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good woman is hard to find
Title
A good woman is hard to find: discovering the voice of the woman satirist in Flannery O'Connor's Wise Blood.
Creator
Paxton, Virginia A., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description
While Flannery O'Connor's characters and narrative landscape may share a history with those of other works often labeled "Southern gothic," her heavily judicious narrative voice utilizes the depravity of the South struggling to find its identity as a means to explore her vision of God's mercy and distinguishes her work as satirical criticism. This thesis analyzes her construction of a distinctive satirical narrative voice for Wise Blood, particularly as it deviates from how she initially...
Show moreWhile Flannery O'Connor's characters and narrative landscape may share a history with those of other works often labeled "Southern gothic," her heavily judicious narrative voice utilizes the depravity of the South struggling to find its identity as a means to explore her vision of God's mercy and distinguishes her work as satirical criticism. This thesis analyzes her construction of a distinctive satirical narrative voice for Wise Blood, particularly as it deviates from how she initially wrote the first chapters as presented in earlier short stories like "The Train" and "The Peeler." Here, the ways in which O'Connor revises her diction and syntax to create a satirical tone will be examined closely. For the purposes of this paper, satire is defined as a literary work aimed at utilizing irony, hyperbole, or sarcasm to reveal, critique, and correct some moral, ethical, or social phenomenon or situation that the author finds reprehensible.
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Date Issued
2009
PURL
http://purl.flvc.org/FAU/221951
Subject Headings
Criticism and interpretation, Feminism and literature, Didactic fiction, American, Criticism and interpretation, Symbolism in literature, Influence (Literary, artistic, etc.)
Format
Document (PDF)
Edith Wharton
Title
Edith Wharton: self-actualization through characterization in The Age of Innocence.
Creator
Feuerberg, Betty., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description
Edith Wharton uses characterization in the primary three characters in The Age of Innocence to explore the aspects of her life. Early adulthood is represented by May Welland Archer, who was born into New York 400, where society suppressed an individual's emotions, aspirations, and freedoms. The intermediate phase of her life is depicted in Newland Archer, who tests the confining limits of the society to which he belongs and strives to understand the role of emotions in achieving personal...
Show moreEdith Wharton uses characterization in the primary three characters in The Age of Innocence to explore the aspects of her life. Early adulthood is represented by May Welland Archer, who was born into New York 400, where society suppressed an individual's emotions, aspirations, and freedoms. The intermediate phase of her life is depicted in Newland Archer, who tests the confining limits of the society to which he belongs and strives to understand the role of emotions in achieving personal satisfaction. Wharton rejected and craved the ties of the New York 400 in the final phase of her life as portrayed in Ellen Olenska who left the 400, lived in Europe, and returned to New York. By developing these characters, Wharton attempts to retrospectively reconcile the transformations she experienced. Indeed, it will be clear that Wharton's work serves as a personal assessment of her self-actualization.
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Date Issued
2013
PURL
http://purl.flvc.org/fcla/dt/3360784
Subject Headings
Criticism and interpretation, Women and literature, History, Feminism in literature
Format
Document (PDF)
Reconfiguring the classic narrative of pulp fiction
Title
Reconfiguring the classic narrative of pulp fiction.
Creator
Gray, Alexandria S., Dorothy F. Schmidt College of Arts and Letters, Department of English
Abstract/Description
This project considers four writers that have used postmodern narrative strategies to reconfigure classic pulp science fiction tropes. The primary texts are Catherine L. Moore's "Shambleau," Eleanor Arnason's "The Warlord of Saturn's Moons", Robert Heinlein's "The Rolling Stones", and Margaret Atwood's "The Blind Assassin". Each experiments with narrative voices or uses a story-within-a-story structure. These strategies enable the authors to engage and comment on the process of how...
Show moreThis project considers four writers that have used postmodern narrative strategies to reconfigure classic pulp science fiction tropes. The primary texts are Catherine L. Moore's "Shambleau," Eleanor Arnason's "The Warlord of Saturn's Moons", Robert Heinlein's "The Rolling Stones", and Margaret Atwood's "The Blind Assassin". Each experiments with narrative voices or uses a story-within-a-story structure. These strategies enable the authors to engage and comment on the process of how traditional tropes and narratives are brought into a new context through appropriation and reconstruction.
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Date Issued
2011
PURL
http://purl.flvc.org/FAU/3332251
Subject Headings
Criticism and interpretation, Criticism and interpretation, Criticism and interpretation, Criticism and interpretation, Pulp literature, Criticism and interpretation, Popular literature, Criticism and interpretation, Postmodernism (Literature), Feminism and literature
Format
Document (PDF)