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LURe

Literary Undergraduate Research

Editor-in-Chief

Keri Jones

Editorial Assistant

Kaitlyn Bradley

Assistant Editor

Kari Wood

Promotions Editor

Anna Jones

Faculty Advisor

Dr. Leah Haught

Staff Editors

Grace Beagles

Meghan Bridges

Janelle Carlisle

Myesha Carter

Chyna Gowan

Caleb Howard

Daiyaan Hutson

Sonora Lanham

Darelyanel Medina

Autumn Pritchard

Ingrid Pritchett

Allison Perrigo

Audrey Quansah

Katie Smith

Paris Smith

Kendall Stansbury

Kimberly Wooten

LURe is a peer-edited journal devoted to publishing rigorous works of cultural study. By publishing academic papers from undergraduates, LURe opens up a forum for dialogue and discussion within the academic community, provides a medium for recognition of exceptional work, and encour- ages students to view themselves as vital members of the intellectual community they inhabit. LURe would like to thank Mrs. Susan Holland and Mrs. Jonette Larrew of the University of West Georgia English & Philosophy Department for their invaluable assistance in compiling this issue; Dr. Pauline Gagnon, Dean of the UWG College of Arts and Humanities, for her support; Dr. Meg Pearson, Chair of the UWG English & Philosophy Department, for her promotion of, contributions to, and general enthusiasm for the the journal generally would have been unrealized imaginings.

Cover Art: Keri Jones and Leah Mirabella

This volume was made possible in part by a grant from the National recommendations expressed herein do not necessarily represent those of the National Endowment for the Humanities. LURe:

Literary Undergraduate Research

VOLUME 10

FALL 2020

"For my dear wife had no hands": Sexuality and

Taylor Drake, Agnes Scott College

5 Intertextuality, Aesthetics, and the Digital: Rediscovering

Chekhov in Early British Modernism

Sam Jacob, Brigham Young University

21
Femininity, Domestic Spaces, and “Bartleby, the Scrivener"

Alex McCarron, Shepherd University

40
Rethinking the Cyborg: Posthuman Representations in

WALL-E

Madeline Merritt, Marshall University

50
Boys Will Be Boys: Toxic Masculinity and Conditioned

Heroism in “Cúchulainn's Boyhood Deeds"

Kelsey Lumsden Mullinax, University of West Georgia 59
“Domestic Imperialism" and the Landed Gentry in Pride and

Prejudice

Thomas Nielsen, Columbia University in the City of New York 69
Grotesque Wives: Female Monstrosity in Medieval Texts

Juli Olson, University of West Georgia

79
Shifting Culture: A Study of the Post-Civil War Contention Between Freedom and Conformity in Twain's Adventures of

Huckleberry Finn

Esther Caroline Riordan, University of West Georgia 91

Their Black and Queer Neighbors

Hayden Robinson, Model High School

103
Lost in Translation: Examining the Manipulation of Las Casas's Brevísma relación de la destrucción de las Indias

Muhammad Siddiq, University of Georgia

109

The Handmaid"s Tale

Hannah Rachel Stanley, Okanagan College, Kelowna

122
and Exit West Sierra Zielinski, Saint Mary's College, Notre Dame 130
LURe: Literary Undergraduate Research, Fall 2020 5 "For my dear wife had no hands": Sexuality

Without Hands Folktale

Taylor Drake, Agnes Scott College

A s Max Horkheimer and Theodor Adorno write, "Being unable to escape it, one praises the body when not allowed to hit it" (195). Folktale bodies are the perfect site for such contradictions—as much as they are often pristine and preternaturally beautiful, they are also often eous toad, then restored through true love's kiss. The princess offers her This dichotomy between beauty and hideousness—and its resolution with many disability scholars like Sandra Schwab noting that "romance heroes and heroines typically have ‘not merely ‘normal' bodies, but perfect bodies'" (Cheyne 38). The proliferation of romantic subplots is to such an extreme that a wedding is not only a core tenet of popular culture's, but also academia's own generic understanding of folktales. A wedding is, after all, the last of thirty plot “functions" that form the spines of many of our most enduring tales, including Red Riding Hood, Beauty and the Beast, Sleeping Beauty, Cinderella, and Snow White. 1 What to make, then, of a collection of folktales that portrays a beautiful young woman mutilated by the Devil or an incestuous father, who then Crimson Bound, fantasy author Rosamund Hodge"s 2015 sophomore novel, allows modern audiences to start deciphering that question. Crimson Bound is a combination retelling of Red Riding Hood

6 LURe: Literary Undergraduate Research, Fall 2020

Taylor Drake

(ATU 333) 2 and The Girl Without Hands, here used synonymously with The Maiden Without Hands (ATU 706), which rebuilds Red Riding Hood into a superpowered, but traumatized, action heroine, the Maiden into a man forced to be a saint, and the Wolf and the Devil into one vio- lent, chauvinistic stalker. Rosamund Hodge addresses the Maiden folk- tales' fetishization of disabled women as morally pure martyrs through her male Maiden Prince Armand, whom the populace hails as a “living martyr" after his mutilation by a demon. Told through the eyes of Ra- vying for the throne, the novel concludes that even sainthood does not break Armand free of the system of dehumanization and state violence Christian iconography of many Girl Without Hands folktales, Hodge deconstructs the notion that fetishization is not its own insidious form of violence upon marginalized bodies. Furthermore, by presenting Ar- mand as the main love interest, Crimson Bound disrupts the notion that disabled people are unworthy of romantic and sexual love. Despite its wonderful head-start, the novel stumbles in its adherence to generic constraints and the sex-negative moral of Charles Perrault's founda- cal for the narratological. Before proceeding further, a brief overview of the Maiden Without likely Hodge's primary source - is in order. In the Grimms' version, a poor miller is tricked by the Devil into promising he will exchange whatever is directly behind his house for riches, thinking it to merely be his prized apple tree. Instead, it is his daughter, and when her purity prevents the Devil from touching her, the Devil orders the miller to cut off her hands. The girl submits to her father and leaves, handless, to wander into the forest. There, an angel helps her sneak into the king's garden and eat from his pear tree, and when the king catches her in the act, he falls in love. After they are married, he goes to war, and the Devil (or, as is most common in other versions, a wicked mother-in- law) intercedes and forges the king's letters to order the Maiden and her children killed. A compassionate executioner, however, frees the Maid- en and her children, whereupon they are kept alive by God until the it "genetically" closer to the likes of Snow White (ATU 709) than Red Riding Hood, and indeed, the line between Maiden and Snow White LURe: Literary Undergraduate Research, Fall 2020 7

Taylor Drake

tales can become incredibly blurred. For instance, Peter Buchan's "The Cruel Stepmother" and Alan Bruford's “Lasair Gheug," a Maiden and a Snow White tale respectively, both feature a cruel stepmother who frames the princess for the murders of the king's prized animals and %UXIRUGDQG0DF'RQDOGquotesdbs_dbs21.pdfusesText_27

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