000			03795cam a22004572 4500
007			cr uuu---uuuuu
008			170904s1993 xx s 000 0 eng c
020			_a1423738268
020			_a9781423738268
020			_a9780195082685
020			_a0195082680
020			_a1601299257
020			_a9781601299253
020			_z0195082680
020			_z0195073053
020			_z9780195073058
035			_a(OCoLC)191942111
035			_a(DE-599)BSZ493065253
035			_a(EBSCO)143828
041			_aeng
044			_aXD-US
050		0	_aPS374.W4
082	0		_a813.09
084			_aLIT004020 _2bisacsh
084			_aLIT _2eflch
100			_aJane Tompkins _922574
245	1	0	_aWest of everything _bthe inner life of westerns
260			_aNew York : _bOxford University Press, _c1992 .
300			_b245 pages
490	0		_aOxford paperbacks
500			_aIncludes bibliographical references (pages 235-238) and index. - English. - Print version record.
520			_aA leading figure in the debate over the literary canon, Jane Tompkins was one of the first to point to the ongoing relevance of popular women's fiction in the 19th century, long overlooked or scorned by literary critics. Now, in West of Everything, Tompkins shows how popular novels and filmsof the American west have shaped the emotional lives of people in our time. Into this world full of violence and manly courage, the world of John Wayne and Louis L'Amour, Tompkins takes her readers, letting them feel what the hero feels, endure what he endures. Writing with sympathy, insight, and respect, she probes the main elements of the Western--its preoccupationwith death, its barren landscapes, galloping horses, hard-bitten men and marginalized women--revealing the view of reality and code of behavior these features contain. She considers the Western hero's attraction to pain, his fear of women and language, his desire to dominate the environment--and tomerge with it. In fact, Tompkins argues, for better or worse Westerns have taught us all--men especially--how to behave. It was as a reaction against popular women's novels and women's invasion of the public sphere that Westerns originated, Tompkins maintains. With Westerns, men were reclaiming cultural territory, countering the inwardness, spirituality, and domesticity of the sentimental writers, with a roughand tumble, secular, man-centered world. Tompkins brings these insights to bear in considering film classics such as Red River and Lonely Are the Brave, and novels such as Louis L'Amour's Last of the Breed and Owen Wister's The Virginian. In one of the most moving chapters (chosen for Best AmericanEssays of 1991), Tompkins shows how the life of Buffalo Bill Cody, killer of Native Americans and charismatic star of the Wild West show, evokes the contradictory feelings which the Western typically elicits--horror and fascination with violence, but also love and respect for the romantic ideal ofthe cowboy. Whether interpreting a photograph of John Wayne of meditating on the slaughter of cattle, Jane Tompkins writes with humor, compassion, and a provocative intellect. Her book will appeal to many Americans who read or watch Westerns, and to all those interested in a serious approach to popularculture
650		0	_aWestern stories _xHistory and criticism _zUSA _922575
650		0	_aWestern films _922576
650		0	_aWesterns (Literature) _922577
655		0	_aElectronic books _916111
655		4	_aElectronic books _xCriticism, interpretation, etc _922578
856	4	0	_uhttp://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=143828 _xVerlag _3EBSCOhost
856	4	0	_uhttp://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=143828 _xVerlag
942			_2ddc _cNFIC _n0
999			_c10470 _d10470