User:Sherrilledwards/sandbox: Difference between revisions
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{{cquote|[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.|author=Norman Mailer|source=''Harlot's Ghost''{{sfn|Mailer|1991|p=1287-8}}}} | {{cquote|[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.|author=Norman Mailer|source=''Harlot's Ghost''{{sfn|Mailer|1991|p=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 they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)? | {{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)? | ||
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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. | ||
== NOT YET PASTED TO REAL PAGE == | |||
=== Modernity and Disenchantment === | === Modernity and Disenchantment === | ||