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rOLE OF ART IN RELIGION
critical essay about flannery connor's use of religion
tattoos and society
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Parker’s Redemption
Flannery O’Connor’s story “Parker’s Back” introduces us to a man who feels incomplete and is seeking to fill the empty space in his soul. He attempts to do so the only way he knows how, by getting tattoos. He continues this until “the front of [his body is] almost completely covered…” (514). In fact, Parker even considers getting a religious tattoo to appease his over-zealously religious wife Sarah Ruth. A brush with death that is literally a “burning bush” experience drives him to mark the change in his life by getting that tattoo. He races to the tattoo parlor and demands to see the religious tattoos. He chooses a Byzantine Christ. In this story, Flannery O’Connor tries to show that although Parker’s attempts to quiet his unease provide temporary satisfaction (his tattoos and marrying Sarah Ruth), what Parker is really longing for is a relationship with God, a desire echoed in his choice of tattoo.
Parker’s disquiet is awakened at the age of fourteen upon seeing a tattooed man at the fair. He is “filled with emotion, lifted up as some people are when the flag passes…. Until he saw the man at the fair, it did not enter his head that there was anything out of the ordinary about the fact that he existed” (513). Parker attempts to deny that his existence is, in fact, extraordinary. He was a boy who was “heavy and earnest, as ordinary as a loaf of bread” (513). He refuses to own up to the fullness of his identity by refusing to go by his full name, “Obadiah Elihue,” to the point of “narrowly [missing] killing the man who used it” (517). He attempts to cure this “peculiar unease” (513) with himself by getting tattoos. This appeases that unrest, but not for long: “Parker would be satisfied with each tattoo abo...
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...fering. There are many such instances throughout the story: in the physical pain of getting tattoos, in being laughed at by his friends, and in being rejected and beaten by Sarah Ruth. He stands up for what he believes in and pays the price for it. It is my opinion that this is what the story means to teach us. Though it is not always easy, standing up for what we believe in is the path to fulfillment.
Works Cited
O’Connor, Flannery. “Parker’s Back.” The Complete Stories. New York: Farrar, Straus, and Giroux, 1971. 510-30.
“The Passions of Christ: A Journey Through Byzantine Art.” Kypros-Net: “The World of Cyprus”. 18 Oct. 2004
The Stavelot Triptych is stunning in its complexity and artistry. It was created by unknown artists, around mid-12th century, possibly for Abbot Wibald, in modern-day Mosan, Belgium. This artwork is currently on display in the Jerusalem exhibit at the MET. The Stavelot Triptych not only tells the story of the True Cross, but it shows the division of the Roman Empire, division of Christianity and the artistic differences between the East and the West. This formal analysis will express how the structure/shape, color, line, composition and techniques/ textures contribute to the meaning of the triptych.
Armstrong, Jennifer. The American Story. Illus. Roger Roth. New York: Alfred A. Knopf, 1961. Print.
Mifflin, Margot. The Blue Tattoo: The Life of Olive Oatman. Lincoln: University of Nebraska Press, 2009.
We come into this world with nothing and leave the same way. Our lives here are short and full of heartbreak if we do not lay hold on the spiritual aspect of life which the characters in this story strived for in their own ways. This world is full of symbolism in much the same way the story depicts it through the tattoos, so much the center point of the entire story. Parker was continually looking for perfection and acceptance with one more tattoo. He wanted the world and Sarah Ruth to focus on the tattoos he regarded as perfect instead of his inferiority. “Each time he grows restless or troubled, he eases the pressure by getting a new tattoo”. Sarah Ruth was driven away because of her desire to be perfect and felt it could only be obtained by staying away from idols, the chief of which was the church.
Friedman, Melvin J. Introduction. Critical Essays on Flannery O’Connor. Ed. Melvin J. Friedman and Beverly Lyon Clark. Boston: G. K. Hall & Co., 1985.
Parker notices a tattooed man at fair, where he became inspired to get tattoos. The man’s tattoos are of “beasts and flowers,” (384) full of “intricate design of brilliant color” (384), as they represent an Eden that Parker cannot have. Parker’s response to the man’s tattoos can never be replicated; Parker always feels dissatisfaction with his own tattoos. The man’s tattoos seemed to be alive and have “a subtle motion” (384), and Parker is never able to experience the emotion he felt when looking at the man’s tattoos, as if he can never experience Eden again. On the other hand, Parker’s tattoos seem to represent something entirely different. The serpent on Parker’s arm represents the wrongs he has done, and with the serpent on his arm, Parker cannot truly experience the religious and spiritual satisfaction that his wife does. This biblical allusion of Eden and the serpent shows that Parker has struggled to find peace, and has had a troubled life.
...they are both outcasts. The only people who address or speak to the Grandmother are her grandchildren who don’t speak fondly of her either, but the only time she is taken seriously by her son is when he yells at her and makes her cry. Mrs. Turpin even spent her last seconds of life are spent trying to get on the same level as The Misfit, but in the end he only shoots her three times in the chest when she touches his shoulder. This is equal to Parker because he doesn’t seem to have anything in common with his wife and she puts him down calling his tattoos the“Vanity of all vanities.” Just like when the Grandmother tries to connect with the Misfit, Parker tries to connect to his wife through the spiritual Christ tattoo.
Rubin, Louis D., Jr. "Flannery O'Connor and the Bible Belt." The Added Dimension: The Art and Mind of Flannery O'Connor. Ed. Melvin J. Friedman and Lewis A. Lawson. New York: Fordham UP, 1966. 49-71.
O'Connor, Flannery. A Good Man Is Hard to Find and Other Stories. New York: Harcourt,
Taylor, Peter. The Collected Stories of Peter Taylor. New York: Farrar, Straus and Giroux, 1969.
The Middle Ages, contrary to its name, was a dynamic period of innovations. Throughout this period, visual arts were employed to communicate important messages to the public as well as private wealthy patrons. A variety of mediums were used to disseminate ideas. Though, the sense of decorum shifted, the purpose of these moralizing images of religious figures remained the same. Art was, as it still is an extremely useful and powerful tool for both religious and political advancements. The two pieces to be considered in this paper were created using scenes from the life of Christ. Themes from the old and new testaments were frequently used in art of the Middle Ages to convey important messages to a largely illiterate populous, display the wealth of few individuals, and create feelings of patriotism and support for the Monarch by relating them to divinity. Both pieces are from different mediums and likely different forms of patronage. To be analyzed in this paper is an illuminated manuscript page (fig 1) and an ivory diptych (fig 2). There are several similarities, as well as differences throughout the works. I will describe each piece then continue to compare and contrast them, this will work to facilitate a greater understanding of the Middle Ages through works of art.
The Byzantine Empire was a primarily Christian empire whose reign started in 330 A.D and ended in 1453 A.D with the capturing of the its capital, Constantinople by the Muslim Sultan Mehmed II. In the years following the fall of the Byzantines, many of the Christian basilicas were transformed into mosques for Islamic worship, inspiring many artists to create works that embodied their religious politics. One of the pieces created following the fall of the Byzantine Empire is the painting of Yusuf Fleeing Zulayhka, created in 1488 by Kamal al-Din Bihzad, a famous Persian painter who worked under the patronage of several Persian sultans. The illustration depicts Yusuf’s struggle to escape his master’s wife Zulaykha as she chases him through her elaborate palace in an attempt to seduce him. The representation was made using paint, ink and gold, and features jewel-like colors in order to portray the extravagancy of the palace Zulayhka has built specifically for the seduction of Yusuf (Stokstad 286). This essay will assess three accounts of the story of Yusuf and Zulaykha and the reasoning behind why the narrative is often labelled as a cautionary tale and of what kind.
It is apparent in Parker’s poems that she has had plenty of damaging experiences, and she has turned these into her life’s
Stephens, Martha. The Question of Flannery O?Connor. Ed. University Press. Louisiana State Press, 1973. 189-205.
O'Connor, Flannery. "The Norton Anthology American Literature." Good Country People. Ed. Nina Baym and Robert S. Levine. 8th ed. New York City: W.W. Norton & Company, Inc., 2013. 2524-37. Print.