Since his first works came to critical attention, Ernest Hemingway has occupied a space in the critical and cultural imagination as a definitively ‘masculine’ writer. His novels and stories focus on male narrators in difficult or extreme situations involving war, violence, and the natural world, and his critical heritage has focused on these ele…[Read more]

Since his first works came to critical attention, Ernest Hemingway has occupied a space in the critical and cultural imagination as a definitively ‘masculine’ writer. His novels and stories focus on male narrators in difficult or extreme situations involving war, violence, and the natural world, and his critical heritage has focused on these ele…[Read more]

Since his first works came to critical attention, Ernest Hemingway has occupied a space in the critical and cultural imagination as a definitively ‘masculine’ writer. His novels and stories focus on male narrators in difficult or extreme situations involving war, violence, and the natural world, and his critical heritage has focused on these ele…[Read more]

The term ‘musicalization’ comes from Werner Wolf’s study of intermediality between music and fiction, The Musicalization of Fiction (1999), which proposes the musicalized text as one that has an intentional and sustained connection to music and musical form that moves beyond the purely diegetic or incidental. In this article I draw on Wolf’…[Read more]

In this article, I argue that the groundlessness associated with postmodernism is not as entrenched within its discourse as it may appear. Graham Swift’s Waterland (1992) and Margaret Atwood’s Oryx and Crake (2003), while conforming to many of the aesthetic values of postmodernism, share an ecopostmodernist platform that raises questions and con…[Read more]