Introduction: Fiction, Criticism, and the Ideological Mirror (original) (raw)

Humanity Journal Vol23 No2 Hemingway Literary Stylistics.pdf

This study is conducted to explore Hemingway's famous short story sequence, " Big Two-Hearted River " on the basis of stylistic approach. The writer is a controversial figure, well-known for his understated prose style which he named the iceberg technique, or the technique of omission. Hemingway deviates from certain norms of language and therefore establishes his own norms to enhance the reader's reading experience. The study aims to explain how the grammatical deviation Hemingway employs in his short stories enhances the aesthetic values of his work and how grammatical

Earnest Hemingway: Truth & Fiction

Studies in Literature and Language, 2018

The difference between fiction, reality and truth has been a subject of a long debate since Plato excluded literature from his Utopia. Plato insists that literature is a thrice-removed reality or at least an inferior imitation of it. Aristotle, on the other hand, believes that literature might be an improved version of reality. This article explores the possibilities of bridging the gab between fiction and reality and if literature has the power to express truth. I focus the discussion on Earnest Hemingway’s An Old Man at the Bridge, For Whom the Bell Tolls, and a collection of his nonfiction writing- his Spanish Civil War Dispatches. Hemingway indeed managed to portray what he refers to as “absolute truth” in his fiction more than he does in his journalism.

Narrativity and the patterning of experience: Reading Hemingway as part of the popular culture

Зборник радова Филозофског факултета у Приштини, 2018

The narrative form requires a capacity of structuring and patterning both the language and the experience: its objective is the attribution of meaning and articulation of experience. Reading is a process which produces its own fictional truths by prioritizing a coherent historical focus rather than the puzzling elements of the identity which cannot be observed, analyzed or reconstructed. According to Teresa de Lauretis, "the history proper, in the modern definition, achieves both narrativity and historicality by filling in the gaps left in the annals and by endowing events with a plot structure and an order of meaning" (de Lauretis, 1984, pp. 127-8). In the mythical-textual mechanics, the protagonist is predetermined to be of male gender, whereas his chief interest and main obstacle must be female (de Lauretis, 1984, p. 119). This practice turns out to be universal, and we can observe it in many fields: in arts and in popular culture alike, in epics, stories, novels and non-fiction as much as in TV shows which put male figures at the centre. The mythical subject is typically male, "he is the active principle of culture, the establisher of distinction, the creator of differences", unlike the female who is not "susceptible to transformation, to life or death" but rather a mere "element of plot-space, a topos, a resistance, a matrix and matter" (de Lauretis, 1984, p. 119). The paper will focus on some narrative strategies and cultural practices Hemingway's fiction is working with.

Exploring Autobiographical Elements in the selected novels of Ernest Hemingway

Recent Trends, 2016

This paper will draw attention on twentieth century famous writer Ernest Hemingway's autobiographical elements in his works. It is quite natural to observe personal influences, feelings and emotions on any writer's works. Man is living in society, even if his wish he couldn't get rid of his surroundings. Therefore, autobiographical elements it is clearly notice in works. Hemingway portrayed his experiences of war and its consequences in his works He has used this involvement to present all the sufferings, problems and actions of life in a realistic way in his novels. Thus, there is no question regarding his rooted experiences of his life reflected in his works. Although this paper's prominent focuses on Hemingway's major three novels; A Farewell to Arms, For Whom the Bell Tolls and The Old Man and the Sea.

Ernest Hemingway (1899-1961): The Complexity of Simplicity

No matter how simple Hemingway’s writing might seem at first sight, the apparent simplicity is supported by a remarkable complexity at various different levels. When Hemingway says that «prose is architecture, not interior decoration» (Death in the Afternoon, 191), and that it is the hardest of all things to do, he means that there is a very careful process of selection of lexical items and their accurate syntactic arrangement in the text. Hemingway was a very conscientious writer. The present article analyses the different senses of truth that govern his work and influence his aesthetics —which include his «principle of the iceberg»— and it also discusses the essence of what «getting the words right» consisted of in the case of the American writer: economy, simplicity, and an effort to write poetry into prose.

Dynamics of Style and Technique: a Reading of Hemingway's The Old Man and the Sea

Hemingway is distinctly different from his contemporaries for his abruptness of style and uniqueness of technique. The simplicity of diction and plausibility of annunciation in his fictions are very arresting. The clarity of precision and directness of approach are perhaps the most prominent traits of his novels. Articulation of personal experience is well established in his novels too. The dialogic approach indeed makes his fictions more delicious. The characters of his novels give the impression that they are engaged in live-talks as they exchange dialogue among themselves. The expression of uncontrollable emotion in a forbidden and composed variety perhaps exhibits the uniqueness of his writings. Hemingway's words are essentially just words like any other words, but the way he blends them together is his unique modus operandi, a stylistic recipe that no other writer has been able to recreate. However, this paper purports to highlight the unique style and technique of Hemingway in his masterpiece, The Old Man and the Sea.