SEPARATION ANXIETIES - Lsu - Louisiana State University

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ACKNOWLEDGEMENTS I would like to thank Dr. Rick Moreland for his invaluable guidance and insight. Rick, without you, this project might have been twice as long and half as good. I would also like to thank my dissertation committee—Dr. Jack May, Dr. John Lowe, Dr. James Catano, and Dr. Gregory Schufreider—for all the suggestions and encouragement. Your efforts have made me a better scholar. I would also like to acknowledge every teacher and librarian who ever directed, cajoled, and threatened me over the years; I have truly benefited from your perseverance. Special thanks go to Drs. Clark Davis, Betty Matthews, LaRue Sloan, and Kate Stewart. To my many students, thanks for helping me learn how to be a good teacher and for all the encouraging words during my work on this project. I pledge my eternal thanks and friendship to my fellow graduate students who supported me during my time in the program, especially Bill Scalia, Kris Ross, and Wolfgang Lepschy. Friends like you are rare, and our Thursday night sessions at the Chimes will be missed. To my parents, Donna and Jesse—thanks for all the love and support over the years. You have been constants in an often tumultuous world, and that is more valuable than you could possibly know. Finally, I would like to acknowledge the countless contributions of the four most important people in the world—Kalene, Shauna, Brendan, and Maya. Any success I have belongs to you as well. iv
TABLE OF CONTENTS Dedication……………………………………………………………………………………..…iii Acknowledgements……………………………………………………………………………….iv Abstract…….……………………………………………………………………………………..vi Introduction………………………………………………………………………………………..1 Chapter 1 Girl Gangs, Female Outlaws, Lesbian Subtexts……………………………...…………26 2 Religious Separatist Communities, the Invading Other, and the Sexual Self…………...81 3 The Separatism of Vietnam Veterans: Reality vs. Representation, Narrative vs. Memory, History vs. Myth, and the Return to ‘The World’……………………124 4 Intersections of Race, Gender, Experience, and Ideology: Representations of Separatism in Toni Morrison’s Paradise………………………………….…179 Conclusion……..……………………………………………………………………………….232 Bibliography……………………………………………………………………………………254 Vita……………………………………………………………………………………………...261 v
Page 1 and 2: SEPARATION ANXIETIES: REPRESENTATIO
Page 3: This project is dedicated to Kalene
Page 7 and 8: understand narrative constructions
Page 9 and 10: him- or herself as a Texan or New Y
Page 11 and 12: neighborhoods. In this sense, the n
Page 13 and 14: Critics like Romine, and theorists
Page 15 and 16: een more mythological and discursiv
Page 17 and 18: Because I utilize specific concepts
Page 19 and 20: Furthermore, though such may not be
Page 21 and 22: texts seem less concerned with orig
Page 23 and 24: fictional separatist communities’
Page 25 and 26: community? 4) How do these artists
Page 27 and 28: differences have practical function
Page 29 and 30: I will finish my study with a readi
Page 31 and 32: institutional and ideological contr
Page 33 and 34: CHAPTER 1 GIRL GANGS, FEMALE OUTLAW
Page 35 and 36: Foxfire and Set It Off represent fe
Page 37 and 38: leanings. For radical feminists,
Page 39 and 40: as an understandable but ultimately
Page 41 and 42: of authority quickly takes on more
Page 43 and 44: power: from her brothers to the boy
Page 45 and 46: way of resisting dominance is throu
Page 47 and 48: values and traditions. The gang’s
Page 49 and 50: separate these two characters. The
Page 51 and 52: eauty is transmogrified into a site
Page 53 and 54: that which has been erased—their
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or even destructive. The type of se
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Oates uses Maddy’s voice to quest
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However, Oates constructs this kidn
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econstruction of, the kidnapping an
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silence in the wake of Foxfire’s
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In Set It Off, the confession—if
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topicality that not even Foxfire en
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she smiles at him and says, “Hey,
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Frankie’s literal position, seate
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even this separatist community. Mor
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ecause their relationships to their
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some sense of subjectivity. Their f
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elationships with men. As stated ab
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should just “blow [the bank] the
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to individual choice. In any case,
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4 In the article “The Politics of
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that Thelma and Louise are real. Ne
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two texts that focus on representat
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for eternal life. However, although
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This isolation becomes more pronoun
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God runs Heaven” (Reynolds 111).
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eveals that Fire and Brimstoners co
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eflects her growing awareness of he
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Furthermore, given the consequences
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own burgeoning sexuality; she explo
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etween Fire and Brimstone and mains
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alleged baseness. 10 All of these e
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freedom” (Reynolds 316)—is inde
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learn from their experience; David
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portray the Amish as backward or la
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insensitivity suggests that their r
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focal point, Eli and Samuel are rea
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and negative terms; he seems sympat
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violence; juxtaposed with the Amish
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epresentation seems particularly re
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such dogma negatively affects the i
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urge and the desire to know” (67)
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shunning the dissenters” (20). Th
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CHAPTER 3 THE SEPARATISM OF VIETNAM
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experience generally creates betwee
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and paradoxical. I do so to establi
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films is the separation a communall
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Another point that must be made bef
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is a conflicted character who longs
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twelve-month tour of duty in Vietna
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terminus is the same point from whi
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misunderstanding, O’Brien the cha
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explain to his daughter the nature
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themselves generally as soldiers an
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says cooze, because his friend is d
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lingual strategies reinforce the co
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are “dinks,” “slopes,” “C
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exacerbate these myths and images (
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Courage,” the same audience that
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never had with Kiowa—a confession
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not merely a record of factual or f
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In his article “Rereading The Dee
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status. This description is similar
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juxtaposition of imagery begun in t
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his civilian girlfriend or to “th
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half-way point between the civilian
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eference to affection and male bond
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conventions to make the unfamiliar
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alienated/perceived separatists who
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narrative devices, and that this pa
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political or social sense; Vietname
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all-black, racially separatist town
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we might live one day. Works like P
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did most African-Americans in the n
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space for this first town was chose
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esponse to the white southerners’
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She had not meant that she didn’t
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master narrative of the Fathers. Th
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the Convent is in some ways the rev
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demonstrate how dominance and oppre
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as a shield against “Out There,
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similarly constructed, seem even mo
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the weight of their monomania. This
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another characteristic of the vario
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use of this character type may sugg
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citizens have no shared history (sa
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is akin to Seneca’s. Connie is pe
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an inability to see how their choic
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she reveals more of Ruby’s failur
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“Through the templates, and in th
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the Connie/Deacon relationship. He
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for community. In Ruby, on the othe
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e evolving. Morrison leaves her sep
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END NOTES 1 The history of black se
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epresentation, it also works agains
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Book’s potential lover and as reb
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eason to comply with patriarchal op
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CONCLUSION Artistic works focusing
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“imagined community.” As Anders
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philosophies and separatist individ
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existence of the military or the im
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hometown’s social structures and
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Oates’s and Gray’s characters t
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lingering trauma with a similarly s
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or less powerful than anyone else.
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Therefore, a “successful communit
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increasing insularity and eventual
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communities, the complexities of Am
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BIBLIOGRAPHY Andermahr, Sonya. “T
Page 263 and 264:
Griffith, R. Marie. “Female Suffe
Page 265 and 266:
Perlmutter, Philip. Legacy of Hate:
Page 267 and 268:
Womack, Craig S. Red on Red: Native
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SEPARATION ANXIETIES - Lsu - Louisiana State University

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