While much of the existing critical work on Ernest Hemingway has represented him as the epitome of macho bravado, and whereas his numerous depictions of animal hunting have been often described as theatrical performances of masculinity, this article aims to question such traditional (mis)conceptions by contrasting his early work Green Hills of Africa ([1935] 2003) to two of his posthumously published texts—namely, An African Story (1986) and Under Kilimanjaro (2005). While the former text may certainly be said to conform to the traditional Hemingwayesque image of hunting as a heavily masculine performance, the two latter texts may be seen to provide radical counterpoints to this, as they not only question the traditional image of animal hunting as a trope of masculinity but also provide a more critical indictment against animal killings. Hemingway’s late texts, both fictional and nonfictional, would thus seem to point to the writer’s often unacknowledged personal and literary evolution, which goes hand in hand with his changed gender and racialized attitudes towards both women and African nonwhites, respectively. Ultimately, Hemingway’s late writings are set within a predatory context of hunting in which the type of relation to any form of otherness (be it gender, race, or animal) shifts into new discursive terrains that allow the author to reconceptualize his own white masculinity.

中文翻译：

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通过杀死动物来表现男子气概？欧内斯特·海明威晚期作品中作为男性气质表现的狩猎的修正

尽管欧内斯特·海明威 (Ernest Hemingway) 的许多现有批评作品都将他描绘成大男子主义的缩影，而他对动物狩猎的众多描绘经常被描述为男性气质的戏剧表演，但本文旨在质疑这种传统的（错误的）观念。将他的早期作品 Green Hills of Africa ([1935] 2003) 与他死后出版的两部作品——即非洲故事 (1986) 和乞力马扎罗山下 (2005) 进行对比。虽然可以肯定地说，前两篇文本符合海明威式的传统海明威式狩猎形象，认为这是一种非常男性化的表演，但后两篇文本可能被视为对此提供了激进的对立面，因为它们不仅质疑传统的动物狩猎形象作为一种男性化的表现。男子气概的比喻，但也提供了对动物杀戮的更严厉的控诉。因此，海明威的晚期文本，无论是虚构的还是非虚构的，似乎都指向了这位作家经常未被承认的个人和文学演变，这与他分别对女性和非洲非白人的性别变化和种族化态度密切相关。归根结底，海明威的晚期作品是在狩猎的掠夺性背景下设定的，在这种背景下，与任何形式的他者（无论是性别、种族或动物）的关系类型转变为新的话语领域，使作者能够重新定义自己的白人男子气概。