GLOBAL ENCOUNTERS AND RACIAL METAPHOR IN FLANNERY O'CONNOR'S "PARKER'S BACK".
This article analyzes Flannery O’Connor’s short story “Parker’s Back,” focusing on its exploration of global cultural encounters and racial metaphor within the context of American postwar expansionism and the civil rights movement. It examines how the protagonist Parker’s tattoos—acquired during his...
| Publicado en: | Renascence Vol. 78; no. 1; pp. 3 - 18 |
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| Autor principal: | |
| Formato: | Literary Criticism |
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Marquette University
Winter2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=192835157&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 192835157 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00344346 RNS jtl: Renascence issn: 00344346 maglogo: N pubinfo: dt: Winter2026 vid: 78 iid: 1 pid: 1959 pub: Marquette University artinfo: ui: 192835157 ppf: 3 ppct: 15 formats: fmt: @attributes: type: P size: 2.9MB tig: atl: GLOBAL ENCOUNTERS AND RACIAL METAPHOR IN FLANNERY O'CONNOR'S "PARKER'S BACK". aug: au: An, Mengyuan affil: Lecturer at the School of Foreign Languages at Huazhong University of Science and Technology su: Parker's Back (Short story) O'Connor, Flannery, 1925-1964 American civil rights movement Imperialism Symbolism in art Christian fiction Metaphor Theology World culture 20th century (Literary period) sug: subj: Parker's Back (Short story) O'Connor, Flannery, 1925-1964 American civil rights movement Imperialism Symbolism in art Christian fiction Metaphor Theology World culture 20th century (Literary period) ab: This article analyzes Flannery O’Connor’s short story “Parker’s Back,” focusing on its exploration of global cultural encounters and racial metaphor within the context of American postwar expansionism and the civil rights movement. It examines how the protagonist Parker’s tattoos—acquired during his travels in Asia and elsewhere—symbolize both American imperialism and the complex interplay between Western and Eastern cultural influences, including O’Connor’s ambivalence toward the rising popularity of Buddhism in the United States. The article further interprets Parker’s Byzantine Christ tattoo as a racialized and political symbol reflecting Southern racial tensions and the struggle for Black civil rights, highlighting O’Connor’s conflicted attitudes toward race, suffering, and redemption. Ultimately, the story reveals O’Connor’s cultural anxieties about multiculturalism and social change, portraying a limited vision of salvation that intertwines Christian theology with the persistence of racial hierarchy. pubtype: Academic Journal doctype: Literary Criticism src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Renascence is the property of Marquette University and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Renascence holder: Marquette University dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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