Thesis (Ph. D.)--University of Hawaii at Manoa, 2002. / Includes bibliographical references (leaves 177-197).

Texte remanié de: Doctoral dissertation--Faculty of Arts--Zürich--University of Zürich, 1995-1996. / Bibliogr. p. [221]-234.

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, June 2001. / Includes bibliographical references. Also available on the Internet.

The purpose of this study is to identify and examine the light imagery in Ernest Hemingway's major fiction and to evaluate its importance. In this study, imagery is defined as descriptive words or figures of speech that create pictures in the mind. In general, this definition will be applied to Hemingway's use of light and dark.

This study of the bullfight in Hemingway's life and in his art demonstrates the values by which Hemingway lived and wrote. In Death in the Afternoon he pursues reality with courage and integrity, with grace under pressure. The bullring enhances the light and earth imagery and reinforces the structure and themes of Hemingway's major novels.

Published in 1929, Erich Maria Remarque’s novel Im Westen nichts Neues details a semi-autobiographical experience of the First World War. Translated into English later that year, it achieved remarkable success in the United States. A Farewell to Arms, by Ernest Hemingway, attained a similar transatlantic popularity when it was translated into German in 1930. Both novels emphasize outward description and avoidance of inner, abstract thought in order to emphasize a physicality that draws on reportorial and objective traditions which attempt to attack a romantic sense of war. In privileging physical experience, both novels and their translations have the similar goal of criticizing propagandistic rhetoric. Despite these similar goals, each novel’s reception in the other’s country was different. Americans viewed Remarque as simply a writer of documentaries, while Germans saw Hemingway in a problematically primitive way, both viewing him as a salve to overblown European intellectualism and subjugating him to a larger European aesthetic scheme. This paper attempts to answer why these receptions differ, and offers the solution that European critics remained in modes of thought reminiscent of the nineteenth century and had a different horizon of expectations. / text

Diss.--Kiel--Univ., 1994. / Bibliogr. p. 197-213.

With the exception of To Have and Have Not, the novels of Ernest Hemingway are set outside the United States; all, however, contain American characters. These Americans might be divided into three categories: American tourists; Americans who live abroad, but either do not like it or are not completely adjusted to it; the Hemingway heroes, characteristically American expatriates who are completely adjusted to and accepted in their alien environments. Toward the tourists, he maintains an attitude of contempt; toward the middle group, his attitude varies from disgust to sympathy; the heroes are, in various guises, Hemingway the expatriate, himself.

This study challenges the common assumption that Hemingway's early style is indebted to the work of Sherwood Anderson and Gertrude Stein and finds the evidence less than compelling. Unlike previous examinations, this study considers Hemingway's early journalism and correspondence as well as his first published fiction; additionally, it suggests models of influence other than Anderson and Stein, such as Ring Lardner and Stephen Crane. Because the critical tradition most often identifies "repetition" and "colloquialisms" as bases for attributing influence to Anderson and Stein, I discuss those characteristics individually, concluding that Hemingway's debt to Stein's use of repetition and Anderson's use of colloquial style has been overstated. I also assess the individual style of each author and identify the fundamental differences among them. And, finally, I suggest promising avenues which may lead to new associations between Hemingway and the forces which helped to shape his style. / Master of Arts

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 50-51). Also available via the World Wide Web.