Throughout her fiction, Flannery O' Connor uses character reflections to present mirror analogues. The recurrence of these mirror analogues inspired me to look deeper into her fiction for analogues that might superficially appear to be unrelated and dissimilar. I found that in addition to her more obvious reflections there was another whole set of what I term reflectors that have the same function of pointing up traits or corresponding characteristics between characters by dwelling upon their dissimilarities. For the sake of convenience I have divided the mirror analogues in O'Connor's fiction into two categories: reflectors and reflections.

The majority of critics interested in the religious elements of Flannery O'Connor's fiction argue that her texts illustrate her professed Catholic faith. For many of these scholars, the author's nonfiction figures predominately in their interpretations of her fiction. This thesis highlights the presence of Evangelical theology in O'Connor's short fiction by utilizing an approach that is underrepresented in scholarly examinations of her works: reading O'Connor's texts without considering the author's personal beliefs. Through this approach, the Evangelical dimensions of O'Connor's short stories become apparent. This thesis contends that each of the six short stories discussed exemplifies Evangelical theology as they emphasize the fallen nature of humanity, depict the action of grace as transformative, and suggest that willful cooperation is not necessary to salvation. By demonstrating that O'Connor's short fiction reproduces Evangelical theology, this thesis aims to provide scholars with a basis for reconsidering the relationship of her works to the literary tradition of the largely Protestant South.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

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.

Certain characteristics generally attributed to the British Romantics can be seen in selected writings of Flannery O'Connor, a contemporary American author (1926-1964). Chapter I defines Romanticism and identifies the Romantic elements to be discussed in the paper. Chapter II discusses Gothicism, Primitivism, and the treatment of the child as they appear in five of O'Connor's short stories. Variations of the Byronic Hero are presented in Chapter III as they appear in two short stories and one novel, Wise Blood. The internal struggle and anti-intellectualism in The Violent Bear It Away are the basis of Chapter IV. Chapter V concludes that O'Connor's concern with man as master of his fate aligns her with the Romantics and thus illustrates the influence of Romanticism on contemporary life and art.

Southern literature, from the first half of the twentieth century, deals primarily with the transition from an agrarian to an industrial society. The conflict in the Southern novel is a result of the protagonist's inability to transition from the structure of the Old to the New South. The Southern protagonist is often quite unconscious of his inability to adapt to the modern world because he suffers from a "diffusion of time perspective." As the protagonist struggles to find a harmonic balance between traditional and modern, he is ultimately unable to avoid a tragic fate. The "violence" that must take place in Southern literature is often a final resort of the character when all other alternatives have failed. He is inevitably drawn by fate (or by the hand of God) towards the crossroads where a choice must be made between the agrarian or industrial, between archaic morality or modern atheism, a collision that must be radically violent to be justified. This violent collision reaches its pinnacle of expression in violence involving the automobile.

The American South is a rich source of literature that combines the humorous and the horrific in its attempts to explain and expose the region's deep-seated social turmoil. One of the most prolific genres to come out of the South is southern gothic literature that, though not always humorous is known for its use of grotesque imagery and reliance on highly charged melodramatic narratives. When these works are comic, they don't merely reflect the region's strife but attempt to transform it. This dissertation looks at how southern gothic writers Beth Henley, Fannie Flagg and Flannery O'Connor use dark comedy in their works as defiant acts designed to question the status quo and reform the southern landscape by creating ruptures where marginalized people can assert themselves into the norms of American culture. Drawing on several different definitions of comedy, including Barecca's works on female narratives and linguistic theories of jokes, this work defines dark comedy and identifies where humor and horror come together in the works of these southern gothic writers to form particularly dark comic moments. Then, it uses Butler's theory of sites of rupture to explain how dark comedy can be transformative. In Giving an Account of Oneself, Butler explains Foucault's regime of truth as a system that is always both self-reflexive and social - a system where the norms that govern recognition create boundaries where subjects are formed. She goes on to conclude that ruptures can occur within the "horizon of normativity" whereby those relegated to the margins can gain entry and be encompassed within the governing norms. Dark comedy, then, occurs at or even creates that site of rupture in the individual and in the society that experiences it, and allows for the individual, and by extension society, to change its understanding of what is normal and resides within the margins. Within the text, then, dark comedy changes the governing norms to include the once marginalized oddities.

The aim of this thesis is to explore the theme of alienation in selected fiction by Eudora Welty and Flannery O'Connor, taking into consideration the geographic as well as ideological positions from which the two authors write, contextualizing their work in its portrayal as well as critique of the South. Firstly, the insular nature of the South is examined vis-à-vis ethnic and racial othering. The exclusionary social politics of Southern communities are satirized and subverted, as the two authors pit the xenophobic and racist tendencies of their provincial characters against a cultural landscape that fails to accommodate their narrow- minded world view. The gap between the Southern ideology and its contemporaneous reality can be partially accounted for due to the rise of consumer culture, which is discussed in its impact on race relations and social mobility as well as religion. The following chapter, entitled "Commodity Culture and the Americanization of the South," explores the conflation of religious and consumerist ideologies, negotiating the proclaimed adherence to Protestantism in the South with the rise of consumer behaviour as supplanting spirituality. The impact of a ritualistic adherence to capitalist structures is analyzed as promoting a culture of hyper-individualism, narcissism and alienation,...

This thesis consists of three short stories in very different genres but tied together by a intensely personal look at the lives of its protagonists culminating in epiphanies. One of these epiphanies is intended solely for the reader, but in two cases, the reader and character gains the insight. “The Tears of Angels” looks at the effect one person in a moment, even a stranger, can have on the protagonist’s life. “Climbing Heaven and Gazing on Earth” focuses on the haunting power of history and the need we as humans can feel to share a story, to make sense of it, no matter how personal. In “To Set It Right,” I take history in a different direction, giving it a voice and a power to reach from the past. In all of the stories, the epiphanies serve to point towards meaning and enlightenment in different ways