the lost generation and hemingway

3.1 THE LOST GENERATION AND HEMINGWAY

The "Lost Generation" was the generation that came of age during World War I. The term was popularized by Ernest Hemingway, who used it as one of two contrasting epigraphs for his novel, The Sun Also Rises. In that volume Hemingway credits the phrase to Gertrude Stein, who was then his mentor and patron. This generation included distinguished artists such as F. Scott Fitzgerald, T.S. Eliot, John Dos Passos, Waldo Peirce, Isadora Duncan, Abraham Walkowitz, Alan Seeger, and Erich Maria Remarque.
In A Moveable Feast, published after Hemingway's and Stein's deaths, Hemingway claims that Stein heard the phrase from a garage owner who serviced Stein's car. When a young mechanic failed to repair the car quickly enough, the garage owner shouted at the boy, "You are all a "génération perdue." [1]Stein, in telling Hemingway the story, added, "That is what you are. That's what you all are ... all of you young people who served in the war. You are a lost generation 'Lost means not vanished but disoriented, wandering, directionless — a recognition that there was great confusion and aimlessness among the war's survivors in the early post-war years. [1]. the 1926 publication of Ernest Hemingway's The Sun Also Rises popularized the term, as Hemingway used it as an epigraph. The novel serves to epitomize the post-war expatriate generation.^, However, Hemingway himself later wrote to his editor Max Perkins that the "point of the book" was not so much about a generation being lost, but that "the earth abided forever"; he believed the characters in The Sun Also Rises may have been "battered" but were not lost.^, in his memoir A Moveable Feast, published after his death, he writes "I tried to balance Miss Stein's quotation from the garage owner with one from Ecclesiastes." A few lines later, recalling the risks and losses of the war, he adds: "I thought of Miss Stein and Sherwood Anderson and egotism and mental laziness versus discipline and I thought 'who is calling who a lost generation?' Variously, the term is used for the period from the end of World War I to the beginning of the Great Depression, though in the United States it is used for the generation of young people who came of age during and shortly after World War I, alternatively known as the World War I generation. Authors William Strauss and Neil Howe, well known for their generational theory, define the Lost Generation as the cohorts born from 1883 to 1900, who came of age during World War I and the Roaring Twenties. In Europe, they are mostly known as the "Generation of 1914," for the year World War I began. In France, the country in which many expatriates settled, they were sometimes called the Génération au Feu, the "Generation in Flames."[1]
"What allowed European intellectuals born between 1880 and 1900 to view themselves as a distinct generation was that their youth coincided with the opening of the twentieth century and their lives were the bifurcated by the Great War? Those who survived into the decade of the 1920s perceived their lives as being neatly divided into a before, a during, and an after, categories most of them equated with the stages of life known as youth, young manhood, and maturity. What bound the generation of 1914 together was not just their experiences during the war, as many of them later came to believe, but the fact that they grew up and formulated their first ideas in the world from which the war issued, a world framed by two dates, 1990 and 1914. This world was the "vital horizon" within which they began conscious historical life. We believe, however, that the collection tends to redefine Midwestern American identity and it highlights melancholy produced by the era and area. The primary fact of this world - and the first thing that young people noticed about it - was that it was being rapidly transformed by technology. Europeans were being freed increasingly from the traditional constraints imposed on mankind by nature. Life was becoming safer, cleaner, more comfortable, and longer for most sectors of the population. Death had not been vanquished but its arrival was now more predictable, and the physician, along with the engineer, had been elevated to the priesthood of the new civilization.
"At the same time that life was becoming more secure, its pace quickened and the sense of distance among people shrank. Even rest became recreation. Instead of picnicking or strolling on resort boardwalks, Europeans began to pedal, swim, ski, and scramble up the sides of mountains. The great events of the era, from a technological point of view, were the invention and diffusion of the automobile, the motorcycle, and the airplane. Speed still implied romance and adventure and had yet to be connected with traffic fatalities, tedium, and pollution. It is difficult to determine the precise effects that these changes of velocity had on the sensibility of intellectuals growing up in early twentieth century Europe. Certainly, though, the acceleration of movement enhanced the feeling of novelty and encouraged the conviction that the twentieth century would be fundamentally different from its predecessor, if only because it would be faster.
There are few ways to effectively communicate the gravity of the paradigm shift that occurred throughout Europe following the final declaration of the armistice on November 11, 1918 which put an end to one of the most devastating and bloody wars in history.
Not only was the whole of Europe organized into different countries with new alliances and borders, all parts of Europe were left reeling from the dramatic population losses and the return of survivors who were rendered unrecognizable either through the massive sustained injuries and, less visibly although certainly not less important, hard to recognize emotionally following a war that produced mental casualties that are impossible to calculate in numbers. This new paradigm of reorganized borders and population devastation created an entire generation, particularly of young men who were lucky enough to return home following the war [11].
In his novel ''For Whom the Bell Tolls''. Death is the main operator in the novel. Robert Gordon realizes when the bombing of the bridge that he would not appoint survive the operation, as well as a guerrilla war Republican leaders Pablo and El Sordo believes that death is inevitable, and is busy most of the main characters in the novel are also thinking about their death.
Camaraderie shown in the face of disused land throughout the novel, and repeated self-surrender for the good of the world. Robert Gordon and Anselmo shows and others ready to make the ultimate sacrifice, "as should all good men." And promote a gesture repeated incubation feeling Balrvqh document Almtkacfah in the face of death. The incident of the death of a personal family Joaquin excellent example of this idea, when you guys knew this Ienicoh Joaquin and Ioassouna and tell him that they are his family now. Surrounded comrades love love this land of Spain, love the place and love of life is self-contained in the land of pine forest, either at the beginning or at the end when Robert waits for his death poet strikes his heart hammered near the forest floor. The novel graphically describes the brutality of a civil war. It is told primarily through the thoughts and experiences of the protagonist, Robert Jordan. The character was inspired by Hemingway's own experiences in the Spanish Civil War as a reporter for the North American Newspaper Alliance. Jordan is an American in the International Brigades who travels to Spain to oppose Francisco Franco's fascist forces. As an experienced dynamiter, Jordan was ordered by a Soviet general to travel behind enemy lines and destroy a bridge with the aid of a band of local anti-fascist guerrillas, in order to prevent enemy troops from being able to respond to an upcoming offensive. (The Soviet Union actually aided and advised the Republicans against the fascists in the Spanish Civil War. Similarly, Hitler's Germany and Mussolini's Italy provided Franco with military aid. [2]
In their camp, Jordan encounters María, a young Spanish woman whose life had been shattered by her parents' execution and her rape at the hands of theFalangists (part of the fascist coalition) at the outbreak of the war. His strong sense of duty clashes with both willingness of the guerrilla leader Pablo to commit to an operation that would endanger himself and his band, and Jordan's newfound lust for life which arises out of his love for María. However, when another band of anti-fascist guerrillas, led by El Sordo, is surrounded and killed, Pablo decides to betray Jordan by stealing the dynamite caps, hoping to prevent the demolition. In the end Jordan improvises a way to detonate his dynamite and destroy the bridge, and Pablo returns to assist in the operation after facing the loneliness of abandoning his comrades. However, the enemy, having previously been apprised of the coming offensive, has prepared to ambush it in force, and it seems very unlikely that the blown bridge will do much to prevent a rout. Jordan is maimed when a tank shoots his horse out from under him. Knowing he would only slow his comrades down, he bids goodbye to María and ensures that she escapes to safety with the surviving guerrillas. He refuses an offer from another fighter to shoot him and lies in agony, hoping to kill an enemy officer and a few soldiers, and delay their pursuit of his comrades before dying or being killed. The narration ends right before Jordan launches his ambush..


Hemingway frequently used images to produce the dense atmosphere of violence and death his books are renowned for; the main image of For Whom the Bell Tolls is the automatic weapon. As he had done in "A Farewell to Arms", Hemingway employs the fear of modern armament to destroy romantic conceptions of the ancient art of war: combat, sportsmanlike competition and the aspect of hunting. Heroism becomes butchery: the most powerful picture employed here is the shooting of María's parents against the wall of a slaughterhouse. Glory exists in the official dispatches only; here, the "disillusionment" theme of A Farewell to Arms is adapted.
The fascist planes are especially dreaded, and when they approach, all hope is lost. The efforts of the partisans seem to vanish, their commitment and their abilities become meaningless. ", especially the trench mortars that already wounded Lt. Henry ("he knew that they would die as soon as a mortar came up"). No longer would the best soldier win, but the one with the biggest gun. The soldiers using those weapons are simple brutes, they lack "all conception of dignity" as Fernando remarked. Anselmo insisted, "We must teach them. We must take away their planes, their automatic weapons, their tanks, and their artillery and teach them.

The novel also contains imagery of soil and earth, most famously when Jordan has sex with María at the start of chapter thirteen and feels "the earth move out and away from under them" then afterwards asks María, "Did thee feel the earth move?", variants of which have become a cultural cliché, often used humorously[2].

The Great Depression was a severe worldwide economic depression in the 1930s. The timing of the Great Depression varied across nations; however, in most countries it started in 1929 and lasted until the late 1930s. It was the longest, deepest, and most widespread depression of the 20th century. The Great Depression is commonly used as an example of how far the world's economy can decline. The depression originated in the United States, after the fall in stock prices that began around September 4, 1929, and became worldwide news with the stock market crash of October 29, 1929 (known as Black Tuesday).[3]
The Great Depression had devastating effects in countries rich and poor. Personal income, tax revenue, profits and prices dropped. The Great Depression was a severe worldwide economic depression in the decade preceding World War II. The timing of the Great Depression varied across nations, but in most countries it started in 1930 after the passage of the United States' Smoot-Hawley Tariff bill (June 17), and lasted until the late 1930s or middle 1940s^. It was the longest, most widespread, and deepest depression of the 20th century
In the 21st century, the Great Depression is commonly used as an example of how far the world's economy can decline the depression originated in the U.S., after the fall in stock prices that began around September 4, 1929, and became worldwide news with the stock market crash of October 29, 1929 (known as Black Tuesday). The Great Depression had devastating effects in countries rich and poor. Personal income, tax revenue, profits and prices dropped, while international trade plunged by more than 50%, due in large part to the Smoot-Hawley Tariff. Unemployment in the U.S. rose to 25%, and in some countries rose as high as 33%.
As well as good times, that life included suffering endured with great courage. Often considered minor Lost Generation celebrities, lost generation is love story, the reader, will judge. (I said).


Cities all around the world were hit hard, especially those dependent on heavy industry. Construction was virtually halted in many countries. Farming and rural areas suffered as crop prices, Facing plummeting demand with few alternate sources of jobs, areas dependent on primary sector industries such as cash cropping, mining and logging suffered the most.
Some economies started to recover by the mid-1930s. In many countries, the negative effects of the Great Depression lasted until the end of World War II. [3]