5,261 research outputs found
Gary Adams and Nick Theodorou oral history interview.
No full text1 sound file. Duration: 55 min.Oral history interview with Gary Adams and Nick Theodorou conducted by Daniel Sanchez on July 2, 2008. This interviwed was conducted during the College Baseball Foundation's Hall of Fame (HOF) induction weekend in Lubbock, Tex. Gary Adams and Nick Theodorou discuss their careers and experiences, as a coach and as a player respectively, at the University of California, Los Angeles (UCLA). They served as UCLA's representatives and discussed Jackie Robinson, HOF inductee, and his contributions to baseball at UCLA. Accompanied by 1 abstract
Sex, Death, and the Father in Hemingway’s Nick Adams Stories
No full textThe craft and structure of Ernest Hemingway’s short stories helped develop a model for what the modern short story looked like. Arguably Hemingway’s most recognizable character, Nick Adams, also serves as an archetype for a modern character. Through the course of some two dozen stories the reader is exposed to the nuance of human development through the life of Nick Adams. Often Nick’s journey and his progression from boy to man is paralleled with that of Hemingway, critics calling attention to several similarities between the writer and his creation. Also, the idea that the short stories can be read together in a novel-like form helps the reader grasp the painstaking detail and attention that Hemingway invested in Nick. Another way that the stories can be interpreted is through the form and style of European art that inspired Hemingway to revolutionize his style. Many details are shared between the art and Hemingway’s stories. The nature of relationships, revealed through extensive inner monologues and terse dialogue, mirrors the themes that prevalent artists were depicting in their works. Narrowing the focus to examine the relationship between Nick and his father, and the way that bond impacted his views of sexuality and death, a textual analysis, followed by an investigation of specific pieces from artists Cézanne and Goya will be examined to show the breadth of Hemingway’s influences, as well as the importance of accurately depicting the cyclical relationship between fathers and sons
L'Éducation Européenne de Nick Adams
No full text Jacqueline Tavernier-Courbin. Ernest Hemingway: l'Éducation Européenne de Nick Adams. Paris: Didier, 1978, 182 pp. Le titre de cette étude critique sur Hemingway résulte, bien entendu, du téléscopage de deux titres connus: L'Éducation européenne de Romain Gary et The Education of Henry Adams. Par une heureuse coïncidence Hemingway a, en effet, donné le nom de Nick Adams, dans ses premiers contes, au jeune héros en qui il s'est projeté, et, puisque l'ensemble de son oeuvre peut être considéré comme un interminable Bildungsroman dont le héros vieillit en même temps que l'auteur, on peut, en jouant sur les mots, et en faisant de tous ses protagonistes des avatars du jeune Nick, estimer que Hemingway a essentiellement écrit à la troisième personne, comme Henry Adams, le récit de son "éducation," dont chaque roman constitue un chapitre. </jats:p
Saving Nick Adams for Another Day
No full textFocusing on Hemingway’s decision (at Gertrude Stein’s insistence) to remove “On Writing” from the end of In Our Time, Flora contends that retaining the segment would have undermined the book’s unity and limited Hemingway’s style and narrative voice. Argues that though a case can be made for Nick Adams as author of In Our Time, this conclusion is far from certain
Ernest Hemingway: Nick Adams
No full textEncyclopedic entry of Hemingway’s life and art, citing his posthumous publications and publications written by other authors long after Hemingway’s death featuring the Nick Adams and Francis Macomber characters
Affects in Hemingway’s Nick Adams Sequence
No full textExamines three Nick Adams stories, “Indian Camp,” “Big Two-Hearted River,” and “Fathers and Sons,” to show how Hemingway deepens reader engagement through the creation of intense experience. Analyzes the effects of omission within the stories as well as their intertextual relationship to each other and to other Nick Adams stories
The “swamp” of Nick Adams as a Writer : “On Writing” and a Sense of Loss
No full textErnest Hemingway was a writer who was extremely self?conscious about the position of an author in a story and some of his main characters in his published and unpublished stories are writers. The posthumously published story “On Writing” assumes the existence of Nick Adams as a writer somewhere in between the author Hemingway and the character Nick Adams, which requires the readers to differentiate the writer Hemingway and the writer Nick Adams as his artistic persona. “On Writing” was collected for the first time in The Nick Adams Stories edited by Philip Young. This posthumous short piece was the original ending of “Big Two?Hearted River” and Hemingway replaced it with the present one before the publication of the story. In this original ending Hemingway has the writer Nick Adams recollect what seems like Hemingway’s own experience. This self?referentiality as in metafiction should not be reduced to the reading that the story is autobiographical. Rather, the original ending’s self?referentiality could be interpreted as a strategy of concealment or control of the obviousness of the story’s autobiographical character. For that purpose Hemingway might have invented another writer as his artistic persona and have had the persona compose a story of the character Nick Adams as his alter ego.departmental bulletin pape
The First Nick Adams Stories
No full textDiscusses material in The Nick Adams Stories that had been excised from In Our Time (“Three Shots” and “On Writing”). Considers how this additional material affects unity and the reader’s understanding of time, location, and characterization in the stories
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Fighting tradition : Hemingway’s Nick Adams and shell shock
No full textIn his Nick Adams stories, Ernest Hemingway traces the life of a single man as he moves from boyhood to adolescence to adulthood to fatherhood. From the beginning of Nick Adam’s life, it is clear that he does not fit into the role of the traditional hero. In addition, Nick has difficulty achieving proper masculinity in terms of how it was viewed at the time the stories take place. Instead, the young Nick continually shows himself to be fearful, immature, and timid. These characteristics would have labeled him as susceptible and predisposed to shell shock, a mark of unmanliness, during the early twentieth century. This thesis examines how Nick displays himself as predisposed to shell shock before going to World War I and the tension surrounding why a person becomes shell shocked. The opposing views regarding shell shock at the time Hemingway wrote the Nick Adams stories is evident in the writing itself as the author struggles to decide if Nick is innately flawed or the victim of his environment that does not allow men/heroes to develop. As this thesis concludes, the answer appears to be that Nick is doomed both by a natural weakness of character and a lack of proper male role models who themselves have been "unmanned" by the horrors of modern times
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