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- catalog abstract "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.".
- catalog contributor b4178009.
- catalog created "c1993.".
- catalog date "1993".
- catalog date "c1993.".
- catalog dateCopyrighted "c1993.".
- catalog description "Abbreviations of O'Connor texts -- Gargoyles, grotesques, and marginalia : the hideously beautiful, beautifully hideous art of Flannery O'Connor -- Fun house calvaries: the grotesque as divine degradation -- This is my body : the word, the flesh, and the grotesque -- Grinning devils and ludicrous saints : the grotesque and the dialectic between satire and sanctity -- The last laugh and the liberty of December : the grotesque as carnival, danse macabre, and apocalypse.".
- catalog description "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. ".
- catalog description "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.".
- catalog description "Includes bibliographical references (p. 229-239) and index.".
- catalog description "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. ".
- catalog extent "xvii, 250 p. ;".
- catalog hasFormat "American gargoyles.".
- catalog identifier "0809318482".
- catalog isFormatOf "American gargoyles.".
- catalog issued "1993".
- catalog issued "c1993.".
- catalog language "eng".
- catalog publisher "Carbondale : Southern Illinois University Press,".
- catalog relation "American gargoyles.".
- catalog spatial "Southern States".
- catalog spatial "United States".
- catalog subject "813/.54 20".
- catalog subject "American literature European influences.".
- catalog subject "Civilization, Medieval, in literature.".
- catalog subject "Gargoyles in literature.".
- catalog subject "Grotesque in literature.".
- catalog subject "Medievalism United States History 20th century.".
- catalog subject "Middle Ages in literature.".
- catalog subject "O'Connor, Flannery Criticism and interpretation.".
- catalog subject "PS3565.C57 Z646 1993".
- catalog subject "Women and literature Southern States History 20th century.".
- catalog tableOfContents "Abbreviations of O'Connor texts -- Gargoyles, grotesques, and marginalia : the hideously beautiful, beautifully hideous art of Flannery O'Connor -- Fun house calvaries: the grotesque as divine degradation -- This is my body : the word, the flesh, and the grotesque -- Grinning devils and ludicrous saints : the grotesque and the dialectic between satire and sanctity -- The last laugh and the liberty of December : the grotesque as carnival, danse macabre, and apocalypse.".
- catalog title "American gargoyles : Flannery O'Connor and the medieval grotesque / Anthony Di Renzo.".
- catalog type "Criticism, interpretation, etc. fast".
- catalog type "History. fast".
- catalog type "text".