توجه: محتویات این صفحه به صورت خودکار پردازش شده و مقاله‌های نویسندگانی با تشابه اسمی، همگی در بخش یکسان نمایش داده می‌شوند.
۱An Existential Reading of A Clean Well–Lighted Place
نویسنده(ها):
اطلاعات انتشار: دومین کنفرانس ملی تحقیقات کاربردی در مطالعات زبان انگلیسی، سال
تعداد صفحات: ۷
Ernest Hemingway has been compared and affiliated, by different critics, as relating to various traditions of American and European writing. As for the American tradition of fiction writing, he is, by and large, affined to the line of Edgar Allen Poe; in that both writers strive for a unified aesthetic effect, and not with Hawthorne whose authorial voice seems to be felt in the delineation of his subject matter. In Hemingway’s case, however, this stylistic feature unfolds the existential overtones of his work and reveals to us the overarching philosophy of life which he wished to expound through a dozen of novels and three collections of short stories. He has also been compared to James Joyce. Although Joyce’s epiphanic moments are not precisely reflected in Hemingway’s writings, the clarity with which Hemingway describes events and the unity of temporal and permanent experience which he advocates through these descriptions are, in essence, equivalent to the aesthetics of Joyce’s epiphanies. The short story A Clean Well–Lighted Place is one of the instances which manifests in one single piece the best of Hemingway’s practice of form and content. It is, as attested by most readers and critics, a typical Hemingwayesque story both in the structure of its prose as well as in the theme it represents. Hemingway’s spare and plain diction, his stripped down sentences, his understated observation, and above all his use of irony match the preeminent existential theme which has overshadowed the text. This paper tries to bring together an analysis of the characterization as well as the style of Hemingway in an existential reading of the short story A Clean Well–Lighted Place .<\div>

۲An Examination of Violence and the Formation of American Identity in Shepard’s Buried Child
نویسنده(ها):
اطلاعات انتشار: دومین کنفرانس ملی تحقیقات کاربردی در مطالعات زبان انگلیسی، سال
تعداد صفحات: ۹
Sam Shepard is regarded as the most celebrated living American playwright. Being a product of the off–off Broadway theatre, Shepard started writing early in life and after writing two plays, Cowboys and Stonegarden, in 1964, gained the attention of critics with a series of plays in which he celebrated the freedom of western ideals and frontiers. Shepard is famous for using and glorifying the western and American myths. As Dolmage points out in his dissertation Shepard exposes the impact of various myths have on the lives of everyday men and women in their search for the unconscious self,… (para. 2) In his early stages of writing, Shepard employed quick writing technique and did not revise his writings. He exploited abundance of images and pictures and his language was the language of gangsters, cowboys, movie stars and generally speaking, the language he used was derived from the various institutions within society. (Asgarzade, 219) but in a second phase of his career, Shepard experienced a shift in his style and turned to family dramas in which he no more used that fast, unrevised rhythm of his early writings. As Lee states in his thesis American gothic family is comprised of identifiable character types: the fallen father, the alienated mother, and the haunted son. These recur in Shepard's…family plays, as well as in … family plays of Eugene O'Neill and Tennessee Williams. (1). His style became more realistic and his plots more coherent. Some of the plays in this phase include: Curse of the Starving Class (1977), Buried Child (1978), True West (1980), Fool for Love (1983) and Lie of the Mind (1985). In fact, it is the second phase of Shepard's career that associates him with the American dramatic tradition and its pioneer playwrights; Eugene O'Neill, Tennessee Williams, Arthur Miller and Edward Albee.<\div>
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