As a result of his impotence, Jake sees Lady Brett's sexuality as threatening, rather than an expression of a feminist sensibility. Brett's independence is shown as futile, a kind of a symptom of the 'world upside down' of gender relations created by the war, but the implication by Jake (and by Hemingway) is that her strength is not fulfilling for her as a woman, and she is really looking for a male to subdue her, such as the bullfighter Romero.
Jake's cool and distanced character makes him a superior, if not a less disinterested narrator than Cohn. Cohn is emotional and romantic, and lashes out with his fists or tears. He lacks the ability to engage in cool, self-searching analysis to understand his own psyche or the psyche of others, although he has enjoyed some success as a writer. Because of the anti-Semitism he has experienced, like Jake he has concerns about his masculinity. But the fact he has never seen war makes him less mature: he believes the cliches that Jake, a true member of the Lost Generation, is trying to reject.
Unlike Cohn, who has trouble hiding his real feelings, Jake clearly has a great deal of simmering rage within him. Jake is able to use his intellect to deal with that rage, and this is something that makes him a superior narrator: it is only during the conversation he has with Bill while the two men are going fishing that the true nature of his war wound, the reason he cannot have a normal relationship with Brett, is revealed. "You can't get away from yourself by moving from...
From approximately 1930 until the 1980s, rectangular and functional spaces were the chief form of architecture around the world in general. The latter part of the 20th century -- the 1980s onward -- saw change once again, however (2008). For the most part, 20th century architecture, however, "focused on machine aesthetics or functionality and failed to incorporate any ornamental accents in the structure" (2008). The designs were, for the
"One of the most frequently observed weaknesses in his work is its depiction of women. It has been observed, for example, that the central male characters of his novels tend to be about his own age at the time of writing, while their female counterparts are progressively younger, more beautiful, and more absurdly compliant toward their men" (Kennedy and Gioia, 2000). Even though his work is regarded as one the
Hemingway, Fitzgerald and Cather share a bond when it comes to style and framing fiction with language. Words are not simply meant to describe a character or scene; they can help round the story through how they are arranged. Fitzgerald illustrates how language can blossom around particular aspects of characters and ideas. Hemingway and Cather demonstrate how short, concise sentences can enhance a scene by increasing tension. Style emerges as
Charlotte Perkins Gilman's "The Yellow Wallpaper" to F. Scott Fitzgerald's "Winter Dreams" writing styles; James Baldwin's "Sonny's Blues" compare to my own life. Modernism vs. postmodernism Over the course of the late 19th and early 20th century, American literature began to turn inward. Instead of looking to outer manifestations of the human character, American authors began to use interior monologues as a way of creating a narrative arc. Stories such as
This methodology emphasized observable empirical evidence as the way towards discovering and understanding natural laws and true causes. It was the use of this method that was cardinal in the advancement and development of many disciplines, including architecture. Coupled with this was the invention of modern printing by Johannes Gutenberg (1398 -- 1468). His mechanized process of movable type allowed books to be mass produced. This invention laid the
Nostalgia for the Past Nostalgia can take many forms, but can perhaps be summarized by the phrase 'appropriating selected aspects of the past for the use of the present'. It tends to involve an emotional or spiritual response to the past rather than a rationalizing one, and as a result is associated with the art of sentiment rather than of intellect. As we shall see, however, eighteenth- and nineteenth-century artists who
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