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Reading as an Imitatio Christi: Flannery O'Connor and the Hermeneutics of Cruci-Form Beauty.

机译:以模仿克里斯蒂的方式阅读:弗兰纳里·奥康纳(Flannery O'Connor)和《十字架形美的诠释学》。

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摘要

At its simplest, this dissertation proposes two possibly counterintuitive but mutually dependent, claims: 1) that Flannery O'Connor's fiction can be, even must be, considered "beautiful," and 2) that O'Connor writes the way she does to make her audience better readers. Given the dark, shocking, grotesque, even carnivalesque character that pervades all her fiction, this first claim is likely to give the greatest offense or at least engender the most skepticism. But, as I argue throughout this work, it is essential that we be able to first conceive of her work as beautiful in order to also preempt one of the main objections to my second claim, a claim that O'Connor herself would be wary of endorsing in so far that it suggests and then elevates the didactic or pedagogical function of her art. To say she hopes to make better readers out of us would seem to suggest that her real contribution is as a schoolmarm rather than as an artist. Even worse, it would seem to place O'Connor squarely in that category of writing that she so abhorred: sentimental, pietistic moralizing in the guise of "fiction.".;And yet, if we can entertain the possibility of O'Connor's work as exemplifying beauty, I argue that we can also: 1) avoid suggesting as so many have that O'Connor's work perpetrates a fundamental violence on her characters and/or readers (thereby further ratifying modern assumptions regarding the essential inevitability of violence); and 2) entertain the possibility that a non-violent, non-manipulative apprehension of the beautiful is in fact the ability to see or more clearly, or as in this case, to read more clearly. Indeed, as David Hart shows, only by restoring "the beautiful" as a proper dimension of not just aesthetic, but philosophical, theological, ecclesiological and ethical reflection, can we even conceive of a speech-act that is not ultimately just another expression of one violence over another in an interminable, self-extinguishing cycle.
机译:最简单的是,本文提出了两个可能与直觉相反但相互依存的主张:1)弗兰纳里·奥康纳的小说甚至可以被认为是“美丽的”,以及2)奥康纳写她的创作方式她的听众更好的读者。考虑到她的小说中充斥着黑暗,震惊,怪诞甚至是狂欢节的性格,因此第一个主张很可能是最大的冒犯,或者至少是引起最大的怀疑。但是,正如我在整个工作中所主张的那样,至关重要的是,我们必须首先将她的作品视为美丽,以便也可以避免我对第二个主张的主要反对意见之一,这种主张认为奥康纳本人会警惕到目前为止,它已经得到认可,从而暗示并提升了她艺术的教学功能或教学功能。说她希望使我们的读者更好,这似乎表明她的真正贡献是作为学校的学问而不是作为艺术家。更糟糕的是,这似乎使奥康纳(O'Connor)完全被她所憎恶的那类写作:以“小说”为幌子的感性,虔诚的道德化。然而,如果我们能够接受奥康纳(O'Connor)工作的可能性作为美的例证,我认为我们还可以:1)避免暗示奥康纳的作品对她的角色和/或读者造成了基本的暴力(从而进一步批准了关于暴力的基本必然性的现代假设); 2)可能对美丽的非暴力,非操纵的理解实际上是看得更清楚或(在这种情况下)看得更清楚的能力。确实,正如大卫·哈特(David Hart)所展示的那样,只有通过将“美丽”恢复为不仅是美学的适当尺度,而且还要从哲学,神学,教会论和伦理学的反映上恢复,我们甚至可以构想出一种言语行为,而这最终并不仅仅是言语行为的另一种表达。一个人以一种无休止的自我熄灭的周期对另一人施加暴力。

著录项

  • 作者

    Train, Daniel Mark.;

  • 作者单位

    Baylor University.;

  • 授予单位 Baylor University.;
  • 学科 American literature.;Religion.;Aesthetics.
  • 学位 Ph.D.
  • 年度 2013
  • 页码 284 p.
  • 总页数 284
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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