
Teaching Hemingway and War
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Content
- Cover
- Copyright
- Contents
- Foreword
- Introduction
- Part One: The Great War
- The Violence of Story: Teaching In Our Time and Narrative Rhetoric
- "Our Fathers Lied": The Great War and Paternal Betrayal in Hemingway's In Our Time
- Connective Gestures: Mulk Raj Anand, Ernest Hemingway, and the Transnational Worlds of World War I
- Character Construction and Agency: Teaching Hemingway's "A Way You'll Never Be"
- Part Two: The Spanish Civil War
- Seeing Through Fracture: In Our Time, For Whom the Bell Tolls, and Picasso's Guernica
- Hemingway and the Spanish Civil War: The Writer's Maturing View
- "What you were fighting for": Robert Jordan On Trial in the Classroom
- Teaching The Spanish Earth in a War Film Seminar
- Part Three: Trauma Tales
- Hemingway, PTSD, and Clinical Depression
- "Shot . crippled and gotten away": Animals and War Trauma in Hemingway
- The Poetics of Hemingway's Death in the Afternoon: Restaging the Experience of Total War
- "In Another Country" and Across the River and into the Trees as Trauma Literature
- Part Four: Ernest Hemingway Seminar
- Introduction
- Perceptions of Pain in The Sun Also Rises
- A Farewell to the Armed Hospital: Military-Medical Discourse in Frederic Henry's Italy
- Pilar's Turn Inward: Storytelling in Hemingway's For Whom the Bell Tolls
- Appendixes
- Appendix A: Character List, with Pertinent Scenes
- Appendix B: Trial Day Schedule of Events (For a 75-minute class period)
- Appendix C: Valid Objections in the Trial Process
- Appendix D: Teachers' Questions for Death in the Afternoon
- Works Cited
- Selected Bibliography
- Contributors
- Index
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