This is an examination of the extent to which Cather poses an ecofeminist response to the normative Frontier Myth. In an analysis of Cather's 1923 essay, "Nebraska: The End of the First Cycle" and O Pioneers! it argues that Cather revises the typical masculine, individualistic pioneer spirit into a Pioneer Spirit that is rooted in connectivity, collaboration and sustainability.

Thesis (M.A.)--Oregon State University, 2000. / Typescript (photocopy). Includes bibliographical references (leaves 86-89). Also available online.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2006. / Title from title screen (site viewed on Oct. 6, 2006). PDF text: x, 163 p. : music ; 7.52Mb. UMI publication number: AAT 3213392. Includes bibliographical references. Also available in microfilm, microfiche and paper format.

This thesis explores the evolution of American Western narrative after the 1893 closing of the Western Frontier. Formerly representing a seemingly limitless fuel of symbolic growth, the frontier's closing threatened further national prosperity. Without new Western lands to conquer, narratives about the West began to be romanticized in a new way, selectively omitting non-Anglo narrative elements and presenting a more palatable West in the form of celebratory conquest. Ignoring its imperial roots, this new twentieth-century mythologization of the West became an increasingly ubiquitous narrative of America's honorable origins. Despite its ties to the perpetuation of empire, the pervasiveness of contemporary Western narratives remains largely benign in resonance, resulting in a past that is wholly severed from the present. Using a New Historicist approach, this study pairs literary works with cultural artifacts, tracking the role of Western narrative in the furtherance of empire. The first chapter examines Frederick J. Turner's "The Significance of the Frontier in American History" and Owen Wister's The Virginian (1902) as representatives of the new romanticization of the West. Chapter two looks at how Willa Cather's anti-spectacle novel, Death Comes for the Archbishop (1927), responds to the spectacle of Empire at early twentieth-century World's Fairs. The final chapter pairs Japanese-American Internment during World War II with Cormac McCarthy's All the Pretty Horses (1992), as a commentary on the oppressive rhetoric of western space.

No description available.

No description available.

In 1922 Carl Van Doren noticed that a revolt from the village was taking place in modern American writing, especially when it came to the midwestern United States. According to Van Doren, where James Whitcomb Riley and Booth Tarkington’s local color humor made the small-town Midwest the celebrated center of American values in the late nineteenth century, writers like Willa Cather and Sinclair Lewis used modern literary techniques like realism and symbolism to make the region a peripheral site of resistance to the forces of urban-industrialization and globalization that were reshaping U.S. culture and society in the early twentieth century. Since the 1920s, this assessment of the Midwest’s cultural parochialism has reinforced conceptions of the region’s political provincialism, which emerged thanks to regional politicians’ like Minnesota governor Joseph Burnquist and senator Frank B. Kellogg’s efforts to privilege domestic issues and local concerns over foreign affairs. As a result of this parochial reputation, the region has been largely overlooked in studies of U.S. literary modernism, which is typically associated with metropolitan centers and transnational exchange. By attending to Cather and Lewis’s representations of the transnational communities and economies that structured the Midwest’s growth in the Progressive era, this dissertation rejects assumptions about the region’s perennial parochialism to emphasize its historical cosmopolitanism. In doing so, it shows how Cather and Lewis mobilized the region’s history of migration, settlement, and urbanization to critique the failures of U.S. political progressivism, and asserts the midwestern hinterland’s participation in the development of U.S. literary modernism. Specifically, I argue that by representing the relationships between immigrants and native-born U.S. citizens in the modern Midwest’s social and cultural institutions, Cather and Lewis subvert the progressive themes and consensus-building impulses of literary realism to critique the rise of U.S. commercial capitalism, nationalism, and imperialism.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

Thesis (M.A.)--Oregon State University, 2010. / Printout. Includes bibliographical references (leaves 92-96). Also available on the World Wide Web.

Thesis (M.A.)--Brigham Young University. Dept of English, 2006. / Includes bibliographical references (p. 70-73).