阿德莱德代写assignment 宗教代写

弗兰纳里·奥康纳以她的宗教故事而闻名。《河》呈现了原教旨主义者、亵渎者、对信仰不感兴趣的个人，以及哈利/贝弗尔，一个生活在完全无知的信仰上的人。奥康纳在这个故事中主要关心的是精神内容，以及一个人对被认为是宗教的精神教义的复杂性的感知程度。在整个故事中，奥康纳利用她的南方背景和宗教信仰，通过描述哈利的死亡和救赎、信仰的重要性和道德问题，来描绘基督教的争议性方面。断言奥康纳对南方原教旨主义者亏欠甚多，并不是否认她的天主教信仰的重要性。当然，奥康纳的天主教是她思想和愿景的主要塑造力量;但在她的意识中还有对南方原教旨主义者深深的尊重和认同。这两种信仰体系之间的紧张，再加上她南方传统的世俗主义，在很大程度上解释了她小说的强大力量。在奥康纳这部最好的作品的核心，“人们会发现一种极端的暴力扭曲，不仅是在世俗和神圣之间，而且是在两种截然相反的信仰体系之间”(小布林克迈耶2)。然而，她的震慑和扭曲的潜在策略在技巧和意图方面与传福音者非常相似。像《传教士》一样，奥康纳(在一定程度上)试图扰乱她的读者的理性情感，让她的读者既承认自己的局限性，又看到选择支持或反对基督的必要性。转达她的天主教愿景,”奥康纳把不是普通的虔诚宗教小说(她曾称之为“虔诚的垃圾”)但严重技术的原教旨主义传教士的布道的祖国寻求操纵观众,使他们成为消耗的精神”。

阿德莱德代写assignment 宗教代写

   Flannery O’Connor is noted for her stories about religion. “The River” presents fundamentalists, blasphemers, individuals with no interest in faith, and, in Harry/Bevel, a personality living in utterly ignorant innocence concerning faith. A major concern for O’Connor during this story is spiritual content and also the extent to that a person has to perceive the complexities of spiritual dogma thought to be religious. Throughout the story, O’Connor utilizes her southern background and religious beliefs to portray the controversial aspects of Christianity through the depiction of the death and salvation of Harry, importance of faith, and the questions of morality raised.To assert that O’Connor owed a great deal to Southern fundamentalists is not to deny the significance of her Catholicism. Certainly O’Connor’s Catholicism was the primary shaping force in her thought and vision; but existing alongside it in her consciousness was a profound respect for and identification with Southern fundamentalists. The tension between these two systems of belief, together with that resulting from the secularism of her Southern heritage, in large part explains the great power of her fiction. At the heart of O’Connor’s best work, “one finds a violent wrenching of extremes not only between secular and divine, but also between two diametrically opposed systems of faith” (Brinkmeyer Jr. 2). For obvious reasons, O’Connor’s fictional style is much less explicit than that of most evangelical preachers. Yet her underlying strategies of shock and distortion are very similar to the evangelist’s in terms of technique and intention. Like the preacher, O’Connor seeks (on one level) to unsettle her audience’s rational sensibilities, to make her readers both admit their limitations and see the necessity of making a choice for or against Christ. To convey her Catholic vision, “O’Connor turned not to the pieties of ordinary religious fiction (“pious trash” she once called it) but to the severe techniques of the fundamentalist preachers of her homeland who sought in their sermons to manipulate their audiences so that they became consumed by the spirit”.