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Ernest Hemingway, A Life in Pictures, is a pictorial biography, presented by his granddaughter Mariel Hemingway and written by Boris Vejdovsky, an enthusiastic member of the Hemingway society. It follows the life and times of Hemingway, from his birth in 1899 to his death in 1961. An American author and Nobel Prize winner, Hemingway wrote some of the most well known literature of the 20th century, some of his most famous works are The Sun Also Rises (1926) and A Farewell to Arms (1929). Ernest Hemingway, A Life in Pictures, includes his time in the First World War and his trip to Africa that inspired non-fiction works such as Death in the Afternoon (1932). It gives a comprehensive analysis of Hemingway's life, his numerous travels, passions, and writings. Beautifully illustrated with photographs including many photographs of his personal possessions, such as the blood stained uniform he was wearing when he was injured in Spain during the Civil War, and various letters, this book is a must-have for anyone interested in the works of Ernest Hemingway, or who is about to embark upon one of his many novels.
In five chapters ranging from the seventeenth century of Cotton Mather to the late twentieth century of J. Hillis Miller, Ideas of Order explores American literature and proposes that the act of reading is central to its formation and its development. This book outlines America as a literary and rhetorical invention and shows that American fiction also produces America, a place whose very concrete manifestations in the world, such as economy, politics or military power, result from poetic and metaphorical transformations. Ideas of Order proposes that these manifestations of America resultfrom ethical decisions taken through acts of reading fiction. Thus, the book maps out the “topos,” that is, the space and the place we know as “America” and that acts of reading have produced.
Description from publisher's website.
Taking their cue from the polymorphous relationship between word and image, the essays of this book explore how different media translate the world of phenomena into aesthetic, intellectual or sensual experience. They embrace the media of poetry, fiction, drama, engraving, painting, photography, film and advertising posters ranging from the early modern to the postmodern periods. At the heart of the volume lie essays on works that characteristically perform intriguing interactions between the verbal and visual modes. They discuss the manifold ways in which artists as different as William Blake or Gertrude Stein, Diane Arbus or Stanley Kubrick heighten the tension between the linguistic and the seen. Taken both individually and collectively, this volume's contributions illuminate the problematics of how readers and spectators/lookers transform verbal and visual representation into worlds of seeming.