FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2808335807> ?p ?o ?g. }

• W2808335807 endingPage "41" @default.
• W2808335807 startingPage "26" @default.
• W2808335807 abstract "All the Pretty Language:Cormac McCarthy's All the Pretty Horses as Metafictional Künstlerroman Andrew Harnish (bio) On the surface, Cormac McCarthy's All the Pretty Horses does not appear to be a complex work. It seems to be a coming-of-age story about a couple of young cowboys, albeit one enlivened by McCarthy's breathtakingly lyrical prose. It is a popular novel, accessible—and, as James Lilley notes, the qualities that give it its mass appeal repel some critics, in particular its depiction of love at first sight (275) and the tropes of the more traditional Western (Scott 248). But as Sarah Gleeson-White suggests in her article Playing Cowboys: Genre, Myth and Cormac McCarthy's All the Pretty Horses, McCarthy is not engaging with the genre unselfconsciously; as she points out, rather than merely perpetuating the stereotypes of the old West, the way in which McCarthy makes his Western reveals the complicity of industrial popular culture in the practice of cultural myth-making (25). Gleeson-White goes on to assert that throughout the novel John Grady and Blevins act out the roles of cowboys (32–33) and engage in aching nostalgia (26), in dialog with the popular culture from which [Western] myths have been expanded upon and disseminated (34). These moves complicate the novel's status as a Western. And the self-conscious deployment of Western tropes is not the only way All the Pretty Horses traffics in and comments on artifice: There is metafiction in its depiction of John Grady Cole's coming of age, too. For most critics, the narrative centrality of John Grady's maturation positions the novel squarely as a Bildungsroman. Gail Morrison argues that All the Pretty Horses is fundamentally a Bildungsroman, a coming-of-age story in the great tradition of Hawthorne, Twain, Melville and James (178). Her article is subtitled John Grady Cole's Expulsion from Paradise—this indicates the presence of yet another layer of [End Page 26] archetype; not just the American naïf Morrison first outlines in the piece, but the prelapsarian innocent who experiences the evil of the universe and risks defeat by it (178). Reinforcing this Manichean interpretation, Irving Malin tells us that while on one level the novel seems an adolescent picaresque…on a second (and deeper) level it is an occult narrative of the ultimate meanings—if there are any—of these adventures. There are echoes of a religious quest, a trip to discover the Holy Grail (29). Malin's assessment of All the Pretty Horses emphasizes the spiritual elements of John Grady's coming of age—indeed, he calls it one of the great religious novels written by any American (29). But whereas Morrison and Malin affirm the novel's status as coming-of-age narrative, John Blair complicates its status as Bildungsroman. Blair terms the narrative bildungsroman-ish, because, in his view, John Grady's journey ultimately has no meaning at all (305). Blair goes on to argue that at the start of the novel John Grady's vision does not need deepening; what he needs is the opportunity to employ a vision that, even at sixteen, is already quite clear (303). As Blair sees it, John Grady rides out of Texas and crosses the border into Mexico searching for a very particular kind of meaning: a historical sense, a sense of consistent and clear-cut attitudes and values (302), values which mirror John Grady's own codified and personal sense of conduct, knowing right, sensing authenticity….and resisting authority when it is arbitrary or unjust (305). But in Blair's view, by novel's end John Grady seems to come to realize that the journey, though it must be taken, is in the end as futile as anything else he might have done, because no place is different, essentially, than where you yourself came from, because you yourself cannot be any different than who you are (305). Blair's nuanced interpretation acknowledges both the clarity of John Grady's sense of purpose setting out on his journey and the confusion and frustration he faces upon confronting the failure of its conclusion: attempting to return Blevins's horse to its..." @default.
• W2808335807 created "2018-06-21" @default.
• W2808335807 creator A5039152198 @default.
• W2808335807 date "2018-01-01" @default.
• W2808335807 modified "2023-10-16" @default.
• W2808335807 title "All the Pretty Language: Cormac McCarthy's All the Pretty Horses as Metafictional Künstlerroman" @default.
• W2808335807 cites W1543076702 @default.
• W2808335807 cites W2029527416 @default.
• W2808335807 cites W2335199912 @default.
• W2808335807 cites W2623572351 @default.
• W2808335807 cites W608866541 @default.
• W2808335807 doi "https://doi.org/10.1353/jsw.2018.0002" @default.
• W2808335807 hasPublicationYear "2018" @default.
• W2808335807 type Work @default.
• W2808335807 sameAs 2808335807 @default.
• W2808335807 citedByCount "0" @default.
• W2808335807 crossrefType "journal-article" @default.
• W2808335807 hasAuthorship W2808335807A5039152198 @default.
• W2808335807 hasConcept C104317684 @default.
• W2808335807 hasConcept C107038049 @default.
• W2808335807 hasConcept C121332964 @default.
• W2808335807 hasConcept C124952713 @default.
• W2808335807 hasConcept C142362112 @default.
• W2808335807 hasConcept C17744445 @default.
• W2808335807 hasConcept C185544564 @default.
• W2808335807 hasConcept C185592680 @default.
• W2808335807 hasConcept C18903297 @default.
• W2808335807 hasConcept C199033989 @default.
• W2808335807 hasConcept C199539241 @default.
• W2808335807 hasConcept C2778012557 @default.
• W2808335807 hasConcept C2778449503 @default.
• W2808335807 hasConcept C2779204790 @default.
• W2808335807 hasConcept C2779702343 @default.
• W2808335807 hasConcept C2780903317 @default.
• W2808335807 hasConcept C2781041973 @default.
• W2808335807 hasConcept C519517224 @default.
• W2808335807 hasConcept C52119013 @default.
• W2808335807 hasConcept C55493867 @default.
• W2808335807 hasConcept C56273599 @default.
• W2808335807 hasConcept C86803240 @default.
• W2808335807 hasConcept C95457728 @default.
• W2808335807 hasConcept C96089941 @default.
• W2808335807 hasConceptScore W2808335807C104317684 @default.
• W2808335807 hasConceptScore W2808335807C107038049 @default.
• W2808335807 hasConceptScore W2808335807C121332964 @default.
• W2808335807 hasConceptScore W2808335807C124952713 @default.
• W2808335807 hasConceptScore W2808335807C142362112 @default.
• W2808335807 hasConceptScore W2808335807C17744445 @default.
• W2808335807 hasConceptScore W2808335807C185544564 @default.
• W2808335807 hasConceptScore W2808335807C185592680 @default.
• W2808335807 hasConceptScore W2808335807C18903297 @default.
• W2808335807 hasConceptScore W2808335807C199033989 @default.
• W2808335807 hasConceptScore W2808335807C199539241 @default.
• W2808335807 hasConceptScore W2808335807C2778012557 @default.
• W2808335807 hasConceptScore W2808335807C2778449503 @default.
• W2808335807 hasConceptScore W2808335807C2779204790 @default.
• W2808335807 hasConceptScore W2808335807C2779702343 @default.
• W2808335807 hasConceptScore W2808335807C2780903317 @default.
• W2808335807 hasConceptScore W2808335807C2781041973 @default.
• W2808335807 hasConceptScore W2808335807C519517224 @default.
• W2808335807 hasConceptScore W2808335807C52119013 @default.
• W2808335807 hasConceptScore W2808335807C55493867 @default.
• W2808335807 hasConceptScore W2808335807C56273599 @default.
• W2808335807 hasConceptScore W2808335807C86803240 @default.
• W2808335807 hasConceptScore W2808335807C95457728 @default.
• W2808335807 hasConceptScore W2808335807C96089941 @default.
• W2808335807 hasIssue "1" @default.
• W2808335807 hasLocation W28083358071 @default.
• W2808335807 hasOpenAccess W2808335807 @default.
• W2808335807 hasPrimaryLocation W28083358071 @default.
• W2808335807 hasRelatedWork W1532142386 @default.
• W2808335807 hasRelatedWork W2347419951 @default.
• W2808335807 hasRelatedWork W2363566937 @default.
• W2808335807 hasRelatedWork W2387793129 @default.
• W2808335807 hasRelatedWork W2748952813 @default.
• W2808335807 hasRelatedWork W2885376286 @default.
• W2808335807 hasRelatedWork W3169430128 @default.
• W2808335807 hasRelatedWork W4246022945 @default.
• W2808335807 hasRelatedWork W4311797600 @default.
• W2808335807 hasRelatedWork W652304969 @default.
• W2808335807 hasVolume "60" @default.
• W2808335807 isParatext "false" @default.
• W2808335807 isRetracted "false" @default.
• W2808335807 magId "2808335807" @default.
• W2808335807 workType "article" @default.