User:Sherrilledwards/sandbox: Difference between revisions

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But does the novel represents a world “abandoned by God”—or is this statement more hyperbole than argument? Either way, how do we explain these vestiges of God-language? Is this merely etymology—like using ''Wednesday'' without necessarily invoking the god ''Woden?'' I suggest that God language has more significance than that. But what is the rhetoric of Modernism? Here are two samples.

We start with Hemingway and ''In Our Time.''{{sfn|Hemingway|1925}} At the end of chapter two’s vignette, we read three sentences: “There was a woman having a kid with a young girl holding a blanket over her and crying. Scared sick looking at it. It rained all through the evacuation.”{{sfn|Hemingway|1925|p=21}} The impact of war, fragmenting of form, juxtaposing of birth and death, distancing of trauma, the phrase ''scared sick looking'' stripped of its subject, the absence of any clear antecedent to the pronoun ''it,'' the naturalistic symbol of rain—combine in Hemingway’s language. Shaped by modern warfare, in a collage of disturbing images, here is Hemingway’s innovative rhetoric. In its way, ''In Our Time'' is as significant culturally as T. S. Eliot’s ''The Waste Land'', published three years earlier.~~{{sfn|Eliot|1922}}~~ Matthew Stewart suggests that this “remains the most insistently experimental of all his books because it is the product of the one {{pg|332|333}}period of his life when he participated intently in a literary scene, and the temper of that milieu was distinctly modernist.”{{sfn|Stewart|2001|p=12}}

We start with Hemingway and ''In Our Time.''{{sfn|Hemingway|1925}} At the end of chapter two’s vignette, we read three sentences: “There was a woman having a kid with a young girl holding a blanket over her and crying. Scared sick looking at it. It rained all through the evacuation.”{{sfn|Hemingway|1925|p=21}} The impact of war, fragmenting of form, juxtaposing of birth and death, distancing of trauma, the phrase ''scared sick looking'' stripped of its subject, the absence of any clear antecedent to the pronoun ''it,'' the naturalistic symbol of rain—combine in Hemingway’s language. Shaped by modern warfare, in a collage of disturbing images, here is Hemingway’s innovative rhetoric. In its way, ''In Our Time'' is as significant culturally as T. S. Eliot’s ''The Waste Land'' (1922), published three years earlier. Matthew Stewart suggests that this “remains the most insistently experimental of all his books because it is the product of the one {{pg|332|333}}period of his life when he participated intently in a literary scene, and the temper of that milieu was distinctly modernist.”{{sfn|Stewart|2001|p=12}}

Two decades later, a parallel to Hemingway’s rhetoric is Norman Mailer’s ''The Naked and the Dead.''{{sfn|Mailer|1948}} Toward the end of the novel, we find two sentences: “Quite naturally he assumed the point and led the platoon toward the pass. A half hour later, Lieutenant Hearn was killed by a machine-gun bullet which passed through his chest.”{{sfn|Mailer|1948|p=602}} Like Hemingway, the language is sparse and fragmented, the tone objective. There is human rationality in one sentence and violent, irrational death in the next. Yet, the irrationality of Lt.Hearn’s death comes through the exercise of all too rational choices by others—those who designed and manufactured the machine-gun and bullet, the Japanese soldier who fired the fatal shot, and the murderous machinations of Staff Sergeant Croft that led Hearn to that particular point.

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* {{cite book |last=Chadwick |first=Owen |date=1975 |title=The Secularization of the European Mind in the Nineteenth Century|location=Cambridge |publisher= Cambridge University Press |ref=harv }}

* {{cite book |last=Eliot |first=Thomas Stearns |date=1922 |title=The Waste Land |location=New York |publisher= Horace Liveright |ref=harv }}

* {{cite book |last=Fussell |first=Paul |date=1974 |title=The Great War and Modern Memory |location=Cambridge |publisher= Cambridge University Press |ref=harv }}

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 But does the novel represents a world “abandoned by God”—or is this statement more hyperbole than argument? Either way, how do we explain these vestiges of God-language? Is this merely etymology—like using ''Wednesday'' without necessarily invoking the god ''Woden?'' I suggest that God language has more significance than that. But what is the rhetoric of Modernism? Here are two samples.
-We start with Hemingway and ''In Our Time.''{{sfn|Hemingway|1925}}  At the end of chapter two’s vignette, we read three sentences: “There was a woman having a kid with a young girl holding a blanket over her and crying. Scared sick looking at it. It rained all through the evacuation.”{{sfn|Hemingway|1925|p=21}} The impact of war, fragmenting of form, juxtaposing of birth and death, distancing of trauma, the phrase ''scared sick looking'' stripped of its subject, the absence of any clear antecedent to the pronoun ''it,'' the naturalistic symbol of rain—combine in Hemingway’s language. Shaped by modern warfare, in a collage of disturbing images, here is Hemingway’s innovative rhetoric. In its way, ''In Our Time'' is as significant culturally as T. S. Eliot’s ''The Waste Land'', published three years earlier.{{sfn|Eliot|1922}} Matthew Stewart suggests that this “remains the most insistently experimental of all his books because it is the product of the one {{pg|332|333}}period of his life when he participated intently in a literary scene, and the temper of that milieu was distinctly modernist.”{{sfn|Stewart|2001|p=12}}
+We start with Hemingway and ''In Our Time.''{{sfn|Hemingway|1925}}  At the end of chapter two’s vignette, we read three sentences: “There was a woman having a kid with a young girl holding a blanket over her and crying. Scared sick looking at it. It rained all through the evacuation.”{{sfn|Hemingway|1925|p=21}} The impact of war, fragmenting of form, juxtaposing of birth and death, distancing of trauma, the phrase ''scared sick looking'' stripped of its subject, the absence of any clear antecedent to the pronoun ''it,'' the naturalistic symbol of rain—combine in Hemingway’s language. Shaped by modern warfare, in a collage of disturbing images, here is Hemingway’s innovative rhetoric. In its way, ''In Our Time'' is as significant culturally as T. S. Eliot’s ''The Waste Land'' (1922), published three years earlier. Matthew Stewart suggests that this “remains the most insistently experimental of all his books because it is the product of the one {{pg|332|333}}period of his life when he participated intently in a literary scene, and the temper of that milieu was distinctly modernist.”{{sfn|Stewart|2001|p=12}}
 Two decades later, a parallel to Hemingway’s rhetoric is Norman Mailer’s ''The Naked and the Dead.''{{sfn|Mailer|1948}} Toward the end of the novel, we find two sentences: “Quite naturally he assumed the point and led the platoon toward the pass. A half hour later, Lieutenant Hearn was killed by a machine-gun bullet which passed through his chest.”{{sfn|Mailer|1948|p=602}} Like Hemingway, the language is sparse and fragmented, the tone objective. There is human rationality in one sentence and violent, irrational death in the next. Yet, the irrationality of Lt.Hearn’s death comes through the exercise of all too rational choices by others—those who designed and manufactured the machine-gun and bullet, the Japanese soldier who fired the fatal shot, and the murderous machinations of Staff Sergeant Croft that led Hearn to that particular point.
@@ Line 64: / Line 64: @@
 * {{cite book |last=Chadwick |first=Owen |date=1975 |title=The Secularization of the European Mind in the Nineteenth Century|location=Cambridge |publisher= Cambridge University Press |ref=harv }}
-* {{cite book |last=Eliot |first=Thomas Stearns |date=1922 |title=The Waste Land |location=New York |publisher= Horace Liveright |ref=harv }}
 * {{cite book |last=Fussell |first=Paul |date=1974 |title=The Great War and Modern Memory |location=Cambridge |publisher= Cambridge University Press |ref=harv }}