Flannery O'Connor

This research paper aims to explore the theme of sexism, particularly within Flannery O'Connor's novel "Wise Blood". Historically, societies have upheld a patriarchal structure where men were considered the standard while women were viewed as exceptions. For instance, Aristotle famously asserted that women were inferior to men but superior to slaves, elevating men as the epitome of human perfection. Despite progress over time, deep-seated prejudices against women have persisted, manifesting in various forms such as sexual harassment and domestic violence. Consequently, sexism permeates multiple aspects of life, not confined to any single domain. In recent years, there has been a notable increase in women's educational attainment, with more females attending college and graduating with degrees in traditionally male-dominated fields like the sciences. However, despite these advancements, disparities persist, with fewer women pursuing careers in areas such as science and academia. Numerous factors contribute to perpetuating sexism, including societal expectations surrounding motherhood and family commitments, early socialization patterns that shape interactions between genders, institutional barriers within certain fields, and even conjectures rooted in biological differences. This paper endeavors to examine these multifaceted aspects of sexism in both literature and contemporary society.

Southern Gothic, a subgenre of Gothic fiction, is written by Flannery O'Connor. The genre of Gothic fiction owes a great deal to Edgar Allan Poe, who is considered to be its father. O'Connor borrowed a lot of Gothic motifs from Poe. Despite this, she had been effective in using gothic aspects in her writings in a somewhat different manner than Edgar Allan Poe. In her short works "The Life You Save May Be Your Own," "Good Country People," and "A Good Man Is Hard to Find," she uses a gothic motif to evoke mental and occasionally physical estrangement, imprisonment, grotesque, macabre, and secluded settings. The selected short stories by this author do not contain any supernatural aspects, yet her characters are flawed and dangerous. They arouse readers' empathy for their circumstances, yet they go above and beyond what is expected of them. Unlike Poe, her villains and wicked characters don't typically commit murder. As in the first two instances, they attempt to physically harm the victims' minds. The theme of estrangement is central to the narrative. In O'Connor's writings, self-absorption is the main factor that leads to alienation, as opposed to Poe's writings where decaying and barren surroundings create an isolated zone. Swindling people involves gruesome elements, such as captivity, according to O'Connor's stories. In Poe's writing, it is, on the other hand, supernatural. Many of these elements are apparent in Poe's 'The Fall of the House of Usher', 'The Cask of Amontillado' and 'The Pit and the Pendulum'. This paper will study how O'Connor has traced Poe in her selected short stories. Did she directly portray her characters in Poe's sense? How did she use gothic in a different mind than him? What new elements did she add to her short stories in the 20 th century, and to what extent has she reproduced Poe in her writing?

Al autor de este libro, a pesar de su juventud, no se le puede reputar de inexperto o principiante cuando se trata de investigaciones sobre literatura comparada, literatura estadounidense u otras obras americanas de la Edad Moderna o Contemporánea. Ya ha tenido la oportunidad de demostrar la eficacia de sus métodos de estudio en ocasiones anteriores,  que se caracterizan por los siguientes aspectos clave: a) análisis desde diferentes prismas y enfoques; b) profundos conocimientos de la lengua inglesa; c) bibliografía exhaustiva y pertinente. La publicación aquí reseñada no es una excepción, siendo un reflejo fiel de la metodología que aplica Correoso Rodenas en sus indagaciones.

Resumen El presente artículo estudia la función teratológica que adquieren ciertos personajes, motivos o acciones en los relatos de Flannery O'Connor. Los elementos grotescos tienen el efecto traumático de un golpe dado con violencia que conduce a un acto de visión, transformación o revelación y que provoca una serie de desplazamientos (dislocaciones, duplicaciones y transgresiones) y sustituciones (transferencias, deslizamientos e inversiones). A la luz de estos mecanismos, y ahondando en el misterio que introducen lo extraño y lo monstruoso, este trabajo propone una relación entre los relatos de la escritora y las narraciones de Heinrich von Kleist.

A vibrant history of the renowned and often controversial Iowa Writers’ Workshop and its celebrated alumni and faculty

As the world’s preeminent creative writing program, the Iowa Writers’ Workshop has produced an astonishing number of distinguished writers and poets since its establishment in 1936. Its alumni and faculty include twenty-eight Pulitzer Prize winners, six U.S. poet laureates, and numerous National Book Award winners.

This volume follows the program from its rise to prominence in the early 1940s under director Paul Engle, who promoted the “workshop” method of classroom peer criticism.

Meant to simulate the rigors of editorial and critical scrutiny in the publishing industry, this educational style created an environment of both competition and community, cooperation and rivalry.

Focusing on some of the exceptional authors who have participated in the program—such as Flannery O’Connor, Dylan Thomas, Kurt Vonnegut, Jane Smiley, Sandra Cisneros, T. C. Boyle, and Marilynne Robinson—David Dowling examines how the Iowa Writers’ Workshop has shaped professional authorship, publishing industries, and the course of American literature.

Rising cases of mosquito-borne diseases present a significant health risk globally. prompting the need for effective, environmentally friendly alternatives to chemical insecticides. Thus, this study aims to investigate if oregano has the potential to be a main ingredient for mosquito repellent. By exploring various concentrations of oregano extract (50%, 75%, and 100%), the research aimed to determine the effectiveness of oregano as both a mosquito repellent and an air freshener. Using descriptive data analysis, including frequency distribution, percentages, range, mean, and standard deviation, the researchers assessed the repelling efficacy and consistency of each concentration. Through observation and a number of trials, experiment, and formulation, the data is collected. The findings revealed that there was an 80% repulsion rate for a 75% concentration of oregano, which indicates that it's more effective than the rest of the concentrations. Though a 75% concentration of oregano did not show an effect on mosquito mortality, which remained at 0%, this suggests that the oregano-based air-freshener formulation may not be an effective way to kill mosquitoes, but it is simply an effective repellent. However, to assess the potential insecticidal action of oregano, adjustment of the formulation, increased concentration, or alternative application methods should be considered. Some studies and literature have stated that oregano is not as effective as other organic materials, but this study proves it otherwise.

En 1959 y 1963, Flannery O'Connor ofreció al mundo dos aproximaciones extremadamente valiosas a la filosofía zen y sus métodos de meditación, a través de dos reseñas que ensalzaban los valores de escuela tradicional oriental para con el desarrollo de la vida cotidiana en Estados Unidos. En esos años, publicaría dos reseñas sobre tratados de filosofía zen, una que vería la luz en 1959 y otra que permanecería inédita hasta 1983. El objetivo del presente artículo es estudiar cómo O'Connor, católica y sureña, reflexionó los postulados del zen para con su vida cotidiana, a través del acceso a los textos reseñados.

In A Good Man Is Hard to Find, Flannery O'Connor grapples with the concept of goodness, questioning whether it is determined by social norms, religious grace, or self-awareness. The characters in the story, particularly the Grandmother and the Misfit, embody contradictions that challenge conventional ideas of morality. Through a series of darkly ironic events, O'Connor suggests that true goodness may be rooted in self-awareness, humility, and grace, rather than superficial respectability. This paper examines these qualities and their significance, highlighting O'Connor's use of Southern Gothic elements to convey the often complex and unexpected nature of redemption and moral understanding. This paper employs ethical and moral literary criticism to analyze the tension between outward virtue and internal transformation, offering a nuanced reading of goodness in O'Connor's world.

Shutte, A. (Ed. Patrick Giddy), (Johannesburg: UJ University Press, 2024), ISBN 1923206370 "The    Christian    God" is  a  self-reflective  and philosophically  astute  collection  of  theological  essays    by    the    late    South    African    Catholic    philosopher-theologian  Augustine  Shutte  (1938-2016).  Curated  with  a  short  preface  by  Patrick  Giddy,  the  volume  gathers  writings  that  span  the  breadth of Shutte’s intellectual career, offering both an  autobiographical  narrative  of  sorts  –  outlined  by  the  author  himself  in  an  opening  chapter  –  as  well  as  a  sustained  engagement  with  the  Christian  tradition  in  dialogue  with  contemporary  philosophical and cultural concerns.

Final paper for an undergraduate class on existentialism. PHIL 336: Twentieth-Century Continental Thought: Existentialism. Spring 2012. Professor Martin J. De Nys.

Course info:
https://philosophy.gmu.edu/courses/phil336/course_sections/6694

Texts covered in course:
S. Kierkegaard, Philosophical Fragments, trans. H. & E. Hong
F. Nietzsche, On the Genealogy of Morals, trans. Walter Kaufmann
Jean-­‐Paul Sartre, Basic Writings, edited by Stephen Priest
Albert Camus, The Stranger
Samuel Beckett, Waiting for Godot
Martin Buber, I and Thou

Assignment:

Explain the distinction that Buber makes between what he calls the “two basic words” (p. 53) that one can speak, I-You and I-It. In the light of his understanding of this distinction, provide a substantial account of TWO of the following statements that Buber presents.

a) “There are three spheres in which the world of relation arises. The First: life with nature. . . .The second: life with men. . . . The Third, life with spiritual beings.” (pp. 56, 57).

b) “I require a You to become; becoming I, I say You.” (p. 62).

c). “This, however, is the sublime melancholy of our lot that every You must become an It in our world.” (p. 68).

d). “And in all the seriousness of truth, listen: without It  a human being cannot live. But whoever lives only with that is not human>” (p. 85).

e). “Man’s communal life cannot dispense anymore that he can with the It world. . . . Man’s will to profit and to power are natural and legitimate as long as they are tied to the will to human relations and are carried by it.” (p. 97).

f). “But in sick ages it happens that the It world, no longer irrigated and fertilized by the living current of the You world, becomes a giant swamp phantom and overpowers man.” (p. 102).

g). “No human being is pure person, and none is pure ego, none entirely lacking in actuality . . . . The more a human being, the more humanity, is dominated by the ego, the more the I falls prey to inactuality.” (pp. 114-115).

h). “It is not as if God could be inferred from anything  . . . It is not as if something else were ‘given’ and this were deduced from it. This is what confronts us immediately and first and always, and legitimately it can only be addressed, not asserted.” (p. 129).

Abstract:

Reading Martin Buber’s I and Thou may indeed appear to be a daunting task for those unfamiliar with his work. The breadth of his unconventional analysis, the unique, albeit eccentric, style of writing, the near-mystical and often ambiguous tone present in his use of language—yes, all of these factors among many others inevitably present a difficult read. But, despite such clandestine and esoteric elements, we must be careful not to assume that Buber is practicing the art of obscurantisme terroriste (terrorism of obscurantism), a heavy criticism commonly said to have been associated with Foucault in response to his distaste for Derrida’s obscure philosophical approach . Rather, Buber’s theory of ontology attempts to illuminate one of the most fundamental qualities of our mode of interacting with the world, sculpted with a blade of archetypal precision.

Indeed, like Kierkegaard’s Philosophical Fragments, the structure of Buber’s approach is aphoristic and holistic, but non-linear. In order to understand what he is getting at, we truly must engage in the very approach that he is attempting to demonstrate, and one may argue that no philosophical approach is more effective than one that exemplifies itself through its own application, through example, and by demanding the active participation of the reader. In turn, the purpose of this paper will be to provide a brief and general exposition of some of the key concepts in this text.

Final paper for an undergraduate class on existentialism. PHIL 336: Twentieth-Century Continental Thought: Existentialism. Spring 2012. Professor Martin J. De Nys.

Course info:
https://philosophy.gmu.edu/courses/phil336/course_sections/6694

Texts covered in course:
S. Kierkegaard, Philosophical Fragments, trans. H. & E. Hong
F. Nietzsche, On the Genealogy of Morals, trans. Walter Kaufmann
Jean-­‐Paul Sartre, Basic Writings, edited by Stephen Priest
Albert Camus, The Stranger
Samuel Beckett, Waiting for Godot
Martin Buber, I and Thou

Assignment:

Explain the distinction that Buber makes between what he calls the “two basic words” (p. 53) that one can speak, I-You and I-It. In the light of his understanding of this distinction, provide a substantial account of TWO of the following statements that Buber presents.

a) “There are three spheres in which the world of relation arises. The First: life with nature. . . .The second: life with men. . . . The Third, life with spiritual beings.” (pp. 56, 57).

b) “I require a You to become; becoming I, I say You.” (p. 62).

c). “This, however, is the sublime melancholy of our lot that every You must become an It in our world.” (p. 68).

d). “And in all the seriousness of truth, listen: without It  a human being cannot live. But whoever lives only with that is not human>” (p. 85).

e). “Man’s communal life cannot dispense anymore that he can with the It world. . . . Man’s will to profit and to power are natural and legitimate as long as they are tied to the will to human relations and are carried by it.” (p. 97).

f). “But in sick ages it happens that the It world, no longer irrigated and fertilized by the living current of the You world, becomes a giant swamp phantom and overpowers man.” (p. 102).

g). “No human being is pure person, and none is pure ego, none entirely lacking in actuality . . . . The more a human being, the more humanity, is dominated by the ego, the more the I falls prey to inactuality.” (pp. 114-115).

h). “It is not as if God could be inferred from anything  . . . It is not as if something else were ‘given’ and this were deduced from it. This is what confronts us immediately and first and always, and legitimately it can only be addressed, not asserted.” (p. 129).

Abstract:

Reading Martin Buber’s I and Thou may indeed appear to be a daunting task for those unfamiliar with his work. The breadth of his unconventional analysis, the unique, albeit eccentric, style of writing, the near-mystical and often ambiguous tone present in his use of language—yes, all of these factors among many others inevitably present a difficult read. But, despite such clandestine and esoteric elements, we must be careful not to assume that Buber is practicing the art of obscurantisme terroriste (terrorism of obscurantism), a heavy criticism commonly said to have been associated with Foucault in response to his distaste for Derrida’s obscure philosophical approach . Rather, Buber’s theory of ontology attempts to illuminate one of the most fundamental qualities of our mode of interacting with the world, sculpted with a blade of archetypal precision.

Indeed, like Kierkegaard’s Philosophical Fragments, the structure of Buber’s approach is aphoristic and holistic, but non-linear. In order to understand what he is getting at, we truly must engage in the very approach that he is attempting to demonstrate, and one may argue that no philosophical approach is more effective than one that exemplifies itself through its own application, through example, and by demanding the active participation of the reader. In turn, the purpose of this paper will be to provide a brief and general exposition of some of the key concepts in this text.

Celebrated Southern fiction author Flannery O'Connor treats her readers to not only a "Christ-haunted" South, but also a "law-haunted" one. Her short stories present a fictional, yet realistic world wherein characters are tacitly preoccupied with legal conflicts, and who engage in quasi-legal storytelling and legalistic modes of speaking and thinking. Ultimately, the futility of O'Connor's characters' insistence on their individual rights and hyper-technical legal formalities,  rather than community, reveal to the reader the need for law to be tempered with humility and empathy. Along the way, O'Connor brings the reader full circle and shows us that even legal formalism may serve as an occasion for grace.

Nacida el 25 de marzo de 1925 en el sur de los Estados Unidos de América, en Savannah, Flannery O'Connor publicó su primer cuento, «The Geranium», con 21 años, en la revista Accent, y rápidamente obtuvo fama y el reconocimiento de ser una de las figuras con más talento del mundo de las letras de su tiempo y región. En 1938, su familia se trasladó a Milledgville, capital entonces del estado de Georgia, donde Flannery pasó a vivir casi todo el resto de su vida, una vez que se le diagnosticó, siendo todavía joven, la misma enfermedad que causó la muerte prematura de su padre, el lupus, enfermedad que fue el origen de su fallecimiento antes de cumplir los 40 años de edad. Descrita como una persona tímida y dulce, de pocas palabras, pero manifestando ser «a woman who knows her own mind», la escritora tenía un sarcástico sentido del humor, que usaba tanto consigo misma como con los demás. Cuenta Rosemary Magee (2000 viii), editora de una serie de entrevistas, Conversations with Flannery O'Connor, a propósito de la pasión de la escritora por las aves, primero por las gallinas y después por los pavos reales: When she was a child she owned a chicken that became known for its ability to walk backwards. Pathé News traveled to Milledgeville to capture on film this unusual bird and its young owner. O'Connor liked to conclude the telling of the story in this way: "Since that big event my life has been an anti-climax". Durante su corta vida, la escritora publicó dos novelas, Wise Blood (1948-49; 1952) 1 y The Violent Bear it Away (1960), una colección de cuentos titulada A Good Man Is Hard to Find, and Other Stories, publicada em 1955, y dio una serie de entrevistas a varios periodistas, autores de programas de televisión y de radio, etc., muchas de las cuales llegaron a ser recogidas posteriormente. En 1965, un año después de su muerte, vió la luz una colección de cuentos Everything That Rises Must Converge y en 1979 una colección de cartas que se recogieron bajo el título The Habit of Being. Las obras de la escritora se publicaron en otros países, y en los EE UU se hicieron colecciones más completas de sus cuentos, así como una edición de Collected Works en 1 Primero salieron algunos capítulos sueltos en diversas revistas, antes de la publicación global de la novela. La obra fue acogida inmediatamente como un texto de gran valor literario, y se vendió no sólo en los EE. UU., sino también en Inglaterra, y se tradujo y vendió en Francia. En 1979, John Huston realizó una película homónima basada en la novela. brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Repositório Aberto da Universidade Aberta . Europa ha empezado a descubrir, poco a poco, todo el potencial literario de esta gran escritora americana 3 y la lucidez de sus ensayos y conferencias, en los que se percibe tanto un pensamiento de una claridad y pertinencia geniales, como una aguda conciencia de su misión como artista. En 1957, estando todavía viva la escritora, se hizo la primera adaptación al cine de una de sus obras: el cuento «The life you save», dirigida por Herschel Daugherty y protagonizada por Gene Kelly. Los años 70 del siglo XX verán llegar a la pantalla de la televisión y del cine algunas narraciones basadas en creaciones de Flannery O'Connor: Good Country People (1975), The River (1976), A Circle in the Fire (1976), The Displaced Person (1977) y, en 1979, John Huston adaptará una de sus novelas, Wise Blood. En este artículo nos proponemos analizar el porqué (y el cómo) de este interés de los directores por la escritura de Flannery, con base de estudio el caso de las adaptaciones de la novela Wise Blood y de dos cuentos de los años setenta, The life you save, y la más reciente The Displaced Person. Wise Blood es considerada por muchos su obra maestra, mientras que el cuento «Parker's Back» suele decirse que es el mejor de todosaunque la escritora haya dicho que prefería la short story «The Artificial Nigger» (que no se han adaptado al cine). De Wise Blood dijo la escritora, en una nota a la segunda edición, de 1962: «It is a comic novel about a christian malgré lui, and as such, very serious, for all comic novels that are any good must be about matters of life and death»

Denna artikel ställer sig positiv till en tilltagande ekumenisk samstämmighet kring betydelsen av profetisk diakoni och undersöker hur väl detta begrepp fungerar i Sverige, där diakonalt arbete ofta sker i samverkan med det offentliga i olika typer av partnerskap. Finns det en kontrast mellan det som beskrivs som profetisk diakoni och diakoni som sker i samverkan med det offentliga? För att undersöka detta ställer jag samtida perspektiv på profetisk diakoni i dialog med en intervjustudie med ledare inom fyra svenska (fri)kyrkliga organisationer som bedriver diakonalt arbete. Artikeln vill undersöka om, och i så fall hur dessa organisationer kan förstås som utförare av profetisk diakoni. För att fördjupa analysen sätts materialet i dialog med samtida teologiska perspektiv på profetisk diakoni samt Luke Brethertons perspektiv på profetiskt tal och handling kopplat till kyrkan som bärare av demokratiska praktiker.

A dança continua: a pluralidade da literatura de autoria feminina é um livro que se originou das apresentações dos pesquisadores que participaram do IV Encontro de Literatura de Língua Inglesa, evento promovido pelo Departamento de Letras Modernas da Faculdade de Ciências e Letras de Assis, que aconteceu nos dias 08, 09 e 10 de novembro de 2021. O encontro teve como tema “a dança continua: 30 anos de Wise Children, de Angela Carter - a pluralidade da literatura de autoria feminina”. O evento, que tem se tornado tradicional na instituição, sempre decidiu se focar em alguma obra que estivesse fazendo aniversário (centenário, bicentenário, etc.) naquele ano para, a partir daí, refletir sobre o cânone, sobre as contemporaneidades e seus reflexos na atualidade, buscando privilegiar a participação de antigos professores, outros departamentos da faculdade e, também, abrindo para pesquisadores de fora, de forma a propor um diálogo amplo, que questione e discuta a vitalidade do cânone e a necessidade de sua ampliação.

Uno de los principales aspectos de la más reciente crítica flanneriana es la aproximación a la interseccionalidad de su producción artística. A tal efecto, el legado cultural de la escritora se ha abordado desde una multiplicidad de perspectivas que permiten completar su poliédrica dimensión. El objetivo de la presente publicación es analizar cómo Flannery O’Connor se sirvió de una producción artística próxima a lo intermedial (aunando lo gráfico y lo narrativo) para la representación de una técnica artística propia, a medio camino entre lo satírico y lo macabro. Los personajes femeninos, tanto en las representaciones
gráfica como en las textuales, van a adquirir una especial relevancia, y a ellos va a dedicar buena parte de sus páginas (pintadas y escritas) la autora de Milledgeville. En este artículo se abordará cómo la creación
de personajes femeninos en los relatos y las novelas de Flannery O’Connor se ve completada con la más arcaica (y arcaizante) representación de personajes femeninos en sus escenas de juventud, trasladando (o «traduciendo»), posteriormente, lo representado en un formato a otro.

Inspired by a range of new commentary reconsidering the New Criticism (e.g., Jane Gallop, Terry Eagleton, Charles Altieri, Camille Paglia), the essays in *Rereading the New Criticism* reevaluate the New Critical corpus, trace its legacy, and explore resources it might offer for the future of theory, criticism, and pedagogy. Addressing the work of New Critics such as John Crowe Ransom, Cleanth Brooks, and Robert Penn Warren, as well as important forerunners of the New Critics such as I.A. Richards and William Empson, these ten essays, with an introduction and an epilogue from the editors, shed new light on the genesis of the New Criticism: they revisit its chief arguments and methods, consider its significant contributions to the development of academic literary studies in North America, and address how its theories and techniques might inform methodologies for literary and cultural studies in the twenty-first century.

This didactic research project aims to demonstrate the positive effects on the training of young people from diverse backgrounds, by using different learning methodologies and conducting joint training sessions. This research analyzes the effects of developing a symbiosis of two didactic methodologies: service learning and extended reason. The sample corresponds to two groups of students: some, second-year university students of the degree in social education from an urban environment, and others, students of a basic vocational training cycle in a rural environment. A methodology was developed consisting of hybrid sessions and a physical meeting with the students, in which a story by Flannery O'Connor was read from a multidisciplinary approach: Literature, Anthropology and Social Responsibility. As first conclusions, it was observed: the application of service learning and extended reason methodologies together offer better results than applied individually. The holistic analysis of the story allows us to delve deeper into topics such as human dignity, the meaning of suffering, love and forgiveness. Stemming from the methodological symbiosis, the young person becomes more interested in their learning, comprehensive training is facilitated and a purpose in education is projected beyond the classroom, pointing to their vocation of social service. Education should encourage the social service of future professionals and help us to recognise the dignity of others

Como es sabido, el teólogo Jonathan Edwards es uno de los escritores e intelectuales más relevantes de la América anglosajona colonial. Sin embargo, la información relativa a su esposa Sarah es mucho más escasa, a pesar de también haber sido un personaje relevante del «Gran Despertar» puritano. Apenas un puñado de líneas nos han llegado de su autoría. Para reconstruir su legado, es preciso consultar los escritos de su marido. El propósito de este artículo es intentar esclarecer la información que Jonathan Edwards vierte sobre Sarah, así como la que oculta, para intentar esbozar una biografía eficiente.

During the early twentieth century, public health campaigns taught Americans from all strata of society to recognize that a great threat to the health and prosperity of the South was not an enemy abroad, but rather a bloodsucking parasite living underfoot in Southern soil: hookworm. According to the information widely disseminated by these campaigns, hookworm infection was responsible for the physical “backwardness” of Southern men, women, and children. By linking physical and cognitive symptoms to a parasitic source, the public health campaign introduced a new literary tool for constructing characters who are not “quite right” that continues to be employed in contemporary fiction. This paper focuses on the so-called “lazy man’s disease” (hookworm) and takes the work of William Faulkner as a case study to demonstrate how authors deployed a figurative form of hookworm to construct disabled, poor, and degenerate characters.

This course is a survey of dominant tendencies in social and political philosophical thought from Plato to the 21st century. We will survey ancient thinkers whose ideas about justice, politics, and democracy that remain central in the Western philosophical tradition. Additionally, we will inquire into the epistemological limits of the modern tradition and consider authors who falsify the validity, universality and capability of Liberal-Western ideas to explain the basic contradictions facing human existence today: particularly in the context of the emergence of artificial intelligence, big data, and predictive computing technologies and their use by American police-military agencies to repress dissents domestically or foreign-racialized enemy threats.

En 1997, The Weir se convertiría en el primer gran éxito del joven dramaturgo irlandés Conor McPherson. Usando la poética de las narraciones enmarcadas, McPherson consigue dar una dimensionalidad inaudita a lo que se representa. Como ocurriera en la novela gótica, se apreciará cómo serán mujeres los necesarios conductos para que lo sobrenatural cobre forma en medio de lo cotidiano. Un hada, una anciana con tendencias alcohólicas, una niña acosada y una maestra rural serán las protagonistas de este camino. A través del personaje de Valerie, sin embargo, se irá viendo cómo esas mujeres dejan su papel tradicional de víctimas o entes pintorescos para convertirse en verdaderos narradores góticos. El objetivo de este artículo es doble, pues, por un lado, pretende analizar cómo esos personajes femeninos articulan la propia obra dándole una estructura perfectamente nivelada en un crescendo y, por otro, se pretende ver cómo el autor juega con la combinación del lenguaje dramático y el narrativo.

Bruce Springsteen defines himself as a story-teller. 1 We agree that Springsteen is as talented a story-teller as rock and roll has produced. 2 He has written romances of adolescence and adolescents; lyrical tales of escapes, escapees, and escapists; and elegies on parents and parenthood. The best of Springsteen's song-stories deftly define characters by their purposes and artfully articulate the artist's attitude toward his "material." Not so Springsteen's songs that concern law or politics. In these songs the artist's attitude toward his creations is often lost in a flood of seemingly studied ambiguity and the charactors' purposes are usually murky. Springsteen, in legal and political songs as well as in his other stories, almost always evokes emotion. Until recently, too many of his songs of law or politics have been rock-and-roll Rorschach blots: scenes, acts, and actors without clear purposes and attitudes. In contrast, Springsteen's latest collection, The Ghost of Tom Joad, offers reason to believe that Springsteen will be writing more complete political-legal songs. Esthetes who prefer understated lyrics that permit listeners to draw their own lessons may continue to admire the multiple interpretations Springsteen leaves unobstructed in most of his work, while aesthetes who like artists to tie up loose ends will probably celebrate Springsteen's recent "clarity" of political vision and reduced susceptibility to misunderstanding. Springsteen's songs are sufficiently numerous and his themes sufficiently varied that we hesitate to characterize them briefly lest we do so superficially. However, we should be able, through a few examples, to suggest the best sorts of songs this story-teller sings. The essence of Springsteen's style, we argue, is to introduce familiar, often unsympathetic actors into ordinary, often urban scenes that lead to revelation. 3 The actors, acts, and even costumes and props reveal purposes, often purposes implicit in scenes. The interrelations of those scenes, actors, acts, props reveal the artist's attitudes. The artist's attitudes  and sometimes twenty thousand or more concert-goers  then transform what we thought we understood into something more that we understand more profoundly. In A Grammar of Motives, literary critic Kenneth Burke suggested that such transformations occur only when artists answer  or cause members of their audiences to answer 

Анализа готских мотива у прози Фленери О'Конор може нам пружити
важне увиде у кључне особености О'Конорине поетике. Потврђивање ове тезе одвија се у неколико праваца. У првом дијелу рада, након Увода, представљамо концизну културну историју тзв. „готске фикције“. „Готика“ је суштински везана за једну „просвијећену“ перцепцију средњег вијека и феудалне, католичке прошлости.
Готска перспектива увијек подразумијева неки облик „еманципаторског“ становишта са којег се вјерске, политичке и епистемолошке форме прошлости могу појавити као нешто „анахроно“ и неразумљиво, а самим тим и као пријетеће и „мрачно“.
Наредно поглавље рада посвећено је опсежном истраживању готских мотива у О'Конориној приповијетки „Расељени“. У питању је текст који демонстрира како се наратив америчког ексцепционализма претвара у готску причу о демонским странцима који угрожавају приватност и аутономију дома и средњокласног породичног живота. У овом поглављу се анализира и „политичка“ мотивација употребе готских мотива („чудовишност жртве“,
„расно мијешање“, „неразумљиви жаргон“, „мрачни ритуал“, „конспирација“, „интрузија“ и „инвазија“) у контексту реторике антикатолицизма која се јавља у кључним раним дјелима тзв. „готске фикције“ а пародично је присутна и у овој О'Конориној приповијетки. У четвртом поглављу анализирају се мотиви текстуалности (текст, кôд, манускрипт, фрагментираност, писмо и рукопис) и тајне (енигматичност, нетранспарентност, необјашњивост, конфузија) у три О'Конорине приповијетке: „Добри људи са села“, „Бескрајна грозница“ и „Зашто се буне
безбожници?“ На примјеру ових приповиједака доказује се да је „готско“ у књижевности суштински везано управо за присуство ова два мотива. Наредна, пета цјелина рада посвећена је анализи мотива „повратка прошлости“ (једног од кључних готских мотива) у О'Конориној приповијетки „Закаснели сусрет са непријатељем“, као и у романима Мудра крв и Силовити присвајају небо. Готика је често интерпретирана као жанр „преокупиран прошлошћу“, а сама ријеч „готика“ представља пежоративну квалификацију средњовјековља, „мрачне“, далеке предмодерне историје. Мотиви „средњовјековља“ у готској фикцији тумачени су кроз компаративну анализу готских и хагиографских мотива у О'Конориној прози. Хагиографска прича
(парадигматичан средњовјековни наратив) је, у свијести О'Конориних секуларних протагониста, „онеобичена“ у готски текст о анахроним и абнормалним праксама, тјелесним модификацијама и неразумљивом квалитету историје. Готика се, у О'Конориној прози, открива не толико као жанр „опсједнут историјом“ колико као жанр „зазора од историје“, што је истакнуто кроз мотиве „заборава“ и „присилног подсјећања“. Шесто поглавље представља истраживање мотива тјелесног деформитета и „зазорног“ тијела у О'Конорином романима Мудра крв и у приповијеткама „Хроми ће ући први“ и „Храм Светога Духа“. То је мјесто на којем анализирамо концепт „готске тјелесности“ позивајући се на Кристевин појам „зазорног“ и на идеје изнесене у Фројдовом тексту Das Unheimliche.
Тумачење готских мотива „зазорне тјелесности“ (крви, деформитета,
хермафродитизма, аутономних екстремитета, бизарних тијела и аномалија) омогућава да укажемо на раскорак, који је иначе стално присутан у О'Конориној прози, између „сакралног“ (средњовјековног, предмодерног) разумијевања тијела и тјелесног деформитета и (модерног) готског мотива монструозности и „зазорне“ тјелесности. Овај „раскорак“ између модерног и предмодерног, готског и сакралног, представља кључну особеност О'Конориног дјела.
Готски мотиви као ознаке неразумљиве историје, компромитоване
евиденције, пријетећих тајни и текстуалне енигме на крају бивају осмишљени и „фамилијаризовани“ као слике библијске и католичке сакралности. У питању је поступак који смо описали као „теолошку инверзију“. Рад, такође, садржи и регистар кључних готских мотива у О'Конориној прози.

According to biographer Ralph Wood, O’Connor once quipped that if she were not Roman Catholic, “she would join a Pentecostal Holiness church” (30).  Actual Pentecostals, however, do not populate her imaginary as much as one would assume.  Instead, various forms of revivalists and idiosyncratic ‘fundamentalist’ Protestants are woven throughout her narratives.  But, Pentecostal Holiness is a rather specific type of tradition, and it is more than passingly strange that out of the entire Southern milieu, O’Connor would attach herself (at least theoretically) to this particular one.  Of Southern (mostly white) Pentecostal Holiness churches of the 1950s, the largest denomination was the Church of God.  In her 1954 short story, “A Temple of the Holy Ghost,” O’Connor directly references the Church of God, making it the only such reference in her entire corpus.  Whether or not the Church of God was the Pentecostal Holiness church she had in mind, it is impossible to know.  Yet it does suggest that the more salient features of that tradition might open up new interpretative horizons for reading elements in that particular work.  This paper first offers a short overview of Pentecostalism, an historical account of the Church of God, and a summary of its most distinctive practices for context.  Then, drawing on Mariella Gable’s concept of O’Connor’s “ecumenic core,” I suggest that there is an underlying pneumatological unity centered on mystical experience that both sources O’Connor’s admiration of Pentecostal Holiness and can serve as a cipher of sorts for reading “Temple,” a mystical core, so to speak.  Aside from multiplying interesting interpretive possibilities, I conclude that Classical Pentecostalism is an oft-overlooked but significant contextual factor in O’Connor’s art.

The story 'A Good Man is Hard to Find" by Flannery O'Connor was published in the year of 1953, The story is a narrative text that shows the themes of grace, purpose, decision, and humanity's inherent flaws. The story starts on a family road trip but ends in a dark tragedy when the family encounters a dangerous killer called Misfit who ends the life of each member of the family. O'Connor’s narrative challenges readers to reflect on their own behavior and choices, emphasizing the potential for personal transformation despite past mistakes

The motto of researching in literature is to try to bring a harmony in the society. Where social imbalance increases, need for literary works sustains in that community. Flannery O'Connor is a writer who stressed on faith and literature in her public speeches. She gave in her literary works what the society exactly needed. She portrayed the South America in her works to bring out the sufferings of those people. This paper tries to prove that above title is the modern American reality, with the evidence of a couple of short stories by Connor "A Good Man is Hard to Find" and "Everything That Rises Must Converge". "A Good Man is Hard to Find" is a Typical Connorial story with Mystic elements which follows southern gothic style, a style initiated by Connor. In addition to realistic elements, human psyche, violence, and religion can be found with appropriate purpose in the stories of Connor. "A Good Man is Hard to Find" story starts normally moves with some ironical elements but it gave the violent ending which the reader never expects. "Everything That Rises Must Converge" is a story of mother and son relationship of the black/white divide but ended tragically which is not expected by the Son. This paper is a study on life in the south with the reference to Connor's short stories. it is also an attempt to bring out the style of writing of Connor and the modern realistic elements in her works which are unique.

are two of the greatest political thinkers of the 20th century. With similar background and stories (both Germans who fled from Nazism and established themselves in America), they differ on their account of the regime that made them immigrate. Their debate, however brief, can enlighten us not only about that dark period of human history but also some present predicaments that we face. The debate began with the publication of the book The Origins of Totalitarianism, which for the first time made Arendt one of the most famous political thinkers of the 20th century. After the book's release, Waldemar Gurian, founder of the magazine The Review of Politics, commissioned Voegelin to write a review of the book. In the same publication, a few months later, Arendt publishes her response. Before the formalization in the form of essays, Voegelin sends a letter to his compatriot anticipating some topics that would appear in the review and is answered with a brief letter.

Disability evokes a gamut of discrete and non-discrete emotions in an ableist landscape. The first interaction between the disabled and non-disabled is a stare coming from the vantage point of a non-disabled person who has internalized ableism all his life. Staring as an act is triggered by the sight of someone who stands out as different, and challenges the status quo by its mere existence. Taking cues from Rosemarie Garland-Thomson’s conceptualization of staring, the paper examines the intense visual engagement between a non-disabled and a disabled, giving rise to a circuit of communication and meaning-making between them. The paper explores how a mere staring encounter could help us to locate and retrospect the fundamental question of what is a normative body and how it comes into being. The paper problematizes the effect of a disabled body in an able-bodied ‘normative’ landscape, thus probing into categories of normal and abnormal. The paper borrows examples from Hindi Cinema to expose the aversive emotions that populate the non-disabled imaginary. It looks into fear, pity, and disgust as the defining emotions that drive the imagination that goes into creating a disabled character.

Esta pesquisa apresenta como principal objetivo o exame de lugares-comuns do New American Gothic e, mais especificamente, do Southern Gothic. Para isso, baseia-se na tradição retórica de lugares-comuns como uma estrutura analítico-interpretativa, focalizando elementos temático-formais no intuito de fornecer considerações mais aprofundadas de propriedades do gênero e suas implicações mais amplas. Em vista disso, apoia-se em uma abordagem comparativa teórico-metodológica de contos proeminentes como "A rose for Emily" de William Faulkner, "Good country people" de Flannery O'Connor e "The lottery" de Shirley Jackson, concentrando-se em técnicas narrativas, representações de personagens e constituintes contextuais comuns a todos eles.

The Séance of Reading: Uncanny Designs in Modernist Writing" (2023), a book arising out of Thomas J. Cousineau's long and fruitful teaching experience and his extensive engagements in Romanian academia as a Fulbright scholar, entices readers to appreciate key canonical works spanning American and European literature through the lens of the Romanian ballad "The Legend of Master Manole" and Mircea Eliade's view of mythical creation by sacrifice. The aesthetic myth of master-builder Manole lends magnitude and resonance to nine modernist texts set in harmonious juxtaposition for the purpose of revealing and restoring the sacrificed textual elements within. Most valuably, the author makes the reader register the intricate relationship between the sacrificed protagonist and the architectural body of the literary monuments discussed throughout his book, which successfully brings together different literary genres, capitalizing on the scenario of death and ontological rebirth.

S ince its founding in 1935 as the newsletter for the South Atlantic Modern Language Association, South Atlantic Review has become a premier academic quarterly publishing research in the modern languages and literatures, as well as in associated fields such as film, cultural studies, and rhetoric/composition. The journal welcomes submissions of essays, maximum length 8,000 words, that are accessible, and of broad interest, to its diverse readership across a number of disciplines. Submissions may be made electronically directly to the managing editor at the address above. SAR also welcomes proposals for special issues and special focus sections. Additional information regarding submission requirements and book reviews can be found on our website at samla.memberclicks.net/sar.

This study examines the enduring influence of Edgar Allan Poe on British Gothic tradition, Specifically, the works of H.G. Wells in The Red Room and M.R. James in Casting the Runes in the light of the concept of "creative misreading" in Harold Bloom's theory of the "anxiety of influence". Drawing upon Bloom's theory and utilizing textual analysis, the study demonstrates how these British authors creatively misread Poe's works to establish their own voices while maintaining a connection to his Gothic tradition. By analyzing the transformative power of misreading, this paper sheds light on the intricate relationship between literary influence, creative interpretation, and the evolution of the Gothic genre. Exploring the gothic elements in these two short stories of Wells and James, this study attempts to provide a deeper understanding of the lasting impact of Poe's legacy and the dynamic nature of literary influence across cultural and temporal boundaries.

Flannery O’Connor’s short story “A View of the Woods,” composed in 1956, articulates a Catholic and Eucharistic ecology that resonates with Pierre Teilhard de Chardin’s notion of the Cosmic Christ and anticipates the integral ecology articulated by Pope Francis in his 2015 encyclical Laudato Si’. Francis was powerfully influenced by Teilhard’s vision of a universal Eucharist, which evokes a connection to the natural world that is both physical and spiritual. O’Connor learned of the “christification” of nature through her own reading of Teilhard, notably The Divine Milieu, and her stories anticipate the worldwide implications of the Eucharist Teilhard envisions in “The Mass on the World.” “A View of the Woods” calls its readers’ attention to the Eucharistic qualities of nature and tells a tale of the failure of humans to enact an ethic inspired by an integral ecology. The story portrays human sacrifice and natural destruction while gesturing toward regeneration and the eventual divinization of the cosmos.

Este texto aborda algumas das premissas iniciais e desenvolvimentos conceptuais que decorreram do processo de construção e apresentação do espetáculo “Eis o Homem”. Partindo de materiais de reflexão que foram reunidos, construídos e consultados ao longo das principais fases do processo de criação, este texto procura explicitar possibilidades filosóficas, críticas, políticas e epistemológicas inerentes ao trabalho de criação teatral, assim como contribuir para a discussão corrente acerca de formas adequadas de enquadrar estes objetos estéticos sob o ponto de vista da investigação académica.

T his paper surveys the grotesque as a main genre in American Literature which is mostly connected with satire. It defines the grotesque from the gothic to the textual analysis of the collection of short stories in Everything That Rises Must Converge (1965) as a short fiction by Flannery O'Connor, the twentieth century American writer. He has created great tragi-comedy fictions in Southern Gothic. This paper also tries to place O'Connor's fiction as a great example of the demonic grotesque within the framework of the American gothic. Totally, this paper studies this book on the characteristics which depict the demonic grotesque.