“‘I’m not sick,’ I said. ‘I’m wounded’”

2019 ◽  
pp. 79-102
Author(s):  
Cheryl Hindrichs
Keyword(s):  
Ernest Hemingway ◽  
John Dos Passos ◽  
Male Body ◽  
Army Hospital

Cheryl Hindrichs examines the ways in which the wartime novels of John Dos Passos and Ernest Hemingway offer modes of being outside masculinity for wounded male soldiers within the medical-military spaces of the war—from the army hospital to the pastoral sites of recovery. Yet Hindrichs finds, although these sites resist destructive modes of masculinity—violence, capitalism, empire—this resistance ultimately fails. The wounded male body is reinscribed as body of illness within a hierarchy that seeks to dominate it rather than free it from discourses of power.

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.

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.

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.

Validity Support for the Male Body Attitudes Scale

2006 ◽  
Author(s):  
Derek Bergeron ◽  
Tracy L. Tylka
Keyword(s):  
Male Body ◽  
Body Attitudes

Validation and Application of a Short Male Body Image Concerns Scale

2013 ◽  
Author(s):  
Hannah L. Weisman ◽  
Elaine Patten ◽  
Marcus Montanez-Leaks ◽  
Mercedes Yee ◽  
Alison M. Darcy ◽  
...  
Keyword(s):  
Body Image ◽  
Male Body ◽  
Male Body Image ◽  
Body Image Concerns

The Effect of Media Influence on Male Body Image

2007 ◽  
Author(s):  
Renee Marie Gibbs ◽  
Kristin Byington ◽  
Alexandria Murallo ◽  
Leigh Anne Randa
Keyword(s):  
Body Image ◽  
Media Influence ◽  
Male Body ◽  
Male Body Image

Gertrude Stein's Transmasculinity

2018 ◽  
Author(s):  
Chris Coffman
Keyword(s):  
Twentieth Century ◽  
Ernest Hemingway ◽  
Pablo Picasso ◽  
False Consciousness ◽  
Mass Consumption ◽  
Museum Exhibits ◽  
Carl Van Vechten ◽  
The Media ◽  
Future Work ◽  
Opening Up

By reading written and visual artefacts of Gertrude Stein’s life, Gertrude Stein’s Transmasculinity reframes earlier scholarship to argue that her gender was transmasculine and that her masculinity was positive rather than a self-hating form of false consciousness. This book considers ways Stein’s masculinity was formed through her relationship with her feminine partner, Alice B. Toklas, and her masculine homosocial bonds with other modernists in her network. This broadens out Eve Kosofsky Sedgwick’s account of “male homosocial bonding” to include all masculine persons, opening up the possibility of examining Stein’s relationship to Toklas; masculine women such as Jane Heap; and men such as Pablo Picasso, Ernest Hemingway, and Carl Van Vechten. The Introduction and first four chapters focus on surfacings of Stein’s masculinity within the visual and the textual: in others’ paintings and photographs of her person; her hermetic writings from the first three decades of the twentieth century; and her self-packaging for mass consumption in The Autobiography of Alice B. Toklas (1933). Whereas the chapter on The Autobiography underscores Toklas’s role in the formation of Stein’s masculinity and success as a modernist, the final three register the vicissitudes of the homosocial bonds at play in her friendships with Picasso, Hemingway, and Van Vechten. The Coda, which cross-reads Stein’s Everybody’s Autobiography (1937) with the media attention two museum exhibits about her attracted between 2011 and 2012, points to possibilities for future work on the implications of her masculine homosocial bonds with Vichy collaborator Bernard Fäy.

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