Flannery O’Connor and the Anagogical Vision
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The anagogical vision, which has “to do with the Divine life and our participation in it,” dictates the complexity and depth of Flannery O’Connor’s two novels and thirty-one stories. Her regnant vision, the organizing center of her imagination, is located squarely in her Catholic faith. O’Connor’s Catholic vision, more specifically her anagogical vision, is central to her aesthetics. O'Connor surveys the modern wasteland and exposes it as “a territory held largely by the devil”－that is, a nightmarish wasteland infested with evil and corroded by spiritual corruption. “The human scene” viewed through her anagogical vision may be summarized as follows: man, “incomplete in himself” is “prone to evil, but is redeemable when his efforts are assisted by grace”; and with the aid of grace, which acts with ferocious power, “we are ultimately directed Godward.” The essay examines the long line of the arrogant self-righteous characters that stretches from Hazel to the grandmother, Mrs. Shortley and to Mrs. Turpin, each of whom undergoes the painful process of eye-opening to his or her true self-identity with the ferocious intervention of grace. The “single O’Connor story” of “mythic dimensions” is the drama of man’s stubborn refusal to participate in “the Divine life” and the work of grace, which strikes at the willful man with devastating violence. The many versions of “the single O’Connor story”－rendered afresh each time－prove the fine storyteller she was, who never "exhausted" her material. And that material is her anagogical vision of “the Divine life and our participation in it.”
Abstract
The anagogical vision, which has “to do with the Divine life and our participation in it,” dictates the complexity and depth of Flannery O’Connor’s two novels and thirty-one stories. Her regnant vision, the organizing center of her imagination, is located squarely in her Catholic faith. O’Connor’s Catholic vision, more specifically her anagogical vision, is central to her aesthetics. O'Connor surveys the modern wasteland and exposes it as “a territory held largely by the devil”－that is, a nightmarish wasteland infested with evil and corroded by spiritual corruption. “The human scene” viewed through her anagogical vision may be summarized as follows: man, “incomplete in himself” is “prone to evil, but is redeemable when his efforts are assisted by grace”; and with the aid of grace, which acts with ferocious power, “we are ultimately directed Godward.” The essay examines the long line of the arrogant self-righteous characters that stretches from Hazel to the grandmother, Mrs. Shortley and to Mrs. Turpin, each of whom undergoes the painful process of eye-opening to his or her true self-identity with the ferocious intervention of grace. The “single O’Connor story” of “mythic dimensions” is the drama of man’s stubborn refusal to participate in “the Divine life” and the work of grace, which strikes at the willful man with devastating violence. The many versions of “the single O’Connor story”－rendered afresh each time－prove the fine storyteller she was, who never "exhausted" her material. And that material is her anagogical vision of “the Divine life and our participation in it.”
참고문헌 (24)
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