No description available.

The purpose of this dissertation is to trace the literary career of Flannery O'Connor and to show that the writer's dramatic sense could not be separated from her vision of faith and reality. This study focuses particularly on Flannery O'Connor's status in literary circles, on her critical essays collected in Mystery and Manners, on an assessment of her two novels, Wise Blood and The Violent Bear It Away, and her volumes of short stories. As a Catholic writer in the South, Flannery O'Connor observed and interpreted reality in the light of specific doctrines of the Church. Miss O'Connor's fiction puzzled and outraged her critics and readers by its tough Christianity, Southern grotesques, its themes and its violence. Implicit in this study is the premise that a critical approach to the fiction of Flannery O'Connor according to her own statements on her position of a Catholic writer in the fundamentalist South will give the reader a fuller understanding of the author's vision of faith and reality as exposed in her fiction.Chapter I traces Flannery O'Connor's literary career and shows how the author grew from a young, talented writer at the University of Iowa into an artist whose fictional output was remarkable. A study of the criticism accorded Flannery O'Connor's fiction follows a chronological pattern and shows how reviewers and critics, confused though they were by her early fiction, took her seriously during her lifetime and acclaimed her posthumous publications as unique contributions to American letters.Chapter II is devoted to both articles and essays that Flannery O'Connor published in her lifetime and several essays she never revised for publication. These essays as a whole shed light on her Catholic theological viewpoint expressed in her fiction.Chapter III is devoted to an analysis of Flannery O'Connor's early stories which remained uncollected until the publication of Flannery O'Connor: The Complete Stories (1971). These early stories, for the most part inferior in technique and maturity of expression, deserve attention because they contain many of the elements which foreshadow the excellence of the author's mature works.Chapter IV is concerned with the study of Flannery O'Connor's two novels, Wise Blood and The Violent Bear It Away. In both novels Flannery O'Connor is preoccupied with religious concerns and absorbed in her Christian vision with its deep concern for the redemption and salvation of the human spirit through trials of fire and love.Chapter V deals with the bulk of Flannery O'Connor's short fiction contained in the collections A Good Man Is Hard To Find and Everything That Rises Must Converge and Flannery O'Connor: The Complete Stories. The most prevalent themes in the short stories deal with man's flight from a pursuing God, sin, and the problems of salvation and death.Regarding the extent to which Flannery O'Connor's vision has been shaped by her Catholic faith, it is my thesis that the artist's theological implications are the touchstones on which she built the vision of faith and reality which she revealed in her fiction.

No description available.

No description available.

Although Flannery O'Connor's fiction reflects her religious point of view, most of her protagonists are secular, either materialists, who value possessions, or rationalists, who value the intellect. During the period 1949 to 1964, when O'Connor was writing, the South was rapidly changing, and those changes are reflected in the shift in emphasis from the materialists in O'Connor's early fiction to the rationalists in the late stories. This study of O'Connor's protagonists follows the chronological order of publication. A close textual analysis of the materialists in Chapter II and of the rationalists in Chapter III supports the conclusion that O'Connor was aware of the growing secularity of the South. Whereas some of her protagonists undergo a religious experience, the majority of her protagonists are thoroughly secular materialists or rationalists.

This dissertation argues that the four writers named above use the grotesque to illustrate the increasingly peculiar consequences of the assault of modernity on traditional Southern culture. The basic conflict between the views of Bakhtin and Kayser provides the foundation for defining the grotesque herein, and Geoffrey Harpham's concept of "margins" helps to define interior and exterior areas for the discussion. Chapter 1 lays a foundation for why the South is different from other regions of America, emphasizing the influences of Anglo-Saxon culture and traditions brought to these shores by the English gentlemen who settled the earliest tidewater colonies as well as the later influx of Scots-Irish immigrants (the Celtic-Southern thesis) who settled the Piedmont and mountain regions. This chapter also notes that part of the South's peculiarity derives from the cultural conflicts inherent between these two groups. Chapters 2 through 5 analyze selected short fiction from each of these respective authors and offer readings that explain how the grotesque relates to the drastic social changes taking place over the half-century represented by these authors. Chapter 6 offers an evaluation of how and why such traditions might be preserved. The overall argument suggests that traditional Southern culture grows out of four foundations, i. e., devotion to one's community, devotion to one's family, devotion to God, and love of place. As increasing modernization and homogenization impact the South, these cultural foundations have been systematically replaced by unsatisfactory or confusing substitutes, thereby generating something arguably grotesque. Through this exchange, the grotesque has moved from the observably physical, as shown in the earlier works discussed, to something internalized that is ultimately depicted through a kind of intellectual if not physical stasis, as shown through the later works.