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Showing 1 to 13 of 13 for “"Flannery O’Connor"”.
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The Fiction and the Aesthetic Principles of Flannery O’Connor: A Study in Theory and Practice
Flannery O'Connor, a recent Southern writer, gives evidence in her fiction and in her statements on aesthetics that she has a message vital to modern man. This message, a faith-oriented interpretation of the meaning of man, is conveyed through three basic concepts: Reality, Redemption, and Shook. …
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Author and Believer: Exploring the Mystery of Faith in the Works of Flannery O’Connor, Marilynne Robinson, and Alice McDermott
… examines the literature of three authors: Flannery O’Connor, Marilynne Robinson, and Alice McDermott. These authors all proclaim belief in the Christian faith (two Catholic, one Protestant) and also stress the value of art as a way of seeing truth in life. Their dedication to upholding …
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Violence & Volition: Choice, Acceptance, and Identity in Selected Works by Flannery O'Connor, Kurt Vonnegut, and Cormac McCarthy
… Country People”, and “The Displaced Person” Flannery O’Connor highlights the choices people make within that violence can directly affect the results of that violence. Kurt Vonnegut’s Slaughterhouse-Five, through the character of Billy Pilgrim, extends choices around violence even further, …
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Literary Dialect In Flannery O'Connor's "The Lame Shall Enter First" And "Good Country People"
Flannery O’Connor is known for her widely read and loved short stories. By employing sociolinguistic, quantitative, qualitative, and corpus linguistic methods along with R Studio to gather data about literary dialect utilized in Flannery O’Connor’s short stories “Good Country People” and “The Lame …
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Redefining the Gothic: How the Works of Carson McCullers, Tennessee Williams & Flannery O'Connor Retained Gothic Roots and Shaped the Southern Gothic
… between Carson McCullers, Tennessee Williams and Flannery O’Connor, particularly in terms of three main themes: isolation, the pervasion of American normalcy and gender roles. While each of these authors clearly inserts some autobiographical information into his or her characters, the real …
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Confession: A Southern Gothic Immersive Experience
… a baby with Punchdrunk Theatre and it only read Flannery O’connor.
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Lopsided, Scarred, and Squint-Eyed: Ugly Women in the Work of Southern Women Writers
… the productive potential of such failure. Though Flannery O’Connor wrote that southern literature is rife with freaks because only southerners were able to recognize the freakish, I maintain that writers such as O’Connor created so many ugly women as their own way of “being ugly.” These authors …
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Literature and the Long Postwar: Recuperating the Post-45 Veteran
… in theory versus practice. It reads the work of Flannery O’Connor as lamenting the status of white veterans maladjusted to the racial reform of the postwar South. Read together, reentry novels reveal how postwar writers responded to the war and the movements it catalyzed – such as decolonization, …
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"""Lines of Spiritual Motion"": The Realization of American Catholic Fiction, 1845-1965"
… Day, Hilary Leighton Barth, Harry Sylvester, and Flannery O’Connor—who provided a fertile ground for American Catholics to transition from a conflicted relation to dominant American culture to fuller participation in it, marked by the move from urban Catholic ghettoes at the turn of the century to …
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Freedom At The Freak Show: Carnivalesque Imagery In The Fiction Of Eudora Welty, Flannery O'Connor And Katherine Anne Porter
… and the sideshow in the work of Eudora Welty, Flannery O’Connor, and Katherine Anne Porter, arguing that all of these authors employ Mikhail Bakhtin’s idea of the carnivalesque as a reaction to and against the expectations put on them as women who are pressured to conform to the Southern ideal. …
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The Post-WWII American Picaro as Prophet of Human Dignity: A Study of Ralph Ellison’s Invisible Man, Flannery O’Connor’s The Violent Bear It Away, and Saul Bellow’s Henderson the Rain King
… man, and how can we recover him?” Ralph Ellison, Flannery O’Connor, and Saul Bellow each adapted the picaresque genre to participate in what Grief calls “discourse of the crisis of man.”</p> <p>In <em>Invisible Man</em> (1952), Ellison has his picaro articulate an American identity that grounds …
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"Nobody with a Good Car Needs to be Justified": Materialism and Commercialism in Flannery O'Connor's Fiction
<p>Flannery O’Connor was writing in a time of great transition for American society. The 1950s brought with them a post-war economy that was creating a middle class that suddenly had disposal income and leisure time. To O’Connor, this translated into a culture that was becoming increasingly more …