Knowledge and Art in Ernest Hemingway’s Vision of Bullfighting An Introductio

Cover
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Table of Contents
Introduction
PART I The comprehension of bullfighting in Ernest Hemingway’s works
	Chapter 1 Discovering the fiesta, discovering a country
		1.1. Introduction
		1.2. Origin and later development of Hemingway’s ideas on bullfighting
	Chapter 2 Knowledge, prestige, and survival in Hemingway’s vision of bullfighting
		2.1. Hemingway, anti-intellectual?
		2.2. Knowing how to fight and see the fight as key elements in Hemingway’s vision of bullfighting
			2.2.1. Early writings
			2.2.2. The bullfighting short stories: “The Undefeated” and “The Capital of the World”
			2.2.3. The treatise Death in the Afternoon
			Lexical aspects concerning the importance of knowledge
			The letters
PART II Hemingway paints the fiesta with words
	Chapter 3 Hemingway, art, and bullfighting
		3.1. Hemingway and art
		3.2. Hemingway, Spain, and bullfighting
	Chapter 4 Seeing bullfighting through the eyes of impressionism in “The Undefeated” and Death in the Afternoon
		4.1. Hemingway’s conception of impressionism and bullfighting
		4.2. The use of impressionist pictorial techniques in “The Undefeated” and Death in the Afternoon and their relationship with Hemingway’s conception of bullfighting
	Chapter 5 So close, yet so far: Cubism and the social dimension of the fiesta in “The Capital of the World”
		5.1. Introduction
		5.2. The influence of cubist aesthetics on Ernest Hemingway’s style
		5.3. The vision of bullfighting through the ideological and technical dimensions of cubism in “The Capital of the World”
	Conclusions
Bibliography