durbin enlists Anthony to do his dirty work. Jennifer Arnold, Directed by A.P. Bio Nuns March 14, 2019 As the newly-minted Driver's Ed teacher, Jack sets out to get revenge on his mother's church when he discovers the last of her money was used to buy a statue of the Virgin Mary. Lynn Shelton, Directed by A.P. Bio Spectacle May 30, 2019 After his computer breaks, Jack rallies his class to win the annual Whitlock's Got Talent competition so the prize money can go towards a new laptop. Helen and Durbin put on their best tuxes to host while Mary, Stef and Michelle prepare a hand-bell routine. Carrie Brownstein, Directed by Abby's The Fish May 31, 2019 When Bill admits to the group that he has Padres season tickets behind home plate that he lost in his divorce, the gang forces him to invite his ex-wife to the bar to reclaim the tickets. Betsy Thomas, Directed by After Life Episode 2 March 08, 2019 Thinking he has nothing to lose, Tony contemplates trying heroin. He babysits his nephew and starts to bond -- just a bit -- with Sandy. Ricky Gervais, Directed by Alexa & Katie The Ghost Of Cancer Past December 26, 2018 Alexa's working overtime to keep Christmas on track. But finding her old hospital bag stirs up memories that throw her off her holiday game.
    [Show full text]
  • Unpopular Culture and Explore Its Critical Possibilities and Ramifications from a Large Variety of Perspectives
    15 mm front 153 mm 8 mm 19,9 mm 8 mm front 153 mm 15 mm 15 mm TELEVISUAL CULTURE TELEVISUAL CULTURE This collection includes eighteen essays that introduce the concept of Lüthe and Pöhlmann (eds) unpopular culture and explore its critical possibilities and ramifications from a large variety of perspectives. Proposing a third term that operates beyond the dichotomy of high culture and mass culture and yet offers a fresh approach to both, these essays address a multitude of different topics that can all be classified as unpopular culture. From David Foster Wallace and Ernest Hemingway to Zane Grey, from Christian rock and country to clack cetal, from Steven Seagal to Genesis (Breyer) P-Orridge, from K-pop to The Real Housewives, from natural disasters to 9/11, from thesis hatements to professional sports, these essays find the unpopular across media and genres, and they analyze the politics and the aesthetics of an unpopular culture (and the unpopular in culture) that has not been duly recognized as such by the theories and methods of cultural studies. Martin Lüthe is an associate professor in North American Cultural Studies at the John F. Kennedy-Institute at Freie Universität Berlin. Unpopular Culture Sascha Pöhlmann is an associate professor in American Literary History at Ludwig-Maximilians-Universität Munich. 240 mm Martin Lüthe and Sascha Pöhlmann (eds) Unpopular Culture ISBN: 978-90-8964-966-9 AUP.nl 9 789089 649669 15 mm Unpopular Culture Televisual Culture The ‘televisual’ names a media culture generally in which television’s multiple dimensions have shaped and continue to alter the coordinates through which we understand, theorize, intervene, and challenge contemporary media culture.
    [Show full text]
  • South Park: (Des)Construção Iconoclasta Das Celebridades
    PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades São Paulo Agosto de 2012 2 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades Dissertação de mestrado apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da PUC-SP Orientador: Prof. Dr. José Luis Aidar Prado São Paulo Agosto de 2012 3 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Programa de Estudos Pós-Graduados em Comunicação e Semiótica ÉRICO FERNANDO DE OLIVEIRA South Park: (des)construção iconoclasta das celebridades Dissertação de mestrado apresentada ao Programa de Estudos Pós-Graduados em Comunicação e Semiótica da PUC-SP Orientador: Prof. Dr. José Luis Aidar Prado Comissão examinadora: __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ __________________________________________ São Paulo Agosto de 2012 4 AGRADECIMENTOS À CAPES, pelo financiamento parcial da pesquisa. Ao Prof. Dr. José Luis Aidar Prado pela paciência e disponibilidade. Aos meus pais, irmãos e amigos, pela compreensão diante de minhas recusas. Aos meus colegas de curso, em especial, André Campos de Carvalho, Cynthia Menezes Mello e Fabíola Corbucci, Pela amizade e inestimável incentivo. Aos professores integrantes das bancas de qualificação e defesa, pelas orientações e disponibilidade. À Celina de Campos Horvat, por todos os motivos descritos acima. Toda piada é uma pequena revolução. (George Orwell) 5 Resumo O intuito desta pesquisa é estudar a construção social contemporânea das celebridades, bem como o papel que ela exerce na civilização midiática.
    [Show full text]
  • Instructor's Guide
    DRAWN TO THE GODS Religion and Humor in The Simpsons, South Park, and Family Guy Instructor’s Guide Dives into a new world of religious satire illuminated through the layers of religion and humor that make up the The Simpsons, South Park, and Family Guy. Drawing on the worldviews put forth by three wildly popular animated shows – The Simpsons, South Park, and Family Guy– David Feltmate demonstrates how ideas about religion’s proper place in American society are communicated through comedy. The book includes discussion of a wide range of American religions, including Protestant and Catholic Christianity, Judaism, Islam, Buddhism, Native American Religions, New Religious Movements, “Spirituality,” Hinduism, and Atheism. Along the way, readers are shown that jokes about religion are influential tools for teaching viewers how to interpret and judge religious people and institutions. Feltmate develops a picture of how each show understands 304 pages | Paper | 978-1-4798-9036-1 Religion and communicates what constitutes good religious practice as well as which traditions they seek to exclude on the basis of Contents: race and ethnicity, stupidity, or danger. From Homer Simpson’s • Chapter Summaries with Discussion Questions spiritual journey during a chili-pepper induced hallucination to and Recommended Episodes South Park’s boxing match between Jesus and Satan to Peter • Questions for Reflection Griffin’s worship of the Fonz, each show uses humor to convey • Supplementary Assignments a broader commentary about the role of religion in public life. Through this examination, an understanding of what it means to "Without a doubt, I will use this delightful, well-researched, well-crafted monograph in my media, religion, and popular culture courses.
    [Show full text]
  • Gruda Mpp Me Assis.Pdf
    MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK ASSIS 2011 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM SOUTH PARK Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Orientador: Prof. Dr. José Sterza Justo Trabalho financiado pela CAPES ASSIS 2011 Dados Internacionais de Catalogação na Publicação (CIP) Biblioteca da F.C.L. – Assis – UNESP Gruda, Mateus Pranzetti Paul G885d O discurso politicamente incorreto e do escracho em South Park / Mateus Pranzetti Paul Gruda. Assis, 2011 127 f. : il. Dissertação de Mestrado – Faculdade de Ciências e Letras de Assis – Universidade Estadual Paulista Orientador: Prof. Dr. José Sterza Justo. 1. Humor, sátira, etc. 2. Desenho animado. 3. Psicologia social. I. Título. CDD 158.2 741.58 MATEUS PRANZETTI PAUL GRUDA O DISCURSO POLITICAMENTE INCORRETO E DO ESCRACHO EM “SOUTH PARK” Dissertação apresentada à Faculdade de Ciências e Letras de Assis – UNESP – Universidade Estadual Paulista para a obtenção do título de Mestre em Psicologia (Área de Conhecimento: Psicologia e Sociedade) Data da aprovação: 16/06/2011 COMISSÃO EXAMINADORA Presidente: PROF. DR. JOSÉ STERZA JUSTO – UNESP/Assis Membros: PROF. DR. RAFAEL SIQUEIRA DE GUIMARÃES – UNICENTRO/ Irati PROF. DR. NELSON PEDRO DA SILVA – UNESP/Assis GRUDA, M. P. P. O discurso do humor politicamente incorreto e do escracho em South Park.
    [Show full text]
  • Chiari Ed Onesti Distinguo
    CAP 5 CHIARI ED ONESTI DISTINGUO I GENERI MUSICALI I generi musicali sono categorie entro le quali vengono raggruppate, indipendentemente dalla loro forma, composizioni musicali aventi caratteristiche generali comuni, quali l'organico strumentale, il destinatario e il contesto in cui sono eseguite. Schema riassuntivo della divisione dei generi musicali.[1] Il grado di omogeneità formale e stilistica di tali raggruppamenti è molto variabile e diviene addirittura nullo nel caso di generi con alle spalle una lunga storia, quali la musica sinfonica o l'opera lirica. La loro identità si fonda piuttosto sul contesto sociale e ambientale a cui le composizioni sono destinate (il teatro, la sala da concerto, la discoteca, la strada, la sala da ballo, la chiesa, il salotto) e sulle diverse modalità con cui la musica si coniuga di volta in volta ad altre forme di spettacolo, arte o letteratura, quali il teatro, l'immagine, la poesia, il racconto. Una distinzione di base comunemente riconosciuta è quindi quella fra Musica folclorica, Musica popolare e Musica colta, visti come tre termini generici o macro-categorie che assieme racchiudono tutti i generi musicali, formando ciò che Philip Tagg definì come "triangolo assiomatico"[2][1] A conferma dello stretto legame che intercorre tra genere musicale, recezione e fruizione, negli ultimi decenni l'industria discografica ha spesso preferito, per ragioni commerciali, inquadrare gli interpreti entro singoli generi. Segue un elenco molto sommario: 1. Musica colta 18. Dramma giocoso (Italia) 2. Musica classica 19. Tragédie lyrique (Francia) 3. Musica sacra 20. Comédie lyrique (Francia) 4. Canto gregoriano 21. Opéra-comique (Francia) 5. Musica corale 22.
    [Show full text]
  • Volume 50 • Number 4 • July 2009
    VOLUME 50 • NUMBER 2009 4 • JULY Feedback [ [FEEDBACK ARTICLE ] ] July 2009 (Vol. 50, No. 4) Feedback is an electronic journal scheduled for posting six times a year at www.beaweb.org by the Broadcast Education Association. As an electronic journal, Feedback publishes (1) articles or essays— especially those of pedagogical value—on any aspect of electronic media: (2) responsive essays—especially industry analysis and those reacting to issues and concerns raised by previous Feedback articles and essays; (3) scholarly papers: (4) reviews of books, video, audio, film and web resources and other instructional materials; and (5) official announcements of the BEA and news from BEA Districts and Interest Divisions. Feedback is editor-reviewed journal. All communication regarding business, membership questions, information about past issues of Feedback and changes of address should be sent to the Executive Director, 1771 N. Street NW, Washington D.C. 20036. SUBMISSION GUIDELINES 1. Submit an electronic version of the complete manuscript with references and charts in Microsoft Word along with graphs, audio/video and other graphic attachments to the editor. Retain a hard copy for refer- ence. 2. Please double-space the manuscript. Use the 5th edition of the American Psychological Association (APA) style manual. 3. Articles are limited to 3,000 words or less, and essays to 1,500 words or less. 4. All authors must provide the following information: name, employer, professional rank and/or title, complete mailing address, telephone and fax numbers, email address, and whether the writing has been presented at a prior venue. 5. If editorial suggestions are made and the author(s) agree to the changes, such changes should be submitted by email as a Microsoft Word document to the editor.
    [Show full text]
  • Going Down to South Park: Reporting the News on Television’S Most Politically and Socially Irreverent Animated Series
    Going Down to South Park: Reporting the News on Television’s Most Politically and Socially Irreverent Animated Series By Todd Smilovitz Abstract The image of the journalist on South Park is not one to be proud of. Journalists appear on more than half of the episodes in the show’s first nine seasons, but they are mostly purveyors of news that is opinionated, baseless, soft, sentimental, naïve, late-breaking and/or sensationalistic. Behind all of this shallow reporting is a quest by news media for ratings: the profit motive distorts news. The fact that almost all South Park journalism is broadcast news, which naturally tends to focus on sound bites rather than in-depth analysis, only enhances this effect. Whether the image of the journalist on South Park is a reflection of the modern American media, or vice versa, is left unsettled and to the eye of the beholder. * * * “A Sexy Action News Team Special Report: ‘Cough Medicine Abuse in School’ with the Sexy Action School News Team. It’s the report you can’t afford to miss.”1 -- Announcer setting up the boys’ final attempt to grab high ratings for their elementary school news show While this Sexy Action News Team special report could actually be seen as investigative journalism, it only comes about after more sensationalistic methods for becoming the number Going Down to South Park By Todd Smilovitz 2 one South Park Elementary School news show fail. In other words, the serious, investigative content of the show is only incidental to the profit motive. Live, late-breaking special reports by eyewitness news teams are the real king of South Park journalism.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    THE DOMESTIC FANTASTIC: POSTWAR AMERICAN FICTION FROM BRADBURY TO PLATH By ANDREA E. KRAFFT A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2015 1 © 2015 Andrea E. Krafft 2 ACKNOWLEDGMENTS I thank my dissertation director, Marsha Bryant, for her feedback, assistance, and unceasing encouragement as I completed this project. I also thank Susan Hegeman, Stephanie A. Smith, and Trysh Travis for their support and guidance over the past two years as members of my dissertation committee. I could have not completed this project without the additional support of my partner, my sister, and my parents, who have always encouraged my pursuits, academic and otherwise. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS................................................................................................. 3 ABSTRACT.................................................................................................................... 6 CHAPTER 1 INTRODUCTION ..................................................................................................... 7 Postwar Studies: A Critical Review ........................................................................ 10 Understanding the Fantastic: Some Definitions ..................................................... 16 Chapter Abstracts .................................................................................................. 22 2 “SHRUNK TO THE COZY WALLS OF THE HOME”:
    [Show full text]