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Thomas E. Wolfe: Valuing the Life and Work of an Appalachian Regionalist Artist Within His Community
THOMAS E. WOLFE: VALUING THE LIFE AND WORK OF AN APPALACHIAN REGIONALIST ARTIST WITHIN HIS COMMUNITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Susannah L. Van Horn, M.A. Graduate Program in Art Education The Ohio State University 2012 Dissertation Committee: Dr. James Sanders, Advisor Dr. Christine Ballengee Morris Dr. Sydney Walker Copyright by Susannah L. Van Horn, M.A. 2012 Abstract The purpose of my research is to offer insight into the life and work of Thomas E. Wolfe, who exhibits self-determination both as an artist and as an art educator in an Appalachian region of Southeastern Ohio. By presenting Wolfe’s life story, I make connections to the influences of culture, social experiences, regional identity, and family traditions that play to his development as an artist and art educator. My research questions focused on how he perceives himself, how others perceive his presence in the community, how his artwork is valued by his community and how his teaching practices helped develop a greater sense of community. Specifically, I was interested in which historical moments and events in his life that were important to him in recollecting his life story. In my narrative analysis of Wolfe’s life stories collected through oral history from Wolfe and 26 of his friends, family members, former students and community members, I considered selectivity, slippage, silence, intertextuality, and subjectivity to analyze his life story (Casey, 1993; Casey 1995-1996). Thomas Eugene Wolfe began making art as a child and evolved into an accomplished artist. -
The Ernest Hemingway Primer
The Ernest Hemingway Primer By Timeless Hemingway Copyright © 2009 Timeless Hemingway Publications. All rights reserved. Contents I. Biography II. Books by Ernest Hemingway III. The Life: Top 5 Frequently Asked Questions IV. The Literature: Top 5 Frequently Asked Questions V. Notable Quotables VI. Further Reading 2 Biography I. Ernest Miller Hemingway was born on July 21, 1899 in Oak Park, Illinois to Dr. Clarence Edmonds Hemingway and Grace Hall Hemingway. The second of six children, Ernest enjoyed an adventurous boyhood, fishing and hunting with his father in the northern woods of Michigan. He attended Oak Park High School where he excelled in his classes, particularly English. He tried his hand at football and swimming, edited the school paper (the Trapeze), and contributed pieces to the school's literary magazine (the Tabula). After graduating high school, Ernest traveled to Kansas City and worked as a cub reporter for The Kansas City Star. In 1918, he began service as an ambulance driver for the Italian army. On July 8, he was wounded at Fossalta on the Italian Piave while delivering chocolates, cigarettes, and postcards to soldiers. He married Elizabeth Hadley Richardson on September 3, 1921. The newlyweds soon entered the literary community of Paris, living off of Hadley's trust fund and Ernest's pay as a foreign correspondent for the Toronto Star. The 1920's were extremely productive writing years for Hemingway. Three Stories and Ten Poems was published in 1923, In Our Time in 1925. In 1926, The Torrents of Spring and the widely successful novel, The Sun Also Rises were published. -
Ernest Hemingway: Challenged, Censored, Banned Heather Harris
Florida State University Libraries Undergraduate Research 2015 Symposium 2015 Ernest Hemingway: Challenged, Censored, Banned Heather Harris Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] CHALLENGED, CENSORED, BANNED: Ernest Hemingway Heather Harris, B.A. Theatre and Editing, Writing and Media Supervised by Dr. John Fenstermaker ABSTRACT: TO HAVE AND HAVE NOT: QUOTE: Despite his Pulitzer ad the Noel Prize, Heiga’s The “u Also Rises, A Fareell to Ars, ad For Although a of Heiga’s short stories ad puliatios are pertiet to proidig eidee for I'e tried to reduce profanity but I reduced so much Whom the Bell Tolls rank among the top one-hundred challenged and banned American classics. Dr. Festeraker’s researh, the fous is plaed ail o the eaples of aig, esorship, ad profanity when writing the book that I'm afraid not Hemingway has experienced perhaps the greatest range of censoring among American writers, To Have and Have Not challenged works within his novel, . Sections of it were first published in much could come out. Perhaps we will have to challenges collecting under broad rubrics--political, religious, sexual, social: The Sun Also Rises,1926 Cosmopolitan in 1934 as a short stor uder a differet title, Oe Trip Aross, ut as first pulished consider it simply as a profane book and hope that the (sex, alcohol, decadence); A Farewell to Arms, 1929 (banned in Boston for politics, sex, language); To as a oplete oel i 9 “rier’s, ith a first editio prit of approiatel , opies. -
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. -
Ernest Hemingway Global American Modernist
Ernest Hemingway Global American Modernist Lisa Tyler Sinclair Community College, USA Iconic American modernist Ernest Hemingway spent his entire adult life in an interna- tional (although primarily English-speaking) modernist milieu interested in breaking with the traditions of the past and creating new art forms. Throughout his lifetime he traveled extensively, especially in France, Spain, Italy, Cuba, and what was then British East Africa (now Kenya and Tanzania), and wrote about all of these places: “For we have been there in the books and out of the books – and where we go, if we are any good, there you can go as we have been” (Hemingway 1935, 109). At the time of his death, he was a global celebrity recognized around the world. His writings were widely translated during his lifetime and are still taught in secondary schools and universities all over the globe. Ernest Hemingway was born 21 July 1899, in Oak Park, Illinois, also the home of Frank Lloyd Wright, one of the most famous modernist architects in the world. Hemingway could look across the street from his childhood home and see one of Wright’s innovative designs (Hays 2014, 54). As he was growing up, Hemingway and his family often traveled to nearby Chicago to visit the Field Museum of Natural History and the Chicago Opera House. Because of the 1871 fire that destroyed structures over more than three square miles of the city, a substantial part of Chicago had become a clean slate on which late nineteenth-century and early twentieth-century architects could design what a modern city should look like. -
THE LETTERS 1932 – May 1934
Cambridge University Press 978-0-521-89737-2 — The Letters of Ernest Hemingway Volume 5: 1932–1934 Excerpt More Information THE LETTERS 1932 – May 1934 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-89737-2 — The Letters of Ernest Hemingway Volume 5: 1932–1934 Excerpt More Information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-89737-2 — The Letters of Ernest Hemingway Volume 5: 1932–1934 Excerpt More Information January 1932 To John Dos Passos, [c. 4 January 1932] Box 406 Key West. Dear Dos, How the hell are you? Everybody is in ine shape here. Greg weighs 13 lbs. Big husky deep voiced slob. Been wonderful weather here. Warm as tarpon weather. No northers yet. Have been too damned busy going over this book1 to try for tarpon but they say there are thousands everywhere. Fishermen say most they ever saw. We got here a week before Christmas. Will be here until May anyway. You guys damned welcome anytime. New house will be swell when get it [a]ll ixed. Have roof, plumbing and lights ixed now.2 Practically no mosquitoes this year even out on the keys. Over- seas just re-opened on a dollar a day every room with bath special weekly rates basis.—3 Commercial ishermen havent been catching any mackerel or kings yet as it needs a norther to bring the migratory ish. Bra is in ine shape.4 Got a new bottom in the boat Did you go to Gaspe peninsula?5 What about coming down? Gabrielle, the lady dog we got to look ater baby is a malingering homesicker. -
Look Homeward, Angel"
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1994 The Problem of Time in Thomas Wolfe's "Look Homeward, Angel" Patrick M. Curran College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Curran, Patrick M., "The Problem of Time in Thomas Wolfe's "Look Homeward, Angel"" (1994). Dissertations, Theses, and Masters Projects. Paper 1539625884. https://dx.doi.org/doi:10.21220/s2-7tbv-bk17 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE PROBLEM OF TIME IN THOMAS WOLFE'S LOOK HOMEWARD, ANGEL A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements of the Degree of Master of Arts by Patrick M. Curran, Jr. 1994 ProQuest Number: 10629309 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10629309 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. -
Ernest Hemingway's Mistresses and Wives
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 ........................................................................................................................ i CHAPTER 1: INTRODUCTION ......................................................................................1 CHAPTER 2: MICHIGAN: WHERE IT ALL BEGAN ....................................................9 CHAPTER 3: ADULTERY, SEPARATION AND DIVORCE ......................................16 CHAPTER 4: AFRICA ....................................................................................................29 CHAPTER 5: THE WAR YEARS AND BEYOND........................................................39 CHAPTER 6: CONCLUSION .........................................................................................47 CHAPTER 7: REFERENCES ..........................................................................................52 i ABSTRACT “Conflicted” succinctly describes Ernest Hemingway. He had a strong desire -
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 -
Ernest Hemingway
ANALYSIS Garden of Eden (1986) (unfinished--censored and stolen by Feminists) Ernest Hemingway (1899-1961) LITERARY CRIME “The truth about editing the work of a dead writer in such circumstances is that you can only cut to affirm his strengths, to reiterate the strategies of style for which he is known; whereas he himself may have been writing to transcend them. This cannot have been the book Hemingway envisioned… It should have been published for what it is, a piece of something, part of a design.” E. L. Doctorow “Braver than We Thought” The New York Times Book Review (18 May 1986) 1, 44-45 reprinted in Linda Wagner, ed. Ernest Hemingway: Six Decades of Criticism (Michigan State 1987) 330 quoted by Susan M. Seitz “The propriety of publishing, as a commercial endeavor, what a dead writer declined to see into print is, of course, dubious. The previous forages into the Hemingway trove have unfortunately tended to heighten our appreciation not of his talent but of his psychopathology.” John Updike “The Sinister Sex” The New Yorker 30 (June 1986) 85 “Were the scrupulous craftsman still alive, no case of vodka could ease the pain the publication of this novel [The Garden of Eden] would cause [him].” Lorian Hemingway “Ernest Hemingway’s Farewell to Art” Rolling Stone (5 June 1986) 41-42 quoted by Susan M. Seitz The Posthumous Editing of Ernest Hemingway’s Fiction Ph.D. dissertation, University of Massachusetts (1993) “I can report that Hemingway’s publisher has committed a literary crime. There is no way that the manuscript that I read, an extraordinary mass of unfinished work, could have been made into a smooth popular novel without the literary equivalent of ‘colorization’… [Scribner’s] has transformed these unfinished experiments into the stuff of potboilers and pulp…. -
Thomas Wolfe and Look Homeward, Angel
Part 1: Thomas Wolfe and Look Homeward, Angel Prep Time: 10 minutes copying Look Homeward, Angel excerpt. Materials: Narratives about Thomas Wolfe, his family and his book Look Homeward, Angel. Links to online resources about Thomas Wolfe listed above. Attached Excerpt from Look Homeward, Angel Attached List “Grave Stone Symbolism” Procedure: 1. Share the narrative About Thomas Wolfe, his family and his book Look Homeward, Angel. 2. Discuss the life of Thomas Wolfe using links to online resources. Further information can come from your own research. 3. Distribute the excerpt from Look Homeward, Angel. Ask students to read the excerpt from Look Homeward, Angel, focusing their attention on the angels and ghosts in the passage. Narratives: Thomas Wolfe, his family and his book Look Homeward, Angel. “I don't know yet what I am capable of doing," wrote Thomas Wolfe at the age of twenty- three, "but, by God, I have genius—I know it too well to blush behind it." While in Europe in the summer of 1926 he began writing the first version of a novel, O Lost, which eventually evolved into Look Homeward, Angel. In 1929, with the publication of Look Homeward, Angel, Wolfe gave the world proof of his genius. Wolfe said that Look Homeward, Angel is "a book made out of my life." It tells the coming-of-age story of Eugene Gant, whose restlessness and yearning to experience life to the fullest take him from his rural home in North Carolina to Harvard University. Thomas Wolfe was born in Asheville, North Carolina, in 1900 and was the youngest of eight children of William Oliver Wolfe (1851–1922) and Julia Elizabeth Westall (1860– 1945). -
Look Homeward, Angel Excerpt- Chapter 8 Thomas Wolfe Bullied At
Look Homeward, Angel Excerpt- Chapter 8 Thomas Wolfe Bullied At school, [Eugene] was a desperate and hunted little animal. The herd, infallible in its banded instinct, knew at once that a stranger had been thrust into it, and it was merciless at the hunt. As the lunch-time recess came, Eugene, clutching his big grease-stained bag, would rush for the playground pursued by the yelping pack. The leaders, two or three big louts of advanced age and deficient mentality, pressed closely about him, calling out suppliantly, "You know me, 'Gene. You know me"; and still racing for the far end, he would open his bag and hurl to them one of his big sandwiches, which stayed them for a moment, as they fell upon its possessor and clawed it to fragments, but they were upon him in a moment more with the same yelping insistence, hunting him down into a corner of the fence, and pressing in with outstretched paws and wild entreaty. He would give them what he had, sometimes with a momentary gust of fury, tearing away from a greedy hand half of a sandwich and devouring it. When they saw he had no more to give, they went away. Look Homeward, Angel Excerpts- Chapter 9 Wolfe the Bully Example #1 Eugene had no interest in pogroms, but it was a fetich with Max. The chief object of their torture was a little furtive-faced boy, whose name was Isaac Lipinski. They pounced cattishly at him when he appeared, harried him down alleys, over fences, across yards, into barns, stables, and his own house; he moved with amazing speed and stealth, escaping fantastically, teasing them to the pursuit, thumbing his fingers at them, … Example #2 But the whiteheaded children of Pigtail Alley they hated without humor, without any mitigation of a most bitter and alienate hate.