American Literature 19.04.2016 (2016)

Apunte Inglés
Universidad Universidad de Valencia (UV)
Grado Estudios Ingleses - 3º curso
Asignatura Literatura de EEUU II: del siglo XIX al XXI
Año del apunte 2016
Páginas 2
Fecha de subida 22/04/2016
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Unybook: arodrigueslopez 19/4 Mary Louis Pratt “Imperial travellers” They need knowledge to construct these new realities. Ernest Hemingway was an imperial traveller, he exploits these landscapes. Hemingway’s presence was everywhere. But he doesn’t really care about his surroundings, he’s blind to the injustices of the world.
THE SNOWS OF KILIMANJARO The paratextual element (epigraph, title, illustrations) is very meaningful. The first two lines: objective, then he destroys this info. Why the leopard? Why the Western summit? He never went to University, he was a journalist. The 1st American short story writer where nothing really happens, narrators who never explain, readers are the ones who have to draw all these relationships to come to an understanding. Sherwood Anderson also writes short stories, Chéjov... Raymon Carver (dirty realism)... They take every day events and bring them to a philosophical level with no explanation, common people are elevated to protagonists of stories where the smallest detail counts.
Ernest suffers with his own career. He constructs an identity which is hypermasculinized (hunting, fishing...).
New perception of reality linked to new conceptions of space and time. Cezanne is a turning point for new movements. Gertrude Stein helped Hemingway. They write “simple true sentences” which is very hard work.
Anxiety towards writing about women. After WWI they become more powerful and acquire more protagonism in spaces reserved for men. They pose a threat to the male protagonist.
‘Seeking’. ‘She and he’ seem to have some sort of relationship, they are not on very good terms. Birds appear (vultures... sense of death) and things are getting worse. Are they waiting for a plane? The woman tries to help, she can’t, he must be in pain and dying.
‘In case... story’: he’s a writer; so far he leaves the reader in the dark and he doesn’t care.
All these European writers used Africa to portray their existential issues. Africa becomes a ‘tabla rasa’ where they can stage their problems.
Minimalist communication.
“Not so many, Harry”: we know his name for the first time.
“Yes, Bwana” is like “Sí, señor”. White man’s death, confrontation with the last moment of his life. Process of dying, he evaluates his life, whatever he has done before. ‘Now it was all over’.
‘Gangrene’ we now know the problem. ‘Tiredness and anger’ he understands that he will die, the ominous presence of the bird already foresees this. ‘Now it meant nothing in itself’. ‘Now Unybook: arodrigueslopez he would never write [...] well’ (sense of waste, like in Bartleby). ‘Your bloody money’. ‘What have we done to have...?’ 1, 55, 56 Italics --> normal. Stream of consciousness memoir. Every time we get italics, Harry, who will die, gets a flashback, a remembrance of his past. Characters process seeking redemption. They evaluate their lives on their deathbeds. If they have made the most of their lives... (Harry’s potential...). Did he fulfil his own ambitions? Did he betray himself? When in italics, he tries to understand himself, why it is too late to make amends.
1st part -Day-afternoon twilight...
2nd part -It was evening now and he had been asleep.
3rd part -Night ‘Now in his mind he saw’. ‘But he had never written a line of that’. Sense of corruption, waste, that he has not done his job. *Ernest killed himself because of this, it has no forgiveness, being disloyal to writing. ‘Thinking... at all’. ‘Destroyer of his talent’ (women vampires). ‘He had destroyed his talent himself’. ‘Traded’ on it...
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