DOCSLIB.ORG

© in This Web Service Cambridge University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
© in This Web Service Cambridge University Cambridge University Press 978-1- 107-10982-7 - Hemingway, Style, and the Art of Emotion David Wyatt Index More information Index Anderson, Sherwood, 203 The Portable Hemingway, 88 A Second Flowering: Works and Days of the Lost Baker, Carlos, 27, 84–86, 182, 187, Generation, 5 198 Ernest Hemingway: A Life Story, 84–86 DeVoto, Bernard, 119 Balassi, William, 154 Didion, Joan, 128 Balzac, Honoré de, 211 DiMaggio, Joe, 183, 192 Barthes, Roland, 115 Doctorow, E. L., 150–151, 201 Battlefields of the World War, 83 Billy Bathgate, 150–151 Beegel, Susan F., 114, 125 Dorman-Smith, E. E. “Chink,” 99–100 Bennett, Alan, 95 The Uncommon Reader, 95 Eliot, T. S., 113 Berenson, Bernard, 187 “Tradition and the Individual Talent,” 113 Berg, A. Scott, 160 Ellison, Ralph, 165–166 Bird, William, 102 Shadow and Act, 165 Bishop, Elizabeth, 2, 63 Emerson, Ralph Waldo, 164 Blake, William, 23, 198, 201–202 Esquire, 115, 180 Boni and Liveright, 29, 33 Evans, Robert, 164 Bordeaux, 83 “Hemingway and the Pale Cast of Borges, Jorge Luis, 18 Thought,” 164 Bouchard, Donald, 114, 119–120 Brague, Harry, 203, 220, 222 Faulkner, William, 148, 162–163, 170, Brenner, Gerry, 6, 185 179, 186 Concealments in Hemingway’s Requiem for a Nun, 162–163, 170 Works, 185 Fiedler, Leslie, 16 Burwell, Rose Marie, 5–6, 8, 64, 197–199, 205, Fitzgerald, F. Scott, 50, 56–62, 64–65, 185, 223–224 223–224 Hemingway: The Postwar Years and the The Great Gatsby, 58 Posthumous Novels, 5, 197 Fitzgerald, Zelda, 60 Flaubert, Gustave, 112 Caporetto, 70, 83 Fleming, Robert E., 61 Castro, Fidel, 1 Florence, 85 Cezanne, Paul, 44–45 Ford, Ford Madox, 28 Cirino, Mark, 164 Fossalta, 76, 83, 87, 233 Codroipo, 63 Freud, Sigmund, 17–18, 22, 41–42, 89, 104 Comley, Nancy, 16, 126 “Mourning and Melancholia,” 104 Conrad, Joseph, 2 “The ‘Uncanny’”, 17–18 Copenhaver, Eleanor, 203 Friedan, Betty, 207 Cowley, Malcolm, 5, 85–86, 88, 93 Frisch, Max, 2 “Hemingway’s Wound—And Its Frye, Northrop, 127–128, 156 Consequences for American Literature,” 88 Anatomy of Criticism, 156 267 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1- 107-10982-7 - Hemingway, Style, and the Art of Emotion David Wyatt Index More information 268 Index Ganivet, Angel, 111 The Torrents of Spring, 33, 207 Idearium Espanol, 111 True at First Light, 8, 198 Gellhorn, Martha, 204, 207 Under Kilimanjaro, 8, 198, 203 Gingrich, Arnold, 175 Winner Take Nothing, 35 Gordimer, Nadine, 117–118 Stories and Sketches: Gould, Thomas. E., 151 Another Country, 187 Gradisca d’Isonzo, 63 The Battler, 29–30 Grebstein, Sheldon, 74 Big Two-Hearted River, 17, 21, 28, 32, 34–35, Guthrie, Pat, 61 37–46, 90, 92, 111, 164–167, 179, 219, 226, 230 Havana, 1 Birth of a New School, 61, 95, 225 Heap, Jane, 27 Cat in the Rain, 29, 34 Hemingway, Ernest Cross-Country Snow, 29, 34 Books: The Doctor and the Doctor’s Wife, 29 Across the River and into the Trees, 4, 46, 65, The End of Something, 29, 35, 179, 183 107, 112, 188–190 A False Spring, 228–229 The Dangerous Summer, 49 Fathers and Sons, 35, 42 Dateline: Toronto: The Complete “Toronto Star” A Good Café in the Place St.-Michel, 230 Dispatches, 1920–1924, 4 Hunger Was Good Discipline, 40 Death in the Afternoon, 5, 23, 42, 45, 49, 83, Indian Camp, 5, 13–26, 28–33, 40–46, 89, 99–116, 118, 208, 232 110–111, 130, 172–174, 183, 187, 213, 230 A Farewell to Arms, 4, 7, 24, 34, 41, 63–95, 110, The Last Good Country, 154 157–158, 166–167, 173, 175–176, 183, 187, 207, L’Envoi, 32, 111 214, 234 Mr. and Mrs. Elliot, 29 A Farewell to Arms: The Hemingway Library My Old Man, 27–29, 37 Edition, 8, 74–75, 78–80 Now I Lay Me, 41, 84, 89–92 The First Forty-Nine Stories, 33 On the Quai at Smyrna, 16, 32–33, 111 For Whom the Bell Tolls, 2–5, 23, 46, 111, 122, On Writing, 21, 44–46, 49, 165 125, 147–188, 207, 230, 232 On Writing in the First Person, 94 The Garden of Eden, 3–4, 6, 8, 25, 27, 90–91, Out of Season, 28 181, 197–232 The Pilot Fish and the Rich, 210, 221 Green Hills of Africa, 41, 50, 117–133, 135, 139, 151 The Revolutionist, 29 in our time, 27–46 The Short Happy Life of Francis Macomber, In Our Time, 13–46, 76, 87–88, 110–112, 130, 104, 127–129, 132, 133–143, 155, 163 172–174, 183, 225–226, 230 The Snows of Kilimanjaro, 9, 127–129, 132, 203 Islands in the Stream, 5, 8, 77, 198, 220 Soldier’s Home, 29, 83, 87, 105 The Letters of Ernest Hemingway (Cambridge), The Strange Country, 41, 81 36, 235 There Is Never Any End to Paris, 221–222, Men at War, 4, 24 224, 231 Men Without Women, 35, 150 The Three-Day Blow, 29–30, 35, 42 A Moveable Feast, 4–5, 8, 15, 23, 30–31, 39, Three Shots, 24, 32 43–45, 52, 56, 59, 61, 106–107, 112, 181, The Undefeated, 139 197–232 Up in Michigan, 27–30 A Moveable Feast: The Restored Edition, 8, 94, A Very Short Story, 29 208–211, 220–226, 228, 230–232 A Way You’ll Never Be, 40, 233–234 The Nick Adams Stories, 21–22, 24, 28, 32, 35, Winters in Shruns, 226, 231 44–46 Hemingway, Grace, 180, 197 The Old Man and the Sea, 4, 179–193, 220, 234 Hemingway, Gregory, 180 The Short Stories of Ernest Hemingway, 4 Hemingway, Hadley Richardson, 27–28, 36, 90, The Sun Also Rises, 4, 8, 16, 19, 49–62, 72, 92, 107, 185, 204–205, 207–232 94, 110, 130, 166, 175–176, 183, 204–205, 214 Hemingway, Mary Welsh, 1–2, 6, 160, 198, 203, The Sun Also Rises: The Hemingway Library 220, 222–225 Edition, 4 How It Was, 223 Three Stories and Ten Poems, 28 Hemingway, Pauline Pfeiffer, 147, 180–181, 197, To Have and Have Not, 189 202–204, 207–211, 219–232 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1- 107-10982-7 - Hemingway, Style, and the Art of Emotion David Wyatt Index More information Index 269 Hemingway, Seán, 8, 74–75, 78–80, 208, O’Brien, Edward J., 29 223–224, 231 Oldsey, Bernard, 7, 32, 64, 73–75, 85 Hoffman, Frederick J., 88 “The Secret Wound,” 88 Pamplona, 99, 75 The Twenties, 88 Paris, 27–28, 197, 210, 219, 222, 225 Hovey, Richard, 42, 164 Paris Review, 56, 107 Hemingway: The Inward Terrain, 164 Perkins, Margaret “Peggy,” 160–161 Perkins, Maxwell, 33, 36, 56, 59–60, 92–93, 149, James, Henry, 82, 92–93, 112, 207 159–161, 174, 180, 183, 207, 231 James, William, 157 Peterson, Richard, 151 Jenks, Tom, 25, 93, 204, 220–221 Petosky, 234 Joyce, James, 131 Pfeiffer, Gustavus Adolphus, 207 Finnegans Wake, 29 Pfeiffer, Virginia, 180 Phillips, Jenny, 160 Keats, John, 122 Piggott, Arkansas, 210 John F. Kennedy Library, 1–2, 6, 30, 32, 37, 44, Plimpton, George, 107, 151 58, 73–75, 79, 149, 160, 165, 223, 233–234, 235 Pound, Ezra, 27–29, 36, 100 Kennedy, J. Gerald, 199 Prall, Elizabeth, 203 Kennedy, Jacqueline Bouvier, 2 Price, Reynolds, 47, 67, 77, 124, 185–186 Kennedy, John Fitzgerald, 2 Ketchum, Idaho, 1 Querschnitt, 119 Key West, 209, 234 Reynolds, Michael, 6–7, 24, 63, 74, 78–80, 82, Lamb, Robert Paul, 106, 142 85–87, 114, 119, 126, 197 Lane, Cornelia, 203 Hemingway’s First War, 74, 78–80, 82, Lawrence, D. H., 35, 39 85–87 Leonard, John, 198–199 The Young Hemingway, 86 Lewis, Robert W., 85 Rovit, Earl, 6 “Hemingway in Italy: Making It Up,” 85 Lewis, Wyndham, 164 Sartre, Jean-Paul, 41 Life Magazine, 179 Sassoon, Siegfried, 2 The Little Review, 27, 44 Scholes, Robert, 16, 126 Liveright, Horace, 30, 115 Scribner, Charles Jr., 180–181, 188 Loeb, Harold, 61 Scribner, Charles IV, 203, 222 Lowell, Robert, 81 Scribner’s, 33, 59, 117, 203, 223 Lynn, Kenneth, 88–89 Scribner’s Magazine, 126 Shakespeare, William, 18, 201 McAlmon, Robert, 28, 102 Shenandoah, 179 MacLeish, Archibald, 81 Smith, William, 99, 203 Mann, Charles, 60 Smith, Paul, 30, 32, 91, 138, 142–143 Mann, Thomas, 123 Spilka, Mark, 56, 68–69, 88, 201 Marvell, Andrew, 48 Hemingway’s Quarrel with Androgyny, 88 Milan, 73, 83–84 Stanton, Edward F., 108–109 Milton, John, 65–66, 201–203 Stein, Gertrude, 29, 44, 61 “Lycidas,” 65 Stendhal, 123 Paradise Lost, 201–203 Stevens, Wallace, 63 Mitchell, Tennessee, 203 Stewart, Donald Ogden, 45 Moddelmog, Debra, 89 Stoneback, H. R., 152 Mowrer, Paul, 223 The Story of the Red Cross in Italy, 83 Strychacz, Thomas, 38, 187 Nabokov, Vladimir, 48 Svoboda, Frederic, 50, 55, 60, 87 Nairobi, 130 Hemingway and The Sun Also Rises, 60 New York Sun, 84, 86–87 New York Times, 82, 119 Time Magazine, 55 The New Yorker Magazine, 55 Toklas, Alice B., 44 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1- 107-10982-7 - Hemingway, Style, and the Art of Emotion David Wyatt Index More information 270 Index Tolstoy, Leo, 123 War and Peace, 24 Sevastopol Sketches, 124 Warren, Robert Penn, 5, 165 Toronto, 28 Wilde, Oscar, 100–101 Toronto Star, 102 The Critic as Artist, 100–101 Transatlantic Review, 29, 31 Williams, Bernard, 133–134, 142 Trogdon, Robert, 225 Shame and Necessity, 134 Turgenev, Ivan, 123 Willingham, Kathy, 201 Turnbull, Andrew, 60 Wister, Owen, 14, 73 The Letters of F.
Load more

Recommended publications
  • Dillonsd2014.Pdf (377.0Kb)
    UNIVERSITY OF CENTRAL OKLAHOMA DR. JOE C. JACKSON COLLEGE OF GRADUATE STUDIES Edmond, Oklahoma Hemingway: Insights on Military Leadership A THESIS SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree Of MASTER OF ARTS IN ENGLISH By Shawn Dillon Edmond, Oklahoma 2014 Abstract of Thesis University of Central Oklahoma Edmond, Oklahoma NAME: Shawn Dillon TITLE OF THESIS: Hemingway: Insights on Military Leadership DIRECTOR OF THESIS: Dr. G.S. Lewis PAGES: 86 The literature of Ernest Hemingway is rich with military lessons derived from his lifetime of proximity to war and his understanding of soldiers and leaders at all levels as presented through his characters. Hemingway wrote two significant military works that treat deeply the psyche and behavior of soldiers in war: For Whom the Bell Tolls presented a guerilla band led by an American professor named Robert Jordan, and exposed the different types of junior and senior leaders, as well as an ideal soldier in Anselmo, the old, untrained partisan. Across the River and Into the Trees was equally rich in military insights, at a much higher level of command, through the bitter musings of Colonel Cantwell. Hemingway’s fiction represented and reproduced the detailed awareness he had of soldiers and leaders, good and bad. He was born with the natural instinct to lead, and through his proximity to men performing humanity’s most vaunted of tests, he produced a body of fiction that can serve collectively as a manual for understanding soldiers, terrain, and military
    [Show full text]
  • 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.
    [Show full text]
  • One Book WY Discusion Guide
    One Book Wyoming: In Our Time Discussion Guide HAPPY READING AND DISCUSION! You’ll find included here questions to jumpstart discussion of Ernest Hemingway’s In Our Time, this year’s One Book Wyoming. Some questions address Hemingway’s writing style, and some address the themes and concerns of particular stories in the collection. They are intended as starting points for discussion; our hope is that as you begin talking about these stories, your specific interests and observations about the stories will allow you to move beyond this starting point. The questions are roughly ordered by the order of stories in In Our Time, but that doesn’t mean you shouldn’t jump around to the questions that are most interesting to you. BACKGROUND ON IN OUR TIME In Our Time, Hemingway’s first collection of short stories, took several forms before its initial publication in 1925. Hemingway published many of the short “interchapters” first; the poet Ezra Pound commissioned six of them for a literary magazine in 1923. Hemingway then added twelve more and published in our time in1924. For the 1925 publication, fourteen short stories were added to the collection and the title was capitalized. “On the Quai at Smyrna,” the opening chapter, was written for the 1930 edition. Because so many of the short stories involve the same characters and settings, In Our Time is considered a “short story cycle,” which involves, according to scholar Margaret E. Wright-Cleveland, a collection “of interdependent narratives linked through repetition of character, setting, or theme.” In other words, while you can read the short stories as self-contained, thinking about how the stories are in conversation with each other may provide a deeper, more nuanced understanding of Hemingway’s work Discussion questions “On the Quai at Smyrna” (pg.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Hemingway Society 2012 Conference Hemingway up in Michigan
    The Hemingway Society 2012 Conference Hemingway Up In Michigan 1 The Hemingway Society 2012 Conference Hemingway Up In Michigan 2 The Hemingway Society 2012 Conference Hemingway Up In Michigan SUNDAY, June 17 Sunday 12:30-4:30 Registration [Bay View Campus Club Building] Sunday 5:00-8:00 Opening Reception at the Perry Hotel with heavy hors d'oeuvres, wine, and cash bar. (Tickets Required) Sunday 8:00-10:00 Bay View Sunday Sunset Musical Program [Hall Auditorium] OPENING NIGHT has been a staple since the 1880’s with an exciting blend of musicians that combines virtuosic playing and singing in a magnificently eclectic concert, all seamlessly woven together for an enriching evening of vocal and instrumental music. A chance to experience one of the most unique forms of entertainment in the country. Purchase Tickets at the door ($13.50) MONDAY, June 18 Monday 9:00-10:30 Plenary Session One 1.1 Welcome and Opening Ceremony [Hall Auditorium] 1.2 "Why Are We Gathering Here in Michigan to Discuss Hemingway?" [Hall Auditorium] Moderator: Cecil Ponder, Independent Scholar Michael Federspiel, Central Michigan University Jack Jobst, Michigan Tech Frederic Svoboda, University of Michigan, Flint Monday 10:30-11:00 Morning Break [Woman’s Council Building] Monday 11:00-12:30 Panel Session Two 2.1 Hemingway's Apprentice Work [Loud Hall] Moderator: Lisa Tyler, Sinclair Community College 1) “Hemingway’s Poetry-Images from Michigan to Japan,” Akiko Manabe (Shiga University) 2) “Those Early Short Stories and Sketches,” Charles J. Nolan, Jr. (US Naval Academy) 3) “’It must have ended somewhere’: Lost Youth in Hemingway’s Northern Michigan Landscapes,” Felicia M.
    [Show full text]
  • Hemingway's Mythical Method
    Hemingway’s Mythical Method: Implications of Dante Allusion in In Our Time by William Parker Osbourne Stoker B.A. in English and Religion, May 2014, University of the South: Sewanee A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 19, 2019 Thesis directed by Christopher Sten Professor of English © Copyright 2019 by William P. O. Stoker All rights reserved ii Abstract of Thesis Hemingway’s Mythical Method: Implications of Dante Allusion in In Our Time The widely accepted assessment of Ernest Hemingway’s In Our Time is that the text’s fragmentary form belies a complex but cohesive narrative wholeness. Missing from the critical record, however, is an adequate account of In Our Time’s use of what T.S. Eliot termed “the mythical method.” Using a palimpsestic system of indirect allusion, Hemingway’s fragmentary novel constructs an overarching pattern of reference to the journey of Dante’s pilgrim through Hell and Purgatory in the Divine Comedy. Hemingway’s use of this mythical method not only provides his novel a more concrete narrative framing device than its critics have recognized, but also reflects new dimensions of the influence Dante, Eliot, and Ezra Pound exerted on Hemingway’s earliest work. In particular, similarities between In Our Time and Pound’s Draft of XVI Cantos (both published in 1925), combined with Pound’s well-documented mentorship of Hemingway, suggest Pound may have been a primary source of influence on Hemingway’s apprehension of and engagement with Dante and the epic tradition he represents.
    [Show full text]
  • Big Two-Hearted River”
    The Japanese Journal of American Studies, No. 21 (2010) Ready-Made Boys: A Collision of Food and Gender in Ernest Hemingway’s “Big Two-Hearted River” Eijun SENAHA* INTRODUCTION: FOOD CULTURE vs BOY CULTURE ON ICE The rise of the food industry and the widespread “boy culture” of the early twentieth century collide in Ernest Hemingway’s 1925 short story “Big Two-Hearted River,” signaling the end of the myth of masculinity, even when manhood was most strongly needed during the world war. The turn of the century witnessed a dramatic change in American food culture due to the new innovative food industry. With the resultant light- ening of household duties, women became more socially available and involved, threatening the preeminence of men. As a way to reassert their manhood, men turned to cooking. Through camping and outdoor cook- ing, boys could prove their manhood, preferably without depending on preserved and/or processed foods, thereby approximating the “ideal man.” “Big Two-Hearted River,” a prime example of Hemingway’s “iceberg principle” in practice, is also a prime exemplifier of both boy culture and food culture of the period. It has received a multitude of interpretations. These include studies of its role as the final story in his collection of Copyright © 2010 Eijun Senaha. All rights reserved. This work may be used, with this notice included, for noncommercial purposes. No copies of this work may be distributed, electronically or otherwise, in whole or in part, without permission from the author. *Professor, Hokkaido University 49 50 EIJUN SENAHA interconnected short stories, In Our Time; the maturing of protagonist, Nick Adams; and studies from biographical perspectives.
    [Show full text]
  • Hemingway and the Black Renaissance
    Hemingway and the Black Renaissance Hemingway and the Black Renaissance Edited by GARY EDWARD HOLCOMB and CHARLES Scruggs THE OHIO STATE UNIVERSITY PREss | COLUMbus Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Hemingway and the Black Renaissance / edited by Gary Edward Holcomb and Charles Scruggs . p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1177-9 (cloth : alk. paper) ISBN-10: 0-8142-1177-1 (cloth : alk. paper) ISBN-13: 978-0-8142-9278-5 (cd-rom) 1. Hemingway, Ernest, 1899–1961—Criticism and interpretation. 2. Hemingway, Ernest, 1899–1961— Influence. 3. American literature—African American authors—History and criticism. 4. Harlem Renaissance— Influence. I. Holcomb, Gary Edward. II. Scruggs, Charles. PS3515.E37Z61776 2012 813'.52—dc23 2011028248 This book is available in the following editions: Cloth (ISBN 978-0-8142-1177-9) CD-ROM (ISBN 978-0-8142-9278-5) Cover design by Laurence J. Nozik Type set in Adobe Sabon Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS ACKNOWLEDGMENTS ix INTRODUCTION Hemingway and the Black Renaissance GARY EDWard Holcomb and Charles Scruggs 1 CHAPTER 1 A Shared Language of American Modernism: Hemingway and the Black Renaissance MARK P. Ott 27 CHAPTER 2 Hemingway’s Lost Presence in Baldwin’s Parisian Room: Mapping Black Renaissance Geographies Joshua PARKER 38 CHAPTER 3 Looking for a Place to Land: Hemingway’s Ghostly Presence in the Fiction of Richard Wright, James Baldwin, and Ralph Ellison Charles Scruggs 55 CHAPTER 4 Knowing and Recombining: Ellison’s Ways of Understanding Hemingway Joseph Fruscione 78 CHAPTER 5 Free Men in Paris: The Shared Sensibility of James Baldwin and Ernest Hemingway D.
    [Show full text]
  • The Fourteenth International Hemingway Society Biennial Conference L a U S a N N E, S W I T Z E R L a N D 25 Th J U N E – 3 Rd J U L Y 2 0 1 0
    P R O G R A M The Fourteenth International Hemingway Society Biennial Conference L a u s a n n e, S w i t z e r l a n d 25 th J u n e – 3 rd J u l y 2 0 1 0 TENTATIVE PROGRAM AS OF MARCH 9th 2010 NOTES ON THE PROGRAM: Please keep in mind this program is a draft. Although we will do everything we can to keep changes to a minimum, panel and presentations times are subject to change. Please also review your information—affiliation, paper title, etc.—and notify us of any necessary changes or corrections at [email protected]. We have highlighted missing information in yellow. FRIDAY, 25 JUNE 18:00 RECEPTION IN TOWN SATURDAY, 26 JUNE 9:00 OPENING BREAKFAST (UNIL; Restaurant de Dorigny) 10:45 KEYNOTE LECTURE—SCOTT DONALDSON (Anthropole 1031) 14:15 PANEL SESSION 1 01. EXPLORING THE WORLD AND THE WORD (Anthropole 3021) David Frey (Independent Scholar) “Papa’s Planet: An Ernest Exploration of the Places Hemingway Lived and Loved” Mark J. Noonan (New York City College of Technology, CUNY) “‘In Big City, I Guess You Wash Your Neck’: Hemingway’s Dismissal of the Rites of New York” Nicolas Blayo (Université Paul Verlaine-Metz) “The Spanish Earth and the Civil War: A New Starting Point for Hemingway’s Writing” 02. A MAN’S WORLD? HEMINGWAY AND MASCULINITY (Anthropole 3032) 1 Nikolai Endres (Western Kentucky University) “Bulls and Balls: The Maricón in Death in the Afternoon and Patricia Nell Warren's The Wild Man” Dennis B.
    [Show full text]
  • Hemingway in Paris
    1 XVIII International Hemingway Conference Hemingway in Paris “Paris est une fête” . Hemingway's Moveable Feast JULY 22-28, 2018 Conference Co-Directors: H. R. Stoneback & Matthew Nickel Paris Site Coordinators: Alice Mikal Craven & William E. Dow Host Institution: The American University of Paris PROGRAM DRAFT This program schedule is subject to change. Moderators have been assigned, so please read carefully, and note misspellings and errors in affiliations to Matthew Nickel at [email protected] by April 15. Those who have not yet registered (as of March 21) are listed in red. Registration closes on June 15, 2018, so if you have not registered by June 15, your name will be removed from the program and you will not be admitted to the conference. Please register now. If you will be unable to attend, please notify Matthew Nickel at [email protected] as soon as possible. REFUND POLICY Medical Reasons: Full refund of Conference Registration for medical reasons with documentation at any time All Other Reasons: No refund after April 15th of Conference/Optional Event Registrations for all other reasons. REGARDING A/V Please keep in mind that each presentation room at The American University of Paris (AUP) is equipped with a PC smart desk and universal VLC capacity in the event that you have American DVDs to show. For those who will utilize A/V for their presentation, we advise the following: 1) bring your presentation on a USB key 2) email your presentation to yourself The above is to ensure that you will have access to your presentation, since AUP does not have sufficient adapters to ensure that American MAC users will be able to connect their computers to the smart desks.
    [Show full text]