User:Sherrilledwards/sandbox: Difference between revisions

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The Great War was to be “the war to end all wars.” History demonstrated that proposition to be false. World War Two extrapolated dramatically the horrors of 1914–1918, particularly in the Holocaust and Hiroshima. Here is revealed a demonic rationality, applied with supreme efficiency to the killing of human beings—on a scale not before seen. Label it postmodern, post-Christian, or post-human, there is no doubt that the world described by Hemingway had—by the time of Mailer—become ''more'' irrational, sinister, and far darker. As goes the world, so goes literary form.

These vignettes, a quarter century apart, illustrate the Modernist rhetoric of Hemingway and Mailer. For both authors, they mark a beginning, a revelation, a new Genesis. One thing is clear: unlike the biblical Genesis, there is an absence of traditional concepts of God, a sense of Providence, a rational universe. We have left the Garden. Many have written on religious themes in Hemingway and in Mailer: certainly, the themes exist and can be discussed.{{efn|Recent articles include Buske,{{sfn|Buske|2002}} Stoneback,{{sfn|Stoneback|2003}} Lewis,{{sfn|Lewis|2004}} Stolzfus,{{sfn|Stolzfus|2005}} Adamowski,{{sfn|Adamowski|2005}} Kroupi,{{sfn|Kroupi|2008}} Bernstein,{{sfn|Bernstein|2008}} Cappell,{{sfn|Cappell|2008}}, Sipioria,{{sfn|Sipiora|2008}} and Whalen-Bridge and Oon.{{sfn|Whalen-Bridge and Oon|2009}}}} But I would like to examine the overall matrix of Modernity in which those themes are embedded, focusing on the disenchantment of the world.

These vignettes, a quarter century apart, illustrate the Modernist rhetoric of Hemingway and Mailer. For both authors, they mark a beginning, a revelation, a new Genesis. One thing is clear: unlike the biblical Genesis, there is an absence of traditional concepts of God, a sense of Providence, a rational universe. We have ''left'' the Garden. Many have written on religious themes in Hemingway and in Mailer: certainly, the themes exist and can be discussed.{{efn|Recent articles include Buske,{{sfn|Buske|2002}} Stoneback,{{sfn|Stoneback|2003}} Lewis,{{sfn|Lewis|2004}} Stolzfus,{{sfn|Stolzfus|2005}} Adamowski,{{sfn|Adamowski|2005}} Kroupi,{{sfn|Kroupi|2008}} Bernstein,{{sfn|Bernstein|2008}} Cappell,{{sfn|Cappell|2008}}, Sipioria,{{sfn|Sipiora|2008}} and Whalen-Bridge and Oon.{{sfn|Whalen-Bridge and Oon|2009}}}} But I would like to examine the overall ''matrix'' of Modernity in which those themes are embedded, focusing on the ''disenchantment'' of the world.

=== Notes ===

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 The Great War was to be “the war to end all wars.” History demonstrated that proposition to be false. World War Two extrapolated dramatically the horrors of 1914–1918, particularly in the Holocaust and Hiroshima. Here is revealed a demonic rationality, applied with supreme efficiency to the killing of human beings—on a scale not before seen. Label it postmodern, post-Christian, or post-human, there is no doubt that the world described by Hemingway had—by the time of Mailer—become ''more'' irrational, sinister, and far darker. As goes the world, so goes literary form.
-These vignettes, a quarter century apart, illustrate the Modernist rhetoric of Hemingway and Mailer. For both authors, they mark a beginning, a revelation, a new Genesis. One thing is clear: unlike the biblical Genesis, there is an absence of traditional concepts of God, a sense of Providence, a rational universe. We have left the Garden. Many have written on religious themes in Hemingway and in Mailer: certainly, the themes exist and can be discussed.{{efn|Recent articles include Buske,{{sfn|Buske|2002}} Stoneback,{{sfn|Stoneback|2003}} Lewis,{{sfn|Lewis|2004}} Stolzfus,{{sfn|Stolzfus|2005}} Adamowski,{{sfn|Adamowski|2005}} Kroupi,{{sfn|Kroupi|2008}} Bernstein,{{sfn|Bernstein|2008}} Cappell,{{sfn|Cappell|2008}}, Sipioria,{{sfn|Sipiora|2008}} and Whalen-Bridge and Oon.{{sfn|Whalen-Bridge and Oon|2009}}}} But I would like to examine the overall matrix of Modernity in which those themes are embedded, focusing on the disenchantment of the world.
+These vignettes, a quarter century apart, illustrate the Modernist rhetoric of Hemingway and Mailer. For both authors, they mark a beginning, a revelation, a new Genesis. One thing is clear: unlike the biblical Genesis, there is an absence of traditional concepts of God, a sense of Providence, a rational universe. We have ''left'' the Garden. Many have written on religious themes in Hemingway and in Mailer: certainly, the themes exist and can be discussed.{{efn|Recent articles include Buske,{{sfn|Buske|2002}} Stoneback,{{sfn|Stoneback|2003}} Lewis,{{sfn|Lewis|2004}} Stolzfus,{{sfn|Stolzfus|2005}} Adamowski,{{sfn|Adamowski|2005}} Kroupi,{{sfn|Kroupi|2008}} Bernstein,{{sfn|Bernstein|2008}} Cappell,{{sfn|Cappell|2008}}, Sipioria,{{sfn|Sipiora|2008}} and Whalen-Bridge and Oon.{{sfn|Whalen-Bridge and Oon|2009}}}} But I would like to examine the overall ''matrix'' of Modernity in which those themes are embedded, focusing on the ''disenchantment'' of the world.
 === Notes ===