1) summary of main arguments 2) something surprising or interesting learned 3) agree/disagree with the ideas and then apply this to a scene or example from the book (one not mentioned by the critic). Please try to disagree at least once with a critic. At the top, include how many pages, the bibliography information, which summary.
1) Ernest Hemingway: Seven Decades of Criticism Really interesting. I knew that bull fighting symbolized masculinity in some way, but not to this extent. She (an you as the representative) present a convincing argument. 10/10
by Linda Wagner-Martin
Pg. 45 – 49
As Linda Wagner-Martin argues, the transition into manhood is a process embodied by the bullfight in The Sun Also Rises. The brutal sword dance that goes on between the fierce bull and the "kid" signifies the fomentation of his male identity. Hemingway makes a parallel between the spectacle that is bullfighting, and the becoming of man. The bullfighter merits the attention of the audience, as they await his wave of the hand; which signal the completion of his manhood. But why is the transition into manhood portrayed as a spectacle - a grandiose, bloody ritual observed carefully under the eyes of keen spectators? What is the role of the audience in the making of man? Hemingway, being the macho writer he is, emphasizes male authority. The forging of male identity - says Hemingway – must be displayed authority to the masses. Leadership, charisma, independence and toughness are qualities that the man embody, or at least that of Hemingway. It comes to no surprise that the bullfighter – the graceful, strong, and decisive – comes epitomize the archetypal man. But there is a catch – Bullfighters do not always win. While they may slay the bull, wave their hands to signal the completion of their maledom, they may also lose and be humiliated.
I was surprised to learn that Hemingway's writing focused on the notion of male authority - the message I received was quite opposite. Upon reading The Sun Also Rises, I could only see men as clunky instruments used by beautiful, but unfortunately heartless women. Hemingway excellently constructed the Femme Fatale through Brett. I had only understood the bullfight in the novel as a subplot to the bigger scheme of the story. It did not seem to me that the drama between the protagonists in the novel would HAVE to take place in the vignette of a bullfighting festival. A source of entertainment - that was all. The divulging of the Spanish culture would have been it
I agree with Linda Magner Martin’s argument – bullfighting is a direct representation of masculinity. Jack lacks one thing that Brett needs most – man power. Debilitated during the war, Jack fails to sate Brett’s desires for masculinity. She finds this in the bullfighting boy. Mezmerized by his looks, his grace, and overall, his masculinity. The fact that she leaves Jack – although temporarily- for the boy shows that bullfighters possess the manliness that Jack does not have. Hemingway’s version of male authority s light in the intense bullfighting scene . words describe the
2) Infantry and Infanticide: In A Farewell To Arms
by Aimee L. Pozorski
Pg. 1 - 14 I see what you mean about "wanting to agree." It is an interesting stance, yet doesn't quite follow through. Beyond this, the fullness of the examples about pregnacy and the the meanings are fascinating. 10/10 Except Late -- so 7/10
The poor infant in Hemingway’s Farewell to Arms is a product of unconventionality as it is a heart breaking struggle for life. This article proposes that Hemingway’s depiction of the dead, stillborn, choking infant is a reflection of the tragic counterculture modernist movement. The choking baby portrays the masses of critics that have desperate tried to, but failed to interpret the modernist discourse. It then goes on to compare the death of the baby to the death of soldiers in the war. A disturbing parallel is drawn between the deaths of the young, innocent infantry, the death of the premature infant, who choked silently in Catherine’s womb. Hence, the position of the dead baby at the end of the novel is a haunting reminder of the atrocities committed during the Great War.
Other than the overarching argument of this article, the author points out another fascinating connection – pregnancy in A Farewell to Arms is seen, not as a means of producing life, but as something that leads to death, violence, and bloodshed. If the ending not serve as a testament to this very fact, there are numerous instances throughout the book where Hemingway implies the ominous fate of pregnancy. "Their rifles were wet and under their capes the two leather cartridge boxes on the front of the belts, gray leather boxes heavy with the packs of clips of thin, long 6.5 mm cartridges, bulged forward under the capes so the men, passing on the road, marched as though they were six months gone with child" Here, soldiers are compared to pregnant women; By doing so, ominously foreshadows the fate of Catherine’s child. Just as the soldiers are pregnant with the ammunition and instruments of violence, Catherine’s pregnancy is slated for death. Hence, Hemingway makes a statement about produce of war – during war, no life can be created, no matter how pure and innocent; it will eventually and inevitably perish by the maw of death.
I want to agree with the author's fascinating sequence of arguments – that the stillborn baby is ultimately a representation of the premature literary movement that has yet to be interpreted by the masses. I said ‘I want to agree’ because as of yet, the connection is still vague in my mind – I have to forcibly acknowledge the fact that Hemingway, being the strictly modernist writer, was looking to make this argument deep within his heart. But, in the end, the fact is that relating the death of the baby to a radical makeshift movement is a little far-fetched. But I, by all means, agree with the author in that the death of the infant echoes the erratic, and inevitable death of the infantry that fought the World War. Hence, the baby is a haunting reminder of the morbidity of war – Hemingway completely obliterates the inkling of life that struggles to be born amidst the havoc of the Great War. Reading back through the pages, I found that the other drivers Amyo and Piani, by means of friendly expression, called one another ‘baby.’ What could be dismissed as a trivial character scheme turns out to echo the death of Henry’s baby – Amyo and Piani both die while retreating from the battlefield.
3) Male and Female Roles in Ernest Hemingway’s The Sun Also Rises
By Debria Byfronski
P 64-67: Sexual Imagery and Bullfighting You used "maw of death." Many smiles. Maw is one of my favorite words (I'm such an English-teacher nerd.) Anyway, 10/10
The author argues that bullfighting in The Sun Also Rises is a representation of sexual intercourse – ultimately a lascivious portrayal of masculinity, in which, Romero surfaces as the emblem of male sexuality. Hemingway, by injecting sexual imagery in his narration of the bullfight, outlines the thin line between sex(life) and death. For, is not the matador desiring death when he comes face to face with a 500kg raging bull? As the author contends, the bullfighter is defined by his sexuality only when he flirts with its complete opposite – death. Sex and death are notions so starkly different, yet ideas that are simultaneously infused in the process of bullfighting.
I found interesting the author’s point – that Hemingway, by portraying bullfighting as a sexual foreplay between man and beast, topples the code hero Romero from the rung of grace he perches himself upon. As all Hemingway readers should know, Hemingway is known for his code heroes – the man who expresses his courage and bravery through action, not words. The quiet man whose awesome skills are belied by his reticence and reserve; a man whose concepts have been shaped by his view of life, or more importantly, death. Pedro Romero emerges as the code hero in The Sun Also Rises – he does not express himself through words, but through action on the bullring. Consequently, the pseudo – childish character emerges as the symbol of sexuality; the one who ultimately wins the sexual desires of Brett. But, in the ring, Romero is reduced to a mere individual, a man with sexual appetites. This contention yields to the overarching message – that sex is infused in all aspects of life.
I agree with the point that bullfighting is intended, and is interpreted as being a sexual activity. "Romero smiled. The bull wanted it again, and Romero's cape filled again, this time on the other side. Each time he let the bull pass so close that the man an dthe bull and the cape that filled and pivoted ahead of the bull were all one sharply etched mass. It was all so slow and so controlled." How can anybody deny the amount the sexual implications that inundates that single phrase? "He became one with the bull." Then, going further, think about all of the observers that are watching this licentious spectacle. It would be blasphemous to compare this spanish aficionado sport to pornography, but it comes close. So as you picture your head, the macho Romero much too easily maneuvering his way with the bull, dodging the animal's every blow with a flick of the wrist, you get the sense that masculinity is the big theme in this novel. However, I believe that going further, the bullfighting really has less to do with masculinity, than life or death. Sex represents life, and stands in stark contrast to death. The matador, during his sexual, seductive, sticky, promiscuous sword dance with the bull, is exuding the full vitality of life, at the same time, skirting the maw of death.
1) Ernest Hemingway: Seven Decades of Criticism Really interesting. I knew that bull fighting symbolized masculinity in some way, but not to this extent. She (an you as the representative) present a convincing argument. 10/10
by Linda Wagner-Martin
Pg. 45 – 49
As Linda Wagner-Martin argues, the transition into manhood is a process embodied by the bullfight in The Sun Also Rises. The brutal sword dance that goes on between the fierce bull and the "kid" signifies the fomentation of his male identity. Hemingway makes a parallel between the spectacle that is bullfighting, and the becoming of man. The bullfighter merits the attention of the audience, as they await his wave of the hand; which signal the completion of his manhood. But why is the transition into manhood portrayed as a spectacle - a grandiose, bloody ritual observed carefully under the eyes of keen spectators? What is the role of the audience in the making of man? Hemingway, being the macho writer he is, emphasizes male authority. The forging of male identity - says Hemingway – must be displayed authority to the masses. Leadership, charisma, independence and toughness are qualities that the man embody, or at least that of Hemingway. It comes to no surprise that the bullfighter – the graceful, strong, and decisive – comes epitomize the archetypal man. But there is a catch – Bullfighters do not always win. While they may slay the bull, wave their hands to signal the completion of their maledom, they may also lose and be humiliated.
I was surprised to learn that Hemingway's writing focused on the notion of male authority - the message I received was quite opposite. Upon reading The Sun Also Rises, I could only see men as clunky instruments used by beautiful, but unfortunately heartless women. Hemingway excellently constructed the Femme Fatale through Brett. I had only understood the bullfight in the novel as a subplot to the bigger scheme of the story. It did not seem to me that the drama between the protagonists in the novel would HAVE to take place in the vignette of a bullfighting festival. A source of entertainment - that was all. The divulging of the Spanish culture would have been it
I agree with Linda Magner Martin’s argument – bullfighting is a direct representation of masculinity. Jack lacks one thing that Brett needs most – man power. Debilitated during the war, Jack fails to sate Brett’s desires for masculinity. She finds this in the bullfighting boy. Mezmerized by his looks, his grace, and overall, his masculinity. The fact that she leaves Jack – although temporarily- for the boy shows that bullfighters possess the manliness that Jack does not have. Hemingway’s version of male authority s light in the intense bullfighting scene . words describe the
2) Infantry and Infanticide: In A Farewell To Arms
by Aimee L. Pozorski
Pg. 1 - 14 I see what you mean about "wanting to agree." It is an interesting stance, yet doesn't quite follow through. Beyond this, the fullness of the examples about pregnacy and the the meanings are fascinating. 10/10 Except Late -- so 7/10
The poor infant in Hemingway’s Farewell to Arms is a product of unconventionality as it is a heart breaking struggle for life. This article proposes that Hemingway’s depiction of the dead, stillborn, choking infant is a reflection of the tragic counterculture modernist movement. The choking baby portrays the masses of critics that have desperate tried to, but failed to interpret the modernist discourse. It then goes on to compare the death of the baby to the death of soldiers in the war. A disturbing parallel is drawn between the deaths of the young, innocent infantry, the death of the premature infant, who choked silently in Catherine’s womb. Hence, the position of the dead baby at the end of the novel is a haunting reminder of the atrocities committed during the Great War.
Other than the overarching argument of this article, the author points out another fascinating connection – pregnancy in A Farewell to Arms is seen, not as a means of producing life, but as something that leads to death, violence, and bloodshed. If the ending not serve as a testament to this very fact, there are numerous instances throughout the book where Hemingway implies the ominous fate of pregnancy. "Their rifles were wet and under their capes the two leather cartridge boxes on the front of the belts, gray leather boxes heavy with the packs of clips of thin, long 6.5 mm cartridges, bulged forward under the capes so the men, passing on the road, marched as though they were six months gone with child" Here, soldiers are compared to pregnant women; By doing so, ominously foreshadows the fate of Catherine’s child. Just as the soldiers are pregnant with the ammunition and instruments of violence, Catherine’s pregnancy is slated for death. Hence, Hemingway makes a statement about produce of war – during war, no life can be created, no matter how pure and innocent; it will eventually and inevitably perish by the maw of death.
I want to agree with the author's fascinating sequence of arguments – that the stillborn baby is ultimately a representation of the premature literary movement that has yet to be interpreted by the masses. I said ‘I want to agree’ because as of yet, the connection is still vague in my mind – I have to forcibly acknowledge the fact that Hemingway, being the strictly modernist writer, was looking to make this argument deep within his heart. But, in the end, the fact is that relating the death of the baby to a radical makeshift movement is a little far-fetched. But I, by all means, agree with the author in that the death of the infant echoes the erratic, and inevitable death of the infantry that fought the World War. Hence, the baby is a haunting reminder of the morbidity of war – Hemingway completely obliterates the inkling of life that struggles to be born amidst the havoc of the Great War. Reading back through the pages, I found that the other drivers Amyo and Piani, by means of friendly expression, called one another ‘baby.’ What could be dismissed as a trivial character scheme turns out to echo the death of Henry’s baby – Amyo and Piani both die while retreating from the battlefield.
3) Male and Female Roles in Ernest Hemingway’s The Sun Also Rises
By Debria Byfronski
P 64-67: Sexual Imagery and Bullfighting You used "maw of death." Many smiles. Maw is one of my favorite words (I'm such an English-teacher nerd.) Anyway, 10/10
The author argues that bullfighting in The Sun Also Rises is a representation of sexual intercourse – ultimately a lascivious portrayal of masculinity, in which, Romero surfaces as the emblem of male sexuality. Hemingway, by injecting sexual imagery in his narration of the bullfight, outlines the thin line between sex(life) and death. For, is not the matador desiring death when he comes face to face with a 500kg raging bull? As the author contends, the bullfighter is defined by his sexuality only when he flirts with its complete opposite – death. Sex and death are notions so starkly different, yet ideas that are simultaneously infused in the process of bullfighting.
I found interesting the author’s point – that Hemingway, by portraying bullfighting as a sexual foreplay between man and beast, topples the code hero Romero from the rung of grace he perches himself upon. As all Hemingway readers should know, Hemingway is known for his code heroes – the man who expresses his courage and bravery through action, not words. The quiet man whose awesome skills are belied by his reticence and reserve; a man whose concepts have been shaped by his view of life, or more importantly, death. Pedro Romero emerges as the code hero in The Sun Also Rises – he does not express himself through words, but through action on the bullring. Consequently, the pseudo – childish character emerges as the symbol of sexuality; the one who ultimately wins the sexual desires of Brett. But, in the ring, Romero is reduced to a mere individual, a man with sexual appetites. This contention yields to the overarching message – that sex is infused in all aspects of life.
I agree with the point that bullfighting is intended, and is interpreted as being a sexual activity. "Romero smiled. The bull wanted it again, and Romero's cape filled again, this time on the other side. Each time he let the bull pass so close that the man an dthe bull and the cape that filled and pivoted ahead of the bull were all one sharply etched mass. It was all so slow and so controlled." How can anybody deny the amount the sexual implications that inundates that single phrase? "He became one with the bull." Then, going further, think about all of the observers that are watching this licentious spectacle. It would be blasphemous to compare this spanish aficionado sport to pornography, but it comes close. So as you picture your head, the macho Romero much too easily maneuvering his way with the bull, dodging the animal's every blow with a flick of the wrist, you get the sense that masculinity is the big theme in this novel. However, I believe that going further, the bullfighting really has less to do with masculinity, than life or death. Sex represents life, and stands in stark contrast to death. The matador, during his sexual, seductive, sticky, promiscuous sword dance with the bull, is exuding the full vitality of life, at the same time, skirting the maw of death.