Nature’s Interactions with Culture, City, Female, and Beyond in "A White Heron"
What best distinguishes Sarah Jewett’s regionalist writing is that she creates hybrid landscapes on which nature and culture merge, overlap, and collide. Even though nature in her “A White Heron” is concentrated into one abstract and powerful force, this study is about reading nature’s different int...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
David Publishing Company
2014
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| In: |
Cultural and religious studies
Year: 2014, Volume: 2, Issue: 4, Pages: 219-225 |
| Online Access: |
Presumably Free Access Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a What best distinguishes Sarah Jewett’s regionalist writing is that she creates hybrid landscapes on which nature and culture merge, overlap, and collide. Even though nature in her “A White Heron” is concentrated into one abstract and powerful force, this study is about reading nature’s different interactions with other concepts in the story and examines how the distinctions between nature and culture, nature and city, nature and female, and nature and beyond, are clearly maintained and yet how some boundaries of these are blurred or transcended. Accordingly, Jewett uses Maine landscapes and characters to frame universal questions of life and death, love and sexuality, permanence and change, and uses something small to symbolize larger issues of life. In the best of this regionalist writing, people see a focus on a particular area or group, but also a focus that enables the writer to find universal truths in very specific locales. | ||
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