User:Sherrilledwards/sandbox: Difference between revisions

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This book is fiction. But there is always a chance that such a work of fiction may throw some light on what has been written as fact.

—Ernest Hemingway ~~(''A Moveable Feast''~~ 230)

—Ernest Hemingway{{sfn|Hemingway|2009|p=230}}

[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our

[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.

sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.

—Norman Mailer{{sfn|Mailer|1991|p=1287-8}}

—Norman Mailer ~~(''[[Harlot’s Ghost]]'' 1287–8)~~

{{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so,why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are

{{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so, why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?

they rumors of grace? How does God-language function in the work of

Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?

This issue could be a problem in narrative theory, constructing modernity, contemporary religion, or all three. In any case, why does religion persist? Why is some God-language compatible with Modernity—and some

This issue could be a problem in narrative theory, constructing modernity, contemporary religion, or all three. In any case, why does religion persist? Why is some God-language compatible with Modernity—and some not? I shall first discuss the rhetoric of Modernism, then Modernity and disenchantment,

not? I shall first discuss the rhetoric of Modernism, then Modernity and disenchantment,

before moving on to my selection of God-language of Hemingway and Mailer. I briefly emphasize the sacred, indeterminacy, and grace.

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* {{cite book |last=Hemingway |first=Ernest |date=1925 |title=In Our Time|location=New York |publisher=Scribner, 2003 |ref=harv }}

* {{cite book |last=Hemingway |first=Ernest |date=2009 |title=A Moveable Feast|location=Ed. Sean Hemingway. Restored ed. New York |publisher=Scribner |ref=harv }}

* {{cite journal |last=Lewis |first=Pericles |title=Churchgoing in the Modern Novel |journal=Modernisn/mondernity |volume=11.4 |date=2004 |pages=669-694 |access-date= |ref=harv }}

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* {{cite book |last=Lucáks |first=George |date=1971 |title=The Theory of the Novel: A Historico-Philosophical Essay on the Forms of Great Literature|location=Trans. Anna Bostock. Cambridge |publisher=MIT Press |pages= |ref=harv }}

* {{cite book |last=Mailer |first=Norman |date=1991 |title=Harlot's Ghost: A Novel |location=New York |publisher=Random House |ref=harv }}

* {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |location=New York |publisher=Rinehart and Co. |ref=harv }}

@@ Line 3: / Line 3: @@
 This book is fiction. But there is always a chance that such a work of fiction may throw some light on what has been written as fact.
-—Ernest Hemingway (''A Moveable Feast'' 230)
+—Ernest Hemingway{{sfn|Hemingway|2009|p=230}}
-[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our
+[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.
-sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.
+—Norman Mailer{{sfn|Mailer|1991|p=1287-8}}
-—Norman Mailer (''[[Harlot’s Ghost]]'' 1287–8)
-{{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so,why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are
+{{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so, why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?
-they rumors of grace? How does God-language function in the work of
-Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?
-This issue could be a problem in narrative theory, constructing modernity, contemporary religion, or all three. In any case, why does religion persist? Why is some God-language compatible with Modernity—and some
+This issue could be a problem in narrative theory, constructing modernity, contemporary religion, or all three. In any case, why does religion persist? Why is some God-language compatible with Modernity—and some not? I shall first discuss the rhetoric of Modernism, then Modernity and disenchantment,
-not? I shall first discuss the rhetoric of Modernism, then Modernity and disenchantment,
 before moving on to my selection of God-language of Hemingway and Mailer. I briefly emphasize the sacred, indeterminacy, and grace.
 {{pg|331|332}}
@@ Line 56: / Line 52: @@
 * {{cite book |last=Hemingway |first=Ernest |date=1925 |title=In Our Time|location=New York |publisher=Scribner, 2003  |ref=harv }}
+* {{cite book |last=Hemingway |first=Ernest |date=2009 |title=A Moveable Feast|location=Ed. Sean Hemingway. Restored ed. New York |publisher=Scribner  |ref=harv }}
 * {{cite journal |last=Lewis |first=Pericles |title=Churchgoing in the Modern Novel |journal=Modernisn/mondernity |volume=11.4 |date=2004 |pages=669-694 |access-date= |ref=harv }}
@@ Line 62: / Line 60: @@
 * {{cite book |last=Lucáks |first=George |date=1971 |title=The Theory of the Novel: A Historico-Philosophical Essay on the Forms of Great Literature|location=Trans. Anna Bostock. Cambridge |publisher=MIT Press |pages= |ref=harv }}
+* {{cite book |last=Mailer |first=Norman |date=1991 |title=Harlot's Ghost: A Novel |location=New York |publisher=Random House |ref=harv }}
 * {{cite book |last=Mailer |first=Norman |date=1948 |title=The Naked and the Dead |location=New York |publisher=Rinehart and Co. |ref=harv }}