Picture 1 of 1
Stock photo
Picture 1 of 1
Stock photo
American Gargoyles : Flannery o'Connor and the Medieval Grotesque by Anthony Di Renzo (1995, Trade Paperback)
ThriftBooks (4076782)
99.1% positive feedback
Price:
US $30.42
ApproximatelyRM 128.58
+ $11.98 shipping
Returns:
No returns, but backed by .
Condition:
Oops! Looks like we're having trouble connecting to our server.
Refresh your browser window to try again.
About this product
Product Identifiers
PublisherSouthern Illinois University Press
ISBN-100809320304
ISBN-139780809320301
eBay Product ID (ePID)179998
Product Key Features
Number of Pages272 Pages
LanguageEnglish
Publication NameAmerican Gargoyles : Flannery O'connor and the Medieval Grotesque
Publication Year1995
SubjectWomen Authors, American / General
FeaturesReprint
TypeTextbook
AuthorAnthony Di Renzo
Subject AreaLiterary Criticism, Literary Collections
FormatTrade Paperback
Dimensions
Item Height0.7 in
Item Weight23.5 Oz
Item Length8.5 in
Item Width5.5 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN95-011478
Reviews"O'Connor's freaks jostle with Rabelais and Chaucer, the danse macabre, and the Christianized Saturnalia of the #145;Laughter of December' in Di Renzo's excellent tour-guide to #145;that strange passageway between the sacred and the profane.'" —Choice, "This is a book that will introduce readers to O'Connor in essential ways; and for even the most advanced scholar of O'Connor, there is much here that is instantly and permanently rewarding."--Arthur F. Kinney, author ofFlannery O'Connor's Library: Resources of Being, "This is a book that will introduce readers to O'Connor in essential ways; and for even the most advanced scholar of O'Connor, there is much here that is instantly and permanently rewarding."-Arthur F. Kinney, author ofFlannery O'Connor's Library: Resources of Being, "O'Connor's freaks jostle with Rabelais and Chaucer, the danse macabre, and the Christianized Saturnalia of the 'Laughter of December' in Di Renzo's excellent tour-guide to 'that strange passageway between the sacred and the profane.'" -Choice, "O'Connor's freaks jostle with Rabelais and Chaucer, the danse macabre, and the Christianized Saturnalia of the 'Laughter of December' in Di Renzo's excellent tour-guide to 'that strange passageway between the sacred and the profane.'" --Choice, "This is a book that will introduce readers to O'Connor in essential ways; and for even the most advanced scholar of O'Connor, there is much here that is instantly and permanently rewarding."— Arthur F. Kinney , author of Flannery O'Connor's Library: Resources of Being, "O'Connor's freaks jostle with Rabelais and Chaucer, the danse macabre, and the Christianized Saturnalia of the ‘Laughter of December' in Di Renzo's excellent tour-guide to ‘that strange passageway between the sacred and the profane.'" --Choice, "This is a book that will introduce readers to O'Connor in essential ways; and for even the most advanced scholar of O'Connor, there is much here that is instantly and permanently rewarding."-- Arthur F. Kinney , author of Flannery O'Connor's Library: Resources of Being, "O'Connor's freaks jostle with Rabelais and Chaucer, the danse macabre, and the Christianized Saturnalia of the ‘Laughter of December' in Di Renzo's excellent tour-guide to ‘that strange passageway between the sacred and the profane.'" —Choice
Dewey Edition21
IllustratedYes
Dewey Decimal813.5/4
Edition DescriptionReprint
SynopsisFocusing here on the comic genius of Flannery O'Connor's fiction, Anthony Di Renzo reveals a dimension of the author's work that has been overlooked by both her supporters and her detractors, most of whom have heretofore concentrated exclusively on her use of theology and parable. 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 to which critics have so often linked her work. Relying partly on Mikhail Bakhtin's analysis of Rabelais, Di Renzo examines the different forms of the grotesque in O'Connor's fiction and the 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.", Focusing here on the comic genius of Flannery O Connor s fiction, Anthony Di Renzo reveals a dimension of the author s work that has been overlooked by both her supporters and her detractors, most of whom have heretofore concentrated exclusively on her use of theology and parable.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 to which critics have so often linked her work.Relying partly on Mikhail Bakhtin s analysis of Rabelais, Di Renzo examines the different forms of the grotesque in O Connor s fiction and the parallels in medieval art, literature, and folklore. He begins by demonstrating that the figure of Christ is the ideal behind her satirean 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.""
LC Classification NumberPS3565.C57Z646 1995
Be the first to write a review
