Ernest Hemingway
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A Dangerous Summer
theHemingway newsletter Publication of The Hemingway Society | No. 73 | 2021 As the Pandemic Ends Yet the Wyoming/Montana Conference Remains Postponed Until Lynda M. Zwinger, editor 2022 the Hemingway Society of the Arizona Quarterly, as well as acquisitions editors Programs a Second Straight Aurora Bell (the University of Summer of Online Webinars.… South Carolina Press), James Only This Time They’re W. Long (LSU Press), and additional special guests. Designed to Confront the Friday, July 16, 1 p.m. Uncomfortable Questions. That’s EST: Teaching The Sun Also Rises, moderated by Juliet Why We’re Calling It: Conway We’ll kick off the literary discussions with a panel on Two classic posters from Hemingway’s teaching The Sun Also Rises, moderated dangerous summer suggest the spirit of ours: by recent University of Edinburgh A Dangerous the courage, skill, and grace necessary to Ph.D. alumna Juliet Conway, who has a confront the bull. (Courtesy: eBay) great piece on the novel in the current Summer Hemingway Review. Dig deep into n one of the most powerful passages has voted to offer a series of webinars four Hemingway’s Lost Generation classic. in his account of the 1959 bullfighting Fridays in a row in July and August. While Whether you’re preparing to teach it rivalry between matadors Antonio last summer’s Houseguest Hemingway or just want to revisit it with fellow IOrdóñez and Luis Miguel Dominguín, programming was a resounding success, aficionados, this session will review the Ernest Hemingway describes returning to organizers don’t want simply to repeat last publication history, reception, and major Pamplona and rediscovering the bravery year’s model. -
Creatures in Hemingway's Short Stories: Les Hommages to Human Grief
Creatures in Hemingway's Short Stories: 静岡県立大学 Les Hommages to Human Grief 99 短期大学部 研究紀要第 12-1 号 1998 年度 Creatures in Hemingway's Short Stories: Les Hommages to Human Grief Hiroshi TAKAHASHI The Complete Short Stories of Ernest Hemingway, the Finca Vigía Edition published by Charles Scribner's Sons in 1987, contains in its whole bulk of seventy stories the eight items in whose titles Hemingway had the same number of creatures included: ① "Cat in the Rain," ② "Hills Like White Elephants," ③ "A Canary for One," ④ "The Butterfly and the Tank," ⑤ "The Good Lion," ⑥ "The Faithful Bull," ⑦ "Get a Seeing-Eyed Dog," and ⑧ "Black Ass at the Cross Roads"(gothics added). While it is admitted that the group of animals mentioned above show the author's innate penchant for animated nature such as often seen in his works, whether in novels, in short stories, or in essays, it may also be of some interest to some readers and critics of Hemingway's short stories to notice that these eight stories may be capable of a collective survey as one lot, in terms of his technical feats by exquisitely using living things as crucial props or measures to enhance dramatic effects with, although not like such significantly big elements in the development of stories as the bulls in The Sun Also Rises or the leopard and the hyena in "The Snows of Kilimanjaro." The technique of introducing into the works something like simile, metaphor, implication, association, insinuation, reminder, or instigator by using animals could be regarded as of the topnotch quality. -
Ernest Hemingway Foundation, to Keep Alive and Improve/Develop Literature and Forms of Composition and Expression
Born in 1899 in Oak Park, Illinois He was the second of six kids Hemingway's mother, a music teacher and director of the church choir, spent her time with the kids educating them on music, art, concerts, and operas His father, a physician, taught them of the joy of being in nature, Hemingway took this knowledge and love of nature everywhere he went. After high school, he worked as a writer for the Kansas City Star for six months Hemingway wished to sigh up for the war, but due to a glass eye was denied After witnessing a man stranded at the union station, left to die because of small pox and nearby peoples fear to approach him, Hemingway took up the path of an ambulance driver. Lived the life of a celebrity Minimalist Hemingway employed a distinctive style which drew comment from many critics At the beginning of his career Hemingway did not give way to lengthy geographical and psychological description. Though later he used he vividly described nature. His style had been said to lack substance because he avoids direct statements and descriptions of emotion. Later he began to write more deeply into emotions, mostly discussing death and providing a detailed picture in the readers mind Style seen as direct and simple He used his senses as the center for his writing Believed the mind was “treacherous and abstract” Wrote in an unconventional style, with the problems of war, violence and death as their themes, presenting a symbolic interpretation of life. While working in Michigan, Hemingway met Elizabeth Hadley Richardson, an inexperienced and naïve girl, educated at an all girls school. -
The Ernest Hemingway Primer
The Ernest Hemingway Primer By Timeless Hemingway Copyright © 2009 Timeless Hemingway Publications. All rights reserved. Contents I. Biography II. Books by Ernest Hemingway III. The Life: Top 5 Frequently Asked Questions IV. The Literature: Top 5 Frequently Asked Questions V. Notable Quotables VI. Further Reading 2 Biography I. Ernest Miller Hemingway was born on July 21, 1899 in Oak Park, Illinois to Dr. Clarence Edmonds Hemingway and Grace Hall Hemingway. The second of six children, Ernest enjoyed an adventurous boyhood, fishing and hunting with his father in the northern woods of Michigan. He attended Oak Park High School where he excelled in his classes, particularly English. He tried his hand at football and swimming, edited the school paper (the Trapeze), and contributed pieces to the school's literary magazine (the Tabula). After graduating high school, Ernest traveled to Kansas City and worked as a cub reporter for The Kansas City Star. In 1918, he began service as an ambulance driver for the Italian army. On July 8, he was wounded at Fossalta on the Italian Piave while delivering chocolates, cigarettes, and postcards to soldiers. He married Elizabeth Hadley Richardson on September 3, 1921. The newlyweds soon entered the literary community of Paris, living off of Hadley's trust fund and Ernest's pay as a foreign correspondent for the Toronto Star. The 1920's were extremely productive writing years for Hemingway. Three Stories and Ten Poems was published in 1923, In Our Time in 1925. In 1926, The Torrents of Spring and the widely successful novel, The Sun Also Rises were published. -
Readers Guide 1.Indd
The Great Michigan READ 2007–08 Reader’s Guide “His eye ached and he was hungry. He kept on hiking, putting the miles of track back of him. .” —Ernest Hemingway, “The Battler,” The Nick Adams Stories “Nick looked back from the top of the hill by the schoolhouse. He saw the lights of WHAT IS The Great Michigan READ Petoskey and, off across Little Traverse Bay, the lights of Harbor Springs. .” “Ten Indians” Imagine everyone in Michigan reading the same book. At the same time. The Great Michigan Read is a community reading program for the entire state. With a statewide focus on a single literary masterpiece—Ernest Hemingway’s The Nick Adams Stories— it encourages Michiganians to read and rediscover literature. Why The Nick Adams Stories? The Nick Adams Stories is a literary masterpiece literally made in Michigan. The author, Ernest Hemingway, spent the majority of his fi rst 22 summers in Northern Michigan. These experiences played an essential role in his development as one of the world’s most signifi cant writers. What are The Nick Adams Stories about? The Nick Adams Stories chronicles a young man’s coming of age in a series of linked short stories. As Nick matures, he grapples with the complexities of adulthood, including war, death, marriage, and family. How can I participate? Get a copy of the book or audiobook at Meijer, Barnes & Noble, Borders, Schuler Books & Music, your local library, online, or through other retail locations. Read the book, utilize the reader’s guide and website, talk about it with your friends, family, or book club, and participate in Great Michigan Read events in your neighborhood. -
James Nagel, Ed. ERNEST HEMINGWAY: the WRITER in CONTEXT Madison: the University of Wisconsin Press, 1984
the '30s; the general strength of the biography could have been enhanced by greater attention to the Italian stories and a more subtle understanding of Cheever's connection between appearances and moral realities. But Ms. Cheever's treatment of her father's artistic life is both respectful and illuminating. It deepens our understanding of a writer whose central artistic vision was "to celebrate a world that lies spread out around us like a bewildering and stupendous dream." James Nagel, Ed. ERNEST HEMINGWAY: THE WRITER IN CONTEXT Madison: The University of Wisconsin Press, 1984. Pp. xvii + 246. $27.50 Reviewed by Raymond S. Nelson Ernest Hemingway: The Writer in Context is "a commemorative record of three days of informed and engaging conversation about Ernest Hemingway "which took place at North eastern University in May of 1982" (p.x). The Hemingway Society and the John F. Kennedy Library cooperated with the University to make it a memorable event. The book is divided into four parts, Personal Comments and Reminiscences, The Craft of Composition, Interpretations Biographical and Critical, and Relationships with Other Writ ers. The last two sections are about twice as long as the first two. The first section contains reminiscences from Charles Scribner, Jr., about Hemingway's long association with Scribner's Publishing Company. Scribner praises Hemingway's loyalty to the company, particularly to his father and grandfather and, of course, Max Perkins. Patrick Hemingway shared his memories of sailing on the "Pilar" during the early days of World War II, and comments on how his father transmuted such materials to the fiction of Islands in the Stream. -
Box and Folder Listing
CLARKE HISTORICAL LIBRARY CENTRAL MICHIGAN UNIVERSITY Ernest Hemingway Collection, 1901, 2006, and undated 5 cubic ft. (in 3 boxes, 6 Oversized folders, 4 reels in 4 boxes, and 2 framed posters) ACQUISITION: The collection was donated in several parts by Michael Federspiel and the Michigan Hemingway Society, Acc# 67522 (Oct. 4, 2002), #67833 (April 2003), Acc# 68091 (Oct. 2003), Acc#68230 (Dec. 2003), by Ken Mark and the Michigan Hemingway Society, Acc#68076 (Oct. 2003), Rebecca Zeiss, Acc# 68386 (Oct. 2003), Acc#68415 by Ken Mark (April 27, 2004), by Charlotte Ponder Acc# 68419 (May 2004), Acc#68698 by Federspiel (Sept. 30, 2004), Acc#68848 by the Hemingway Society (Dec.6, 2004), Acc#69475, Acc#70252, Acc#70401 (April 2007), Acc#70680-70682 and 70737 (Summer 2007), 70833 (March 2008), no MS#. The collection is ongoing. ACCESS: The collection is open to researchers. COPYRIGHT: Copyright is held neither by CMU nor the Clarke. PHOTOGRAPHS: In Box 2. PROCESSED BY: M. Matyn, Feb., Oct. and April 2003, March-May 2004, Feb. 2006, April and June 2007, Jan. and March 2008. Biography: Ernest Hemingway was born July 21, 1899 in Oak Park (Ill.), the son of Clarence E. Hemingway, a doctor, and Grace Hall-Hemingway, a musician and voice teacher. He had four sisters and a brother. Every summer, the family summered at the family cottage, named Windemere, on Walloon Lake near Petoskey (Mich.). After Ernest graduated from high school in June 1917, he joined the Missouri Home Guard. Before it was called to active duty, he served as a volunteer ambulance driver for the American Red Cross. -
Martha Gellhorn and Ernest Hemingway
MARTHA GELLHORN AND ERNEST HEMINGWAY: A LITERARY RELATIONSHIP H. L. Salmon, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2003 APPROVED: Timothy Parrish, Major Professor Peter Shillingsburg, Minor Professor Jacqueline Vanhoutte, Committee Member Brenda Sims, Chair, Graduate Studies in English C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Salmon, H. L., Martha Gellhorn and Ernest Hemingway: A Literary Relationship, Master of Arts (English). May 2003. 55 pp. Martha Gellhorn and Ernest Hemingway met in Key West in 1937, married in 1941, and divorced in 1945. Gellhorn’s work exhibits a strong influence from Hemingway’s work, including collaboration on her work during their marriage. I will discuss three of her six novels: WMP (1934), Liana (1944), and Point of No Return (1948). The areas of influence that I will rely on in many ways follow the stages Harold Bloom outlines in Anxiety of Influence. Gellhorn’s work exposes a stage of influence that Bloom does not describe—which I term collaborative. By looking at Hemingway’s influence in Gellhorn’s writing the difference between traditional literary influence and collaborative influence can be compared and analyzed, revealing the footprints left in a work by a collaborating author as opposed to simply an influential one. ACKNOWLEDGMENTS I would like to thank Dr. Tim Parrish, who from its inception encouraged me to take on this project and whose encouragement throughout my degree work has been insightful and inspiring. Dr. Peter Shillingsburg served as a reader and mentor, and his high standards and personal integrity challenged me to make sure my own scholarship is a credible as his own. -
Szerencsés Szigetek
Pákovics Miklós Afortunadas - Szerencsés szigetek © Pákovics Miklós, 1998. Győri Városi Könyvtár, 1998. Köszönet Győr Megyei Jogú Város Önkormányzata Oktatási Kulturális és Sportbizottságának, amely a kiadást az Alkotók Győrért Alapból támogatta, valamint köszönet Réger Frigyesnek, a Rába Rt.-nek és a Rába Cinema Kft.-nek TARTALOM Előszó Regény motívumok nélkül Menni, menni, menni Felicidades Az elfelejtett költő Borzalmas jókívánság Karácsony Las Palmasban Színvonal vagy takarékosság Jancsi Antoñete visszatér Perez Galdós A kis herceg España feliz Fesztivál után és előtt Federico Tető, egy tál étel és egy fórum Emilio menüje Téli futball Nekrológ gitárra Két cantautor Fesztivál a Kanári szigeteken A vámpírok órája Tegnap Mert andaluzok vagyunk Hajóstop Estefánia Otello féltékeny volt Naponta egy meccs, de jobb a kettő Mit ér az élet... Don Giovanni - Néstor tervei alapján Szigeti közérzet Lolita Pluma Spanyolok és turisták A szardínia elföldelése Graciliano Afonso utca Pigeon Drop A szendvicsevés ártalmai A nagy zabálás Murga a kifulladásig Lucrezia Borgia Egy, kettő, három Kraus meséi Kötéltánc A nagy parádé „A szimpatikus külföldi ellenség” Nem a gólya... Az öreg halász és a fotómasina Az unoka Espiritu Ha egyszer a bicikli elindul... A dezertőr nagy napja Ne bántsd a Montmartre-ot! Mexikó - Spanyolországból Egy este a Folies-ban Neked mondja Camarón Nélkülözhetetlen fölöslegesség Egy évforduló évfordulója Fehér kendőket lobogtatnak A madridi ügynök Nestor gyermekei Napló és szomorúság Büntető Puskásnak A szederfa Lorca - egy költő -
This Month on Tcm Showcases
WEEKLY THIS MONTH ON TCM SHOWCASES 1 BILLY WILDER COMEDIES 8 AN EVENING IN THE 12TH 15 MAY FLOWERS 22 STARRING CEDRIC HARDWICKE Sergeant York (’41) THE ESSENTIALS CENTURY Stalag 17 (’53) A Foreign Affair (’48) The Blue Dahlia (’46) The Hunchback of Notre Dame (’39) Must-See Classics The Great Escape (’63) Some Like It Hot (’59) The Lion in Winter (’68) Days of Wine and Roses (’62) Nicholas Nickelby (’47) Saturdays at 8:00pm (ET) The Bridge on the River Kwai (’57) The Fortune Cookie (’66) The Adventures of Robin Hood (’38) Please Don’t Eat the Daisies (’60) On Borrowed Time (’39) 5:00pm (PT) King Rat (’65) The Major and the Minor (’42) Robin and Marian (’76) What’s Up, Tiger Lily? (’66) King Solomon’s Mines (’37) A Foreign Affair (’48) Billy Wilder Speaks (’06) Becket (’64) Brother Orchid (’40) The Desert Fox (’51) 29 MEMORIAL DAY WEEKEND WAR The Lion in Winter (’68) The Blue Gardenia (’53) Valley of the Sun (’42) MOVIE MARATHON The Blue Dahlia (’46) 2 GOVERNESSES NOT NAMED MARIA 9 MOTHER’S DAY FEATURES The Hunchback of Notre Dame (’39) You’re in the Army Now (’41) Dragonwyck (’46) So Big (’53) 16 STARRING EDDIE BRACKEN 23 WE GOT YOUR GOAT The Best Years of Our Lives (’46) Buck Privates (’41) All This, and Heaven Too (’40) Gypsy (’62) Hail the Conquering Hero (’44) A Kid for Two Farthings (’56) In Harm’s Way (’65) About Face (’52) The Rising of the Moon (’57) 3 ROBERT OSBORNE’S PICKS 10 GUEST PROGRAMMER: Battle of the Bulge (’65) TCM UNDERGROUND Cult Classics Can’t Help Singing (’44) SHIRLEY JONES 17 STARRING ROSSANO BRAZZI 24 BASED ON -
Ernest Hemingway's Mistresses and Wives
University of South Florida Digital Commons @ University of South Florida Graduate Theses and Dissertations Graduate School 10-28-2010 Ernest Hemingway’s Mistresses and Wives: Exploring Their Impact on His Female Characters Stephen E. Henrichon University of South Florida Follow this and additional works at: https://digitalcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Henrichon, Stephen E., "Ernest Hemingway’s Mistresses and Wives: Exploring Their Impact on His Female Characters" (2010). Graduate Theses and Dissertations. https://digitalcommons.usf.edu/etd/3663 This Thesis is brought to you for free and open access by the Graduate School at Digital Commons @ University of South Florida. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Digital Commons @ University of South Florida. For more information, please contact [email protected]. Ernest Hemingway’s Mistresses and Wives: Exploring Their Impact on His Female Characters by Stephen E. Henrichon A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph. D. Lawrence R. Broer, Ph. D. Victor Peppard, Ph. D. Date of Approval: October 28, 2010 Keywords: Up in Michigan, Cat in the Rain, Canary for One, Francis Macomber, Kilimanjaro, White Elephants, Nobody Ever Dies, Seeing-Eyed Dog © Copyright 2010, Stephen E. Henrichon TABLE OF CONTENTS ABSTRACT -
LIT 360, Major Authors in Literature, Ernest Hemingway (W) Fall 2019 Dr
LIT 360, Major Authors in Literature, Ernest Hemingway (W) Fall 2019 Dr. Sarah J. Lauro University of Tampa College of Arts & Letters CONTACT INFORMATION Office: Plant Hall 233 Email: [email protected] Phone: (813) 257-3322 Class meets: MWF 11:30-12:40 227 PLANT Office Hours: MF 1-3 & by appointment COURSE DESCRIPTION This class is a study of the work of a major author. For this course, we will focus on the life and works of Ernest Hemingway, whose terse, clean prose is said to have transformed American literature. His life was as dramatic as his works and this course will also emphasize his personal biography. His adventures as a sportsman, soldier, and war correspondent, as well as his torrid personal life, his ultra- masculine persona, and his battle with depression and alcoholism made him a larger-than-life figure in the history of the twentieth century. This class will range from looking at some of his most respected works (his first novel and his last), to lesser-known texts. We will emphasize his short fiction, his autobiographical sketches of life in Paris after the first world war, and his relationship to Cuba, which is of particular interest given our own geographical and cultural relationship to the island nation at the University of Tampa. In addition, this class comes with a “W” designation, which means that its writing level is intensive: Students in this class will do weekly response writings, and write three papers that demonstrate different types of skills: a close reading exercise on a short text, an individually conducted project on the Hemingway archive that asks students to do independent research on primary sources, and a longer, critical essay that engages with scholarship as it seeks to make an original argument about one of Hemingway’s novels.