Addressing Modernity from the Woods: Utopian Counter-Discourses in "Big Two-Hearted River"

L. La Rocque, Lisa Narbeshuber, Ricardo Marín Ruiz, Michael D. Dubose, Hideo Yanagisawa, Jeffrey Herlihy-Mera, Enrique Cirules, Peter L. Hays, L. Miller, Lisa Tyler, Ellen Andrews Knodt, Stacey Guill, Kelli A. Larson, S. Paul, T. Williams
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引用次数: 1

Abstract

ABSTRACT:Ernest Hemingway's "Big Two Hearted River" creates a utopian space for reimagining multiple senses of time, space, and embodiment. The story is not a mere escape into the woods to nourish the soul of the main character, Nick Adams. The text throughout keeps an eye on the structural forces (advanced technologies, techniques for controlling selves and collectives) homogenizing behavior, reductively streamlining concepts of place, objects, time, and bodies. The story carefully creates a counter-discourse (alternative structures), the aims of which are to facilitate embodiment (a human scale) and the possibility of engaging with forms of time and space that elude the processes of industrialization. Hemingway, through his open-ended style and increasingly embodied character, Nick, explores the possibility of relating to the world in a non-dominating, mindful way. The quality of consciousness mapped out are meant to be carried back to a modernist culture as a kind of revolution. Nick, then, is not a self so much as a revolutionary method.
从森林中面对现代性:《大双心河》中的乌托邦反话语
摘要:海明威的小说《双心大河》创造了一个乌托邦式的空间,重新想象了时间、空间和化身的多重感官。这个故事不仅仅是为了滋养主角尼克·亚当斯的灵魂而逃到树林里。整篇文章都在关注结构性力量(先进的技术,控制自我和集体的技术),使行为同质化,简化了地点、对象、时间和身体的概念。这个故事小心翼翼地创造了一个反话语(替代结构),其目的是促进具体化(人类尺度)和与逃避工业化进程的时间和空间形式接触的可能性。海明威通过他的开放式风格和日益具体化的角色尼克,探索了以一种非支配性的、有意识的方式与世界联系的可能性。意识的质量被描绘出来是为了作为一种革命被带回现代主义文化。因此,尼克与其说是自我,不如说是一种革命性的方法。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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