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University of Mississippi Department of English

Works: 86 works in 91 publications in 1 language and 549 library holdings
Genres: Criticism, interpretation, etc  Periodicals  Conference papers and proceedings  Academic theses  History  Biography  Bio-bibliography 
Classifications: PR5.M5, 820.9
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Most widely held works about University of Mississippi
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Most widely held works by University of Mississippi
Studies in English by University of Mississippi( )

in English and held by 168 WorldCat member libraries worldwide

The University of Mississippi studies in English( )

in English and held by 160 WorldCat member libraries worldwide

Journal x : Jx( )

in English and held by 81 WorldCat member libraries worldwide

Faulkner and Yoknapatawpha, 1975 : selections( Book )

1 edition published in 1978 in English and held by 5 WorldCat member libraries worldwide

Matrices of Disorder : class, race, and the policing of normative Southern femininity in William Faulkner's "The Sound and the Fury", "As I Lay Dying", "Sanctuary", and "Requiem for a Nun" by Claire Brooks Mischker( )

1 edition published in 2013 in English and held by 3 WorldCat member libraries worldwide

In this project, I apply Judith Butler's late twentieth century theory of gender performance, outlined in her book Gender Trouble, to three major novels from William Faulkner's early career, The Sound and the Fury, As I Lay Dying, and Sanctuary, and to one novel from his later period, Requiem for a Nun . This project examines the main female characters of these novels: Caddy Compson, Addie and Dewey Dell Bundren, Temple Drake, and Nancy Mannigoe, respectively, to reveal how race and class are indelible to the performance of gender in the literature of the early twentieth century South. The focus of this project will be to discover how the intelligibility of the femininity of these characters is affected when they disrupt the normative performance of their conventional gender roles, especially in maternal contexts. Chapter One lays the historical and theoretical groundwork for the novels discussed. Chapter Two considers Caddy Compson from The Sound and the Fury in the context of her performance as Southern Belle and how the influence of her brothers affects that role. Chapter Three addresses Addie and Dewey Dell Bundren from As I Lay Dying, focusing on how class differences affect their gender performances as rural women. Chapter Four deals with Temple Drake in Sanctuary and how she adapts her gender performance to survive the abuses to which she is subjected. Chapter Five examines the gender performances of both Temple (Drake) Stevens and Nancy Mannigoe regarding matters of race as they inform the intelligibility of the latter's normative femininity within the context of white elite society. Whereas Butler's theories tend to suggest constructive potential in the disruptions of normative gender performances, applying them to Faulkner's works, wherein social contexts often foreclose such opportunities, proves less optimistic. However, there is the possibility for the interruption of repetition with the daughters of the main female characters in the novels examined here
Masculinity in comparative black literatures by LaToya Jefferson( )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

This project examines the ways in which Black men in Africa and throughout the African Diaspora define themselves as gendered beings in their fiction and drama beginning with Richard Wright's publication of Native Son in 1940 to Mariama Ba's So Long a Letter published 1980. Black men created a transnational dialectic concerning their masculinity which involved the creation and criticism of several types of masculinity. In Chapters 1 and 2, I discuss the theoretical and the historical framework for this project. In Chapter 3, I discuss the first type of Black masculinity which was based in opposition to Euro-American stereotypes about African men and Black men in the New World. In chapter 4, I examine how Black male writers recognized the diversity within Africa and the Diaspora and consequently created masculine characters who reflected their local cultures. In Chapter 5, I analyze texts by Black women that critiqued Black men for silencing Black women in their texts. In Chapter 6, I discuss texts that feature Black male protagonists who grasp toward a definition of masculinity which actually depends upon gender complementarity and community harmony rather than individualized notions of masculinity. The concluding chapter explores a vitriolic disagreement between James Baldwin and Eldridge Cleaver and summarizes previous chapters. I have included an Appendix with other texts and issues which concern Black masculinity for future studies
Disciplining the body : societal controls of gender, race and sexuality in Tennessee Williams's Delta plays by Michelle Renae Bright( )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

Tennessee Williams has long been recognized as more than a Southern playwright. While his plays have resonated with international audiences for decades, my thesis argues that the American South, and particularly the Mississippi Delta, is necessary as a representative site of suppressed social freedoms for Gendered, Racial, and Sexual Others. Much of Williams's scholarship is done within the context of drama or performance studies. However, this project demonstrates how Williams's work lends itself to interdisciplinary study by utilizing the social and environmental history of the Delta, as well as gender studies and ecocriticism, to illuminate the cultural hegemony he attempts to dismantle
William Faulkner's hebrew bible : empire and the myths of origins by Scott T Chancellor( )

1 edition published in 2011 in English and held by 2 WorldCat member libraries worldwide

I propose that William Faulkner's literary imagination is charged by a Jewish sensibility rooted in reverence for the Bible as a text that is as vital and relevant in his time as in any since its composition. The Hebrew Bible's narrative method of compiling, redacting, doubling, and retelling, and its attention to curses, genealogies, covenants, and nation-building, reverberate in Faulkner's time as resoundingly as in any preceding it. There are myriad links in Faulkner's work between the Hebrew Bible, Southern Christianity, and American colonialism that merit our attention within ongoing discussions of Faulkner, empire, and nation-building, the Bible and colonialism, and Faulkner and the Bible in order to situate a postcolonial reading of Faulkner and scripture. I suggest that William Faulkner, raised Methodist and on record as considering himself a "good Christian" is, ontologically speaking, Jewish. That is, Faulkner, as his texts bear out and his many comments on the Hebrew Bible, Christianity, God, morality, and Messianic time substantiate, is imbued by a Jewish sensibility. Within a framework informed by Mieke Bal's "counter-reading" approach to the Hebrew Bible, Walter Benjamin's "constellation of events," and Susan Handelman's conception of literary theory as rabbinical, I want to consider Faulkner's interrogation of US imperialism and his dismantling of the authority of origins. I begin by locating Faulkner within a Jewish, text-based tradition, and then canvass Faulkner's historical moment--the rise of US imperialism at home and abroad--to suggest why the Hebrew Bible, itself an account of empires and nation-building, echoes so poignantly in Faulkner. Close readings of Absalom, Absalom!, Light in August, and Go Down, Moses follow, with an emphasis on a Hebrew Bible dialogue between ancient Israel and modern America as negotiated by William Faulkner. The ethical imperative, intones Faulkner, is to recognize that oppressive behaviors are no progress at all but rather contemporary realizations of the originary Exodus enslavement, upon which America's imperial assault marches onward
Gender matters : performativity and its discontents in women's science fiction by Kerry Bowers( Book )

1 edition published in 2009 in English and held by 2 WorldCat member libraries worldwide

Abstract: What follows is a theoretical analysis of the performative gender aspects of a number of works of science fiction written by women in the Anglophone world during the twentieth century
Annotations : the newsletter of the Department of English( )

in English and held by 2 WorldCat member libraries worldwide

From country to country club : the landscapes of Walker Percy by Joyce Garrett Butterworth( )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

When Walker Percy emerged on the literary scene in 1961, the American landscape had begun to transform in new and dramatic ways. As more and more Americans moved from city centers to suburban developments, Percy found that, in more ways than one, the center would not hold. This American cultural transformation was well underway when Percy wrote The Moviegoer, perhaps the first novel from the American South to have as its subject matter a suburban dilemma. Challenging, as Percy does, traditional notions of southern place and community, this thesis seeks to discover in Percy's body of work whether the rise of suburbia affected the South and its literature differently. More importantly, I wish to expose the ways in which Percy demonstrates that this geographical decentralization mirrored a universal psychological dislocation. Herein, I take a closer look at The Last Gentleman (1966) and The Second Coming (1980), two novels that portray country club communities in the South. Through these depictions of "new old" golf courses, Percy interrogates the (im)possibility of finding "authenticity" or a "sense of place" in any landscape, southern or northern, (sub)urban or rural, natural or artificial
Clamor : Malefica, protest, and the occult economy in early modern England by Charles Donald Mock( )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

This thesis attempts to figure witchcraft practices within a larger economic context whereby cursing and maleficent acts in general might be read as a means of political protest against the political and economic destabilization of common rights. By reading cursing and prophecy as epistemological weaponry, the thesis establishes a theory of early modern terror that corresponds to the effects of these tactics on local and national levels. Readings of traditional witchcraft literature and Shakespeare's Macbeth will hopefully allow for an understanding of witchcraft that is heavily concerned over the nature of agency within the period, particularly with regard to the ways in which magic and prognostication stimulated local economies. These "occult economies," in turn, can be read as interactive systems whereby local agents can generate larger effects within a national discourse by utilizing feedback loops generated through local interactions between magic and markets
"Rebel discords" : George Meredith's metrical art dissertation by Jason W Johnson( )

in English and held by 2 WorldCat member libraries worldwide

George Meredith is perhaps best known for his innovative contributions to the Victorian novel. Unfortunately, his formal experiments in poetry have gone unnoticed. This dissertation seeks to rectify this problem by examining Meredith's metrical art and the ways in which he departs from the metrical tradition. The first chapter of the study evaluates his early poetry, most of which is derivative and metrically conventional. Despite. Only two poems are considered prosodically innovative, "The Death of Winter" and "South-west Wind in the Woodlands." The second chapter discusses Meredith's experiments with the sonnet tradition, particularly as they relate to his most famous sequence, Modern Love. While most critics have referred to this poem as a sonnet sequence, a formal analysis reveals that the poem's formal provenance is indeterminate. The reason given for such indeterminacy is that the speaker of the piece is also responsible for composing the sequence. The poem's formal peculiarities serve as indicators of the speaker's damaged psyche. The third chapter outlines Meredith's use of meter to connect poems which have been seen as unrelated. Two sequences are discussed. The first sequence contains "The Woods of Westermain" and "The Day of the Daughter of Hades" and the second is comprised of "Phoebus and Admetus," "Melampus," and "Love in the Valley." It is argued that Meredith uses similar formal strategies to connect the poems in each sequence in order to reveal the ways in which these poems inform each other thematically. After both sequences are considered separately, they are read together in order to illustrate how they are related to one another. The dissertation concludes by suggesting potential courses of research still untouched by Meredith scholars
Two trains running : capture and escape in the racialized train cars of the Jim Crow South, 1893--1930 by Raleigh Robinson Robinson( )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

The role of the railroad in the modern American experience--and its role in making that experience modern--cannot be overstated. This thesis proposes to tell one of many possible railroad stories. By focusing on the historical and cultural relevance of a series of bodies in transit, I examine the implementation of railroad segregation law and the response by African-American performers. The thesis begins at the end of the nineteenth century with the Homer Plessy test case and continues across three decades, meeting along the way novelists Charles Chesnutt and James Weldon Johnson and musicians W.C. Handy, Henry "Ragtime Texas" Thomas, and Honeyboy Edwards. I find that by studying the train scenes and train sounds produced by these black men under the constraints of the Jim Crow South, we might come to a better understanding of the role of the railroad in American life, the role of segregation law in southern life, and the role of train experience in the expression of protest escaping from an African-American community caught in its "nadir."
The cost of kinship : southern literary families and the capitalist machine by Joshua Lundy( )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

The purpose of this thesis is to examine the thematic role of families and the familial in the literature of the Southern Renaissance. Whereas a number of scholars have come at this matter from a strictly cultural perspective, this analysis utilizes an economic framework. Following the example set by Karl Marx, Freidrich Engels, Gilles Deleuze, and Felix Guattari, I attempt to formulate an understanding of the southern family not as an independent and singular social organism, but, rather, as a mechanism for the distribution of capital, firmly embedded within modern capitalism's expansive network of production, consumption, and exchange. My argument is that the ruptures and various points of tension that typify so many of the southern literary families encountered during this time period indicate not so much the degradation of an older social order, as has often been suggested, but, instead, the proper functioning of a fundamentally economic device. In order to make this case, I examine two of the key texts from the Southern Renaissance: William Faulkner's The Sound and the Fury (1929) and Eudora Welty's Delta Wedding (1946). Both novels are preeminently concerned with the breakdown of families that appear to embody the "Old South" ideal. Moreover, both novels repeatedly frame these breakdowns within the context of contemporary economic concerns. Employing the work of historians such as Gavin Wright, Grace Elizabeth Hale, and C. Vann Woodward, I argue that this pattern of familial dissolution indicates the manner in which such families function as extensions of the operational logic that characterized the New South economy, engendering those repeating cycles of destruction upon which modern capitalism relies
"Ourself behind ourself, concealed" : the thematic importance of doubling in nineteenth and early twentieth-century American Gothic literature by Katharine McLaren Todd( )

1 edition published in 2011 in English and held by 2 WorldCat member libraries worldwide

Without question, Gothic literature provides an impressively suitable venue for the expression of societal anxieties and frustrations, especially those concerning power, patriarchy, and the socially sanctioned roles of women (i.e. to be obediently passive wives and nurturing mothers) and men (i.e. to be representatives of strength, rationality, morality, and order). While it might seem as though supernatural entities or outside forces are often to be feared in Gothic literature, the most sinister force is usually that of the protagonist's unsettled mind. The shadowy haunted houses and often isolated, gloomy, and claustrophobic spaces in which terrorized protagonists are trapped frequently mirror the fragmented psyches which likewise imprison both authors and their subjects. Gothic texts, therefore, present a fitting backdrop for the display of the collective fears and unpleasant realities characteristic of nineteenth and early twentieth-century America, and in doing so they provide an acceptable medium for the discussion of topics previously ignored by respectable society. The purpose of this dissertation will be to examine the various ways in which textual, authorial, and character doubling by specific male and female authors of the American Gothic tradition provide an outlet for the reflection of nineteenth and early twentieth-century anxieties, paying special attention to those anxieties brought about by expectations of femininity and masculinity and the resulting identity crises suffered as a consequence of the repression of self in favor of convention
Southern noir : appropriations and alterations of a twentieth-century form by Bob Hodges( )

1 edition published in 2011 in English and held by 2 WorldCat member libraries worldwide

Southern noir conjoins the two seemingly antithetical words in a telling fashion. The word noir conjures images of cheap films about detectives, criminals, and luckless men scurrying across a city at night with expressionistic shadows and light play, a foreboding sense of doom, and deadly seductive femmes fatales nipping at their heels. The understanding of noir as a symptom of urban modernity inextricably linked to cities and cinema stands in stark contrast to the traditional understanding of the south as rural, retrograde, and a repository for all the antiquated, "coercive forms of human society" in labor and social practices (Greeson 3). However, this study contends that certain works of twentieth century southern literature and film can best be understood as a part of the popular form of noir. Southern noir becomes an alternate way to conceptualize the darkness of much of southern literature and film. On the other hand, southern noir promises to better explain the origins of noir and its racialized, chiaroscuro style as springing for the colonial experiences of the plantation economy. This study examines William Faulkner's Sanctuary as an early fracturing of the noir narrative, the William Wyler film The Letter (1940) as a film noir operating in the global southern imaginary, and three stories from Richard Wright's Eight Men as parodic reappropriations of noir narratives for black protagonists. Southern noir provides an opportunity for the productive meeting of scholarship from both southern and noir studies as well as the beginnings of a reevaluation of two of the most distinctive narrative productions of twentieth century America: southern literature and film with romans noirs and films noirs
The epistolary salon : eighteenth and nineteenth century letter writing as a vehicle for female authorship by Kacy Dowd Tillman( Book )

1 edition published in 2008 in English and held by 2 WorldCat member libraries worldwide

Abstract: My work creates a methodology for reading American letters, building from scholarly predecessors such as Susan Fitzmaurice and James Daybell by emphasizing performance in epistolarity. My dissertation argues that the American female letter-writer engaged in a deft, practiced performance each time she picked up a pen. I suggest that the so-called "private," familiar letter should no longer be read as a transparent document or treated as a subset of autobiography; instead, we should see it as the writing mode women manipulated to become public, published authors, an argument that challenges two germinal studies of the public/private spheres in the eighteenth century: Habermas's theory that the eighteenth-century public sphere(s) excluded women and Michael Warner's thesis that the printing press was the sole exclusive catalyst for the republic's formation. Using the archival correspondence of New Englanders, Scottish-Americans, Southern British-Americans, an Englishwoman and others, I show how interconnected transnational and transatlantic female letter-writers were, passing each other poems, essays, and history texts so that their friends could read and share them with legislators, printers, statesmen, newspapers, and other women, forming a tightly interwoven network I call "the epistolary salon." Since many of these women wrote using pseudonyms, I suggest that the letter-writing space allowed them to dress in drag, cross-dressing on paper to discuss the topics (like politics) that would normally "unsex" them. The first section of the dissertation examines letters written during the late eighteenth century, addressing how women made public their opinions about politics, gender roles, and educational reform via letter-writing. The second section of the project concerns how early nineteenth-century female travel-writers engaged in discussions about nationalism and aesthetics while touring Scotland, France, Italy, and Germany. My project closes with a discussion of the historical migration of letters into canonical texts, particularly sentimental novels, suggesting that they were as much about flawed exercises in epistolarity as they were about the preservation of female virtue. Through The Coquette, Charlotte Temple, and Female Quixotism, I trace the failed epistolary performances of the novel's main characters, relying on eighteenth-century letter-writing manuals to foreground my argument
Sacrificial acts : martyrdom and nationhood in seventeenth-century drama by Kelley Hogue( )

1 edition published in 2011 in English and held by 2 WorldCat member libraries worldwide

Sacrificial Acts: Martyrdom and Nationhood in Seventeenth-Century Drama posits that the importance of sixteenth-century martyrologies in defining England's national identity extends to the seventeenth century through popular representations of martyrdom on the page and stage. I argue that drama functions as a gateway between religious and secular conceptions of martyrdom; thus, this dissertation charts the transformation of martyrological narratives from early modern editions of John Foxe's Acts and Monuments to the execution of the Royal Martyr, Charles I. Specifically, I contend that seventeenth-century plays shaped the secularization of martyrdom in profound ways by staging the sacrificial suffering and deaths of female heroines in a variety of new contexts. In addition to illustrating how the expansion of martyrological rhetoric and imagery revealed numerous channels for female influence, this dissertation asserts that narratives of suffering generated national models for reclaiming the stability and unity that Foxe's martyrs had seemed to inspire. I first analyze John Webster's The Duchess of Malfi and Thomas Drue's The Duchess of Suffolk, which overlap the vocabularies of martyrdom and motherhood to valorize women's roles in the creation and continuation of the religious and political states. By studying their dramatizations of virgin martyr legends, I consider how playwrights like Thomas Dekker and Phillip Massinger highlight the expediency of narratives of passivity in defining the subject-ruler relationship. In chapter 3, I focus on Caroline debates about anatomical and metaphysical inwardness to argue that martyrologies provide a script for accessing the conscience through interpretations of the material body. My final chapter argues that the self-presentations of Eleanor Davies and Henrietta Maria establish a necessary link between Foxean models of passive suffering and the militant language of sacrifice used during the Civil War period. These narratives make visible the diffusion of martyrological language and imagery into the multiplicity of spheres--domestic, popular, religious, and political--that comprises communal identity. Moreover, this exploration reveals that popular discourse profoundly engaged and influenced the secularization of that rhetoric and significantly shaped how England continued to define itself in relation to its martyrological past
Mississippi writers page : the Internet guide to Mississippi writers( )

in English and held by 0 WorldCat member libraries worldwide

Presents information about writers who were born or lived in Mississippi. Includes a compendium of births, deaths, publications, awards, and other events in Mississippi's literary history. Contains biographies of the writers, along with information about their books and publications and literary criticism. Provides a site search engine and allows the user to browse listings by author, title, place, year, and genre. Offers access to information about drama, fiction, nonfiction, and poetry writers, such as John Grisham, Jerry Clower, Tennessee Williams, Donna Tartt, Eudora Welty, Shelby Foote, and others. Links to literary resources and the home page of the English Department at the University of Mississippi
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controlled identityUniversity of Mississippi

Mississippi. University. Dept. of English

University of Mississippi. Dept. of English

English (32)