Willa Cather's Modernism: A Study of Style and TechniqueFairleigh Dickinson Univ Press, 1990 - 178 pagina's Willa Cather's Modernism challenges the assumption that Cather was an old-fashioned exponent of styles of fiction, demonstrating instead that Cather was clearly aware of the experimentation within the modernist movement. Illustrative chapters deal with three central novels: A Lost Lady, The Professor's House, and My Mortal Enemy. |
Inhoudsopgave
| 22 | |
| 32 | |
Fictions Vacuoles Tracing What Willa Cather Left Out | 51 |
Willa Cather and the Fine Reader Art as a Mutual Endeavor | 66 |
A Lost Lady Willa Cathers Tribute to James Flaubert and Artistic Autonomy | 87 |
The Professors House An Experiment in the Use of Time Memory and Juxtaposition | 103 |
My Mortal Enemy The Novel Démeublé | 117 |
Conclusion | 126 |
Notes | 136 |
Bibliography | 159 |
Index | 172 |
Overige edities - Alles bekijken
Willa Cather's Modernism: A Study of Style and Technique Jo Ann Middleton Geen voorbeeld beschikbaar - 1990 |
Veelvoorkomende woorden en zinsdelen
Alexander's Bridge American Ántonia Archbishop artistic attitude Bloom Bohlke Cather in Person chapter character cinemagraphic consciousness create creation creative critical David Daiches David Stouck Death Comes demonstrates detail discusses effect emotional essay experimental feeling fiction film Flaubert Forty gaps Henshawe I. A. Richards imagery imagination intense Iser James Schroeter James Woodress Jewett Jonathan Raban juxtaposition Kingdom of Art Lark Lincoln literary literature Lost Lady Lucy Gayheart Marian Forrester meaning memory Merrill Maguire Skaggs modern modernist Mortal Enemy Myra Myra's narrative narrator Nebraska Press Nellie Niel Niel's nique Novel Démeublé Outland's perception Peter Ackroyd Pioneers poetry point of view Professor's House reader response relationship René Rapin Rosowski Sapphira says scene Sergeant Slave Girl story Stouck structure suggest symbol technique tells theory thing tion tradition understanding University of Nebraska University Press vacuole voice Voyage Perilous Welty Willa Cather Wolfgang Iser writing York
Populaire passages
Pagina 33 - When we speak of technique, then, we speak of nearly everything. For technique is the means by which the writer's experience, which is his subject matter, compels him to attend to it; technique is the only means he has of discovering, exploring, developing his subject, of conveying its meaning, and, finally, of evaluating it.
Pagina 70 - It must leave in the mind of the sensitive reader an intangible residuum of pleasure; a cadence, a quality of voice that is exclusively the writer's own, individual, unique. A quality that one can remember without the volume at hand, can experience over and over again in the mind but can never absolutely define, as one can experience in memory a melody, or the summer perfume of a garden.
Pagina 52 - Whatever is felt upon the page without being specifically named there — that, one might say, is created. It is the inexplicable presence of the thing not named...
Pagina 24 - The artist spends a life-time in loving the things that haunt him, in having his mind "teased" by them, in trying to get these conceptions down on paper exactly as they are to him and not in conventional poses supposed to reveal their character; trying this method and that, as a painter tries different lightings and different attitudes with his subject to catch the one that presents it more suggestively than any other.
Pagina 117 - How wonderful it would be if we could throw all the furniture out of the window; and along with it, all the meaningless reiterations concerning physical sensations, all the tiresome old patterns, and leave the room as bare as the stage of a Greek theatre...
Pagina 104 - Just before I began the book I had seen, in Paris, an exhibition of old and modern Dutch paintings. In many of them the scene presented was a living-room warmly furnished, or a kitchen full of food and coppers. But in most of the interiors, whether drawing-room or kitchen, there was a square window, open, through which one saw the masts of ships, or a stretch of grey sea.
Pagina 44 - Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole — so that all that one has suppressed and cut away is there to the reader's consciousness as much as if it were in type on the page.
Pagina 93 - ... was feudal; the rich and fortunate were also the privileged. These warm-blooded, quick-breathing people took chances, — followed impulses only dimly understandable to a boy who was wet and weather-chapped all the year; who waded in the mud fishing for cat, or lay in the marsh waiting for wild duck. Mrs. Forrester had never been too haughty to smile at him when he came to the back door with his fish. She never haggled about the price. She treated him like a human being.
Pagina 59 - Fortunate country, that is one day to receive hearts like Alexandra's into its bosom, to give them out again in the yellow wheat, in the rustling corn, in the shining eyes of youth!
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