Introduction

2019 ◽  
pp. 1-8
Author(s):  
Lisa Nanney
Keyword(s):  
William Faulkner ◽  
Ernest Hemingway ◽  
Visual Language ◽  
John Dos Passos ◽  
Lost Generation ◽  
Critical Transitions ◽  
John Howard ◽  
The U.S

In 1930, Time magazine’s cover proclaimed John Dos Passos the most important writer on the Left in the U.S., and classified him along with Ernest Hemingway and William Faulkner as one of the most important of the “Lost Generation” writers for his innovative modernist novels of the 1920s and 1930s. But by 1938 he had cut ties with leftist organizations in the U.S., begun publishing in anti-Communist journals, become estranged from leftist friends such as Hemingway and playwright John Howard Lawson, and was ostracized by leftist critics for expressing his conviction that Communism was the paramount threat to individual liberties and democracy. Thereafter, his books were often criticized as ideologically doctrinaire, their style as falling far short of his earlier achievements, which had adapted into dynamic narrative the visual devices of cinema. John Dos Passos and Cinema explores these political and critical transitions through the lens of the writer’s little-known work, much of it archival, in the medium of film itself. As a novelist, he had used film as a subject and stylistic source; as screen writer, he evolved his methods directly from the cinema’s visual language, demonstrating how potently the medium could be manipulated for political and commercial profit.

scholarly journals Pour un roman français à l’américaine

2008 ◽  
Vol 43 (3) ◽  
pp. 41-54
Author(s):  
Yan Hamel
Keyword(s):  
William Faulkner ◽  
Ernest Hemingway ◽  
Richard Wright ◽  
Albert Camus ◽  
John Steinbeck ◽  
Maurice Blanchot ◽  
John Dos Passos ◽  
Jean Giraudoux ◽  
Jean Paul ◽  
Francois Mauriac

Résumé Au cours de la période de douze ans durant laquelle il a publié ses nouvelles et ses romans (1937-1949), Jean-Paul Sartre a aussi fait paraître une série de critiques littéraires et de manifestes pour l’engagement de la littérature. Dans ces critiques et ces manifestes, l’auteur des Situations accorde une place centrale au genre romanesque : cette partie de son oeuvre a été un espace où, en prenant position par rapport aux autres écrivains, Sartre a implicitement défini sa conception du genre romanesque, ainsi que les ambitions littéraires, philosophiques et politiques qu’il poursuivait par l’entremise de ses propres fictions narratives. L’ensemble des oeuvres auxquelles Sartre s’intéresse dans ses essais sur la littérature se caractérise par une stricte bipartition. D’un côté, des prédécesseurs et des contemporains français tels que Jean Giraudoux, François Mauriac, Paul Nizan, Albert Camus et Maurice Blanchot sont plus ou moins durement éreintés selon les cas. En contrepartie, des oeuvres écrites par ceux que Sartre appelle indifféremment « les Américains », c’est-à-dire, pour l’essentiel, William Faulkner, John Dos Passos, Ernest Hemingway, John Steinbeck et Richard Wright, suscitent de l’enthousiasme, reçoivent des éloges et sont considérés comme des modèles dont l’écrivain français devrait idéalement parvenir à s’inspirer. Dans cet article, l’auteur dégage la signification de cette bipartition entre oeuvres américaines et françaises et circonscrit la fonction qu’elle remplit dans le système de la critique littéraire sartrienne.

The Lost Generation

2018 ◽  
Author(s):  
Adam R. McKee
Keyword(s):  
World War I ◽  
Ernest Hemingway ◽  
Gertrude Stein ◽  
Literary Tradition ◽  
The Sun ◽  
World War ◽  
Lost Generation ◽  
Sun Also Rises ◽  
The Sun Also Rises

The Lost Generation is a group of expatriate American writers who came of age during World War I and who subsequently became prominent literary figures. The term can also be used to refer to the whole of the post-World War I generation. The term was coined by Gertrude Stein (1874–1946) in a comment to Ernest Hemingway (1899–1961) in which she declared, ‘You are all a lost generation’. Hemingway subsequently used this phrase as an epigraph to his novel The Sun also Rises (1926), which is often seen as emblematic of the Lost Generation’s literary tradition.

The New Playwrights: Theatrical Insurgency in Pre-Depression America

1961 ◽  
Vol 2 ◽  
pp. 35-53
Author(s):  
Malcolm Goldstein
Keyword(s):  
New York ◽  
John Dos Passos ◽  
Nineteen Twenties ◽  
Commercial Company ◽  
Michael Gold ◽  
New Playwrights Theatre ◽  
John Howard

The New Playwrights' theatre, a non-commercial company founded by Michael Gold, Em Jo Basshe, John Howard Law-son, John Dos Passos, and Francis Edwards Faragoh, and supported by a series of grants from Otto H. Kahn, produced eight consecutive failures in twenty-four months of feverish activity at the close of the nineteen-twenties. Its works were among the most boisterous and futile ever witnessed in the smaller playhouses of New York, and its record of acid notices and early closings has not been broken in some thirty subsequent seasons of off-Broadway production.

scholarly journals F. Scott Fitzgerald: Writing Under the Influence of Europe

2009 ◽  
Vol 5 ◽  
Author(s):  
Tim Xu
Keyword(s):  
American Literature ◽  
Short Story ◽  
Ernest Hemingway ◽  
Financial Strain ◽  
Lost Generation ◽  
The Public ◽  
Work Support ◽  
Tender Is The Night ◽  
20Th Century American Literature

As one of the notable figures in 20th Century American literature, F. Scott Fitzgerald has been studied widely by authors, critics, and historians alike. This paper addresses the role of Fitzgerald's time abroad in creating the inspiration for his work as well as Europe's part in catalyzing his eventual decline in the public eye. As a member of the so-called "Lost Generation" of American writers who took up residence in Paris during the 1920s, Fitzgerald was profoundly influenced by his peers, notably Ernest Hemingway. Another guiding factor in Fitzgerald's writing was the presence of Zelda, Fitzgerald's wife, whose mental illness placed both an emotional and financial strain on Fitzgerald. This paper examines the ups and downs of Fitzgerald's life while incorporating the analysis of several of his Europe-inspired works, including his last completed novel Tender is the Night and his famed short story "Babylon Revisited." Fitzgerald's life and work support the claim that Europe was fundamentally a double-edged sword - while Europe provided the thrilling lifestyle that fueled Fitzgerald's writing and widespread notoriety, it also brought about his ultimate disintegration.

scholarly journals ИСПАНСКАЯ ТЕМА В РАССКАЗАХ Э. ХЕМИНГУЭЯ «ПОБЕДИТЕЛЬ НЕ ПОЛУЧАЕТ НИЧЕГО»

2019 ◽  
Vol 3 (93) ◽  
pp. 162-179
Author(s):  
Т.О. Разуменко
Keyword(s):  
World Literature ◽  
Ernest Hemingway ◽  
Lost Generation ◽  
Ordinary Life ◽  
The World ◽  
History Of ◽  
Inner World ◽  
Post War ◽  
Life Path ◽  
Main Components

Ernest Hemingway is a symbolic figure in the literature of the 20th century. His name and works entered the history of world literature forever. The purpose of the article is to characterize the way of opening the inner world and the emotional state of the characters, the psychology of the ‘lost generation’ in the interaction of its external and internal manifestations through the civil war inSpain. The article analyzes the stories ‘A clean, well-lighted place’, ‘A way you’ll never be’, ‘The light of the world’. The heated atmosphere of the ‘bloody decade’ introduced new themes into the writer's work.Spainbecame a ‘moment of truth’ for E. Hemingway. He feels the inevitability of the coming world war. E. Hemingway expressed himself inSpaincompletely as an artist, and as a citizen. All the characters of his stories are simple people, men and women, unemployed, traumatized by war, looking for their place in the post-war world (a cook, a lumberjack, Indians, prostitutes etc.). Endless humor, laughter, self-irony, joke, and sometimes bitter laughter help them to stand and find their place in life. The ‘code’ of light, purity, and peace are universally introduced into all writer's works. In the personality of his characters there is much in common, unifying them with all the differences in appearance and life path, and above all, hopelessness and disappointment, indifference to life in general, and the most terrible is their loneliness. The utmost frankness and genuineness of soul movements, the combination of morals, history, nature with the chronicle of only human destiny, are exceptionally bright creative personalities of E. Hemingway, who describes his characters. In our work we came to the conclusion that the characters of the stories about the war years inSpain‘A clean, well-lighted place’ (about a lonely old man), ‘A way you’ll never be’ (about the war), ‘The light of the world’ (the sad and ironic story about prostitutes who remembered the past) anyway are rejected by a prosperous society. Hopelessness, dark state of the soul of ‘lost generation’ are combined with the belief in the ‘ordinary’ life without the war for the characters of E. Hemingway’s stories. Light and dignity are the main components of a person’s peaceful life, the confession of a person who got out of the abyss and survived during the war, but who lost the sense of life in peacetime, they are distinguishing features of many characters in military conflicts.

scholarly journals A Study of Narrative Strategies in A Farewell to Arms

2019 ◽  
Vol 12 (9) ◽  
pp. 122
Author(s):  
Chen Kaifu
Keyword(s):  
Ernest Hemingway ◽  
Narrative Strategies ◽  
Narrative Voice ◽  
Lost Generation ◽  
Systematic Analysis ◽  
Farewell To Arms

A Farewell to Arms by Ernest Hemingway in his early creative time, has been rated as “the representative classic in the Lost Generation” for its particular narrative strategies. This paper gives a systematic analysis of its narrative order, narrative voice and narrative situation so as to achieve a better interpretation of the narrative effect of this novel.

Seeing in the Dark Houses

2018 ◽  
Author(s):  
Peter Lurie
Keyword(s):  
William Faulkner ◽  
Philosophy Of Language ◽  
Film Theory ◽  
Traumatic Events ◽  
Historical Knowledge ◽  
The U.S ◽  
Sense Of Wonder

This chapter uses historicist criticism of William Faulkner to suggest a limit to even the best approaches to this deeply historical writer. Attending to what his novels cannot say—or—see about history and racial understanding, I draw on Maurice Blanchot’s philosophy of language to show the category error that scholars make when assuming that Faulkner’s texts yield the historical secret lodged in the imagined structures and complicated texts Absalom, Absalom! and Light and August, each of which bore the title “Dark House” in manuscript form. The chapter shows the more meaningful aporias and lacunae surrounding race and racial meaning in each novel and the U.S. south—problems attendant on language and the effort to name. It offers a model for historical knowledge drawn from Blanchot and from film theory of fascination, a spellbound, rapt sense of wonder before traumatic events, one that elements of Absalom evoke in readers and posits in Quentin Compson.

“The Three Kings: Hemingway, Faulkner, and Fitzgerald”

2016 ◽  
Author(s):  
Richard Ford
Keyword(s):  
William Faulkner ◽  
Ernest Hemingway ◽  
Kenneth Burke ◽  
The Sun ◽  
Great Gatsby ◽  
The Great Gatsby ◽  
Sun Also Rises ◽  
The Sun Also Rises ◽  
First Time

In this chapter, the author reflects on how he came to read William Faulkner, Ernest Hemingway, and F. Scott Fitzgerald—whom he describes as the three kings. The author begins by recalling a few years ago reading in Exile's Return, Malcolm Cowley's book on the 1920s, the teenage correspondence between Cowley and Kenneth Burke. He admits that reading was his very problem in Mississippi. He also remembers the first time he read Fitzgerald's story “Absolution” and how he came to know who Faulkner was. According to the author, 1962 was the year he would first read Faulkner, Fitzgerald, and Hemingway. He read The Sun Also Rises, Absalom, Absalom!, and The Great Gatsby. He argues that Faulkner was the best of all three, and the very best of any American writing fiction this century. He concludes by discussing what he and his generation might have learned from the three writers.

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