Flannery O’Connor y la reescritura (posmoderna y suburbana) de la «femme-fatale» : Leora Watts y Sabbath Lily Hawks
ABSTRACT: The main goal of this article is to analyze how Flannery O’Connor, through Leora Watts and Sabbath Lily Hawks, reaches the goal of introducing the «femme-fatale» in the tradition of Southern Gothic, from which had lied far apart. These characters represent the two main ways in which the «f...
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| Formato: | artículo |
| Fecha de publicación: | 2022 |
| País: | España |
| Recursos: | Universidad Complutense de Madrid (UCM) |
| Repositorio: | Docta Complutense |
| Idioma: | español |
| OAI Identifier: | oai:docta.ucm.es:20.500.14352/107330 |
| Acesso em linha: | https://hdl.handle.net/20.500.14352/107330 |
| Access Level: | acceso abierto |
| Palavra-chave: | 821.111(73)O'Connor, Flannery7wis 2:613.880 «Wise Blood» «Femme-fatale» Southern Gothic Religion Flannery O’Connor Gótico Sureño Religión Filología inglesa Religión (Humanidades) Literatura Escritores 6202 Teoría, Análisis y Crítica Literarias 5505.10 Filología |
| Resumo: | ABSTRACT: The main goal of this article is to analyze how Flannery O’Connor, through Leora Watts and Sabbath Lily Hawks, reaches the goal of introducing the «femme-fatale» in the tradition of Southern Gothic, from which had lied far apart. These characters represent the two main ways in which the «femme-fatale» has ever been represented, such as the seductress and the victim. While Leora Watts, presented as a classical «femme-fatale», is finally seen as a victim of post-war America, Sabbath Lily Hawks, shown as Gothic damsel in distress, is finally understood as the villain’s tormentor. Religion, seduction, and horror make the atmosphere of «Wise Blood» perfect for the flourishing of all kinds of «femme-fatales». |
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