Ernest hemingway Research Paper Example | Topics and Well Written Essays - 1500 words

Ernest hemingway - Research Paper Example The paper in which Hemingway worked offered reporters the directions to follow to improve their writing: â€Å"Use short sentences. Use short first paragraphs. Use vigorous English. Be positive, not negative† (cited in Tyler 15). This includes the distance, reflected in a deliberately emotionless manner of narration, the replacement of description by the show to let the reader evaluate his reading, the functionality and thingness of the prose. Every detail fixes the impression of an event in the story or interlude. This also includes character comparisons, unambiguous and even deliberately limited. Hemingway’s Style Like every great writer, he sought and found his own way in literature. One of his main goals was clarity and brevity of expression; he wanted â€Å"to strip language clean, to lay it bare down to the bone† (cited in Bloom 74). Hemingway’s famous short and exact phrase became a subject of controversy in literature – whether the understat ement really exists. According to Hemingway, it does. It is based on the deep layers of collective consciousness, on the universal categories of culture, which is raised by the artist in his work and which are enshrined in the customs, ceremonies, various forms of folk festivals, folk subjects of peoples of the world. In those early years, Hemingway also discovered his â€Å"dialogue† – his characters are exchanging small phrases, accidentally broken, and the reader feels behind these words, something significant and hidden in the mind, something that cannot be expressed directly. All of Hemingway’s works were interpreted and considered in terms of â€Å"being lost†, when the main thing is a search for identity, for example, injured by war, which lost its ideals and its place in the world. Therefore, the object of Hemingway’s study was the tragedy of his contemporaries, thrown into the brutal world of wars, murders and violence, alienation of peopl e from one another. His collections of short stories offer the best samples of psychological narration. This paper considers three stories from two collections: The Killers (1927), Hills Like White Elephants (1927), and The Snows of Kilimanjaro (1936). The works of this period defined the main features of Hemingway’s style of and the main type of his characters. All of them are deeply sensitive and really suffering people. However, centuries old Anglo-Saxon and even sporty self-control causes them to talk quietly, biting one’s lip. His characters can be considered as hard-boiled, though some argue that: T. S. Eliot called Hemingway â€Å"the writer of tender sentiment, and true sentiment† (cited in Meyers 19). Hemingway’s dialogue is deliberately sloppy and seemingly insignificant. This is just a mask, sometimes hiding the grimace of pain, which in fact must not be shown to others. And anyway, why should he speak of self-evident things? Dialogue, accordin g to Hemingway, is an easy thing for him, but it would be wrong to assume that this is just a naturalistic account of everyday conversations. No, this is a special kind of seemingly artless, but strictly deliberate selection and sharpening. A short chain of not interconnected phrases performs the basic task – to show the decaying ties of shifted and fragmented world, as it is directly perceived by a troubled mind, not, as it is organized later by a cool mind and fit into the traditional forms. The way of expressing information without any explanation of the