The Dogs of “Kerfol”: Animals, Authorship, and Wharton

Edith Wharton aimait les chiens, et elle a exprimé la force de ce sentiment dans deux passages-clés de ses écrits autobiographiques. « Kerfol » est la seule de ses œuvres publiées qui accorde une place très importante aux chiens : cette nouvelle nous invite à nous interroger sur la représentation du rapport entre l’homme et l’animal. Wharton utilise la structure du récit enchâssé pour évoquer l’histoire des relations entre l’homme et l’animal en Europe occidentale, qu’elle intègre à sa critique de l’oppression des femmes dans le mariage. La présence de fantômes de chiens dans cette nouvelle s’explique par la crainte de ne pas être prise au sérieux en tant qu’écrivain et neutralise les stéréotypes associés à l’amour des animaux par l’intégration du texte à la tradition fantastique. Le refus de la critique de s’intéresser aux chiens de « Kerfol » témoigne d’une incapacité à reconnaître les animaux comme sujets à part entière : la critique s’obstine à ne considérer les animaux que comme les signes d’autre chose qu’eux-mêmes. Ce n’est qu’en reconnaissant les chiens en tant que tels que le lecteur peut comprendre la profondeur de la cruauté morale dans cette nouvelle

The Dogs of “Kerfol”: Animals, Authorship, and Wharton

Edith Wharton aimait les chiens, et elle a exprimé la force de ce sentiment dans deux passages-clés de ses écrits autobiographiques. « Kerfol » est la seule de ses œuvres publiées qui accorde une place très importante aux chiens : cette nouvelle nous invite à nous interroger sur la représentation du rapport entre l’homme et l’animal. Wharton utilise la structure du récit enchâssé pour évoquer l’histoire des relations entre l’homme et l’animal en Europe occidentale, qu’elle intègre à sa critique de l’oppression des femmes dans le mariage. La présence de fantômes de chiens dans cette nouvelle s’explique par la crainte de ne pas être prise au sérieux en tant qu’écrivain et neutralise les stéréotypes associés à l’amour des animaux par l’intégration du texte à la tradition fantastique. Le refus de la critique de s’intéresser aux chiens de « Kerfol » témoigne d’une incapacité à reconnaître les animaux comme sujets à part entière : la critique s’obstine à ne considérer les animaux que comme les signes d’autre chose qu’eux-mêmes. Ce n’est qu’en reconnaissant les chiens en tant que tels que le lecteur peut comprendre la profondeur de la cruauté morale dans cette nouvelle

Edith Wharton and the Conversations of Literary Modernism

This study imagines modernism as a series of conversations and locates Edith Wharton’s voice in those debates.https://digitalcommons.brockport.edu/bookshelf/1025/thumbnail.jp

Hemingway, Wilhelm, and a Style for Lesbian Representation

Influence study focusing on the impact of Hemingway’s explorations of sexuality and sexual identity in The Sun Also Rises, A Farewell to Arms, and “The Sea Change” on Gale Wilhelm’s We Too Are Drifting (1935). Haytock finds similarities in writing style, plot, symbolism, and tropes such as “twinning,” arguing that for both authors, “social opinion creates a reality from which characters cannot escape.” Also draws parallels with the later The Garden of Eden, concluding that each author was seeking social change through their writing

A Conversation among Wars: Teaching \u3cem\u3eA Farewell to Arms\u3c/em\u3e as an American War Novel

Details her graduate seminar on the American war novel featuring diverse readings of battlefront, home front, and postwar sensibilities. Haytock enumerates numerous approaches and resources, including World War I propaganda posters, and secondary readings about violence, war, and victimization by Freud and Elaine Scarry. Includes study questions on Frederic Henry’s wounding, Catherine’s evolving position from nurse to child bearer, and the roles of other noncombatants throughout the novel

Looking at Horses: Destructive Spectatorship in \u3cem\u3eThe Sun Also Rises\u3c/em\u3e

Reads Jake’s and Brett’s responses to the traumatic aftereffects of World War I considering Martin Harries’s recent study on destructive spectatorship, which argues that facing the past, as in the biblical story of Lot’s wife, poses the threat of mental and physical annihilation. Haytock concludes: “For Hemingway’s veterans, the horror of not being destroyed by the violence they have witnessed must be balanced with the need to remember, which itself is a dangerous activity.

Sewing Up the Tears: Medical Systems and the Great War in Wharton\u27s and Hemingway\u27s Short Fiction

Compares Wharton\u27s treatment of the physically and psychologically injured in her short fiction with Hemingway\u27s, detailing the establishment of medical systems during World War I designed to treat and return soldiers to the front as quickly as possible, along with the authors\u27 firsthand experience with these medical bureaucracies. Through comparing Wharton\u27s Coming Home and Writing a War Story with Hemingway\u27s In Another Country and Now I Lay Me, Haytock concludes that both authors broaden the trope of the passive soldier in mechanized trench warfare to include the injured soldier\u27s post-combat treatment in a medical system that takes over his life

Hemingway’s Soldiers and their Pregnant Women: Domestic Ritual in World War I

Examines the tensions surrounding domestic ritual and its evolution in In Our Time and A Farewell to Arms, focusing specifically on the relationship between soldiers and pregnant women. Concludes that in Hemingway’s World War I world, men seek their own personal “homes” while women become increasingly irrelevant and finally nonexistent

The “Good War” Script

This essay argues that literary authors generally resisted the glorifying impulse that designated World War II “the Good War,” including importantly those authors who were part of this generation. Literary texts did pay tribute to those who fought against Nazi Germany and imperial Japan, or showed the courage, determination, and fortitude that the military effort entailed. These texts also showcased the deprivation on the home front, and the ways in which women and African Americans contributed to the war. However, while literary texts have inspired movies and television scripts that support the “Good War” narrative, war poetry and prose consistently emphasize the complexity, horror, and absurdity of World War II. The most enduring literary works nuanced or negated the master narrative of “Greatest Generation” and “The Good War,” even before these were coined

Teaching Hemingway\u27s A farewell to arms

Edited by Lisa Tyler.Includes chapter by College at Brockport faculty member Jennifer Haytock: Conversation among wars : teaching A farewell to arms as an American war novel.https://digitalcommons.brockport.edu/bookshelf/1083/thumbnail.jp