In 1908, two Canadian women published first novels that became instant best-sellers. Nellie McClung's Sowing Seeds in Danny initially outsold Lucy Maud Montgomery's Anne of Green Gables, but by 1965 McClung's book had largely disappeared from Canadian consciousness. The popularity of Anne, on the other hand, has continued to the present, and Anne has received far more academic and critical attention, especially since 1985. It is only recently that Anne of Green Gables has been criticized for its ideology in the same manner as Sowing Seeds in Danny. The initial question that inspired this dissertation was why Sowing Seeds in Danny disappeared from public and critical awareness while Anne of Green Gables continued to sell well to the present day and to garner critical and popular attention into the twenty-first century. In light of the fact that both books have in recent years come under condemnation and stand charged with maternal feminism, imperial motherhood, eugenics, and racism, one must ask further why this has now happened to both Danny and Anne. What has changed? The hypothesis of the dissertation is that Danny's relatively speedy disappearance was partly due to a shift in Canadians' religious worldview over the twentieth century as church attendance and biblical literacy gradually declined. McClung's rhetorical strategies look back to the dominant Protestantism of the nineteenth century, in contrast to Montgomery's, which look forward to the twentieth-century's waning of religious faith. Although there is enough Christianity in Montgomery's novel to have made it acceptable to her largely Christian reading public at the beginning of the century, its presentation is subtle enough that it does not disturb or baffle a twenty-first-century reader in the way McClung's does. McClung's novel is so forthright in its presentation of Christianity, with its use of nineteenth-century tropes and conventions and with its moralising didacticism, that the delightful aspects of the novel were soon lost to an increasingly secular reading public. Likewise, the recent critical challenges to both novels spring from a worldview at odds with the predominantly Christian worldview of 1908. The goal of the dissertation has been to read Sowing Seeds in Danny and Anne of Green Gables within the religious contexts of a 1908 reader in order to avoid an unquestioning twenty-first-century censure of these novels, and to ascertain the reasons for their divergent popularity and recent critical condemnation.

In 1908, two Canadian women published first novels that became instant best-sellers. Nellie McClung's Sowing Seeds in Danny initially outsold Lucy Maud Montgomery's Anne of Green Gables, but by 1965 McClung's book had largely disappeared from Canadian consciousness. The popularity of Anne, on the other hand, has continued to the present, and Anne has received far more academic and critical attention, especially since 1985. It is only recently that Anne of Green Gables has been criticized for its ideology in the same manner as Sowing Seeds in Danny. The initial question that inspired this dissertation was why Sowing Seeds in Danny disappeared from public and critical awareness while Anne of Green Gables continued to sell well to the present day and to garner critical and popular attention into the twenty-first century. In light of the fact that both books have in recent years come under condemnation and stand charged with maternal feminism, imperial motherhood, eugenics, and racism, one must ask further why this has now happened to both Danny and Anne. What has changed? The hypothesis of the dissertation is that Danny's relatively speedy disappearance was partly due to a shift in Canadians' religious worldview over the twentieth century as church attendance and biblical literacy gradually declined. McClung's rhetorical strategies look back to the dominant Protestantism of the nineteenth century, in contrast to Montgomery's, which look forward to the twentieth-century's waning of religious faith. Although there is enough Christianity in Montgomery's novel to have made it acceptable to her largely Christian reading public at the beginning of the century, its presentation is subtle enough that it does not disturb or baffle a twenty-first-century reader in the way McClung's does. McClung's novel is so forthright in its presentation of Christianity, with its use of nineteenth-century tropes and conventions and with its moralising didacticism, that the delightful aspects of the novel were soon lost to an increasingly secular reading public. Likewise, the recent critical challenges to both novels spring from a worldview at odds with the predominantly Christian worldview of 1908. The goal of the dissertation has been to read Sowing Seeds in Danny and Anne of Green Gables within the religious contexts of a 1908 reader in order to avoid an unquestioning twenty-first-century censure of these novels, and to ascertain the reasons for their divergent popularity and recent critical condemnation.

In 1908, two Canadian women published first novels that became instant best-sellers. Nellie McClung's Sowing Seeds in Danny initially outsold Lucy Maud Montgomery's Anne of Green Gables, but by 1965 McClung's book had largely disappeared from Canadian consciousness. The popularity of Anne, on the other hand, has continued to the present, and Anne has received far more academic and critical attention, especially since 1985. It is only recently that Anne of Green Gables has been criticized for its ideology in the same manner as Sowing Seeds in Danny. The initial question that inspired this dissertation was why Sowing Seeds in Danny disappeared from public and critical awareness while Anne of Green Gables continued to sell well to the present day and to garner critical and popular attention into the twenty-first century. In light of the fact that both books have in recent years come under condemnation and stand charged with maternal feminism, imperial motherhood, eugenics, and racism, one must ask further why this has now happened to both Danny and Anne. What has changed? The hypothesis of the dissertation is that Danny's relatively speedy disappearance was partly due to a shift in Canadians' religious worldview over the twentieth century as church attendance and biblical literacy gradually declined. McClung's rhetorical strategies look back to the dominant Protestantism of the nineteenth century, in contrast to Montgomery's, which look forward to the twentieth-century's waning of religious faith. Although there is enough Christianity in Montgomery's novel to have made it acceptable to her largely Christian reading public at the beginning of the century, its presentation is subtle enough that it does not disturb or baffle a twenty-first-century reader in the way McClung's does. McClung's novel is so forthright in its presentation of Christianity, with its use of nineteenth-century tropes and conventions and with its moralising didacticism, that the delightful aspects of the novel were soon lost to an increasingly secular reading public. Likewise, the recent critical challenges to both novels spring from a worldview at odds with the predominantly Christian worldview of 1908. The goal of the dissertation has been to read Sowing Seeds in Danny and Anne of Green Gables within the religious contexts of a 1908 reader in order to avoid an unquestioning twenty-first-century censure of these novels, and to ascertain the reasons for their divergent popularity and recent critical condemnation.

In 1908, two Canadian women published first novels that became instant best-sellers. Nellie McClung's Sowing Seeds in Danny initially outsold Lucy Maud Montgomery's Anne of Green Gables, but by 1965 McClung's book had largely disappeared from Canadian consciousness. The popularity of Anne, on the other hand, has continued to the present, and Anne has received far more academic and critical attention, especially since 1985. It is only recently that Anne of Green Gables has been criticized for its ideology in the same manner as Sowing Seeds in Danny. The initial question that inspired this dissertation was why Sowing Seeds in Danny disappeared from public and critical awareness while Anne of Green Gables continued to sell well to the present day and to garner critical and popular attention into the twenty-first century. In light of the fact that both books have in recent years come under condemnation and stand charged with maternal feminism, imperial motherhood, eugenics, and racism, one must ask further why this has now happened to both Danny and Anne. What has changed? The hypothesis of the dissertation is that Danny's relatively speedy disappearance was partly due to a shift in Canadians' religious worldview over the twentieth century as church attendance and biblical literacy gradually declined. McClung's rhetorical strategies look back to the dominant Protestantism of the nineteenth century, in contrast to Montgomery's, which look forward to the twentieth-century's waning of religious faith. Although there is enough Christianity in Montgomery's novel to have made it acceptable to her largely Christian reading public at the beginning of the century, its presentation is subtle enough that it does not disturb or baffle a twenty-first-century reader in the way McClung's does. McClung's novel is so forthright in its presentation of Christianity, with its use of nineteenth-century tropes and conventions and with its moralising didacticism, that the delightful aspects of the novel were soon lost to an increasingly secular reading public. Likewise, the recent critical challenges to both novels spring from a worldview at odds with the predominantly Christian worldview of 1908. The goal of the dissertation has been to read Sowing Seeds in Danny and Anne of Green Gables within the religious contexts of a 1908 reader in order to avoid an unquestioning twenty-first-century censure of these novels, and to ascertain the reasons for their divergent popularity and recent critical condemnation.

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This dissertation investigates the literary and cinematic use of the child’s perspective to present the Mexican Revolution and the Spanish Civil War and their aftermath in several Mexican, Spanish, and international (Mexican-Spanish collaborative) narratives of the 20th and early 21st Centuries written by adult authors and filmmakers, and targeted for adult audiences. The Mexican narratives are Cartucho and Las manos de mamá by Nellie Campobello, Balún Canán by Rosario Castellanos, and Bandidos, a film by Luis Estrada; selected Spanish works are El espíritu de la colmena by Víctor Erice, Cría cuervos by Carlos Saura, and El sur by Adelaida García Morales; and both international works are films by Guillermo del Toro, El espinazo del diablo and El laberinto del fauno. I attempt to determine the textual or cinematic function of the child as first person (homodiegetic) narrative viewer in these works, and I study the different ways in which this child’s point of view is constructed in order to depict the overwhelming tragedy of war. I note patterns and diversities in subject matter presented by the narrative voice, and observe the characteristics of the child narrative viewer’s world and priorities (as presented by the authors and filmmakers), paying careful attention to how each perceives and understands his or her country’s violent upheaval and its aftermath. The theoretical framework of this investigation draws mainly from trauma theory, Gothic studies, and the tradition of the fairy tale. I illustrate how within the war narrative in addition to the author’s/filmmaker’s desire to recreate the sentiment that a child would evoke in adult readers and viewers, the child narrative viewer is employed for three main reasons: to play upon or against preexisting notions of the child’s innocence; to represent (possibly subversively) the nation; and as therapeutic means of returning to a paradise lost or creating a paradise never experienced. / text

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