Abstract
This article locates the place of Willa Cather’s work in literary history by revealing its relation to a central tradition of aesthetics. If at times her work has seemed to waver between romanticism and realism, if today it seems destined to be associated with modernism, yet another set of terms is more appropriate for defining it: by pursuing the sentimental, Cather’s work produces an advanced form of the naive. These terms emerge from an aesthetic tradition that ranges from Friedrich Schiller through Hegel, Emerson, and Ruskin to Theodor Adorno. Applied across Cather’s work, they reveal a mode of perception in her narration that not only elucidates the dialectical relationship between her romanticism and modernism but also offers a dialectical perspective on the relationship between her elegiac tendencies and her visions of empire..
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.