A Companion To Hemingway S Death In The Afternoon

New, carefully focused essays providing a thorough examination of Hemingway's groundbreaking non-fictional work. Published in 1932, Death in the Afternoon reveals its author at the height of his intellectual and stylistic powers. By that time, Hemingway had already won critical and popular acclaim for his short stories and novels of the late twenties. A mature and self-confident artist, he now risked his career by switching from fiction to nonfiction, from American characters to Spanish bullfighters, from exotic and romantic settings to the tough world of theSpanish bullring, a world that might seem frightening and even repellant to those who do not understand it. Hemingway's nonfiction has been denied the attention that his novels and short stories have enjoyed, a state of affairs this Companion seeks to remedy, breaking new ground by applying theoretical and critical approaches to a work of nonfiction. It does so in original essays that offer a thorough, balanced examination of a complex, boundary-breaking, and hitherto neglected text. The volume is broken into sections dealing with: the composition, reception, and sources of Death in the Afternoon; cultural translation, cultural criticism, semiotics, and paratextual matters; and the issues of art, authorship, audience, and the literary legacy of Death in the Afternoon. The contributors to the volume, four men and seven women, lay to rest the stereotype of Hemingway as a macho writer whom women do not read; and their nationalities (British, Spanish, American, and Israeli) indicate that Death in the Afternoon, even as it focuses on a particular national art, discusses matters of universal concern. Contributors: Miriam B. Mandel, Robert W. Trogdon, Lisa Tyler, Linda Wagner-Martin, Peter Messent, Beatriz Penas Ibáñez, Anthony Brand, Nancy Bredendick, Hilary Justice, Amy Vondrak, and Keneth Kinnamon. MiriamB. Mandel teaches in the English Department of Tel Aviv University.

Ernest Hemingway's classic exploration of the history and pageantry of bullfighting, and the deeper themes of cowardice, bravery, sport and tragedy that it inspires. Still considered one of the best books ever written about bullfighting, Death in the Afternoon reflects Hemingway's belief that bullfighting was more than mere sport. Here he describes and explains the technical aspects of this dangerous ritual, and "the emotional and spiritual intensity and pure classic beauty that can be produced by a man, an animal, and a piece of scarlet serge draped on a stick." Seen through his eyes, bullfighting becomes an art, a richly choreographed ballet, with performers who range from awkward amateurs to masters of great grace and cunning. A fascinating look at the history and grandeur of bullfighting, Death in the Afternoon is also a deeper contemplation on the nature of cowardice and bravery, sport and tragedy, and is enlivened throughout by Hemingway's pungent commentary on life and literature.

A comprehensive introduction to Hemingway and his works.

Values Across Cultures and Times is a collection of sixteen articles examining the concept of values understood in its broadest sense as the need of the modern man to examine, redefine, and reconstruct previous theories, histories, moralities, social relationships, forms of language and language use. In times of great change, preserving traditional values seems to be particularly difficult, and the authors of these essays respond to the challenge, and approach the notion of changing values from the perspectives of literary studies and linguistics. The book opens with an introductory overview, followed by sixteen articles divided into three sections. The book is aimed at a broad academic audience, while the popular style of the articles also makes the volume appealing to a wider audience interested in different aspects of values. The authors of the articles come from Serbia, Macedonia, Bulgaria, Romania, and the United States.

Death in the Afternoon is a non-fiction book written by Ernest Hemingway about the ceremony and traditions of Spanish bullfighting, published in 1932. The book provides a look at the history and the Spanish traditions of bullfighting. It also contains a deeper contemplation on the nature of fear and courage. While essentially a guide book, there are three main sections: Hemingway's work, pictures, and a glossary of terms. Hemingway became a bullfighting aficionado after seeing the Pamplona fiesta in the 1920s, which he wrote about in The Sun Also Rises.In Death in the Afternoon, Hemingway explores the metaphysics of bullfighting-the ritualized, almost religious practice-that he considered analogous to the writer's search for meaning and the essence of life. In bullfighting, he found the elemental nature of life and death.Marianne Wiggins has written of Death in the Afternoon: "Read it for the writing, for the way it's told... He'll make you like it [bullfighting]... You read enough and long enough, he'll make you love it, he's relentless".

Death in the Afternoon is a non-fiction book written by Ernest Hemingway about the ceremony and traditions of Spanish bullfighting, published in 1932. The book provides a look at the history and what Hemingway considers the magnificence of bullfighting. It also contains a deeper contemplation on the nature of fear and courage. While essentially a guide book, there are three main sections: Hemingway's work, pictures, and a glossary of terms.

The Dangerous Summer is Hemingway's firsthand chronicle of a brutal season of bullfights. In this vivid account, Hemingway captures the exhausting pace and pressure of the season, the camaraderie and pride of the matadors, and the mortal drama—as in fight after fight—the rival matadors try to outdo each other with ever more daring performances. At the same time Hemingway offers an often complex and deeply personal self-portrait that reveals much about one of the twentieth century's preeminent writers.

How people traveled, and how people wrote about travel, changed in the interwar years. Novel technologies eased travel conditions, breeding new iterations of the colonizing gaze. The sense that another war was coming lent urgency and anxiety to the search for new places and "authentic" experiences. In Interwar Itineraries: Authenticity in Anglophone and French Travel Writing, Emily O. Wittman identifies a diverse group of writers from two languages who embarked on such quests. For these writers, authenticity was achieved through rugged adventure abroad to economically poorer destinations. Using translation theory and new approaches in travel studies and global modernisms, Wittman links and complicates the symbolic and rhetorical strategies of writers including André Gide, Ernest Hemingway, Michel Leiris, Isak Dinesen, Beryl Markham, among others, that offer insight into the high ethical stakes of travel and allow us to see in new ways how models of the authentic self are built and maintained through asymmetries of encounter. "This book offers a valuable account of literary activity in a genre still inadequately covered in literary-critical history. Emily Witt- man organizes her material through pairings and contextualizing that are instructive and illuminating and often exciting . . . This is comparative literature at its best." --Vincent Sherry, Washington University