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Many scholarly discussions of novelist Willa Cather(1873-1947) debate whether Cather belongs more to the nineteenth-century realist tradition or to the modernist revolution of the early twentieth century. While Cather's preoccupation with nineteenth-century agrarian culture has won the respect of readers and critics, her distrust of modernity left her with a historically unstable position in the modernist canon. Resistance to the changes wrought by the twentieth century,of course, does not necessarily disqualify one from the "modernist" label. The impulse to reconnect with more primitive, earlier times is a hallmark of modernist aesthetics shaping the search for meaning in a fragmented, disenchanted mechanized world. Yet more often than not. [literary critic]
Phyllis Rose explains the early twentieth-century atmosphere of experimentation and "making it new" and an attendant critical discourse that "valued complexity, ambiguity, even obscurity" resulted in Cather's labeling as "naively traditional" and essentially nostalgic and elegiac. "In effect, in modernist studies she has been treated as a romantic regional writer. Unconcerned with the international terrain so integral to modern thinking-at least until scholars, in the 1980s and 1990s, began reevaluating the historical record, demonstrating her innovative departures from nineteenth-century fiction including antiheroism, gender-bending, episodic narrative, antirealism, simple prose. emphasis on memory and time, and the exploration of immigration, empire, and race. Today it is not uncommon to encounter critics announcing Cather's newfound canonical status as a modernist--indicated most clearly by her inclusion in works such as The Cambridge Companion to American Modernism published in 2005.
Phyllis Rose explains the early twentieth-century atmosphere of experimentation and "making it new" and an attendant critical discourse that "valued complexity, ambiguity, even obscurity" resulted in Cather's labeling as "naively traditional" and essentially nostalgic and elegiac. "In effect, in modernist studies she has been treated as a romantic regional writer. Unconcerned with the international terrain so integral to modern thinking-at least until scholars, in the 1980s and 1990s, began reevaluating the historical record, demonstrating her innovative departures from nineteenth-century fiction including antiheroism, gender-bending, episodic narrative, antirealism, simple prose. emphasis on memory and time, and the exploration of immigration, empire, and race. Today it is not uncommon to encounter critics announcing Cather's newfound canonical status as a modernist--indicated most clearly by her inclusion in works such as The Cambridge Companion to American Modernism published in 2005.
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