十大足彩平台,Pa。 -- Linda Patterson Miller, the 2011-12 Penn State laureate and professor of 英语 at 十大足彩平台, is sharing her thoughts and observations of her laureate experience as she journeys across the Commonwealth aiming to engage people in the beauty of the humanities; 特别是20世纪早期的美国文学和艺术。 “Literary Landings” is a travelogue scheduled to appear periodically during the fall 2011 and spring 2012 semesters on Penn State Live and in Penn State 新闻wires. “In the Chapel of Art” Miller reflects on an encounter with three Hemingway aficionados and addresses a question she is often asked: "Why Hemingway?" In video link http://bit.ly/nVOzuO see Miller as she provides some background for understanding the transformative power of Hemingway's art.
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Literary Landings with the 宾州州立大学桂冠获得者: In the Chapel of Art
By Linda Patterson Miller, 2011-12 Penn State laureate
2011年10月7日
En route to my September travels as “laureate-in-residence” in western 十大足彩平台, I spent time at Penn State Altoona. As I descended the circular stairway into the Edith Davis Eve Chapel, where I was to speak on “欧内斯特·海明威 in Letters, Literature and Life,” I encountered three elderly gentlemen who were carefully making their way into the building with walkers and canes. 他们显然很兴奋。 They had traveled from their Veterans’ 回家 in nearby Hollidaysburg, Pa.他们是被对海明威的热爱吸引来听讲座的。 他们告诉我，他们已经阅读了他的所有作品，迫不及待地想要更多地谈论他。 “Nobody wrote about life and war the way he did,” one said emphatically.
他们来得很早，坐在了前排。 I reminded those who gravitated toward the back rows that, as a minister’s daughter, I had always been required to sit visibly in the front row. No back-benchers, either in my father’s church or in the Altoona chapel where we had gathered to meet Hemingway and the Lost Generation.
During my appearances thus far as Penn State laureate, I have often been asked directly, “Why Hemingway?” 我的回答是，海明威既是最受误解的美国艺术家之一，也是最重要的美国艺术家之一。 我们称他为“现代美国散文之父”，因为他改变了作家的写作方式。
如今，大多数作家都承认自己受惠于海明威，以及他对自己写作风格的影响。 从本质上讲，海明威试图传达作为人类意味着什么的情感真理。 他研究了巴黎的现代主义画家，想要模仿他们的绘画方式。 他认识到，他们的绘画以扭曲传统视角的新技术令观众不安。 海明威采用了其中的一些技巧，包括省略和立体主义，从而创造了一个以情感而不是物质为中心的世界。
读海明威最好的小说就像走进一个房间，你觉得发生了什么事，却又无法确定。 不幸的是，海明威的标志性形象阻碍了人们真正阅读他的作品。 他们倾向于看到他的男子气概（喜欢钓鱼、打猎甚至打架的人），而没有意识到海明威在他的艺术中真正捕捉的是人类的状况，无论是男人还是女人。
因此，当我们在阿尔图纳的小教堂里继续谈论海明威时，我在想，我也像我父亲一样，在传教领域工作是多么合适。 这可能不是我父亲所设想的使命，但这正是海明威和他的“迷惘的一代”（Lost Generation）的同事们——那些在一个支离破碎、饱受战争蹂躏的世界之后寻求真理的人——所接受的使命，或许也是霍利迪斯堡的那三位海明威爱好者所知道的。
阿奇博尔德·麦克利什（Archibald MacLeish）放弃了波士顿一家律师事务所的合伙人身份，前往巴黎写诗，他说这对他们所有人都是最好的选择。 “It was the art I owed.” As he concluded, “There is no art to come: there’s only art -- the need, the now, the presence, the necessity . . . the sun.”
傍晚时分的阳光透过伊迪丝·戴维斯伊芙教堂（Edith Davis Eve Chapel）的圆柱形彩色玻璃窗，我们看着那令人惊叹的色彩飞溅，以立体的方式呈现，为我们正在进行的关于艺术让我们回归自我的讨论增添了自己的现代主义背景。
To comment or to ask the laureate a question, contact 琳达米勒 at [email protected].
To learn more about the Penn State laureate and 琳达米勒 go online to laureate.psu.edu and/or live.psu.edu/tag/linda_miller.
