Loyola University Chicago

John Felice Rome Center


Fall 2012

Loyola University Chicago—John Felice Rome Center—Fall 2012

Instructor: Elizabeth Geoghegan; Email: egeoghegan@luc.edu

Office Hours:  By appointment; Room 102

Day/Time/Location:  Classroom TBD, Thursdays 930am-12pm


COURSE DESCRIPTION:  This course provides a study of Hemingway as an artist and his contributions to 20th Century literature. We will cover six of Hemingway’s books, specifically the works set in Italy, France, and Spain. This course explores the writer’s life and literature, paying particular attention to Modernism and the American expatriate experience in Europe during the first half of the 20th century, as well as the author’s ties Hemingway’s ties to F. Scott Fitzgerald and other members of the so-called “Lost Generation.” This class is open to English majors with junior and senior standing only OR by instructor permission only.


OUTCOME:  Student(s) will be able to demonstrate understanding of the topic of the course, and of the research and critical skills necessary to analyze and discuss it.


Knowledge Area(s) satisfied:

Literary Knowledge and Experience

Skill(s) Developed:

Critical Thinking and Reading

Communication Skills – Written & Oral

Values Requirement(s) satisfied:




This class will deepen student knowledge and appreciation of Hemingway’s contributions to American literary history and modern language through the careful analysis of representative texts.


To increase student(s) understanding of the personal, cultural, and political experience of American expatriates in Europe during the early part of the 20th Century will be enhanced, as well as the ways that Hemingway’s literature explores the relationship between the economic, cultural, political, and social forces of his time.


Enhance skills in critical thinking and oral and written expression. The student(s) will practice thinking critically about both the literature they study and the interpretations they produce by questioning the key assumptions operating in the literary texts they read and those that inform their own interpretations of those texts. The course will encourage student(s) to develop their own hypotheses, theories, and interpretations of the literature covered. Students will practice improving their descriptive, analytical, and argumentative skills in oral discussion and in formal, written critical analyses. They will improve their ability to frame questions, present background information, analyze specific images, symbols, passages, and scenes, and to present interpretations of literary work in both oral and written formats.


The course will improve student ability to understand how multiple interpretations of literary works are possible, and how differing interpretations reflect particular cultural and historical conditions that change over time. They will improve their ability to understand meaning in historical context, to explore the denotative and connotative meaning of words, and to develop a facility for using different critical approaches (such as formalist, psychological, political, biographical) to produce different analyses and interpretations of the texts.


SKILLS — CRITICAL THINKING & READING / COMMUNICATION SKILLS  Through in-class discussion, writing assignments, and the oral presentation, student(s) will learn to understand, paraphrase, summarize, and contextualize the meaning of assigned texts and criticism, and to develop their own ideas, hypotheses, theories, questions, and proposals about the works in question, synthesizing ideas to support their own arguments and analyses of the text(s).


LEARNING ACTIVITIES: Readings and discussions will provide information regarding the texts, placing them in an historical context and providing avenues for critical analysis.  Student(s) will be expected to read the materials in advance and be prepared to both ask and answer questions about the reading assignments.  Discussion, homework, one midterm paper, one oral presentation, and one final research paper will be used to assess literary knowledge, as well as writing and critical thinking skills.



Attendance / Participation / Preparedness        10%

Midterm Paper                                                 25%

Oral Presentation                                             25%

Final Research Paper                                       40%




NOTE:  All papers must be written in MLA format (e.g. typed, double-spaced, 12 point font, and, when applicable, with in-text citations and a list of works cited.) Check the MLA or see me if you have any questions about format. Papers will be downgraded for failure to adhere to the MLA. Guidelines for individual papers will be handed out and discussed in class.



Participation is of the utmost importance. Literary criticism and lectures will provide a foundation for the course, however student(s) will be expected to come prepared to contribute to class discussions.  Detailed guidelines will be provided for each of the requirements. If, at any time, you find you have questions about the assigned readings, the papers, the oral presentation, or anything else, please make an appointment to see me and/or feel free to contact me either via Email: egeoghegan@luc.edu.


For papers, you are required to turn in BOTH a hard copy (MLA format, stapled) and to submit an electronic copy to my email: egeoghegan@luc.edu. Please put Hemingway Paper # 1 & the book title in the subject of the email. For the record, when printing in Italy, the Page Setup should be for “A4” paper, not American Letter or 8.5 x 11.  FOR FULL CREDIT YOU MUST SUBMIT BOTH COPIES, comply with the MLA format guidelines, and turn your assignments in on time.  Unexcused late papers will drop one letter grade if they are more than three (3) days late, and they will continue to drop one letter for each subsequent late day.  Please keep in mind that an F or 50 is still preferable to a 0 with respect to your final grade. If you need an extension on a paper, you must ask me 48 hours before the actual due date. 



Hemingway, Ernest, For Whom The Bell Tolls, Scribner, 1995.

Hemingway, Ernest. A Farewell to Arms, Scribner, 1995.

Hemingway, Ernest. A Moveable Feast. Simon & Schuster Inc., 1996.

Hemingway, Ernest. Garden of Eden. 1st Scribner Paperback Edition. Simon & Schuster, 1995.

Hemingway, Ernest. In Our Time, 1st Scriber Trade Paperback Edition, Simon & Schuster, 2003.

Hemingway, Ernest. The Sun Also Rises. Prentice Hall & IBD, 1995.

Note:  The course will also cover the following (on reserve): “A Way You’ll Never Be”, ” “In Another Country”, “Hills Like White Elephants” & “A Clean Well Lighted Place”, excerpts from Across the River and Into the Trees




Hemingway, Ernest

- Across The River and Into the Trees, Scribner, 1996.

- Death in the Afternoon. Jonathan Cape: London, 1932.

- The Dangerous Summer.  Scribner, New York, 1960.

- Ernest Hemingway: Selected Letters, 1917-1961., Ed.Carlos Baker, Scribner & Sons, New York, 1981.

Baker, Carlos. Hemingway: The Writer as Artist. Fourth ed., Princeton University Press: Princeton, NJ, 1972.

Bruccoli, Matthew J., and Robert W. Trogdon (Eds.). The Only Thing That Counts: The Ernest Hemingway-Maxwell Perkins Correspondence 1925-1947. Charles Scribner's Sons: New York, 1996.

Reynolds, Michael S. Hemingway: the Paris years. W.W. Norton: New York 1999.





Since our discussions (and your participation in them) are such a large component of this course, and we have fewer meetings than most courses, your attendance is mandatory.  Two (2) unexcused absences will result in the lowering of your final grade by one complete grade.  For example, a student with an A will drop to a B, a student with an A- will drop to a B- and so on.  More than three (3) unexcused absences may result in failure for the course.  Absences (medical or otherwise) should be cleared with the JFRC Dean’s office. 


DISABILITY POLICY:  If you have a documented disability and wish to discuss academic accommodations, please contact me within the first week of classes


ACADEMIC INTEGRITY:  Plagiarism is considered a serious offense, will be reported to the Dean of the Loyola Rome program, and could result in expulsion.  Please see me if you have questions about how to do research, document and cite sources, or with any other questions you may have about papers and assignments. 



Week One:  Course Intro:  Hemingway Overview, Modernism & The Paris Apprenticeship

Week Two:  In Our Time:  The Miniatures, The Spoken and Unspoken, The Iceberg Theory

Week Three:  In Our Time:  Hemingway’s Europe:  The Landscape of Love and Loss


Week Four: The Sun Also Rises:  Expatriates and Post-WWI Europe; Lady Brett Ashley & Jake Barnes

Week Five:  The Sun Also Rises:  France vs. Spain; Robert Cohn vs. Everybody

Week Six:  A Farewell to Arms:  Hemingway’s War – Hemingway’s Romeo & Juliet

Week Seven:  A Farewell to Arms:  Love & War – Catherine Barkley vs. Lady Brett Ashley; Papers Due

Fall Break

Week Eight: For Whom The Bell Tolls:  The Spanish Revolution and a return to war; Hemingway’s Men

Week Nine:  For Whom the Bell Tolls:  Hemingway’s Women – Maria and Pilar

Week Ten:  A Moveable Feast:  Remembering Paris; Friends and Enemies:  Gertrude Stein, Scott Fitzgerald and others

Week Eleven:  A Moveable Feast:  A Return to Purity? Reflection or “Kill Shot”?

Week Twelve:  The Garden of Eden:  Love, Loss & Gender Politics on the Cote’ d’Azur

Week Thirteen:  The Garden of Eden:  Devil Things, Absinthe & the Mirror over the bar

Week Fourteen:  Course Wrap Up:  The Hunter & The Hunted -- David Bourne & Writing about Writing

Final Exam Week:  Final Papers Due


A detailed schedule of assignments and specific readings will be distributed in class.