Thesis (Ph. D.)--University of Wisconsin--Madison, 1980. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 156-162).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1966. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Texte remanié de: Proefschrift--Nijmegen, Pays-Bas--Katholieke Universiteit, 1991. / Notes bibliogr.

Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 55-62). Also available via the World Wide Web.

No description available.

Resumo: O símbolo folclórico e cristão nos contos mexicanos de Katherine Anne Porter limita-se a: Maria Concepción, The Martyr, Virgin Violeta, Flowering Judas, Hacienda e That Tree. Katherine Anne Porter insiste em dois fatos importantes em sua obra: que o simbolismo nasce da consciência do autor, juntamente com suas experiências, e ; que a procura da verdade foi uma de suas constantes ao escrever os contos. Daí a necessidade de investigar a verdade histórica, e nela descobrir o sentido mais profundo expresso através da simbologia da autora. Sob um clima de pós-revolução, (Revolução Mexicana de 1910) encontra-se um povo à procura da identidade por meio de reações antitéticas de amor e violência, fidelidade e traição. É um povo rebelde. Sua intransigência é individual e também social. Luta entre a solidão e a transcendência, aceitando a morte, e dela fazendo uso em suas explosões de protesto, desespero e ódio. Ao mesmo tempo, apresenta-se um povo que aspira à comunhão, ao amor, à tranqüilidade, ao contentamento e ao equilíbrio; uma comunidade que reconhece o valor da mulher e o seu desempenho social. Apesar de o homem aparecer em situações antagônicas, ele tem um ideal, e com este, uma grande esperança e uma perspectiva de salvação. A grande preocupação da autora é apresentar o indivíduo dentro da família e da sociedade. Esta sociedade é primitiva e se encontra dentro de um mundo agitado, em constante mudança. Apesar das dificuldades, entretanto, encara a situação com vigor e sem medo, como um desafio. A gênese da simbologia de Katherine Anne Porter foi procurada na verdade histórica com que ela se familiarizou, a ponto de identificar-se com a consciência primitiva das personagens e interpretar-lhes o universo de sua alma sofrida. Esse estado de espírito surge tanto nos títulos como na contextura dos contos, caracterizando esse universo.

Texte remanié de: Dissertation--Uppsala, Suède--Uppsala universitet, 2005. / Bibliogr. p. 167-176. Index.

"Katharine Anne Porter, since the appearance of her first work, Flowering Judas, in 1930, has achieved a place of distinction among American writers. It has been said of her that 'Few persons have built so solid a reputation on so small a published output.' With the emergence of Miss Porter as a figure of importance on the literary horizon, it seems fitting to make readily accessible for those who might be interested a list of works by her and works about her. The bibliography which has been undertaken to achieve this consists of two parts: an annotated bibliography of works by her and a checklist of works about her. In each case the bibliography is as complete as available materials permit"--Introduction. / Typescript. / "August, 1951." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Robert George Clapp, Professor Directing Paper. / Includes bibliographical references (leaves 35-36).

This investigation attempts to uncover a unity of both meaning and technique as reflected in eight of Katherine Anne Porter's best known and most characteristic stories-- "Old Mortality," "Noon Wine," "Pale Horse, Pale Rider," "Flowering Judas," "A Day's Work," "The Cracked Looking-Glass," "He," and "Holiday." An analysis of each story reveals that the core of Katherine Anne Porter's work is a "delicate balancing of rival considerations" specifically and deliberately designed to reveal to the reader the complexity and ambiguity of any situation or human relationship. The ambiguity within her stories is therefore deliberate. The final chapter, "The Open End and the Acceptance of Paradox," asserts that Katherine Anne Porter's technique is determined not by her classical conception of literary form, but by her philosophy of life.

This investigation of Miss Porter's short fiction demonstrates that reality and revelation are predominant ideas in most of her writing. Reality for most of the characters differs from reality as the protagonist eventually perceives it. Through revelation of delusions-- both his own and others'--the protagonist may better deal with life's difficulties. These difficulties are represented, as secondary themes in the stores, by three repeated human experiences: initiation, subjugation, and alienation. Subsequent chapters of this investigation explore reality and revelation in relation to each secondary theme. Discussion follows the development of increasing extremity in one's difficulties in life, from the initiatory childhood encounters with human nature and society, to the subjugating troubles incurred through continuing maturity, to alienation and the encounter of death's possibility and actuality.