By Willa Cather
Willa Cather (1873-1947) was once provided the 1922 Pulitzer Prize for this stirring novel approximately global struggle I. She brings to existence the easy Nebraska farm folks and their tranquil rural way of life, displaying how the good warfare, probably to date away at the previous Continent, ultimately touches them all.
Protagonist Claude Wheeler, a powerful, fit farm boy, is bodily usual of his strong sodbuster kinfolk and hard-working friends. yet mentally the boy has little in universal with their slender outlooks, and the restricted horizons of his parochial neighborhood make him stressed and packed with a slightly suppressed discontent. while the us eventually enters the clash in Europe, Claude is likely one of the first to enlist, seeing function, experience, and dedication to a couple greater beliefs within the name to arms.
One of Ours is a memorable testomony to the shattering results of warfare on adolescence and beliefs, a strong depiction of mechanized conflict and the war's life-changing results on one Nebraska farm boy and the folk he left at the back of.
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Clearly, there is something of Debord’s spectacle already taking shape at Astor Place, as politics and class relations begin to erupt in and through spectacular cultural forms. At the same time, however, the fact that politics and material relations appeared as spectacle in no way impeded the audience’s sense of their right and capacity to intercede. Forrest’s fans took the right to express their sovereign opinion of Macready both seriously and literally, and they interpreted it as the right to expel him, not only from the stage, but from the country as well.
Melville invokes a similar 34â•‡ /â•‡ introduction aesthetic of antirealist theatricality in The Confidence-Man when he demands that readers “sit down to a work of amusement tolerantly as they sit at a play, and with much the same expectations and feelings,” but he takes its possibilities much further. While The Confidence-Man is often read as a dark satire of criminality and gullibility in antebellum culture, I argue in chapter 5 that Melville’s enigmatic work also thematizes and performs an alternative vision of collective life through this aesthetic of theatricality.
At the close of his second volume, Tocqueville arrives at the discussion of a form of society which he calls new, but which has hovered at the margins of the two volumes and nearly seven hundred pages of his study. It involves a power to which the United States “could lay itself peculiarly open,” but which he finds difficult to name. â•¯administer every part of a great empire. No one had ever tried to subject all his people indiscriminately to the details of a uniform code, nor personally to prompt and lead every single one of his subjects” (Democracy in America, 690).