Towards a Unity of Dos Passos's and Hemingway's Aesthetics in The Spanish Earth

2015 ◽  
Author(s):  
Fredrik Tydal
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
Ernest Hemingway ◽  
John Dos Passos ◽  
Artistic Collaboration ◽  
Essential Unity ◽  
War Film ◽  
Film Aesthetics

This article argues that The Spanish Earth, as the first and only artistic collaboration between John Dos Passos and Ernest Hemingway, represents a unique fusion of their different aesthetics. In doing so, it aims to show that all the drama surrounding the production of the film has come to obscure the essential unity of the work itself. The following, then, shows that despite the fraught circumstances, Dos Passos and Hemingway were able to put their aesthetic differences aside for their mutual love of Spain, even as the production itself would paradoxically lead to their falling out.Key words: Dos Passos, Hemingway, The Spanish Earth, Spanish Civil War, film, aesthetics.

Filming History and The Spanish Earth

2019 ◽  
pp. 127-156
Author(s):  
Lisa Nanney
Keyword(s):  
Civil War ◽  
Military Personnel ◽  
Spanish Civil War ◽  
Documentary Film ◽  
Ernest Hemingway ◽  
Multiple Perspectives ◽  
Relief Effort ◽  
Russian Military ◽  
The Relationship

Dos Passos was instrumental in initiating The Spanish Earth, a 1937 documentary film relief effort for the Republican fight against fascism in the Spanish Civil War, although he likely did not contribute to its writing. Yet the dangerous, divisive circumstances surrounding the film’s creation and his collaboration with its Communist director Joris Ivens and with colleague Ernest Hemingway during its production in Spain challenged Dos Passos’s beliefs about the relationship between politics and art and profoundly affected his subsequent career. The execution of a Spanish friend, José Robles, at the hands of Russian military personnel who were ostensibly Republican allies, and a subsequent coverup, led Dos Passos to re-evaluate his leftist political positions, his professional alliance with Ivens, and his longtime friendship with Hemingway. The film and its circumstances raised complex questions about the dynamics between fact and fictionalization in documentary and the artist’s ethical and aesthetic responsibilities. Dos Passos’s choices to report fully on the repercussions of factionalization in the Spanish anti-fascist cause, to represent multiple perspectives of the looming greater European conflict, and to articulate unequivocally his conviction that Communism was compromising both European and U.S. leftist movements earned opprobrium from literary critics who had theretofore lionized him.

An analysis of symbols in spanish civil war as seen in For whom the bell tolls by ernest hemingway

2017 ◽  
Vol 1 (1) ◽  
pp. 183-190
Author(s):  
Faehusi Telaumbanua
Keyword(s):  
Data Analysis ◽  
Civil War ◽  
Data Collection ◽  
Spanish Civil War ◽  
Ernest Hemingway ◽  
Main Character ◽  
Literature Research ◽  
Analysis Techniques ◽  
The Subject ◽  
Data Analysis Methods

The problem in this thesis is the symbols contained in the civil war in Spain. This fight has taken many casualties, death is common, but the soldiers continue to struggle and sacrifice for the hope of victory. The three themes of the struggle about death, sacrifice, and hope are reflected in the symbols of the war.                In this writing, literature research is taken as a method of data collection. As for data analysis methods, the authors perform systematic procedures with the understanding of novels, symbols and symbol analysis, as well as semiotic theory. Data collection techniques use documentation techniques in finding data relevant to the subject. In data analysis techniques, the authors use structural techniques by analyzing novels based on the elements that shape them.                The results of the research in this thesis are: 1) dynamite is a symbol of death, it can be connected with dynamite properties that can destroy anything around him, here are three Robert who aims to destroy the enemy by installing dynamite, 2) dynamite trigger is a symbol of sacrifice from the The main character, without any trigger, dynamite will not be explosive, Robert in this novel self-criticism to prevent enemies from being able to chase his fleeing friends, 3) the bridge as a symbol of hope, this is connected with the nature of the bridge connecting the two Side, Robert at the end of the story gives hope to his friends to stay safe from the battlefield.    

scholarly journals Ernest Hemingway e a Guerra Civil Espanhola

2009 ◽  
Vol 19 (2) ◽  
pp. 225-236
Author(s):  
Tom Burns
Keyword(s):  
Civil War ◽  
North American ◽  
Spanish Civil War ◽  
Ernest Hemingway ◽  
The Novel ◽  
American Writer ◽  
The North ◽  
Political Turn

Resumo: Este artigo discute o romance For Whom the Bell Tolls, 1940 [Por quem os sinos dobram], do escritor e jornalista americano Ernest Hemingway, uma ficção sobre a Guerra Civil Espanhola que o autor escreveu na Espanha enquanto servia como correspondente de guerra. O romance, favorável à causa legalista, parece assumir uma posição mais política que os romances e histórias anteriores de Hemingway, mas, na verdade, desenvolve mais uma variação do típico “herói de Hemingway”, celebrado em quase toda a obra do autor: o indivíduo solitário, corajoso, destinado ao fracasso, mas determinado a extrair algum significado da vida em um mundo absurdo.Palavras-chave: Guerra Civil Espanhola; herói de Hemingway; literatura de guerra.Abstract: This article discusses the American writer-journalist Ernest Hemingway’s novel For Whom the Bell Tolls (1940), his fiction of the Spanish Civil War, which the author wrote in Spain while serving as a war correspondent for the North American Newspaper Alliance. The novel, sympathetic to the Loyalist cause, seemed to take a more political turn than his previous novels and stories, but in fact turned out to work yet another variation of the typical “Hemingway hero” celebrated in nearly all of the author’s work – the isolated individual, courageous, doomed, but determined to elicit some meaning from life in an absurd world.Keywords: Spanish Civil War; Hemingway hero; Literature of War.

The Wages of War: Liberal Gullibility, Soviet Intervention, and the End of the Popular Front

2011 ◽  
Vol 115 (1) ◽  
pp. 102-129 ◽  
Author(s):  
Ichiro Takayoshi
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
Ernest Hemingway ◽  
Popular Front

This article reopens the case of liberal gullibility in the Spanish Civil War. Using Ernest Hemingway as an example, I explain why politics cannot fool all the soldiers all the time. There is no such thing as gullibility in war.

The price of duty in Hemingway's The fifth column

1988 ◽  
Vol 9 (1) ◽  
pp. 38
Author(s):  
Stephen L. Tanner
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
Ernest Hemingway ◽  
Artistic Development

This essay examines Hemingway's The fifth column, a play he wrote in Madrid during the fall of 1937 while that city was under bombardment. The essay aims at clarifying the motives behind Hemingway's involvement with the Spanish Civil War and at illuminating the significance of  that involvement to his artistic development. Este ensaio analisa a peça denominada A quinta coluna, escrita em Madrid por Ernest Hemingway, durante a Guerra Civil Espanhola. O ensaio procura esclarecer os motivos do envolvimento político/ideológico do escritor norte-americano, assim como o significado desse envolvimento para a sua carreira artística.

Through the prism of Spain. Socio-economic causes of different outcomes of Russian and Spanish civil wars

2017 ◽  
pp. 142-155
Author(s):  
I. Rozinskiy ◽  
N. Rozinskaya
Keyword(s):  
Civil War ◽  
World War I ◽  
Civil Wars ◽  
Spanish Civil War ◽  
Statistical Data ◽  
Well Being ◽  
Russian Civil War ◽  
World War ◽  
Common Features ◽  
Economic Well Being

The article examines the socio-economic causes of the outcome of the Spanish Civil War (1936-1936), which, as opposed to the Russian Civil War, resulted in the victory of the “Whites”. Choice of Spain as the object of comparison with Russia is justified not only by similarity of civil wars occurred in the two countries in the XX century, but also by a large number of common features in their history. Based on statistical data on the changes in economic well-being of different strata of Spanish population during several decades before the civil war, the authors formulate the hypothesis according to which the increase of real incomes of Spaniards engaged in agriculture is “responsible” for their conservative political sympathies. As a result, contrary to the situation in Russia, where the peasantry did not support the Whites, in Spain the peasants’ position predetermined the outcome of the confrontation resulting in the victory of the Spanish analogue of the Whites. According to the authors, the possibility of stable increase of Spanish peasants’ incomes was caused by the nation’s non-involvement in World War I and also by more limited, compared to Russia and some other countries, spending on creation of heavy (primarily military-related) industry in Spain.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

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