Varieties of Nothing: Understatement and Anticlimax in Chekhov, Hemingway, and Carver.
Critics often note the similarity between the short stories of Anton Chekhov, Ernest Hemingway, and Raymond Carver, citing their uneventful plots, fragmented character portraits, and lack of epiphanies and other narrative tools of compensating for their understated representation and anticlimactic e...
| Publicado en: | Modern Philology Vol. 121; no. 4; pp. 425 - 447 |
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| Formato: | Literary Criticism |
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University of Chicago Press
May2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=176716497&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 176716497 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00268232 MPH jtl: Modern Philology issn: 00268232 maglogo: N pubinfo: dt: May2024 vid: 121 iid: 4 pid: 415 pub: University of Chicago Press artinfo: ui: 176716497 10.1086/729858 ppf: 425 ppct: 22 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.7MB tig: atl: Varieties of Nothing: Understatement and Anticlimax in Chekhov, Hemingway, and Carver. aug: au: Just, Daniel affil: Bilkent University su: Narrative climax (Literature) Chekhov, Anton Pavlovich, 1860-1904 Understatement Creative ability Modernity Hemingway, Ernest, 1899-1961 Carver, Raymond, 1938-1988 19th century (Literary period) 20th century (Literary period) sug: subj: Narrative climax (Literature) Chekhov, Anton Pavlovich, 1860-1904 Understatement Creative ability Modernity Hemingway, Ernest, 1899-1961 Carver, Raymond, 1938-1988 19th century (Literary period) 20th century (Literary period) ab: Critics often note the similarity between the short stories of Anton Chekhov, Ernest Hemingway, and Raymond Carver, citing their uneventful plots, fragmented character portraits, and lack of epiphanies and other narrative tools of compensating for their understated representation and anticlimactic endings. Some even regard them as stories about nothing—too sparse and open ended to be well-rounded literary narratives. This study compares the use of understatement and anticlimax by Chekhov, Hemingway, and Carver. It argues that each writer develops a unique version of understated and anticlimactic storytelling that endows the purported nullity of his stories with a distinctive meaning by accentuating his created literary world. These worlds and how they are produced form a countertradition to that of modernist so-called "impressionist" tales. pubtype: Academic Journal doctype: Literary Criticism src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Modern Philology is the property of University of Chicago Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Modern Philology holder: University of Chicago Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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