"The emancipation of women," James Joyce
told one of his friends, "has caused the greatest
revolution in our time in the most important
Line relationship there is—that between men and
(5) women." Other modernists agreed: Virginia
Woolf, claiming that in about 1910 "human
character changed," and, illustrating the new
balance between the sexes, urged, "Read the
’Agamemnon,’ and see whether...your sympathies
(10) are not almost entirely with Clytemnestra." D.H.
Lawrence wrote, "perhaps the deepest fight for
2000 years and more, has been the fight for
women’s independence."
But if modernist writers considered women’s
(15) revolt against men’s domination one of their
"greatest" and "deepest" themes, only recently—in
perhaps the past 15 years—has literary criticism
begun to catch up with it. Not that the images of
sexual antagonism that abound in modem litera-
(20) ture have gone unremarked; far from it. But what
we are able to see in literary works depends on
the perspectives we bring to them, and now that
women—enough to make a difference—are
reforming canons and interpreting literature, the
(25) landscapes of literary history and the features of individual books have begun to change.

The author’s attitude toward women’s reformation of literary canons can best be described as one of（）

A．ambivalence
B．antagonism
C．indifference
D．endorsement
E． skepticism