Ernest Hemingway's Attraction and Repugnance To
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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 -
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. -
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. -
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. -
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. -
© 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, -
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. -
Academic Program for Oak Park
Please follow the Hemingway Society on Twitter (@theehsociety.com). Feel free to tweet sessions using the conference hashtag (#EHOP16) and session hashtags (e.g. #P1B). Conference Wi-Fi password at Dominican: [forthcoming] Computers and printers can be accessed in the Rebecca Crown Library: [forthcoming] Shuttle Schedule panel schedule* Shuttles depart Shuttles depart Parmer Hall Dr. Carleton Hotel & Write Inn to Carleton Hotel/Write Inn 35 minutes prior to most sessions 20 minutes after some sessions 9:00-10:15 8:25 10:30-11:45 (plenary) 12:05 1:15-2:30 12:40 2:45-4:00 4:15-5:30 5:50 *Note that on Thursday, 10:30 is a regular panel session, not a plenary, and the birthday lunch for all registrants will follow this second panel session at 12:00. Red Cab Dispatch Blue Cab Uber.com Taxi Service Taxi Service 811 N Harlem Ave 7417 W Roosevelt Rd Lyft.com (708) 848-1010 (708) 583-6900 Free parking is available at Dominican University for participants (a very short walk to the conference hall). Local bike rentals are available at Greenline Wheels, 105 South Marion Street, 708.725.7170 The XVIIth Biennial International Ernest Hemingway Conference Oak Park, Illinois 17 – 22 July 2016 The Ernest Hemingway Society & Foundation in partnership with The Ernest Hemingway Foundation of Oak Park & Dominican University Alex Vernon, Conference Director and Program Chair John Berry, Site Director David Krause, Dominican University Liaison Sunday, 17 July 12:00 – 4:00 Registration, Information, and Book Sellers Parmer Hall Atrium 2:00-4:00 Hidden Hemingway: Inside the Ernest Hemingway Archives of Oak Park Book Discussion & Signing with Robert K. -
Hemingway Newsletter Publication of the Hemingway Society | No
theHemingway newsletter Publication of The Hemingway Society | No. 71 | 2019 A Year After the Epic Paris 2018 Conference, the Hemingway Society Prepares to Go into the Great Wide Open: Complete Wyoming/ Montana 2020 Coverage ne year after 518 scholars and fans gathered in Paris for the largest-ever Hemingway Society Oconference, plans are firmly in place for what will go down as one of the most unique gatherings in the organization’s forty-year history. The XIX International Hemingway “Up the river were the two peaks of Pilot and Index, Conference, “A Place to Write, Writing where we would hunt mountain-sheep later in the month, Place,” will be held July 19-25, 2020, in two venues: from July 19-22 in Sheridan, and you sat in the sun and marvelled at the formal clean- Wyoming, and July 23-25 in Cooke City, lined shape mountains can have at a distance.…” Montana. July 23 will be a partial travel day with an opportunity to stop for lunch —Ernest Hemingway, “The Clark’s Fork Valley, at the Buffalo Bill Center of theW est in Wyoming,” Vogue (February 1939) Cody, Wyoming, just east of Yellowstone National Park, before an official welcoming enthusiasm from Laramie to Cheyenne extravaganza that evening in Cooke City. cabin in the Big Horns where A Farewell up to Jackson and over to Sheridan. This is not the first Hemingway to Arms was completed or the L Bar T They’ve built the local infrastructure conference with split destinations. In Ranch where To Have and Have Not was network needed to host an international 2006 the society met first in Malaga, labored over in 1936 are now molehills, conference. -
Three Paths to Religious Integration in Ernest Hemingway's
THREE PATHS TO RELIGIOUS INTEGRATION IN ERNEST HEMINGWAY’S WAR FICTION A DISSERTATION IN English and Humanities Consortium Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by TIMOTHY JAMES PINGELTON B.A., University of Missouri-Kansas City, 1994 M.F.A., San Diego State University, 1997 Kansas City, Missouri 2018 © 2018 TIMOTHY JAMES PINGELTON ALL RIGHTS RESERVED THREE PATHS TO RELIGIOUS INTEGRATION IN ERNEST HEMINGWAY’S WAR FICTION Timothy James Pingelton, Doctor of Philosophy Degree University of Missouri-Kansas City, 2018 ABSTRACT My dissertation studies religiosity in Ernest Hemingway’s war fiction in terms of how his soldier characters connect to the divine. The means to understanding this connection is in refining how the characters express the utility of this connection and how these features fit into larger structural ideals. I argue that the wartime characters integrate with the divine through various methods: by contact with nature, by enacting a ritual, or by embodying Christian manliness. I base my dissertation on relevant phenomenological theories but also considers broader structural-functional theories, and I form the approach on structuralism in that I look at both single works and at the war fiction as a whole as well as looking for connections between literature and culture. Furthermore, I look to the theories of Northrop Frye in analyzing this literature because Frye’s structuralism allows for genre-bending oeuvres such as Hemingway’s. I argue that, contrary to much literary criticism, the Hemingway wartime protagonists are theists who seek the divine in times ii of conflict, but, unlike the notion of “no atheists in the foxholes,” these characters harbor their religiosity not situationally but throughout their lives. -
Less Is More: American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme Thesis
Open Research Online The Open University’s repository of research publications and other research outputs Less is More: American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme Thesis How to cite: Greaney, Philip John (2006). Less is More: American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme. PhD thesis The Open University. For guidance on citations see FAQs. c 2006 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000e8d3 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk N) S-T-K-1C---T-E: tý Less is More American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme Submitted for the degree of Doctor of Philosophyfor the OpenUniversity in the discipline of Literature, September 2005 by Philip John Greaney, B. A., M. A. A-uTH-o(z- ijc> ? -s gos 4-fc,cD 2CC ph-rF oi; ý SjeV-ýk%SýC>W 2, ) ocl EX12 THE OPEN UNIVERSITY RESEARCH SCHOOL Library Authorisation Form Pleasereturn this form to theResearch School with the two.bound copies of your thesisto be depositedwith the UniversityLibrary. All candidatesshould complete parts one and two of the form. Part threeonly appliesto PhD candidates. Part One: CandidatesDetails ký! t 4.97! ýP; tJ6 -1 Name: .. -
A Foray Into Violence, Trauma and Masculinity in in Our Time Sara-Rose Beatriz Bockian Claremont Mckenna College
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2017 Reader's Guide: A Foray into Violence, Trauma and Masculinity in In Our Time Sara-Rose Beatriz Bockian Claremont McKenna College Recommended Citation Bockian, Sara-Rose Beatriz, "Reader's Guide: A Foray into Violence, Trauma and Masculinity in In Our Time" (2017). CMC Senior Theses. 1551. http://scholarship.claremont.edu/cmc_theses/1551 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Claremont McKenna College Reader’s Guide: A Foray into Violence, Trauma and Masculinity in In Our Time Submitted to Professor Kathryn Stergiopoulos by Sara-Rose Beatriz Bockian for Senior Thesis Fall 2016 - Spring 2017 April 19, 2017 1 Table of Contents Introduction………………………………………………………………………………2 Repression 101: Formation of Trauma….…………….………………………………10 Toxic Masculinity 101: Early Experiences with Violence and Construction of Masculinity……………………………………………………………………………...42 Nirvana 101: Re-discovery of the Self and Rejection of Society Post-Trauma.…….73 Conclusion……………………………………………………………………………..110 Works Cited……………………………………………………………………………114 2 INTRODUCTION Hemingway’s first ever published book is an experimental novel titled In Our Time which grapples with issues of violence, trauma and identity in a postwar society. The book’s unconventional structure conveys the “newness” of its subject