# data[].attributes.body
a contextual or biographical element that helps situate the passage under study. I'll go first. Hit the "Plus" button. Encourage and respond to each other.

# data[].attributes.body
Enter adjectives to characterize the aesthetic of the whole scene. The same word can be entered several times: it'll grow bigger.

# data[].attributes.attachment_link.title
AnswerGarden " The whole scene is described in a way that can be referred to as

# data[].attributes.attachment_link.description
AnswerGarden is a new minimalistic brainstorm tool for online brainstorming, real time audience participation and classroom feedback.

# data[].attributes.body
Hit the "Plus" button to post your answers. Use the title space to write your name. If you'd rather record your answer, be my guest!
1. Name all the characters and briefly summarize what they do, and who they interact with
2. What happens to the successive bulls?
3. Who speaks, what focalisation is adopted and what does this focalisation seem to emphasize the most?

# data[].attributes.body
Consider the two documents below, a quote and a page from F. Grellet

How do they help come to terms with Hemingway's singular writing style in the passage under study.

Hit the "Plus" button and write a short paragraph to give your informed opinion

# data[].attributes.body
choose a very short passage,

analyse how its style produces meaning

rehearse and record yourselves analysing the meaning and style of this passage of your choosing

alternatively, your may type and post your analysis.

# data[].attributes.body
Hemingway is often associated with the "lost generation", a phrase allegedly coined by Gertrude Stein, referring the sense of alienation and disconnection characteristically felt and expressed by writers such as Hemingway, Dos Passos, Fitzgerald, upon their return from World War I. Hemingway uses the phrase as an epigraph to this novel. In this passage  the characters seem to try and find meaning in a cruel show/blood bath that attempts to transcend death without necessarily managing to do so. (source: Britannica)

# data[].attributes.body
The events unfolding and the characters surrounding Jake Barnes were all inspired by Hemingway's real life travels and relationships. He travelled to Paris and to Spain and indeed attended a bull fight, at the end of which the matador gifted Hadley Richardson (Hemingway's wife) the bull's ear. While in real life Hadley and Ernest divorced supposedly because Ernest was having an affair, in the novel Brett is found left penniless by Romero in a hotel room.
This lets us wonder to what extent this novel tries to rewrite the events that unfolded in real-life. While the narrator doesn't appear to go in-depth over his thoughts and feelings, comparing this novel and Hemingway's biography may shed light on how the novel should be read. Or perhaps, on the contrary, the novel should be read as is, without trying to connect it to its author.

# data[].attributes.body
1. There are three main characters creating some sort of love triangle, as well as a few other surrounding characters: Bill (a friend of the couple), the President and Romero's brother (another toreador). Jake Barnes is the narrator of the novel and he attends the bull fight with his love interest Lady Brett Ashley. The matador, Pedro Romero, also is in love with Brett Ashley.

2. There are two successive bull fights in the excerpt. Both bulls end up being killed by Romero.

3. While Jake Barnes narrates the story from in internal focalization, it mostly focuses on the actions performed by Romero, thus giving the impression of an external focalization. This is emphasized at the end of the passage; when Romero gifts Brett the ear, Jake seems totally absent from the scene. In fact, there is only one element identifying him in the whole passage: "I said to Brett" (l.7).

# data[].attributes.body
Ernest Hemingway is one of the great representatives of realism in American literature. It was by exercising the profession of journalist, in which excess words and too long phrases are banished, that he refined his art. Ernest Hemingway theorized this form of writing under the name of iceberg theory: the writer should focus on the visible elements on the surface, without the underlying themes ever being made explicit. The important thing is not the explicit, but the implicit.
In the passage, we can appreciate the brevity of the informations and the "cold" analysis of the situation.

# data[].attributes.body
Animals are an important part of Hemingway's life and work. During his childhood, his father, Clarence Hemingway, initiated him to hunting and fishing. Hemingway was given his first shotgun in 1909, for his tenth birthday. Thus the relation between Hemingway and animals was linked with the child's first experiences of death, a theme that would later be central to his work.

The scene of the bull-fight in "The sun also rises" echoes an other fight in a later work of Hemingway, between an old man on his boat and a big fish in "The old man and the sea". Before he published this ultimate twilight masterpiece in 1952, Hemingway had had a further experience of hunting : he spent three months in Africa for a safari inspired by the legendary hunts of Theodore Roosevelt.

Ernest Hemingway developped a very strong vision of hunting : the death of the animal becomes for the hunter an experience of his own death. He said to Hollywood actress Ava Gardner "I spend a hell of a lot time killing animals and fish so I won't kill myself." The death of animals in novels such as "Death in the afternoon" or "The old man and the sea" definitely has to do with the haunting idea of SUICIDE (Hemingway suicided with a shotgun in 1961). All this tends to show that Hemingway's relation to animals is much deeper than a simple act of domination over nature. It corresponds to what Deleuze  and Guattari called, in their essay "Mille Plateaux" the "becoming-animal" of the writer, that is this moment where the role of the animal and the role of the man switch and where the animal becomes a man as well as the man becomes an animal. The ending of "The old man and the sea" seems to confirm this interpretation : "You're killing me fish, the old man thought. But you have a right to. Never have I seen a greater or more beautiful, or a calmer or more noble thing than you, brother. Come on and kill me. I do not care who kills who." The relation between the hunter and his prey is thus a relationship of equals and the hunter shows love and respect to his prey : "Fish, he said. I love you and respect you very much. But I will kill you dead before this day ends."

# data[].attributes.body
The Matador is younger than Ernest Hemingway and his possible self-insert in the story (Jake Barnes), so he couldn't had know the war. However he is knowing fame and glory in a life threatening sport. That show the feeling of being a part of a lost generation illustrated in many in Hemingway's works. He is in the same time a threat because he can oust the main character in the heart of his love interest, and a model because Hemingway is undoubtlely fascinated by this sport.

# data[].attributes.body
1- Jake Barnes, the narrator, Lady Ashley Brett, Barnes' love interest and Pedro Romero, a bullfighter who is Brett's love interest, are the three main protagonists. They are surrounded by other protagonists : The President who seems to chair the bull fight, Romero's brother who helps him to kill the last bull and a sword-handler.

2- The first bull is killed by Romero alone, his death is quick because of the precision of Romero's sword. The second is killed too but his death is less direct and requires two wounds. Before being killed both of the bulls are plagued to please the crowd.

3- Jake Barnes is the narrator and a protagonist, internal focalisation is adopted. This focalisation through Barnes' viewpoint seems to emphasize on Romero's gesture as if Barnes tries to measure his opponent.

# data[].attributes.body
1.The main character isn't directly name but he is in the introduction of the excerpt : it"s Jake Barnes, he is a spectator of the bull-fighting and comments at one time on it, the attention is focused on the character of Pedro Romero, he is the one who acts the most because he is the fighter. His brother is mentioned, he is the one who cut the last bull ear. The president seem to overlook the scene from his box, but take no significant action. The love interest of Jake Barnes, Lady Brett Ashley Brett is important too because she allows the narrator to explain the action and receives the bull ear from Pedro at the end. There is also a character name Bill but there is no further information about him.
2. There is two bull, the second much more aggresive than the first, both were killed by Pedro during the bull-fight
3. The narrator is Jake Barnes and he is watching the bull-fight, so we adopt the perception of a spectator and that emphasize the feeling of watching a spectacle or a representation.

# data[].attributes.body
Corrida as we know was developed at the start of the 18th century, in Ronda, when Francisco Romero (same name as in the novel) asked for permission to kill the bull himself at the end of a game. After some movement similar to the one in our extract, Francisco Romero kills the bull with his sword. Then he starts over in other arenas and becomes a professional (model).

# data[].attributes.body
When asked by George Plimpton about the function of his art, Hemingway proved once again to be a master of the "one true sentence": "From things that have happened and from things as they exist and from all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive, and you make it alive, and if you make it well enough, you give it immortality."

# data[].attributes.body
1. There are three main characters: Jake Barnes, the narrator, his love-interest Ashley Brett and Pedro Romero, the bullfighter. Less central to the story, there are the President and Romero’s brother. Jake and Ashley are mostly passive in the excerpt, they are spectators. Only at the end of the excerpt Ashley smiles to Pedro, hinting the love story between them. Pedro Romero focusses the action in the excerpt. His brother helps him killing the last bull.
2. Both bulls fight against Romero and are killed.
3. The narrator Jake Barnes is the one speaking throughout the excerpt, but because he doesn’t act nor give his personal thoughts, relating the story with objectivity, the story seems to be told with an external viewpoint, which emphasise the impression of seeing a show for the reader

# data[].attributes.body
Hemingway style is relay innovating because it “changed the nature of American writing” (James Nagle). He won the Noble price for literature for “his mastery of the art of narrative, and for the influence that he has exerted on contemporary style.”
It was a reaction against  the elaborate style of 19th-century writers and by creating a style in which meaning is established through dialogue, through action, and silences—a fiction in which nothing crucial—or at least very little—is stated explicitly.
Emma

# data[].attributes.body
1.       There are Romero, his brother, Lady Brett, the President and the narrator. There’s also the crowd and boys from the crowd but there aren’t individual characters. Romero is a toreador, he is at the heart of the action, he is killing bulls, he interacts with every characters. His brother is also a toreador and he helps Romero and kills the bull, he interacts with Romero and the president. Brett is a lady who’s at the bull fight with the narrator. She interacts with Romero and the narrator. The president watches the bull fight and decides when it’s over, he interacts with Romero and his brother. And finally, the narrator is Jake Barnes, he is watching the bull fight with Lady Brett who he is in love with. He only interacts with Brett.

2.       The bulls are killed by Romero.

3.       Jake Barnes is the one who tells the story. He doesn’t take part in the action, he is an observer, so the focalization is internal but seems external in this part.

# data[].attributes.body
Ernest Hemingway is one of the most famous polydactyl cat lovers.

In the garden of his house in Key West, Florida, he is home to just under a hundred cats, about half of which were polydactyls. In English, the word "Hemingway cat" or "Hemingway" has become familiar to refer to polydactyl cats.

Since Ernest Hemingway's death in 1961, this house has become a museum and the garden a shelter for the descendants of his cats. There are still about sixty (fifty-seven as of August 18, 2018), including about thirty polydactyls.

This information is  absolutely useless by fun
Emma

# data[].attributes.attachment_link.title
Close reading of The Sun Also Rises by Ernest Hemingway

# data[].attributes.attachment_link.metadata.title
Close reading of The Sun Also Rises by Ernest Hemingway

# data[].attributes.body
1.       - Barnes : "I said" = he's the narrator character

-          Brett: she’s with Barnes and Bill as a spectator. Her presence pushes the narrator to describe more precisely the scene.

-          Bill :  the friend of the narrator, a spectator that comment too.

-          Romero : a bullfighter that attracted all regards, and fight in the arena

-          The Romero’s brother : help his father to achieve the bull

-          The President: an important spectator, who seems to be in some way directing what comes after the bull kill.

2.       There are two bulls that were fight by Romero. The first one was kill with less precision.

3.       Barnes is the narrator and sometimes speaks with direct speech. Bill also directly intervenes as Romero very briefly. This is an internal character focus, and this seems to accentuate the external descriptions (sometimes of the President, the bulls and all the arena but the most is of Romero): there is a zoom effect on the fight and the bullfighter, who is the centre of the narrator's attention and therefore fills the text (depending on the narrator's representation and what he hears).

# data[].attributes.body
In this excerpt, even though the story is told by a narrator it seems to be external, because of the lack of subjectives markers or remarks. The story is a following of concise actions, which rise the expectation and the tension in the excerpt. Doing so, the actions, for exemple Ashley’s smile at the end of the excerpt, because of their simplicity, can lead a more complex message implicitly.

# data[].attributes.headline
A style based on economy and understatement

# data[].attributes.subject
A style based on economy and understatement

# data[].attributes.body
The art of Hemingway's writing consists in describing very simple facts and actions in such a way that these facts and actions suggest emotional, moral, or existential tensions. The tensions at work in this text are never given names, they're not written. What is written and described, the bull-fight, can be read as a kind of understatement suggesting more crucial events. Central to this text is the feelings of Jake Barnes for Lady Brett and the rivalry between him and Pedro Romero, the bull-fighter. The last three sentences are perfect examples of this art of understatement : expressing more by writing less. "Brett did not say anything. They looked at each other and smiled. Brett had the ear in her hand." These very short sentences are like flashes, they focus on very factual details but they express much more than facts : the relationship between Brett and Romero, the sadness or jealousy of Jake...

# data[].attributes.body
His style in the excerpt is very detached, it only follows the actions and we don't really know the thoughts of the narrator. It leads the reader to interpret more and try to make sense of what is happening without the narrator explaining everything.

# data[].attributes.body
The characters of the text are: Jack Barnes, he is in the public with a woman : Lady Brett and Bill, a friend to him and veteran like him. They all look with the aficionados, the show on the bullring and at some points discuss about the bullfight.  Romero, a famous bullfighter, is killing 2 bulls. There is also the Romero’s older brother who helps him and participates at the end to the act of killing. Both interact with the President in the public: they look at him and the president answers and encourages them by waving his handkerchief. At the end, Romero comes to the place where Barnes, Brett and Bill are sit and he offers to Brett the ear of the last bull.

The scene of the passage is about a long and ritual bullfight. So several bulls are brought in the bullring. The text is focus on 2 of them. Romero keeps needling them with a red flannel: the muleta. Then the bull charges and Romero kills them with his sword.

The narrator is Jack Barnes: he is watching to the show with the other and so he has the spectator’s view point. He sees every thing from upstairs, from his place in the bullring. He is external and watches and describes the show like this. The focalisation emphasizes the visual aspect of the moment: colours movements… he is external to every gesture, even at the end when Romero, as a gift offers the ear to Brett, the woman he loves.

He can do anything but watch and be passive and unable to react.

# data[].attributes.body
1.     We can see three main protagonists :

Jake Barnes, the narrator who is in love with Brett.

Brett and him are in attending a bull fight

Romero is a young boy in love with Brett

Then we have three secondary characters :

The president who watches the scene

Romero’s Brother who helps him

The two bulls

2. Both died by the hand of Romero. The first one’s death is quick because Romero is precise but the second bull is more aggressive and Romero fail. His brother killed the last one.

3. Jake Barnes is the narrator, we normally have an internal point of view. But because he is a spectator of the bullfight, he adopts an external point of view. We have Jake’s scene interpretation. The bull’s death scene seems longer and more precise than the action. The insistence on the agonies is maybe a clue.

# data[].attributes.body
The narrator lived through the First World War (like Hemingway himself). Our excerpt is located in the second part of the novel, where the narrator goes to Spain, so we would expect to be away from death. However, this passage testifies a corrida scene, with two successive killings of bulls. The presence of death therefore never leaves the narrator. As Grellet evokes, the narrator is always faced with death or a situation of danger: the choice of an internal focus prevents knowing the real thoughts of the bullfighter who kills this animal, there can only be assumptions or reports. This rather restrictive focus then allows a certain distance with death: as a spectator of a show, death becomes banal, entertaining. No drop of blood is really mentioned, it is simply the "beauty" of the relationship between man and animal, and above all of the technique (gestures) that fascinate the narrator. It is a trivialization of the act of killing, faced with the fascination of surgical killing and the reactions of the public, of the bullfighter...

# data[].attributes.body
“Out in the centre of the ring, all alone, Romero was going on with the same thing, getting so close that the bull could see him plainly, offering the body, offering it again a little closer, the bull watching dully, then so close that the bull thought he had him, offering again and finally drawing the charge and then, just before the horns came, giving the bull the red cloth to follow with that little, almost imperceptible, jerk that so offended the critical judgment of the Biarritz bull-fight experts.” (l1-6)

The length of the sentence creates a stretching effect: the movement is cut out, on several levels, with ever more precision.
Romero is at the center of the arena but he is also at the center of the sentence: "all alone" which refers to Romero is placed in an incise between two commas which puts him forward. His name will be several attacks of a sentence. The repetition effect, which is found throughout the text "offering", "offering" on the one hand, as said previously stretches the text, and offers an increasingly precise reading of the movement, but on the other hand , transcribes the precision of the movement itself. The movements are repetitive, calculated, graceful certainly but cold. It is a kill that responds to codes, almost like a waltz between man and animal who are put on the same level in the arena. Indeed, the passage of the gaze from Romero to Taurus, from Taurus to Romero successively, never stop to link the two. The narrator then seems to be fascinated by the movements of the bodies, in danger (in a situation of a hunter - hunted who keeps falling over).

# data[].attributes.body
Prior to this scene, H contended / claimed that SC had been assassinated, a thesis which was debunked by the epilogue under study. By smearing make-up all over his face, ST turned into a squalid beggar that the constables couldn’t/were unable to identify. In virtually every police story/detective tale, the problematic of identity is central / Central to virtually every detective story is the problematic of identity, and it’s the detective’s job / duty / i’s up to the detective to crack the case / clear the matter up. In this excerpt, the pairing of the two figures, that of the gentleman and that of the beggar is somewhat subversive inasmuch as it challenges the tacit rules / norms of the social field. Readers are under the impression / it feels like the dastardly villain is first and foremost guilty of calling into question the fantasy of social control staged by detective stories.

# data[].attributes.body
1) In the extract, there are seven different characters. Romero, as he is at the center of the arena, is also the connection between the characters. He is interacted with his brother and the sword-handler in the arena. He is making show and therefore we have at least four persons who watch him. Bill, the narrator, Jake Barnes and Brett just watch the bull-fighting. Jake Barns is in love with Brett but so is Romero. It's love triangle. Finally, the President interact with Romero by throwing away his handkerchief in order to show he loved the fight. At the end, "boys" are also mentionned, the came in the arena to celebrate Romero's victory over the last bull. 2) With the first bul, the killing is complicated but finally Romero succeeded in. The fight is said to be a "bad one". On the opposite, the second bull and the fight are more spectacular, indeed it's the last fight, Romero has to make the show.

# data[].attributes.body
Hemingway has indeed a very specific hands writting : his stories are a succession of actions and this is what we can see in the extract. It's a succesion of actions verbs " was going on" (l.1) "Romero profiled in front of the bull" (l.9) " his hand still up" (l.29) "he wiped off his face (l.26). That allows to put th emphasis one what kind of action is happenning : the scene ( killing of two bulls) is even more violent because this writting's style. It's epic, breath-taking, violent, impressive because the vocabulary is precise "the muleta held low, sighting along the blade, his feet firm" (l.4) " he drove the knife in again, and the bull went over, twitching and rigid" (l9). According to Hemingway, this helps to stress reader's feelings : by being completely visible, the scene will convey lots of emotions. Finally, violence is one of Hemingway's favorite topic. In the extract, the bull fighter is someone very "templed and smooth", as a consequence, the writting has to be precise to fit with the behavious of the fighter. This could also explain the reptition of "Romero", "bull" : the writer doesn't need to change his vocabulary, on the contrary, by repeating, the action is clear and crude. Wha is important is not the WHO does it, but WHAT is happening and HOW it can strike the reader's mind.