LEADER 03578nam 2200613Ia 450 001 9910970808903321 005 20251117083812.0 010 $a0-88146-348-5 035 $a(CKB)2670000000187371 035 $a(SSID)ssj0000611396 035 $a(PQKBManifestationID)11391638 035 $a(PQKBTitleCode)TC0000611396 035 $a(PQKBWorkID)10645074 035 $a(PQKB)10828496 035 $a(MiAaPQ)EBC3332890 035 $a(Au-PeEL)EBL3332890 035 $a(CaPaEBR)ebr10539150 035 $a(OCoLC)923243806 035 $a(BIP)34477692 035 $a(EXLCZ)992670000000187371 100 $a20110620d2011 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$a"Between the house and the chicken yard" $ethe masks of Mary Flannery O'Connor /$fJolly Kay Sharp 205 $a1st ed. 210 $aMacon, GA $cMercer University Press$dc2011 215 $a176 p 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a0-88146-263-2 320 $aIncludes bibliographical references (p. [167]-170) and index. 327 $aIntroduction -- O'Connor's early masks -- O'Connor's surly disposition : Enoch, Nelson, and Hulga -- O'Connor's intense vision : Hazel Motes -- O'Connor's prophetic voice : Old Tarwater and Rufus Johnson -- O'Connor's southern myth masks -- O'Connor's mentoring masks -- Conclusion. 330 $aRecognizing personal tendencies and developing literary talents enabled Mary Flannery O'Connor to don multiple masks, concealing or revealing segments of herself as she desired. With no memoirs or lengthy autobiographies, O'Connor's published works, letters, manuscripts, along with previously unpublished letters are examined to determine how O'Connor defined herself, not just how other scholars interpret her life and works. In fact, the plethora of criticism is in danger of obscuring the most important authority: O'Connor herself...Carl Jung claimed that adopted personas allow people ways to conform to society acceptably. While O'Connor's personal and social masks were affected by her Southern and Catholic roots, her vivid imagination and artistry fashioned her literary masks, allowing her to explore life's grotesqueness. Some of O'Connor's literary characters shelter self-defining features of her own personality and purpose. O'Connor's masks serve as metaphorical embodiments of her veiled autobiography, illuminating key components of her sense of self and of her literary power. Sharp's exploration of these society-obligatory and self-imposed masks identify O'Connor's goals, struggles, and successes; her critical insight into her own literature; her reaction and responses to family, friends, and acquaintances; and, ultimately, her own success and growth. 517 3 $aMasks of Mary Flannery O'Connor 606 $aCharacters and characteristics in literature 606 $aSelf-presentation in literature 606 $aSelf-disclosure in literature 606 $aSelf-perception in authors 607 $aSouthern States$xIn literature 615 0$aCharacters and characteristics in literature. 615 0$aSelf-presentation in literature. 615 0$aSelf-disclosure in literature. 615 0$aSelf-perception in authors. 676 $a813/.54 700 $aSharp$b Jolly Kay$f1954-$01867335 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910970808903321 996 $a"Between the house and the chicken yard"$94474826 997 $aUNINA