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.

Words and Music in the Absence of the Social: Hemingway, Salinger, Fitzgerald

Prospects ◽  
1995 ◽  
Vol 20 ◽  
pp. 405-434
Author(s):  
Michael Nathaniel Shute
Keyword(s):  
Ernest Hemingway ◽  
Subordinate Clauses ◽  
The Social ◽  
Baby Talk ◽  
Dwight Macdonald ◽  
Farewell To Arms

I imagine, you imagine, we imagine. And they imagine. This process may not be as simple as it appears to be inviting.Dwight MacDonald once remarked wittily upon the good and the bad of Ernest Hemingway. He commented on the grace: “The short words, the declarative sentences, the repetition, the beautiful absence of subordinate clauses … It was a kind of inspired baby talk when he was going good”:And what if she should die? She won't die. People don't die in childbirth nowadays. That was what all husbands thought. Yes, but what if she should die? She won't die. She's just having a bad time. The initial labor is usually protracted. She's just having a bad time. The initial labor is usually protracted. She's only having a bad time. Afterwards we'd say what a bad time and Catherine would say it wasn't really so bad. But what if she should die? She can't die. Yes, but what if she should die? She can't I tell you. Don't be a fool. It's just a bad time. It's just nature giving her hell. It's only the first labor, which is almost always protracted. Yes, but what if she should die? She can't die. Why should she die? What reason is there for her to die? … But what if she should die? She won't. She's all right. But what if she should die? Hey, what about that? What if she should die?After this passage MacDonald cites another passage from A Farewell to Arms, one that he sees as having far less meaning.

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.

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 Sites of Memory on the Isonzo Front in WW I: The National and Transnational Rhetoric of Border Space in Literary and Semi-literary Texts

2018 ◽  
Vol 12 (1) ◽  
pp. 224-243
Author(s):  
Vanesa Matajc
Keyword(s):  
World War I ◽  
Ernest Hemingway ◽  
Literary Texts ◽  
New Historicism ◽  
Collective Identities ◽  
External Observer ◽  
Collective Memories ◽  
Collective Imagination ◽  
Farewell To Arms ◽  
Spatial Identity

The article examines the Slovene-Italian border space in terms of the historical-spatial identity that was ascribed to it by the collective imagination of World War I and the Isonzo front. Its meaning was created by the collective memories of the national communities that were involved in the battles on the Isonzo front. The paper addresses the question of the memorial culturalisation of this space in light of New Historicism and the theory of semiotics, i.e. as interaction of spatial-rhetorical signs and verbal-linguistic semiotisation of these signs which was produced by literature, diaries and reports on the Isonzo front. The paper presents referential sites of memory (Redipuglia, San Michele, Doberdob, Oslavia) in view of the following texts: Doberdob, a novel written by Slovene literary author Prežihov Voranc, Austrian soldier Hans Pölzer‘s memories, Slovene catholic priest Alojzij Novak’s diary, Austrian reporter Alice Schalek‘s report from the battlefield, and (as an aspect of an external observer) Ernest Hemingway novel A Farewell to Arms. These texts represent collective identities which endow this border space with the identitiy of the Isonzo front and give it additional meaning: a) historical: in the course of history meaning was produced in terms of national collective identities which refer also to this space; and b) in the contemporary trans-national collective memory meaning is produced through the humanist lens of the catastrophic character of WW I. Both of these aspects of collective memories are created in an interaction with the space of the Isonzo front and its verbal-textual semiotisations, whereby sites of memory of WW I create one of the central rhetorics of this space.

scholarly journals Slovenes and Friuli as the Other in Hemingway

2019 ◽  
Vol 52 (1-2) ◽  
pp. 129-140
Author(s):  
Rebecca Johnston
Keyword(s):  
Ethnic Groups ◽  
Ernest Hemingway ◽  
The Other ◽  
The Novel ◽  
Before And After ◽  
Farewell To Arms

Ernest Hemingway was known for writing with the “Iceberg Theory” in mind. Thus, there are deeper meanings and contexts moving beneath the surface of his works. His war novel A Farewell to Arms takes place along the Soča/Isonzo Front both before and after the Battle of Kobarid/Caporetto and in this setting, consistent with his “Iceberg Theory,” Hemingway has placed both characters and settings that deserve a reconsideration below the surface. While the Italians in the novel are on the surface of the story and thus more easily recognizable, it is the Slovenes and Friuli who run under the surface and carry a deeper meaning. Slovenes and Friuli are not named directly, but as Hemingway was historically accurate in the novel, both ethnic groups are placed along the Front and collectively they represent the “other” in Hemingway’s novels, both unseen and integral to the storyline.

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.

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