Browsing by Subject "Short stories"
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Item Item Accounts of extinct and vanishing forms(2006-05) Hanley, Nell; Gustafsson, Lars,1936-; Adams, Michael,1945-Item Booker T's coming home and Alice's soulbath: two novellas(Texas Tech University, 2001-05) Butler, Laura PayneNot availableItem Hemingway in Bangladesh and India(2006-08) Hasan, Abu Z. M. R.; Conrad, Bryce D.; Schoenecke, Michael K.; Samson, JohnTo evaluate the reception of Ernest Hemingway in Bangladesh and India, it is appropriate and impetrative that I make an attempt to gauge an appreciation of Hemingway in England. Why link the reception of Hemingway in Bangladesh and India with his appreciation in England? One plausible answer is that the academy in the colonial Indian sub-continent first came in contact with Hemingway and his writings via the British critics and authors. Although the academy in colonial India looked at Hemingway both as a man and as an author, the British critics in the 1930’s and 1940’s appreciated him as “a story teller and particularly as teller of war stories” (Welland 31). Indeed, Welland believes that the Hemingway myth "suffered" in England "because it always reached the reader at second -- or even third hand" (32). This may be true with England, but not with colonial India. Here I disagree with Welland. I strongly believe that Hemingway's not traveling to colonial India or post-colonial Bangladesh and India and not acquainting himself with the people of these countries did not lessen his popularity any more than it aggravated the myth. His reputation there remained intact and unabashed. With the advent of the study of American literature in the British universities and colleges, Hemingway came to be recognized and studied with zeal and intensity on his own literary merits, and not as an indication of his impact on English literature. Hemingway empathized with all types of readers, young and old, unlike the English novelists. Writing on "Defects of English Novels" in 1935, Cyril Connolly argues that "the English novelist never establishes a respect-worthy relationship with his reader. The American novelists, Hemingway, Hammett, Faulkner, Fitzgerald, O'Hara, for instance, write instinctively for men of their own age, men who enjoy the same things; … it is an intimacy which at its worst degenerates into dogginess, but which in general brings out everything that is natural, easy, and unrepressed in the author… English novels seem always to be written for superiors or inferiors, older or younger people, or for the opposite sex." It is true that the influence of Hemingway on the English author has somewhat dwindled recently, but the fact remains that he has remained an historic figure if not a living force. Things, however, changed in India when it (along with Pakistan) became independent from the British rule in 1947. Pakistan, consisting of East and West Pakistan, further split in two, and Bangladesh (formerly East Pakistan) after almost a yearlong bloody civil war with Pakistan, became an independent country in 1971 with the resultant separation from English influence came an identification with other literature. Although the introduction of American literature into the English curricula was moderately slow, the subject and scope of it has always fascinated the reading public and attracted considerable attention from literary critics and the academy in Bangladesh and India. In both Bangladesh and India the reception of American literature has intensified because of the success of a number of novelists in evincing a discernable influence outside America, especially in Europe. Indeed, the winning of the Nobel Prize by many twentieth century American authors has definitely brought the reading public, the professional critics, and the academy in Bangladesh and India much closer to the understanding and appreciation of the culture, society, and people of the countries that are separated geographically by a distance of more than ten thousand miles. Of all the American authors that have been received most favorably in Bangladesh and India, Ernest Hemingway tops the list. My dissertation is limited to – though not exclusively – an examination of the reception of Hemingway by the academy in Bangladesh and India. In addition, I will examine the reception of Hemingway which appeared in the Bangladeshi books, periodicals, newspapers, etc. from 1971 to 2006. The critics, used here in a generic sense, included the regular Hemingway scholars, students, university and college faculty members with an affective interest in Hemingway, local authors who write in their native language, Bengali, and the translators of Hemingway's novels and short stories. Because of the political and socio-economic conditions, religious constraints, logistical problems, language barriers, and the paucity of relevant sources, my study of Hemingway was extremely difficult to accomplish. Because of this difficulty I have had to divide my study into Introduction; American Literature in Bangladesh and India; the Hemingway legend in Bangladesh and India; Hemingway's Short Stories; Hemingway's Novels; and a Conclusion.Item Hemingway in Bangladesh and India(Texas Tech University, 2006-08) Hasan, Abu Z. M. R.; Conrad, Bryce D.; Samson, John; Schoenecke, Michael K.To evaluate the reception of Ernest Hemingway in Bangladesh and India, it is appropriate and impetrative that I make an attempt to gauge an appreciation of Hemingway in England. Why link the reception of Hemingway in Bangladesh and India with his appreciation in England? One plausible answer is that the academy in the colonial Indian sub-continent first came in contact with Hemingway and his writings via the British critics and authors. Although the academy in colonial India looked at Hemingway both as a man and as an author, the British critics in the 1930’s and 1940’s appreciated him as “a story teller and particularly as teller of war stories” (Welland 31). Indeed, Welland believes that the Hemingway myth "suffered" in England "because it always reached the reader at second -- or even third hand" (32). This may be true with England, but not with colonial India. Here I disagree with Welland. I strongly believe that Hemingway's not traveling to colonial India or post-colonial Bangladesh and India and not acquainting himself with the people of these countries did not lessen his popularity any more than it aggravated the myth. His reputation there remained intact and unabashed. With the advent of the study of American literature in the British universities and colleges, Hemingway came to be recognized and studied with zeal and intensity on his own literary merits, and not as an indication of his impact on English literature. Hemingway empathized with all types of readers, young and old, unlike the English novelists. Writing on "Defects of English Novels" in 1935, Cyril Connolly argues that "the English novelist never establishes a respect-worthy relationship with his reader. The American novelists, Hemingway, Hammett, Faulkner, Fitzgerald, O'Hara, for instance, write instinctively for men of their own age, men who enjoy the same things; … it is an intimacy which at its worst degenerates into dogginess, but which in general brings out everything that is natural, easy, and unrepressed in the author… English novels seem always to be written for superiors or inferiors, older or younger people, or for the opposite sex." It is true that the influence of Hemingway on the English author has somewhat dwindled recently, but the fact remains that he has remained an historic figure if not a living force. Things, however, changed in India when it (along with Pakistan) became independent from the British rule in 1947. Pakistan, consisting of East and West Pakistan, further split in two, and Bangladesh (formerly East Pakistan) after almost a yearlong bloody civil war with Pakistan, became an independent country in 1971 with the resultant separation from English influence came an identification with other literature. Although the introduction of American literature into the English curricula was moderately slow, the subject and scope of it has always fascinated the reading public and attracted considerable attention from literary critics and the academy in Bangladesh and India. In both Bangladesh and India the reception of American literature has intensified because of the success of a number of novelists in evincing a discernable influence outside America, especially in Europe. Indeed, the winning of the Nobel Prize by many twentieth century American authors has definitely brought the reading public, the professional critics, and the academy in Bangladesh and India much closer to the understanding and appreciation of the culture, society, and people of the countries that are separated geographically by a distance of more than ten thousand miles. Of all the American authors that have been received most favorably in Bangladesh and India, Ernest Hemingway tops the list. My dissertation is limited to – though not exclusively – an examination of the reception of Hemingway by the academy in Bangladesh and India. In addition, I will examine the reception of Hemingway which appeared in the Bangladeshi books, periodicals, newspapers, etc. from 1971 to 2006. The critics, used here in a generic sense, included the regular Hemingway scholars, students, university and college faculty members with an affective interest in Hemingway, local authors who write in their native language, Bengali, and the translators of Hemingway's novels and short stories. Because of the political and socio-economic conditions, religious constraints, logistical problems, language barriers, and the paucity of relevant sources, my study of Hemingway was extremely difficult to accomplish. Because of this difficulty I have had to divide my study into Introduction; American Literature in Bangladesh and India; the Hemingway legend in Bangladesh and India; Hemingway's Short Stories; Hemingway's Novels; and a Conclusion.Item Item Lynx(2007-05) Dolejsiova, Katarina, 1975-; Magnuson, JamesLynx is a collection of four stories selected on basis of the different narrative choices but similar themes they set out to explore. In each case, the narrator—whether in the first, second, or third person—shapes her tale in a distinctive way. The "I" gives the voice inimitable strength as well as superior emotion and intimacy; the confrontational "you" stretches conventional story-telling by challenging and implicating the reader in the narration, while the third person allows for the greatest authorial distancing and irony. One story, "On the Rocks," combines the first (both an "I" and a "we") and second person (this time addressing the other character in the story) into a dynamic fusion. Thematically, the stories attempt to map out a complex but fragmented identity that stretches across time, continents, and moral creeds. This torturous and ambitious undertaking finds expression in the undisciplined length, scope, and content of these pieces.Item Nothing has happened : a novel in stories ; &, Precious feather : a screenplay(2006-05) Silverstein, Jake; Magnuson, James"Nothing Has Happened" is a book of eight chapters, four fictional and four nonfictional. The narrator remains the same for both the fiction and the non-fiction. He is essentially myself, or a prose-speaking version of myself. Taken together, the chapters tell the story of five or six years of his life, spent driving around in North America in his first car, a green 1982 Toyota Corolla station wagon, trying to teach himself how to become a journalist. He searches in vain for the bones of Ambrose Bierce near Marfa, Texas; he wins third prize at an amateur poetry convention in Reno; he moves to Mexico and botches a story for the New York Times. As the book proceeds, questions begin to arise: Has any of this happpened? Where does the truth lie? Who is Jake Silverstein? It ends with an account of car race in Mexico that celebrates the nation’s first cross-country highway. Highways have played an important role throughout the book, and with the image of this Mexican road the journey finally ends. "Precious Feather" is adapted from a story in the above collection. In the screen version, the protagonist, Blake, is the son of the U.S. Poet Laureate. When he sees an advertisement for an amateur poetry convention in Reno with a $25,000 top prize, he steals one of his father's poems and enters it in the contest. Unbeknownst to Blake, the poem details an embarrassing "moment of imtimacy" between the Laureate and the President at a recent White House dinner. Presidential aides are determined to recover the poem, but Blake needs to win the $25,000 to pay off the violent bookies that are hounding his tail. When they all converge in Reno at the Famous Poets Society’s annual convention, it's a recipe for laughs.Item Perimeters of experience in the contemporary Mexican short story.(Texas Tech University, 1975-08) Gill, Mary JoyceNot availableItem The second reason : a collection of poems, stories and an essay on process(2007-05) Browne, Jenny; Wevill, DavidThis thesis contains The Second Reason, a book length collection of poems and five short stories that explore themes of motherhood, language and politics.Item Item The collection: a work of fiction(Texas Tech University, 2002-05) Bukowski, William HenryNot available