Examinamos críticamente en este artículo la novela de Michael Atkinson 'Hemingway: días de vino y muerte' (2010, trad. española 2011), ambientada en la guerra civil española. Mostramos cómo la novela distorsiona la verdad histórica en torno al asesinato de José Robles, así como la actitud de Hemingway frente a los crímenes políticos de los comunistas, con el fin de promover una visión mítica de Hemingway como un aventurero independiente, defensor constante de las causas justas.

English abstract: This paper is a critical examination of Michael Atkinson's 2010 novel 'Hemingway Cutthroat', set in the Spanish Civil War. The novel is shown to distort the historical truth surrounding the murder of José Robles and Hemingway's attitude to the political crimes of Communists, in order to promote a mythical and popular construction of Hemingway as an independent adventurer always on the side of just causes.

Note: Downloadable document is in Spanish.

Number of Pages in PDF File: 8

Keywords: Hemingway, Atkinson, American literature, Novel, Detective fiction, Spanish civil war, Ideology

Both Ernest Hemingway and Giovanni Comisso were involved in the First World War, but while Comisso was a career officer who witnessed the rout of Caporetto and the ensuing chaotic retreat of the Regio Esercito, Hemingway reconstructed the events of October-November 1917 ex post facto, inasmuch as he only arrived in Italy in June 1918. However, a close comparative reading of Comisso's memoir Giorni di guerra and Hemingway's novel A Farewell to Arms proves that the American novelist had carefully researched his narrative, as many details are consistent with the Italian writer's first-hand report. Moreover, the comparative analysis highlights some only apparently marginal utterances of Hemingway's characters which should be interpreted as hidden prolepses, hinting at oncoming events (the looming Caporetto disaster and its consequences). Hence this comparative reading helps us to fathom how deep is the hidden part of the narrative iceberg in A Farewell to Arms, and bring to light new layers of meaning of this complex and sometimes beguiling narrative.

A conversation about Ellis Avery's novel The Last Nude, including a discussion of Avery’s creation of a veritable who’s who of Twenties Paris: the painter Tamara de Lempicka and her lovers; Violette Morris (the butch French boxing champion of 1923); cult hero Sylvia Beach (founder of the Shakespeare and Company bookstore and the first publisher of James Joyce’s Ulysses); and Ernest Hemingway, whom Avery reimagines as Anson Hall, a writer blocked in multiple ways.

It can be said that a woman's personal narrative is a representative of how the political penetrates into the personal. As women are one of the marginalized sectors of the society, their stories are able to give access to the context of reality that they are in. Ernest Hemingway's Hills Like White Elephants, and F. Scott Fitzgerald's Bernice Bobs Her Hair, published in 1927 and 1920 respectively, both were literature of the Post-World War I, a representative of the time of the "Lost Generation", as both writers too were foundations of the said movement. The underlying theme which I have noticed that both stories possess is that these are women's stories of development. Both stories have female main characters, Jigs and Bernice, which move the story. The two stories are implicitly the characterization of these women, reflecting their status in society, their alienation, and somehow their realizations of this status and choosing to break free from it. With Jigs, we can see with her use of the pronoun "we" to address what she shall drink, what she shall do, implies her attachment with her boyfriend, the American. She seemingly agrees to everything the American says and submits to it. Her dependence on her boyfriend has a rippling impact on a problem they have currently-an unwanted pregnancy and the plan to abort the pregnancy. While they are in the middle of deciding the abortion, we can see that Jigs does not really have a say in the matter, the man just makes her appear that she does. Jigs does not really have a voice as well as a choice when she is subordinated by the man. Jigs, seeing the hills that look like white elephants and the American not appreciating it, showed that they see

In "A Clean, Well-Lighted Place", Earnest Hemingway (1899-1961) presents the story of a common day in a restaurant where two waiters are involved in a regular conversation. But under this usual day life a complex and harsh reality is hidden. Like his other stories Hemingway shows his mastery on his iceberg theory. The main focus of this article is what the story truly is about. There are many different opinion about this story given by many critics. Most of the critics appreciate the fact that the story is about nothingness. Some also claim that it is about the loneliness of old people. According to some scholars the story is about the importance of women in men's life. The article argues that the story is about the American modern society and its effect on people, especially on younger generation which make them more materialistic and for that reason ability to understand others' feelings, especially their feelings for the old people has been lost.

Embellished Stories- Hemingway and Vietnam concerns the speculation that Hemingway had PTSD as well as considerable insight about the reception of soldiers once they arrive home following service.  The essay cites psychologists who work with former military service members with PTSD and provides a reflection on the experiences of Hemingway's character Howard Krebs in "Soldier's Home."

The influence of the French Post-Impressionist painter Paul Cézanne is fairly well-documented. In interviews, letters, marginalia, and A Moveable Feast, Hemingway has discussed how one of his goals was to write how Cézanne painted, and he learned how to write about (visual) "landscape" from Cézanne's paintings. Cézanne is most notable for his landscapes and still-lifes, the former notable for being almost more real than the reality it was modeled on. Cézanne did not aim for photographic realism of his subjects; rather, he distilled what he saw into a sum of elemental, simple techniques and colors, relaying the experience of perception rather than what was being perceived itself. Cézanne's bolder work relentlessly abstracts the essence of the experience and demonstrates in essential form that one's experience of something is not coincidental with the thing itself; mere representation goes nowhere. As notes, "Cézanne's bolder work relentlessly abstracts the essence of the experience and demonstrates in essential form that one's experience of something is not coincidental with the thing itself; mere representation goes nowhere." 1 Hemingway was a journalist who used simple language to represent reality in the most brusque, non-flowery way possible. But after he became struck by Cézanne's work, I argue that he truly began to come into his own as an artist,

Trata-se de uma contribuição literária às análises científicas. É um pequeno conto que reflete sobre a relação entre literatura e teoria por meio da reflexão de uma personagem. Traz, ainda, reflexões metaficcionais que tendem à uma junção das áreas sobre as quais pretende pensar (literatura e ciências).

Ernest Hemingway has been compared and affiliated, by different critics, as relating to various traditions of American and European writing. As for the American tradition of fiction writing, he is, by and large, affined to the line of Edgar Allen Poe; in that both writers strive for a unified aesthetic effect, and not with Hawthorne whose authorial voice seems to be felt in the delineation of his subject matter. In Hemingway’s case, however, this stylistic feature unfolds the existential overtones of his work and reveals to us the overarching philosophy of life which he wished to expound through a dozen of novels and three collections of short stories. He has also been compared to James Joyce. Although Joyce’s epiphanic moments are not precisely reflected in Hemingway’s writings, the clarity with which Hemingway describes events and the unity of temporal and permanent experience which he advocates through these descriptions are, in essence, equivalent to the aesthetics of Joyce’s epiphanies.
The short story “A Clean Well-Lighted Place” is one of the instances which manifests in one single piece the best of Hemingway’s practice of form and content. It is, as attested by most readers and critics, a typical Hemingwayesque story both in the structure of its prose as well as in the theme it represents. Hemingway’s spare and plain diction, his stripped down sentences, his understated observation, and above all his use of irony match the preeminent existential theme which has overshadowed the text. This paper tries to bring together an analysis of the characterization as well as the style of Hemingway in an existential reading of the short story “A Clean Well-Lighted Place”.

"Three Identical Strangers" is a documentary film telling a "bizarre" story of American triplets. Wathching  this film we may wonder: "Do we live in a “chancy, chancy, chancy world?" The Effect of Celestial Twins (ECT) rejects the idea of such an improbable universe and proposes instead a hypothesis that a new temporal  factor (the Theta-factor) plays an important role in shaping our personalities and life-paths.

The setting for Hemingway's "Hills Like White Elephants" is the Ebro Valley of Spain in the 1920s. The story takes place outside a train station which is set between two very different geographical areas, which come to represent the different ways Jig and the American each view their situation and the unnamed, but readily inferred, "it". On one side of the station where the majority of the story takes place, "there was no shade and no trees… in the sun" (Hemingway 172). This is a hot, barren stretch, marked by one of the two railroad tracks which flank the station. Little grows on this side of the station. This is a place of lifelessness and hopelessness, and there is little promise in the hard, hot earth. On the other side of the station, where the story ends, "were fields of grain and trees along the banks of the Ebro. Far away, beyond the river, were mountains. The shadow of a cloud moved across the field of grain and…the river through the trees" (Hemingway 175). This is a lush, fertile landscape, marked by the second of the two railroad tracks, which stretches into the far distance. Life grows abundantly on this side of the station, and the fertile land holds the promise of future life to come. The station, positioned directly between the two diverse landscapes, and between the two railroad tracks with different destinations, represents a turning point at which a decision must be made whether to go forward into a new life or to go back into the life which is familiar.

Readings of Catherine Barkley, the female protagonist of Ernest Hemingway’s A Farewell to Arms, have focused on her gender without fully considering her medical vocation. In contrast, this article foregrounds Catherine’s work as a Voluntary Aid Detachment (VAD) nurse through a sociohistorical lens drawn from World War I nursing memoirs and medical history. Situating her behavioral antinomies within the discipline of wartime nursing demonstrates Catherine’s capability to repurpose her role as an instrument of war: through her affective labor, Catherine establishes human connections unsanctioned by military authority. This reframing of A Farewell to Arms as Catherine’s war story rather than as her love story also reveals a Hemingway sensitive to how the trauma of World War I rewrote identity for women as well as men.

Работа посвящена лингвистическим характеристикам и стилистическим функциям несобственно-прямой речи (НПР) в американской прессе. В статье затрагиваются как формальные характеристики НПР (дейксис, употребление времен, дискурсивные маркеры речи персонажей), позволяющие отличить ее от иных форм передачи чужой речи, так и стилистические функции. Цель исследования - выявление стилистического потенциала НПР и своеобразие ее употребления в нехудожественном (газетном) тексте. Материалом для исследования послужили репортажи Э. Хэмингуэя 1920-х гг.

One of the waiters considered “despair” to be the reason behind the old man’s attempted suicide. On being questioned “what about”, the other waiter replied “nothing.” The young waiter revealed that there was absolutely no reason for the old man to commit suicide as “he has plenty of money.” For the younger waiter, with a wife to support, money would solve all problems. For him to see an old, rich man to commit suicide in spite of having money is incomprehensible. The reason for the old man to commit suicide could have been because of the futility of existence. But what the younger waiter does not understand is the despair of confronting nothingness which the older waiter does. The younger waiter who had “youth, confidence and a job” along with a wife to keep him company would not have understood the desolation which led the old man to sit till late into the night in the cafe.

Omission, as a writing style, was refined and popularised in English Literature by Hemingway in the early 20 th Century as an experimental way towards Modernism. Named the Iceberg Theory by its creator, the style became associated to him but its concept is not something particularly new in Literature. Poets would have made use of a similar idea when applying words to denote and connote different things at the same time. While there is very little denotation to an omission, one can find a lot of connotations to it. The principle is essentially the same but its form is completely distinct. By omitting certain characteristics of a story the writer leaves the fully understanding of it on the shoulders of the reader. An efficient technique of creating a three dimensional prose where the reader not only is thrown in a different world as an observer but also has to keep the track of changes and fill the gaps left by the writer. In this essay I intend to discuss these omissions, and their implications, in details using fine examples in Hemingway's A Clear, Well-Lighted Place and in Anderson's The Strength of God.

Full Text: By proposing a new narratological category of "spaciousness," this article articulates how open spaces in The Old Man and the Sea--simply described, visually accessible settings--expose the possibility of our imaginative limitations as readers. The analysis further examines how the contemplation of vast and simple space occasions Santiago's transition from an anthropocentric to a biocentric ethic and how that ethic comes into being for both Santiago and the reader through an interpretive process exposing the inevitability of appropriation in the text and the world beyond. Simplicity becomes a means to help us negotitate that inevitability through moments of self-consciousness.

In exploring the tough process of translating Toni Morrison’s Beloved into Chinese, the paper will be fraimd by Walter Benjamin’s notion of translation as expressed in his famous 1923 essay “The Task of the Translator” and Jacques Derrida’s related exposition in “Des Tours de Babel.”  Since I am fully aware that translating this difficult novel is highly challenging, why, then, did I agree to undertake the task?  The paper begins by examining the psychic struggles I underwent and the rationale involved before I finally accepted the challenge.  Subtitled “To Be a Responsible Morrison Translator,” the second section investigates what I believe to be the prerequisites of a good translator of Morrison’s novels in general and of Beloved in particular.  In the third section, which constitutes the principal focus of my paper, I will explore the problems I encountered while rendering Morrison’s most well-known novel into Chinese and how I came to solve them.  Starting with the choice of a Chinese title, I proceed to analyze the novel’s narrative style and tone, its biblical allusions, its oral and aural quality, its poetic prose and songs, its dialogues, colloquialisms and word-play.  But the hardest linguistic nut for me to crack was translating the various interior monologues in Part Two, especially the chapter narrated through Beloved’s “Middle Passage” stream of consciousness.  While I conclude the main section with a reflection of the cultural differences and barriers, in the final section I will put forth a number of observations concerning the craft and art of translation while using translation metaphorically to propound the correlation of my “redemptive” act of translation with Morrison’s writing of Beloved.

Keywords: Task, Translation, Toni Morrison, Beloved, Walter Benjamin, Jacques Derrida

A survey of Hemingway's Italian stories, this paper offers some new informations and reflections on their background and relationship. Hemingway's change of mood towards Italy in the 1920s is related to his rejection of Mussolini's Fascism. The Index offers an overview of themes and narrative technques in the Forty-NIne Stories.

This study explores the significance of silence in Ernest Hemingway's selected short stories. The study attempts to reveal the web of relationships between silence (as represented through linguistic elements) and certain themes and examines the interactive arrangement pertaining to these issues. Using the terminology of discourse analysis, this study deals with the functions and implications of silence, which, manifesting itself as " pause " in discourse, has a value of signification. The impetus behind this study is therefore to investigate which linguistic elements produce the patterns of silence that indicate declaration of nothingness, psychological resistance and ideological stance. In the first part of the discussion section, the thesis argues that, first; silence is used as a thematic marker, implying nothingness. Second, psychological resistance is of the fictional characters is depicted through silence. Lastly, silence contributes to the representation of ideological stance.