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Hemingway, race, and art : bloodlines and the color line /
William Faulkner has long been considered the great racial interrogator of the early-twentieth-century South. In Hemingway, Race, and Art, author Marc Kevin Dudley suggests that Ernest Hemingway not only shared Faulkner's racial concerns but extended them beyond the South to encompass the entir...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Kent, Ohio :
Kent State University Press,
©2011.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover
- Title
- Copyright
- Contents
- Introduction: The Specter of Race in Hemingway�s Grave New World
- One
- “Indian Camp� and “The Doctor and the Doctor�s Wife�: Deconstructing the Great (White) Man
- Two
- Beyond the Camp, Behind the Myth: Native American Dissolution and Reconstituted Whiteness in “Ten Indians, � “Fathers and Sons, � and “The Indians Went Away�
- Three
- The Truth�s in the Shadows: Race in “The Light of the World� and “The Battler�
- Four
- Killin� �Em with Kindness: Hemingway�s Racial Recognition in “The Porter�Five
- “The Snows of Kilimanjaro, � “The Short Happy Life of Francis Macomber, � and Green Hills of Africa: (Re)drawing the Color Line, or Reimagining the Continent in Shades of Black and White
- Six
- The First Shall Be Last, the Last Shall Be First: Erasing and Retracing the Color Line in “The Good Lion, � True at First Light, and Under Kilimanjaro
- Epilogue: Contextualizing Hemingway�s Grand Complication
- Notes
- Works Cited
- Index