American gargoyles: Flannery O'Connor and the medieval grotesque
Focusing on the comic genius of Flannery O'Connor, Anthony Di Renzo reveals a dimension of her work that has been overlooked by both her supporters and her detractors, most of whom have concentrated exclusively on her use of theology and parable. Di Renzo compares the bizarre comedy in O'C...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Carbondale [u.a.]
Southern Illinois Univ. Press
1993
|
| Schlagworte: | |
| Zusammenfassung: | Focusing on the comic genius of Flannery O'Connor, Anthony Di Renzo reveals a dimension of her work that has been overlooked by both her supporters and her detractors, most of whom have concentrated exclusively on her use of theology and parable. Di Renzo compares the bizarre comedy in O'Connor's stories and novels to that of medieval narrative, art, folklore, and drama. Noting an especial kinship between her characters and the grotesqueries that adorn the margins of illuminated manuscripts and the facades of European cathedrals, he argues that O'Connor's Gothicism brings her tales closer in spirit to the English mystery cycles and the leering gargoyles of medieval architecture than to the Gothic fiction of Poe and Hawthorne with which critics have so often linked her work. For Di Renzo the grotesqueness of O'Connor's strange comedy is not a limitation but an accomplishment, deeply rooted in medieval art and satire O'Connor's peculiar world, he insists, must be accepted on its own terms without consideration of whether it is "ugly." Like the monstrosities carved on the walls at the monastery of Clairvaux, which St. Bernard describes in a famous letter, O'Connor's characters - her rednecks and misfits, her selfish matrons and berserk evangelists - are "deformis formosita ac formosa deformitas," beautifully hideous, hideously beautiful. Relying partly on Mikhail Bakhtin's analysis of Rabelais, Di Renzo examines the different forms of the grotesque in O'Connor's fiction and their parallels in medieval art, literature, and folklore. He begins by demonstrating that the figure of Christ is the ideal behind her satire - an ideal, however, that must be degraded as well as exalted if it is ever to be a living presence in the physical world. Di Renzo goes on to discuss O'Connor's unusual treatment of the human body and its relationship to medieval fabliaux He depicts the interplay between the saintly and the demonic in her work, illustrating how for her good is just as grotesque as evil because it is still "something under construction." And finally he argues that apocalypse is the culmination of the grotesque in O'Connor's fiction; it is a renewal in destruction, a violent juxtaposition of death and rebirth. For Flannery O'Connor Judgment Day is a cosmic Mardi Gras |
| Beschreibung: | XVII, 250 S. |
| ISBN: | 0809318482 |
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| 520 | 3 | |a Focusing on the comic genius of Flannery O'Connor, Anthony Di Renzo reveals a dimension of her work that has been overlooked by both her supporters and her detractors, most of whom have concentrated exclusively on her use of theology and parable. Di Renzo compares the bizarre comedy in O'Connor's stories and novels to that of medieval narrative, art, folklore, and drama. Noting an especial kinship between her characters and the grotesqueries that adorn the margins of illuminated manuscripts and the facades of European cathedrals, he argues that O'Connor's Gothicism brings her tales closer in spirit to the English mystery cycles and the leering gargoyles of medieval architecture than to the Gothic fiction of Poe and Hawthorne with which critics have so often linked her work. For Di Renzo the grotesqueness of O'Connor's strange comedy is not a limitation but an accomplishment, deeply rooted in medieval art and satire | |
| 520 | 3 | |a O'Connor's peculiar world, he insists, must be accepted on its own terms without consideration of whether it is "ugly." Like the monstrosities carved on the walls at the monastery of Clairvaux, which St. Bernard describes in a famous letter, O'Connor's characters - her rednecks and misfits, her selfish matrons and berserk evangelists - are "deformis formosita ac formosa deformitas," beautifully hideous, hideously beautiful. Relying partly on Mikhail Bakhtin's analysis of Rabelais, Di Renzo examines the different forms of the grotesque in O'Connor's fiction and their parallels in medieval art, literature, and folklore. He begins by demonstrating that the figure of Christ is the ideal behind her satire - an ideal, however, that must be degraded as well as exalted if it is ever to be a living presence in the physical world. Di Renzo goes on to discuss O'Connor's unusual treatment of the human body and its relationship to medieval fabliaux | |
| 520 | 3 | |a He depicts the interplay between the saintly and the demonic in her work, illustrating how for her good is just as grotesque as evil because it is still "something under construction." And finally he argues that apocalypse is the culmination of the grotesque in O'Connor's fiction; it is a renewal in destruction, a violent juxtaposition of death and rebirth. For Flannery O'Connor Judgment Day is a cosmic Mardi Gras | |
| 600 | 1 | 4 | |a O'Connor, Flannery |x Criticism and interpretation |
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| 648 | 4 | |a Geschichte 1900-2000 | |
| 648 | 7 | |a Geschichte 500-1500 |2 gnd |9 rswk-swf | |
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| 650 | 4 | |a Medievalism |z United States |x History |y 20th century | |
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| author | Di Renzo, Anthony |
| author_facet | Di Renzo, Anthony |
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| callnumber-raw | PS3565.C57 |
| callnumber-search | PS3565.C57 |
| callnumber-sort | PS 43565 C57 |
| callnumber-subject | PS - American Literature |
| classification_rvk | HU 4617 |
| ctrlnum | (OCoLC)26672182 (DE-599)BVBBV008896357 |
| dewey-full | 813/.54 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 813 - American fiction in English |
| dewey-raw | 813/.54 |
| dewey-search | 813/.54 |
| dewey-sort | 3813 254 |
| dewey-tens | 810 - American literature in English |
| discipline | Anglistik / Amerikanistik |
| era | Geschichte 1900-2000 Geschichte 500-1500 gnd |
| era_facet | Geschichte 1900-2000 Geschichte 500-1500 |
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| geographic_facet | USA |
| id | DE-604.BV008896357 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-09T17:26:52Z |
| institution | BVB |
| isbn | 0809318482 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-005886779 |
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| physical | XVII, 250 S. |
| publishDate | 1993 |
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| publisher | Southern Illinois Univ. Press |
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| spelling | Di Renzo, Anthony Verfasser aut American gargoyles Flannery O'Connor and the medieval grotesque Anthony DiRenzo Carbondale [u.a.] Southern Illinois Univ. Press 1993 XVII, 250 S. txt rdacontent n rdamedia nc rdacarrier Focusing on the comic genius of Flannery O'Connor, Anthony Di Renzo reveals a dimension of her work that has been overlooked by both her supporters and her detractors, most of whom have concentrated exclusively on her use of theology and parable. Di Renzo compares the bizarre comedy in O'Connor's stories and novels to that of medieval narrative, art, folklore, and drama. Noting an especial kinship between her characters and the grotesqueries that adorn the margins of illuminated manuscripts and the facades of European cathedrals, he argues that O'Connor's Gothicism brings her tales closer in spirit to the English mystery cycles and the leering gargoyles of medieval architecture than to the Gothic fiction of Poe and Hawthorne with which critics have so often linked her work. For Di Renzo the grotesqueness of O'Connor's strange comedy is not a limitation but an accomplishment, deeply rooted in medieval art and satire O'Connor's peculiar world, he insists, must be accepted on its own terms without consideration of whether it is "ugly." Like the monstrosities carved on the walls at the monastery of Clairvaux, which St. Bernard describes in a famous letter, O'Connor's characters - her rednecks and misfits, her selfish matrons and berserk evangelists - are "deformis formosita ac formosa deformitas," beautifully hideous, hideously beautiful. Relying partly on Mikhail Bakhtin's analysis of Rabelais, Di Renzo examines the different forms of the grotesque in O'Connor's fiction and their parallels in medieval art, literature, and folklore. He begins by demonstrating that the figure of Christ is the ideal behind her satire - an ideal, however, that must be degraded as well as exalted if it is ever to be a living presence in the physical world. Di Renzo goes on to discuss O'Connor's unusual treatment of the human body and its relationship to medieval fabliaux He depicts the interplay between the saintly and the demonic in her work, illustrating how for her good is just as grotesque as evil because it is still "something under construction." And finally he argues that apocalypse is the culmination of the grotesque in O'Connor's fiction; it is a renewal in destruction, a violent juxtaposition of death and rebirth. For Flannery O'Connor Judgment Day is a cosmic Mardi Gras O'Connor, Flannery Criticism and interpretation O'Connor, Flannery 1925-1964 (DE-588)11858930X gnd rswk-swf Geschichte 1900-2000 Geschichte 500-1500 gnd rswk-swf Het Groteske gtt Middeleeuwen gtt Geschichte Mittelalter American literature European influences Civilization, Medieval, in literature Gargoyles in literature Grotesque in literature Medievalism United States History 20th century Middle Ages in literature Women and literature Southern States History 20th century Groteske Kunst (DE-588)4158316-4 gnd rswk-swf USA O'Connor, Flannery 1925-1964 (DE-588)11858930X p Groteske Kunst (DE-588)4158316-4 s Geschichte 500-1500 z DE-604 |
| spellingShingle | Di Renzo, Anthony American gargoyles Flannery O'Connor and the medieval grotesque O'Connor, Flannery Criticism and interpretation O'Connor, Flannery 1925-1964 (DE-588)11858930X gnd Het Groteske gtt Middeleeuwen gtt Geschichte Mittelalter American literature European influences Civilization, Medieval, in literature Gargoyles in literature Grotesque in literature Medievalism United States History 20th century Middle Ages in literature Women and literature Southern States History 20th century Groteske Kunst (DE-588)4158316-4 gnd |
| subject_GND | (DE-588)11858930X (DE-588)4158316-4 |
| title | American gargoyles Flannery O'Connor and the medieval grotesque |
| title_auth | American gargoyles Flannery O'Connor and the medieval grotesque |
| title_exact_search | American gargoyles Flannery O'Connor and the medieval grotesque |
| title_full | American gargoyles Flannery O'Connor and the medieval grotesque Anthony DiRenzo |
| title_fullStr | American gargoyles Flannery O'Connor and the medieval grotesque Anthony DiRenzo |
| title_full_unstemmed | American gargoyles Flannery O'Connor and the medieval grotesque Anthony DiRenzo |
| title_short | American gargoyles |
| title_sort | american gargoyles flannery o connor and the medieval grotesque |
| title_sub | Flannery O'Connor and the medieval grotesque |
| topic | O'Connor, Flannery Criticism and interpretation O'Connor, Flannery 1925-1964 (DE-588)11858930X gnd Het Groteske gtt Middeleeuwen gtt Geschichte Mittelalter American literature European influences Civilization, Medieval, in literature Gargoyles in literature Grotesque in literature Medievalism United States History 20th century Middle Ages in literature Women and literature Southern States History 20th century Groteske Kunst (DE-588)4158316-4 gnd |
| topic_facet | O'Connor, Flannery Criticism and interpretation O'Connor, Flannery 1925-1964 Het Groteske Middeleeuwen Geschichte Mittelalter American literature European influences Civilization, Medieval, in literature Gargoyles in literature Grotesque in literature Medievalism United States History 20th century Middle Ages in literature Women and literature Southern States History 20th century Groteske Kunst USA |
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