L£P Edward Oarben
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hemingway Centennial Issue
Shawangunk Review State University of New York at New Paltz New Paltz, New York Volume XI Spring 2000 Shawangunk Review editors H.R. Stoneback, Director of Graduate Studies Daniel Kempton, Department Chair managing editor Jason Taylor Shawangunk Review, the journal of the English Graduate Program, is an annual review published by the Department of English at the State University of New York at New Paltz. Shawangunk Review publishes literary articles of interest to the graduate students and faculty, book reviews, poetry and reports and news about the program. The views expressed in Shawangunk Review are those of the authors and not necessarily those of the Department of English at suny New Paltz. Please address all correspondence to Shawangunk Review, Department of English, State University of New York, New Paltz, New York, 12561. Copyright© 2000 Department of English, State University of New York at New Paltz. All rights reserved. Shawangunk Review Volume Eleven Spring 2000 Special Hemingway Centennial Issue 4 From the Editors 5 Introduction H.R. Stoneback Part One: Keynote Speaker 9 Grace Under Millennial Pressure: Hemingway for the Twenty-First Century Valerie Hemingway 15 Discussion Session H.R. Stoneback, Moderator Part Two: Distinguished Guest Panelists 22 Reading Hemingway: Yesterday, Today, and Tomorrow Richard Allan Davison 26 Project for the Hemingway Centennial Year: The Reconstitution of the Legend of Ernest Hemingway Robin Gajdusek 28 Hemingway’s Legacy Allen Josephs 30 Hemingway’s Opening Paragraphs Donald Junkins 32 Hemingway at One Hundred: Saying Grace Robert W. Lewis 34 The Most Gentle and Loveliest Man… Linda P. Miller 36 On the Syntax of the Sacred, the ‘Moral Severity of Hemingway’s Sentences,’ and the Grammar of Greatness: Or, Homer, Dante Shakespeare—and Hemingway H.R. -
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. -
Joyce's Dubliners and Hemingway's in Our Time
37q i 0 JOYCE'S DUBLINERS AND HEMINGWAY'S IN OUR TIME: A CORRELATION THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Kim Martin Mayo, B. A. Denton, Texas December, 1986 Mayo, Kim M., Joyze's Dubliners and Hemingway's In Our Time: A Correlation. Master of Arts (English), December, 1986. 109 pp., works cited, 50 titles. One rarely sees the names James Joyce and Ernest Hemingway together in the same sentence. Their obvious differences in writing styles, nationalities, and lifestyles prevent any automatic comparison from being made. But when one compares their early short story collections, Dubliners and In Our Time, many surprisingly similarities appear. Both are collections of short stories unified in some way, written by expatriates who knew each other in Paris. A mood of despair and hopelessness pervades the stories as the characters are trapped in the human condition. By examining the commonalities found in their methods of organization, handling of point of view, attitudes toward their subjects, stylistic techniques, and modes of writing, one is continually brought back to the differences between Joyce and Hemingway in each of these areas. For it is their differences that make these artists important; how each author chose to develop his craft gives him a significant place in literature. Copyright by Kim Martin Mayo 1986 TABLE OF CONTENTS Chapter Page I. INTRODUCTION---ESTABLISHING THE SIMILARITIES . .1 II. ORGANIZATION AND UNITY.. ... 8 III. POINT OF VIEW . 0.v.. .......... .27 IV. SUBJECT, STRUCTURE, AND SYMBOLISM. -
The Notre Dame Scholastic Vol
THE NOTRE DAME SCHOLASTIC VOL. 79 SEPTEMBER 10, 1943 NO. 9 9n ^lUi OHM^: Msgr. Sheen Speaks Tonight Vaudeville Talent Mounts Lecture on Symphony Baseball Season Ends Functional Swimming Meet Miller, Ziemba Return THE LIBRARY WELCOMES AUTUMN HE NOTRE DAME T SCHOLASTIC Disce Quasi Semper Victiirus Vive Quasi Cras Moritiirits BY BILL TALBOT AND JIM CUNNINGHAM FOUNDED 1S67 TOP OF THE WEEK CALL A DOCTOR Entered as second-class matter at Notre Dame, Indiana. Accepted for mailing at special rate of St. Mary's Reopens. The best way to be physically unfit is postage. Section 1103, October 3, 1917. Authorized to take a physical fitness test. It's no June 25, 191S. longer a secret that a lot of fellows did some heaving and cookie-checking after NUTS TO TRADITION it was all over — especially those who took the test at 8:00 or 1:15, just after On the yellowed pages of past SCHO breakfast or lunch. A Marine "Happy LASTICS there is many an edition of Hour" would have corporals, sergeants, "The Week" which relies for its humor and chiefs going through the test, just on the not - very - subtle cracks at our for laughs—and there'd be plenty. The friends across the Dixie. The warped most startling discovery made during the mentalities which turned out these mas test is that the very greatest majority terpieces of ignominious repartee have of those in training lost weight during long since departed from Our Lady's the first month here. AVhich all indicates campus. But behind them is left a tra 99 dition that all is not paradise across the four-lane highway. -
Ernest Hemingway
Bibliothèque Nobel 1954 Bernhard Zweifel Ernest Hemingway Year of Birth 1899 Year of Death 1961 Language Englisch Award for his mastery of the art of narrative, most Justification: recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style Supplemental Information Secondary Literature - Audre Hanneman: Ernest Hemingway - A Comprehensive Bibiography (1967) - W. Grabert & A. Mulot, Geschichte der deutschen Literatur, 452 (1964) - Thomas Hermann, Metamorphosen zwischen Leben und Kunst (Zum 100. Geburtstag von Ernest Hemingway), Neue Zürcher Zeitung, 163 (1999) - Carlos Baker, Hemingway, A Life Story (1969) - Jeffrey Meyers, Hemingway, A Biography (1985) - James R. Mellow, Hemingway, A Life Without Consequences (1992) - Kenneth S. Lynn, Hemingway (1987) - Leicester Hemingway, My Brother, Ernest Hemingway (1956) - Denis Brian, The True Gen, An Intimate Portrait of Hemingway by Those Who Knew Him (1988) - Matthew J. Bruccoli, Fitzgerald and Hemingway, A Dangerous Friendship (1994) - Charles M. Oliver, Ernest Hemingway A to Z (1999) - Michael Reynolds, The Young Hemingway (1986) - Michael Reynolds, Hemingway: The American Homecoming (1992) - Michael Reynolds, Hemingway, The Paris Years (1999) - Michael Reynolds, Hemingway, The 1930's, Michael Reynolds (1997) - Michael Reynolds, Hemingway, The Final Years (1999) - Henry S. Villard, Hemingway In Love and War, The Lost Diary of Agnes von Kurowsky (1989) - William Burrill, Hemingway, The Toronto Years (1994) - Anthony Burgess, Ernest Hemingway and His World (1978) - A.E. Hotchner, Papa Hemingway, A Personal Memoir (1966) - Charles Whiting, Papa Goes to War, Ernest Hemingway in Europe, 1944 -45 (1990) - Peter Griffin, Less Than A Treason, Hemingway in Paris (1990) - Peter Griffin, Along With Youth, Hemingway: The Early Years (1985) - Alfred G. -
The Philosophical View Over Theconcept of Death In
DJILALI LIABES UNIVERSITY- SIDI-BELABBES FACULTY OF LETTERS, LANGUAGES AND ARTS The Philosophical View over the Concept of Death in Hemingway's Novels Presented to the Faculty of Letters Languages and Arts at the University of SIDI- BELABBES in Fulfillment of the Requirements for the Degree of Doctorate in American Literature Presented by Slimane ABDELHAKEM Board of Examiners: Prof.:Bellabes OUERRAD University of Sidi Bellabes Chair Prof.Fatiha KAID BERRAHAL University of Laghouat Supervisor Prof. Abbès BAHOUS University of Mostaghanem Examiner Dr. Noureddine GUERROUDJ University of Sidi Bellabes Examiner Dr. Ghouti HAJOUI University of Tlemcen Examiner 2015/2016 Dedication To my parents And To my wife Malika ACKNOWLEDGEMENTS First and foremost I wish to thank God. Then, I have to thank my supervisor, professor. Fatiha KAID BERRAHAL in THELIDJI Amar -University-Laghouat For the continuous support of my PhD study and related research, for her patience, motivation, and immense knowledge. Her guidance helped me in all the time of research and writing of this thesis. I could not have imagined having a better advisor and mentor for my PhD study. There are no proper words to convey my deep gratitude and respect for her. She has inspired me to become an independent researcher and helped me realize the power of critical reasoning. In fact the Thesis writing process has been a long journey for me, seven years of research that would not have been possible without her belief in me. I also thank my wife and partner who supported me through this venture and for her stimulating discussions, for the sleepless nights we were working together, especially these last three months, before deadlines, and for all the fun mixed with irritability we have had in the last six years. -
English English 255: “Thematic Studies of American Literature,” Spring 2013
San José State University Humanities and the Arts/Department of English English 255: “Thematic Studies of American Literature,” Spring 2013 Instructor: Susan Shillinglaw Office Location: Faculty Office Building 118 Telephone: (408-924-4487 Email: [email protected] Office Hours: Monday: 3-3:45; Wednesday: 12:00-1:15; 3:30-4 Class Days/Time: Monday 4:00-6:45 Classroom: Health 405 Course Description: Making Modernism in Paris: “Paris was where the twentieth century was.” Gertrude Stein In The Sun Also Rises, Hemingway writes: “You’re an expatriate. You’ve lost touch with the soil. You get precious. Fake European standards have ruined you. You drink yourself to death. You become obsessed with sex. You spend all your time talking, not working. You are an expatriate, see. You hand around cafes.” That image has been fixed, Hemingway seeming to define an era. But it’s only a part of a complex story. This seminar examines the works of Americans who left America in the early part of the twentieth century, drawn to the continent, where life was cheaper and edgier. What drew them to this city and why is post-WWI Paris one of the centers of the Modernist movement? What nurtured their creative energy there? How did interactions/intersections nurture that creativity? These are some of the questions we will consider in this class, looking at the writers, their texts, their contexts (art and music and history) and the many “modernisms” that flourished in Paris. Course Goals and Student Learning Objectives The goal of this course is to give students a grounding in modernist ideas as expressed primarily by expatriate writers living in Paris. -
Carlos Baker, from Hemingway: the Writer As Artist
Critical readings: The First Forty-five Stories by Carlos Baker, from Hemingway: The Writer As Artist. I. Under the iceberg ‘THE dignity of movement of an iceberg,’ Hemingway once said, ‘is due to only one- eighth of it being above water’ His short stories are deceptive somewhat in the manner of an iceberg. The visible areas glint with the hard factual lights of the naturalist. The supporting structure, submerged and mostly invisible except to the patient explorer, is built with a different kind of precision — that of the poet- symbolist. Once the reader has become aware of what Hemingway is doing in those parts of his work which lie below the surface, he is likely to find symbols operating everywhere, and in a series of beautiful crystallizations, compact and buoyant enough to carry considerable weight. Hemingway entered serious fiction by way of the short story. It was a natural way to begin. His esthetic aims called for a rigorous self-discipline in the presentation of episodes drawn, though always made over, from life. Because he believed, firmly as his own Abruzzian priest, that ‘you cannot know about it unless you have it,’2 a number of the stories were based on personal experience, though here again invention of a symbolic kind nearly always entered into the act of composition. The early discipline in the short story, and it was rarely anything but the hardest kind of discipline, taught Hemingway his craft. He learned how to get the most from the least, how to prune language and avoid waste motion, how to multiply intensities, and how to tell nothing but the truth in a way that always allowed for telling more than the truth. -
Download the Conference Program
A NOTE FROM THE HOST COMMITTEE For four days in November, Pasadena will serve as MSA’s base of operations. (We understand there’s some minor affair planned for the city on New Year’s Day, but we’re sure it pales in comparison.) Welcome to the joys of Southern California in the fall! None of this would have been possible without the generous help of our local collaborators in and around this lovely city, including the staffs at the Westin Pasadena and the Huntington Library, Art Collections, and Botanical Gardens. Our efforts have been guided along the way by the MSA Board. We’re particularly indebted to Treasurer Gayle Rogers, Program Committee Chair Lisi Schoenbach, and MSA President Stephen Ross. The seasoned advice from last year’s organizer, Carrie Preston, helped keep it all in perspective and Alex Christie, web-master extraordinaire, agreed once again to manage the medium for the MSA message (gratis). MSA 18 would never have happened without the help of our fearless assistant, April Anderson, the one who kept us on track so that fun could be had by all. So, here’s to the fun, however you define it, and to making MSA 18 a “conference to remember.” Kevin Dettmar & Eric Bulson, Yr Obt. Servants 1 A Message from the MSA President For this year’s conference we have taken special efforts to introduce streams within the program that are aimed at more fully integrating interdisciplinary approaches, and in line with the conference theme. “Dream Factories” focuses on topics such as surrealism, psychoanalysis, fashion, architecture, cinema and design; “California and the Cultures of Modernism” considers linguistic, cultural, and racial diversity. -
The Theme of Individuation in the Short Stories of Ernest Hemingway
THE THEME OF INDIVIDUATION IN THE SHORT STORIES OF ERNEST HEMINGWAY By JOSEPH MICHAEL DeFALCO A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA June, 1961 UNIVERSITY OF FLORIDA 3 1262 08666 374 6 TO MT WIFE PREFACE The existence of architectonic forms in literary creations presupposes a base point from which the artist proceeds in order to actuate his aesthetic formulations. This point would presumably lie in the realm of the conceptual and would correspond to some degree with the artist's intent. Hemingway's entire literary edifice rests on his openly avowed desire to translate factual data into fictive configura- tions which in turn re-create the essence of true-life experience. In effect he set for himself the task of capturing reality in a repre- sentative art form. The establishment of a referent implies much more than mere intent on the artist's part, for if he has fully committed himself to the inherent possibilities of his choice then he has at the same time selected the governing agency of his artistic productions. The problem then would remain of selecting the most suitable means by which the ends of this agency would best be served. In his short stories Hemingway structures the content upon the theme of individuation. His central characters constantly face contin- gent forces in life. Their attempts to reconcile the irrationality of these intrusions form the underlying motivation for action. Reconciling the seemingly irreconcilable demands feats of heroic magnitude at the individual level. -
Onderdonkt68286.Pdf
Copyright by Todd David Onderdonk 2005 The Dissertation Committee for Todd David Onderdonk certifies that this is the approved version of the following dissertation: I, Modernist: Male Feminization and the Self-Construction of Authorship in the Modern American Novel Committee: _____________________________ Phillip Barrish, Supervisor _____________________________ Evan Carton _____________________________ Mia Carter _____________________________ Brian Bremen _____________________________ Janet Staiger I, Modernist: Male Feminization and the Self-Construction of Authorship in the Modern American Novel by Todd David Onderdonk, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin In Partial Fulfillment Of the Requirements For the Degree of Doctor of Philosophy The University of Texas at Austin August 2005 Acknowledgements I would acknowledge the mentors who first acknowledged me as an aspiring critic at the University of Texas at Austin—my director, Phil Barrish, and committee members, Evan Carton and Mia Carter, who, in my first years of grad school, seemed to believe in me more than I did in myself. They were my models of conscience, intellectual rigor and humane values, and without their encouragement and insights this dissertation would never have been begun, much less completed. I would particularly thank my director, Phil Barrish, for his compassion, heroic tact, and intellectual engagement with this project. His lectures for a sophomore lit course (in which I was a teaching assistant) inspired my interest in identity as an area of cultural contestation and political possibility. Committee members Brian Bremen and Janet Staiger have been similarly generous and collegial mentors whose comments on drafts of this project were both demanding and heartening, and whose interests and expertise were crucial to the dissertation’s development. -
Critics Discuss
10 CRITICS DISCUSS “Big Two-Hearted River” (1925) Ernest Hemingway (1899-1961) “I’m trying to do the country like Cézanne and having a hell of a time and sometimes getting it a little bit. It is about 100 pages long and nothing happens and the country is swell…isn’t writing a hard job though? It used to be easy before I met you….” [Letter to Gertrude Stein and Alice B. Toklas, 15 August 1924] “It is much better than anything I’ve done. What I’ve been doing is trying to do country so you don’t remember the words after you read it but actually have the Country. It is hard because to do it you have to see the country all complete all the time you write and not just have a romantic feeling about it.” [Letter to Edward J. O’Brien, 12 September 1924] Ernest Hemingway Ernest Hemingway: Selected Letters, 1917-1961 Carlos Baker, ed. (Scribner’s 1981) “I went there [Musee du Luxembourg, Paris] nearly every day for the Cézannes and to see the Manets and the Monets and the other Impressionists that I had first come to know about in the Art Institute at Chicago. I was learning something from the painting of Cézanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them. I was learning very much from him but I was not articulate enough to explain it to anyone.” Ernest Hemingway A Moveable Feast (Bantam 1964) 13 “Here the plot, or foreground of the plot, is simply a fishing trip in the northern peninsula of Michigan.