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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. -
Key West Hemingway
Key West Hemingway The 11th Biennial International Hemingway Society Conference June 7-12, 2004 Key West, Florida "Key West Hemingway" The 11th Biennial Hemingway Society Conference June 7-12, 2004 Key West FL Monday, June 7 Registration, Lobby Veranda, Cas a Marina Hotel 2:00-5:00 p.m. Please drop by to pick up your registration packet, to introduce your self, and to mingle. You may also sign up for afternoon walking tours. Opening reception, the Hemingway House on Whitehead Street 6:30-8:30 p.m. Welcome by Linda Wagner-Martin (President, Hemingway Society), Gail Sinclair (Site Director). Special presentation by the City of Key West. A shuttle to the Hemingway House will run from 6: J5-7:00 p.m. 77le return shuttle will run from 8:00 to 9:00, although, after the reception, you may wish to walk to Duval Street for dinner and a night on the town. Tuesday, June 8 Conference Kickoff, Grand Ballroom, Casa Marina Hotel 8:00-8:30 a.m. "Only in Key West: Hemingway's Fortunate Isle," Lawrence Broer (U of South Florida). Introduction by Kirk Curnutt (Program Director). All panel sessions unless otherwise noted will meet in the Keys Ball room. Specific room assignments are as follows: Sessions A= Big Key Pine B=Duck Key C=Plantation Key Session' 8:30-9:45 a.m . A. The Hardboiled Hemingway Moderator: Megan Hess (U of Virginia) I. "Hemingway and the Marinescape of Piracy," Susan F. Beegel (Editor, 77le Hemingway Review) 2. "Hemingway According to Raymond Chandler: Hack or Hard-Boiled Hero?" Marc Seals (U of South Florida) 3. -
Ivens Magazine Blz18tm37.Pdf
basin, Ivens yells: ‘We will shoot this scene again in half an June 15th – June 22nd 1956 Damme, Belgium June 25th - July 12th 1956, Mulde, Germany Gérard Philipe and Joris Ivens, hour! There is too much smoke, the horses do not cavort Part of the film crew travelled to Flanders, Bruges, in order On June 25th, Gérard Philipe and Joris Ivens arrived at film clips in East Germany enough and the bridge explosion is not as spectacular as it to add some authentic elements of the local colour to the Tempelhof airport in East Berlin together with the French from Les aventures de Till should be’ … The Dutch journalists could not believe what film. The shots of the actual canal and the opening scene in crew, after the press and hundreds of fans had been waiting l’Espiègle (The Adventures they saw. Their national history was being turned into a the dunes and the countryside were filmed there. And the there for hours. ‘Plenty of teen-agers came to see the ‘jeune of Till Eulenspiegel), 1956. film in the French Riviera by a‘ modest Dutchman’. They scene, in which the city of Damme goes up in flames. Mean- premier’ of the French film’, is what a journalist wrote, who © DEFA Stiftung wanted to know from Ivens how the collaboration was go- while, Ivens became continuously more concerned about was surprised that the fans were so hysterical. ing. ‘Gérard and I, we each direct certain fragments. He, for the direction in which the film was heading. ‘Attention que The last scenes in the GDR were all about the large-scaled instance, works a lot with the French actors, and does the l’action comique et dynamique ne domine pas, ou ébaufe la battles on the banks of the Scheldt between the Spaniards, work that requires the input of an experienced feature film situation serieuse.’, he wrote.24 After three months, he final- on the one hand, and the rebellions of the Geuzen army and man; I am responsible for the outside shoots and the action ly cut the knot and told DEFA that he wanted to back out of the mercenary army of the Prince of Orange on the other. -
Metaphorical Illness in Hemingway's Works
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences 5-12-2006 Metaphorical Illness in Hemingway's Works Jessica E. Lahrmann [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Part of the Literature in English, North America Commons Recommended Citation Lahrmann, Jessica E., "Metaphorical Illness in Hemingway's Works" 12 May 2006. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/6. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/6 For more information, please contact [email protected]. Metaphorical Illness in Hemingway's Works Abstract Hemingway, through his characters, illustrates the many different genres and functions of disease. More than just inflictors of sadness and pain, disease and injury are part of the human condition. They are undeniable truths that give life to humanity, Hemingway’s characters, and Hemingway himself. As Hemingway writes in Death in the Afternoon, “…all stories, if continued far enough, end in death, and he is no true storyteller who would keep that from you.” Part of Hemingway’s art is acknowledging that there is no true cure. Vitality and death, contentedness and pain, disease and survival all coexist in Hemingway’s writing as one: life. Keywords English, David Espey, David, Espey Disciplines Literature in English, North America This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/6 For Jake Barnes of The Sun Also Rises , Robert Jordan of For Whom the Bell Tolls , Harry of “Snows of Kilimanjaro,” and Nick Adams of “Indian Camp,” illness and loss are an ever -present part of life. -
Book Reviews Criticism Editors
Criticism Volume 19 | Issue 3 Article 5 1977 Book Reviews Criticism Editors Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Editors, Criticism (1977) "Book Reviews," Criticism: Vol. 19: Iss. 3, Article 5. Available at: http://digitalcommons.wayne.edu/criticism/vol19/iss3/5 to Book Reviews Karl Marx and World Literature by S. S. Prawer. Oxford: The Clarendon Press, 197.6. Pp. xii + 446. $19.50. As "orthodox" Anglo-Saxon criticism continues to run out of intellectual capital, some more ambitious, systematic and comprehensive critical method seems increasingly in demand. Of the various candidates for this role structuralism, Marxism, semiotics, stylistics, psychoanalysis and the like Marxism is currently enjoying rather a good press. In the United States, there is the work of men like Fredric Jameson and Stephen Morawski, as well as the increasingly potent intervention of the Marxist Literary Group; in Britain, the para-Marxist writings of Raymond Williams have influenced (if. only, on occasions, by critical reaction) a growing band of younger, quasi-Althusserian aestheticians who look anxiously to Europe for a literary science which might supplant their own dismal native heritage of myopic empiricism. In all of this, Marx's own writings on literature h~ve a critical, if not central, importance. And there have been some valuable compendia of such work: .Mikhail Lifshitz's classical compilation of Marx and Engels on literature and art, for example, or, more peripherally, Peter Demetz's deeply tendentious Marx, Engels and the Poets. More recently, Lee Baxandall and Stephan Morawski have provided us with a convenient, if curiously organised, record of Marx and Engels's literary comments, in the first volume of the projected DOMA series (Documents on Marxist Aesthetics). -
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. -
210 Paul Hendrickson This Is an Unusual and Fascinating Book
210 book reviews Paul Hendrickson Hemingway’s Boat: Everything He Loved in Life, and Lost, 1934–1961. New York: Knopf, 2011. viii + 532 pp. (Cloth US$30.00) This is an unusual and fascinating book—not quite biography, but rather “an interpretation, an evocation, with other lives streaming in” (p. 472). It ranges selectively through Hemingway’s life, mainly focusing on the last twenty-seven years. In a boldly successful move, it uses Pilar, the boat Hemingway bought in 1934, which he so loved, as a lynch-pin—a way into his relationships, his con- tradictions, his values, strengths and failings, and final spiral of disintegration. Hemingway’s Boat explores the complex of ideas raised by its subject-matter— ideas of “fishing, friendship, and fatherhood, and love of water, and what it means to be masculine in our culture, and the notion of being boat-struck … and how the deep good in us is often matched only by the perverse bad in us, and—not least—about the damnable way our demons seem to end up follow- ing us, even or especially when we think we’ve escaped them” (p. 13). Hendrickson starts with a 2005 visit to Cuba, with Pilar, “like some old and gasping browned-out whale” (p. 7), up on blocks in the grounds of the Finca Vigía, Hemingway’s main home from 1939 to 1960. (In 1959, Hemingway would say that he “thought of himself as a true Cuban,” and kiss the national flag [p. 460]). He then goes back to trace the history of her purchase, the uses to which Hemingway put her, the people who sailed her, and her meaning in Hemingway’s life. -
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 -
Male Homosocial Landscape
MALE HOMOSOCIAL LANDSCAPE: FAULKNER,WRIGHT, HEMINGWAY, AND FITZGERALD A dissertation submitted To Kent State University in partial Fulfillment of the requirements for the Degree of Doctor of Philosophy by Masaya Takeuchi December, 2011 Dissertation written by Masaya Takeuchi B.A., Rikkyo University, 2001 M.A., Rikkyo University, 2004 Ph.D., Kent State University, 2011 Approved by Robert Trogdon , Chair, Doctoral Dissertation Committee Mark Bracher , Member, Doctoral Dissertation Committee Kevin Floyd , Member, Doctoral Dissertation Committee Elizabeth M. Smith-Pryor , Member, Doctoral Dissertation Committee Marilyn A. Norconk , Member, Doctoral Dissertation Committee Accepted by Donald M. Hassler , Interim Chair, English Department Timothy Moerland , Dean, College of Arts and Sciences ii TABLE OF CONTENTS Acknowledgments ……………………………………………………………………….iv Introduction …………………………………………………….………………………. 1 Part I: Chapter 1. ………………………………………………………………………………. 26 2. …………………..…………………………………………………………... 59 Part II: Chapter 3. ………………...……………………………………………………………... 93 Part III: Chapter 4. ……………...……………………………………………………………… 122 5. ………..……………………………………………………………………. 163 Part IV: Chapter 6. ……...……………………………………………………………………… 190 7. ……………………………………………………………………………... 225 Conclusion …………………………………………………………………………….. 254 Bibliography ….………………………………………..……………………………..... 261 iii Acknowledgements During the eight years I have studied in Ph.D. programs at Rikkyo University and Kent State University, I have received tremendous instruction and encouragement from many professors. -
Military History Anniversaries 1 Thru 15 July
Military History Anniversaries 1 thru 15 July Events in History over the next 15 day period that had U.S. military involvement or impacted in some way on U.S military operations or American interests JUL 00 1940 – U.S. Army: 1st Airborne Unit » In 1930, the U.S. Army experimented with the concept of parachuting three-man heavy-machine-gun teams. Nothing came of these early experiments. The first U.S. airborne unit began as a test platoon formed from part of the 29th Infantry Regiment, in July 1940. The platoon leader was 1st Lieutenant William T. Ryder, who made the first jump on August 16, 1940 at Lawson Field, Fort Benning, Georgia from a B-18 Bomber. He was immediately followed by Private William N. King, the first enlisted soldier to make a parachute jump. Although airborne units were not popular with the top U.S. Armed Forces commanders, President Franklin D. Roosevelt sponsored the concept, and Major General William C. Lee organized the first paratroop platoon. On a tour of Europe he had first observed the revolutionary new German airborne forces which he believed the U.S. Army should adopt. This led to the Provisional Parachute Group, and then the United States Army Airborne Command. General Lee was the first commander at the new parachute school at Fort Benning, in west-central Georgia. The U.S. Armed Forces regards Major General William C. Lee as the father of the Airborne. The first U.S. combat jump was near Oran, Algeria, in North Africa on November 8, 1942, conducted by elements of the 2nd Battalion, 509th Parachute Infantry Regiment. -
An American Writer Ernest Hemingway's Life Style and Its
НАУЧНИ ТРУДОВЕ НА РУСЕНСКИЯ УНИВЕРСИТЕТ - 2009, том 48, серия 6.3 An American writer Ernest Hemingway’s life style and its influence to his creative activity Ruslan Mammadov Abstract: This dissertation work gives a deeper view of the literary style and philosophy of Ernest Hemingway - the American short story writer, novelist, non-fiction writer, journalist, poet, and dramatist. Mainly, it focuses on the connection between the life of Ernest Hemingway and his literary works. He enjoyed life to the fullest and wanted to show that he could do whatever he wanted and it is truly obvious that these facts deeply influenced to his future career, his creativity and private life. This paper examines reflections of the author’s childhood on his works and the effects of women’s special role on his life and creativity and on the moral and ethical relativism of Hemingway's characters. It also studies the importance and the influence of World War I on his short stories and novels. What’s more, it studies his thirst for cultural knowledge which has left indelible signs in all of his works. The aim of this research is to find out essential features of the writer’s literary activity and to explain why the above coupled with the essential messages on the concept of wealth and goodness, portrayed in Hemingway's novels, are some of the reasons why his works have been rendered classics of the American literature. Key words: Ernest Hemingway INTRODUCTION Every man`s life ends the same way. It is only the details of how he lived and how 1 he died that distinguishes one man from another. -
The Wives of Ernest Hemingway ~Steve Newman
The Wives of Ernest Hemingway ~Steve Newman In 1920 Ernest Hemingway lived his bachelor life at 1230 North State Street, Chicago, until he was offered an apartment in a large old house at 100 East Chicago Street. Many of the apartments were occupied by writers, including Hadley Richardson's friend, Kate Smith, who later married John Dos Passos. Another of the apartments was occupied by the painter, Kenley Smith, and it was when Kate Smith invited Hemingway to a party in Kenley's apartment, that he spotted Hadley Richardson - a young woman he'd seen playing the piano at a recital some years before. The couple hit it off immediately and both of them soon realised they had met the person they wanted to marry. Maybe both saw in the other the renegade in themselves and a kindred spirit. They both had a love of literature, art, and music, and were looking for a secure place to deposit their emotions. But they were also bursting with sexual desires and frustrations. Hadley was eight years older than Hemingway and a woman who, at first sight, was of rather conventional looks, but a woman with an aura of oozing sensuality. She also looks remarkably like Hemingway's mother. Hadley Richardson was born in St.Louis on the 9th of November, 1891, and was the youngest of four children. Her father, James, as Bernice Kert, describes him: " ...was a genial man who had reluctantly assumed an executive position with the family drug company. Her mother, Florence, was a talented musician who often accompanied her husband on the piano as he sang out in his fine baritone voice.