Hemingway was born in the United States, from childhood love of nature, like travel, watch the Spanish bullfight ... ... through a variety of ways to exercise their ability to live. 18-year-old on the war, he created a lot of his life works, are based on their own personal experience. On one occasion, Hemingway was distributing chocolate in the trenches, and a shell exploded near him and stunned him. When he regained his intuition, he saw an Italian wounded so badly that he could not move. He immediately put the man back in the back, sent to the first-aid shelter. At this point, his body is blood, the shoe was hit two holes. After a medical examination, he suffered 227 injuries, fortunately, no one in the hip above, so he ry, he risked his life once again came to the battlefield interview, this kind of spirit is how valuable ah!
His repeated failures at the time had cast a shadow over his own heart, but he remained independent and unrelenting. Finally he won the Nobel Prize, won the attention of the Nobel Prize in Literature. Of course, its success is by no means a flash in the pan, but with its high degree of creativity, in the history of human literature inscribes a lasting impression.
And we now live in a peaceful era, in the excellent environment, why not learn it? When we face a little bit of frustration in life, always help parents, teachers, friends ... ... why can not independent brave to face it? However, the reality is terrible. Some people live with their debauchery, do not give the refugees a penny, only their own happiness, regardless of the pain of others. Such people live in the world is a parasite, there is no sense. Of course, some people all the year round obscure service for the people, dedicated their young life, they have long been out of the life and death. As Hemingway put it, "What a great spirit it is to die in the frail age, when the illusion dies, not as a young man dying in an illusion of happiness, extinguished when the glory is bright and splendid."
Hemingway, a writer, a Nobel Prize winner, a true hero of the times. Is he let me know how to shape themselves, shape the future; he inspired me to create the spirit of self-improvement; he let me know how to face life!
This book let me understand, although life is full of dangerous and painful, but we have to like a matador "tough guy" spirit to face the suffering of life.
Comments: "Instead of head down life, not as high head dead." Small writer wrote the world's writers Hemingway's not do the laity of the move; also write their own life in the future, no matter what kind of danger , Should be the same as Hemingway to do a matador-like "tough guy" to face the suffering of life, read to inspire people.
Hemingway in the creation of a prominent feature is the shape of a flesh and blood, the distinctive character of the image. Most of these characters are soldiers, journalists, bullfighters, hunters, fishermen, professional boxers, etc., Hemingway with a sincere heart to love them, with a simple ink to praise them. In them, the reader can see a group of distinctive "tough guy" character character image. Hemingway's protagonist is a typical character who has created all his features according to his own experience and created by artistic processing. Hemingway is an intuitionist, he believes that the image of the art of life and soul lies in its high degree of realism. "The writer's job is to tell the truth", and therefore stressed that writing with a sense of straightforwardness, his novel themes are mostly taken from personal experience and personal experience. As a teenager, Hemingway was very competitive. He was "loyal to all things first, and if he did not get first in a sport, he would give up that sport." This spirit is manifested in his short story "beat undefeated people", the old power failure of the bullfighter Manuel in order to safeguard the honor of the past, regardless of the brutal exploitation of the boss and the companions of goodwill discouraged, decided to play bullfighting . In the short life of "Francis Macomber's Short Happy Life," the author simply asked Wilson to borrow the language of Shakespeare, saying bluntly: "I do not care at all, people can only die once ... anyway this year, "He finally endured the test of morality and courage under violence, his death confirmed the dignity of his personality, where the author strongly praised the" tough guy "fear of death, indomitable attitude towards life. "Gamblers nuns and radio" in the gamblers suffered a robbery, not only bite the bullet and not hum, humor and humor to laugh freely, showing the death of the "relaxed" and "elegant.""Fifty thousand dollars" in the boxer to hold back the pain down the foul opponent, destroyed a double hoax. This flesh and blood fullness of the characters are the lives of the unfortunate and losers, but they are the spirit of the strong and winners, which is popular in Europe and America so-called "tough guy" character. II Hemingway's creative career, the young Hemingway's "tough guy" image is invincible warrior, reflects the young Hemingway's vigor and indomitable enterprising heart, and his later years of Hemingway's " Tough guy "image, it is the vicissitudes of life, repeated setbacks but not willing to fail the spirit of the winner. In his later years of the novel "the old man and the sea" is particularly prominent. Santiago in The Old Man and the Sea is Hemingway 's last tragic hero and the final conclusion of his tough personality.
Ernest Hemingway is a giant of modern literature. Among twentieth-century American fiction writers, his work is most often compared to that of his contemporaries William Faulkner and F. Scott Fitzgerald. Combined with his outstanding short stories, Hemingway’s four major novels—The Sun Also Rises (1926), A Farewell to Arms (1929), For Whom the Bell Tolls (1940), and The Old Man and the Sea (1952)—comprise a contribution to modern fiction that is far more substantial than Fitzgerald’s and that approximates Faulkner’s.
Faulkner was awarded the Nobel Prize in Literature a few years before Hemingway received this recognition, but their respective approaches to fiction are so dissimilar that this belated receipt says little or nothing about Hemingway’s stature relative to that of Faulkner. When set alongside Faulkner’s Mississippi novels, Hemingway’s major works feature simpler structures and narrative voices/personae.
As or more important, Hemingway’s style, with its consistent use of short, concrete, direct prose and of scenes consisting exclusively of dialogue, gives his novels and short stories a distinctive accessibility that is immediately identifiable with the author. Owing to the direct character of both his style and his life-style, there is a tendency to cast Hemingway as a “representative” American writer whose work reflects the bold, forthright and rugged individualism of the American spirit in action.
His own background as a wounded veteran of World War I, as an engaged combatant in the fight against Fascism/Nazism, and as a “he-man” with a passion for outdoor adventures and other manly pursuits reinforce this association.
But this identification of Hemingway as a uniquely American genius is problematic. Although three of his major novels are told by and/or through American men, Hemingway’s protagonists are expatriates, and his fictional settings are in France, Italy, Spain, and later Cuba, rather than America itself.
While Hemingway’s early career benefited from his connections with Fitzgerald and (more so) with American novelist Sherwood Anderson, his aesthetic is actually closer to that shared by the transplanted American poets that he met in Paris during the 1920s; T. S. Eliot, Ezra Pound, and, most crucially, Gertrude Stein. In this context, we must realize that Hemingway’s approach to the craft of fiction is direct but never blunt or just plain simple.
Hemingway’s text is the result of a painstaking selection process, each word performing an assigned function in the narrative. These choices of language, in turn, occur through the mind and experience of his novels’ central characters whether they serve explicitly as narrators of their experience or as focal characters from whose perspectives the story unfolds. The main working corollary of Hemingway’s “iceberg principle” is that the full meaning of the text is not limited to moving the plot forward: there is always a web of association and inference, a submerged reason behind the inclusion (or even the omission) of every detail.
We note, too, that although Hemingway’s novels usually follow a straightforward chronological progression as in the three days of For Whom the Bell Tolls, Hemingway does make use of summary accounts of the past, of memories related externally as stories, and of flashbacks. These devices lend further depth to his characters and create narrative structures that are not completely straightforward chronicles.
Hemingway is direct. But he is also quite subtle, and subtlety is not a trait that we ascribe to the American way. In the end, Hemingway is an international artist, a man who never relinquished his American identity but who entered new territories too broad and too deep to fit within the domain of any national culture.
I work hard, willing to Chikunailao, flexible thinking, spiritual change and strong in the work and get along well with my colleagues. I have the enthusiasm of twelve points to treat this work; in-service 1 minute, struggling sixty seconds attitude To deal with my boss to pay every task.
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In the past three months of work, success, failure, joy, there are the leadership and care and guidance, with the support of colleagues with the help of my ability to work has been greatly improved, now three months of work to do a self-assessment.
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