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The word rides again : rereading the frontier in American fiction
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The word rides again : rereading the frontier in American fiction

Auteur : J David Stevens
Éditeur : Athens, Ohio : Ohio University Press, ©2002.
Édition/format :  Livre : AnglaisVoir toutes les éditions et les formats
Résumé :
"With much recent scholarship polarizing frontier novels into "popular" and "literary" camps, The Word Rides Again challenges the critical orthodoxy that such works have little in common, arguing instead that formulaic Western fictions can subtly (and even subversively) share cultural concerns with more highbrow brethren. Each chapter focuses on a writer who has traditionally been classified as either popular or  Lire la suite...
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Détails

Format physique additionnel : Online version:
Stevens, J. David, 1969-
Word rides again.
Athens, Ohio : Ohio University Press, c2002
(OCoLC)606674412
Type d’ouvrage : Ressource Internet
Format : Livre, Ressource Internet
Tous les auteurs / collaborateurs : J David Stevens
ISBN : 0821414178 9780821414170 0821414186 9780821414187
Numéro OCLC : 47049867
Description : xx, 236 p. : ill. ; 24 cm.
Contenu : Preface: A Personal Beginning --
Introduction: The "Origin" of the Popular Western and Some Themes --
1. Hobomok: A Brief Case Study from the Beginning of the Genre --
2. "She war a woman": Family Roles, Gender, and Sexuality in Bret Harte's Western Fiction --
3. "Don't forget the cowboys, Sandy": Mark Twain and the Western Myth --
4. A Man's Role: Literary Influence and The Virginian --
5. (Re)Writing a Native American Western: John Rollin Ridge and Zitkala-Sa --
6. Riders of the Papal Sage: Willa Cather's "Western" --
7. The Many Echoes of The Man Who Killed the Deer --
Epilogue: Reading the Western and the Importance of History.
Responsabilité : J. David Stevens.
Plus d’informations :

Résumé :

"With much recent scholarship polarizing frontier novels into "popular" and "literary" camps, The Word Rides Again challenges the critical orthodoxy that such works have little in common, arguing instead that formulaic Western fictions can subtly (and even subversively) share cultural concerns with more highbrow brethren. Each chapter focuses on a writer who has traditionally been classified as either popular or artistic, reading a representative fictional work against prevailing scholarly trends. In this manner, Bret Harte's sentimental stories become gender-bending experiments in which women assume male roles and even enjoy lesbian relationships. Owen Wister's The Virginian is transmuted from a misogynistic diatribe into a complex meditation on the peculiarly American relation of violence to male identity. And even Willa Cather's Death Comes for the Archbishop, rather than the apotheosis of a religious leader, becomes a somewhat standard version of the popular frontier story." "The Word Rides Again represents a significant departure from more traditional studies of frontier literature. It reaffirms the continuum between popular and literary texts and explores the ways that frontier novels have echoed, endorsed, and extended each other from the inception of the genre."--BOOK JACKET.

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