For some critics, the heart of the novel is the bullfight, and how each character responds to the experience of the corrida.
It was a response to the increasing mechanization of life brought on by industrialism and the machine, and by the disorienting effects of World War I. However, it began before that war as more and more intellectuals began to question Victorian and Edwardian assumptions about social and political organization.
Literary modernism is characterized by experimentation in Modernism is a literary term that is difficult to define because it encompasses so a broad range of literature. Literary modernism is characterized by experimentation in language and form.
It was influenced by writers and thinkers such as Nietzsche, who termed language a "prison house," Marx, who questioned capitalism, and Freud, who uncovered unconscious patterns of thought and sexual impulse.
In response, writers began to move away from "objective" narrative, in which words were expected to function as a "clear window pane" on reality.
Instead, they opted for subjective, interior narratives, often written either in the first person or through a third-person stream-of-consciousness technique that sought to capture the inchoate nature of thought.
Its viewpoint is first person and highly subjective, told from the point of view of Jake Barnes, whose body and psyche have been damaged by World War I.
He is physically impotent but also psychologically and spiritually impotent, part of a "Lost Generation" of people shattered by their war experiences. Jake is cynical, and like a good modernist, distrusts what seem like apparent truths or truisms. He says the following: He picnics and drinks out in nature with a friend, and ends up in Pamplona, a medieval city whose running of the bulls represents a time untainted by modernity.
Romero, the virile bull fighter, fixed in a traditional social order, stands in opposition to hopeless and drifting Jake Barnes. Bull fighting, an unmechanized form of combat, stands in implicit contrast to the dehumanizing mechanization of World War I.
The novel captures the deep disillusionment of people in the s who felt betrayed by their social institutions.At the time he wrote The Sun Also Rises, Hemingway was reading Tolstoy (Lynn ), and Jake, the main character of the novel, reads Turgenev (SAR ).
Both the French realists and naturalists and their Russian counterparts were familiar, in different ways, with the works of the German philosopher. Hemmingway Modernism By the end of World War 1 the viewpoints of people in society had drastically changed.
People were no longer living their lives with purpose due to the failure of previous beliefs. Hemingway and Literary Modernism ()! 2! Sun Also Rises!
Yet Hemingway’s insight in this early novel goes much beyond that. Ultimately, The Sun Also Rises reflects an advanced modernist, or even a postmodernist, sensibility by recognizing the essential emptiness of any project to restore unity to a broken modern world. Chapter IV is crucial, because it is here, at last, that Hemingway clarifies the conflict of The Sun Also Rises.
To reiterate: The protagonist, Jake Barnes, wants Brett Ashley, but he can't "have" her, despite Brett's reciprocal feelings. Sep 25, · Hemingway’s ability to incorporate attributes of the modernist movement, such as gaps and fissures, fragmentation, and the quotidian, make The Sun Also Rises a literary classic both for its’ time during the Avant-Garde movement and now.
Works Cited. Hemingway, Ernest. The Sun Also Rises.
New York: Scribner, Print. Jordan, .