One rarely sees the names James Joyce and Ernest Hemingway together in the same sentence. Their obvious differences in writing styles, nationalities, and lifestyles prevent any automatic comparison from being made. But when one compares their early short story collections, Dubliners and In Our Time, many surprisingly similarities appear. Both are collections of short stories unified in some way, written by expatriates who knew each other in Paris. A mood of despair and hopelessness pervades the stories as the characters are trapped in the human condition. By examining the commonalities found in their methods of organization, handling of point of view, attitudes toward their subjects, stylistic techniques, and modes of writing, one is continually brought back to the differences between Joyce and Hemingway in each of these areas. For it is their differences that make these artists important; how each author chose to develop his craft gives him a significant place in literature.

Med utgångspunkt i James Joyce definition av litterär epifani undersöker denna uppsats ögonblick avepifani i Ernest Hemingways första novellsamling In Our Time. Joyce definierade epifani som ettfenomen som plötsligt avslöjar ”the whatness of a thing”. Denna uppsats identifierar genom textnäraläsning sex dylika passager från fem olika noveller i In Our time. De prosalyriska vinjetterna mellannovellerna diskuteras i förhållande till hur de leder fram till, bygger upp och kontextualiserar deanalyserade ögonblicken av epifani. Meningen som uppstår fenomenologiskt i ögonblicken av epifaniundersöks därefter i uppsatsen. Uppsatsen argumenterar för att ögonblicken av epifani inte avslöjar enbestående religiös eller sekulär mening (eller sanning), snarare representerar de meningsfulla mentillfälliga insikter för de fiktiva karaktärerna. Denna subjektiva och bortflyende mening kopplasdärefter samman med metamodernismens syn på mening, såsom den definieras av van den Akker ochVermeulen. Slutligen argumenterar denna uppsats jag för att de fiktiva karaktärernas ständiga sökandeoch finnande av tillfällig mening korrelerar med den metamodernistiska synen på mening som någotflyktigt och omöjligt att verkligen nå (annat än i kortvariga ögonblick), detta samtidigt som sökandetav denna tillfälliga mening upplevs djupt meningsfull och eftersträvansvärd. Denna uppsats bidrarsålunda med nya insikter om vad ögonblick av epifani representerar i Hemingways tidigaförfattarskap. / Based on James Joyces definition of literary epiphany, this essay examines moments of epiphany inErnest Hemingways first collection of short stories: In Our Time. Joyce defined epiphany as aphenomenon that suddenly reveals “the whatness of a thing”. This essay identify and closely examinesix such passages from five different short stories in In Our Time. The vignettes between the shortstories are discussed in relation to how they lead up to, strengthen and contextualize the analyzedmoments of epiphany. The meaning that arises phenomenologically in the moments of epiphany arethen examined in the essay. The essay argue that the moments of epiphany do not reveal an enduringreligious or secular meaning (or truth), rather they represent meaningful but short-lived insights for thefictional characters. This subjective and transient meaning is connected to the metamodernist view ofmeaning as defined by van den Akker and Vermeulen. In conclusion this essay argue that the fictionalcharacters constant seeking and finding of transient meaning correlates with the metamodernist viewof meaning as something fleeting and impossible to truly attain (other then in brief moments), whilesimultaneously experiencing the search for such transient meaning as deeply meaningful and desirable.This essay thus contributes to new insights into what moments of epiphany represent in the earlyworks of Hemingway.

Modernism has been called “a reaction to the carnage and disillusionment of the First World War and a search for a new mode of art that would rescue civilization from its state of crisis after the war” (Lewis, 109) Hemingway attempts this rescue by re-thinking aspects of the novel that were taken for granted in earlier periods, just as the conventions of modern life were taken for granted pre-WWI. Furthermore, his work tries to rectify the dissonance between a pre and post-war self through the exploration of social conventions relating to violence, trauma and masculinity.

Nearly all discussions of Hemingway and his work touch on the theme of masculinity, a recurrent theme in all of his works. Examinations of Hemingway and his relationship to masculinity have almost unanimously treated the author as a misogynist and a champion of violent masculinity. However, since the posthumous publication of The Garden of Eden in 1986, there has been much discussion of Hemingway’s uncharacteristic use of androgynous characters in the novel. Critics have taken this as a clue that Hemingway possessed a complex attitude regarding gender fluidity, but have failed to examine the constructions of gender and identity in his earlier fiction. By examining two of his earliest works, In Our Time (1925) and The Sun Also Rises (1926), I argue that Hemingway’s complex ideas about gender performance have been hidden just beneath the surface all along.

Three works by Tippett stand together among his compositions because of their similarity of subject and performance medium. All are large works for soloists, chorus and orchestra, on meditative librettos, and intended for unstaged presentation. Only A Child of Our Time is given the genre designation "oratorio" by Tippett. An in-depth analysis of these works and the model for A Child of Our Time, Handel's Messiah, reveals that though they neither present religious subjects nor, in the case of The Vision of Saint Augustine and The Mask of Time, exhibit traditional formal divisions associated with oratorio, Tippett's works do indeed belong to the oratorio repertoire of the twentieth century.

No description available.

Robert Penn Warren, historian, short story writer, teacher, critic, poet, and novelist, has received favorable attention from literary critics as well as the general reading public. This attention is merited, in part, by Warren's narrative skill and by his use of imagery. A study of his novels reveals that his narrative technique and his imagery are closely related to his interest in myth.