Texte remanié de: Diss.--Seattle (Wash.)--University of Washington. / Bibliogr. p. [340]-347. Index.

abstract: During the mid-1930s in Cuba, Ernest Hemingway befriended Cuban artist Antonio Gattorno (1904-1980) during Hemingway's most active period of Gulf Stream fishing trips. Their relationship soon transcended ocean sojourns, and the two exchanged letters, eight of which reside in the Hemingway Collection at the J.F.K. Library in Boston. Written between 1935 and 1937, the Hemingway-Gattorno correspondence showcases the relationship that came to fruition between the American writer and Cuban artist in the 1930s. It also presents a lens through which to examine the cultural contact that occurred between Americans and Cubans during a decade of great political, social, and economic exchange between the two nations. In addition, the Hemingway-Gattorno correspondence elucidates each country's tendency to romanticize the other before the Cuban Revolution and provides a template with which to examine current U.S.-Cuban relationships today. This thesis endeavors to first discuss the Hemingway-Gattorno relationship via a close examination of the correspondence that occurred between them. It then attests that the Hemingway-Gattorno correspondence exemplifies the transatlantic glamorization that characterized pre-revolutionary U.S.-Cuban relations. The thesis explores the replay of this act of romanticizing in real time, arguing that despite governmental injunctions since 1961, Americans and Cubans alike have continued to ingeniously find ways to communicate with one another in much the same way Hemingway and Gattorno did in the 1930s. One mechanism for doing so is remembering Ernest Hemingway's life in Cuba and the home he owned there, Finca Vigía, a performance of memory that often occurs through the conduits of either the Hemingway Archives in Boston or the Finca Vigía Museum in Cuba. American and Cuban longing for the cultural contact enjoyed by Hemingway and Gattorno is expressed and performed through a glorification of Hemingway and the Finca Vigía, despite the severance of diplomatic relations between the two countries in 1961. In addition, for Cubans in particular, Hemingway and the Finca Vigía present an opportunity to imagine the much more unified pre-revolutionary Cuba. Although certainly Hemingway and his home represent different realities for Cubans and Americans, in all, the thesis will show that citizens from both countries continue to find ways to create and imagine themselves in pre-revolutionary contexts like those embodied by Hemingway and Gattorno in the 1930s. / Dissertation/Thesis / M.A. English 2011

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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa / This project is founded upon the premise that complaint and emotional expression are the marks of inadequacy in Ernest Hemingway's The Sun Also Rises (1926). These instances, however, do take place on a recurring basis between the principal characters, and are therefore of uttermost import. Providing that there are rigorous demands of a stoic code in the novel, the examination and analysis of these particular phenomena, which are shaped by the underlying notion of displacement, will be a means to gain insights into the literary texture of Hemingway's work itself. In Peter Conn's opinion, "action and language alike must be disciplined to maintain their grace under the inescapable pressure of reality's violence" in post-war Europe.

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Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-graduação em Comunicação, 2014. / Submitted by Larissa Stefane Vieira Rodrigues (larissarodrigues@bce.unb.br) on 2014-12-05T12:19:10Z No. of bitstreams: 1 2014_AnaBeatrizMagno.pdf: 22343905 bytes, checksum: f6b013db5fad917d36dd33382239f65a (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2014-12-08T17:35:11Z (GMT) No. of bitstreams: 1 2014_AnaBeatrizMagno.pdf: 22343905 bytes, checksum: f6b013db5fad917d36dd33382239f65a (MD5) / Made available in DSpace on 2014-12-08T17:35:11Z (GMT). No. of bitstreams: 1 2014_AnaBeatrizMagno.pdf: 22343905 bytes, checksum: f6b013db5fad917d36dd33382239f65a (MD5) / O esforço reflexivo e empírico desta Tese nasce da pergunta “O que é Reportagem?” e está alinhado às tradições teóricas que entendem o jornalismo como narrativa e como forma de conhecimento. Para responder à Questão de Pesquisa, o trabalho recupera a obra jornalística de Ernest Hemingway e Gabriel García Márquez, dois artesãos da palavra que mesmo depois do sucesso literário seguiram escrevendo matérias para jornais e revistas. Assinaram mais de 1.340 textos noticiosos, cobriram guerras, conferências internacionais e tragédias nacionais, uma produção regular e intensa, porém pouco estudada no Brasil. A premissa central da Tese sustenta que a reportagem é uma forma narrativa de conhecimento do real e que esse “conhecer” está alicerçado em peculiaridades significativas e articuladas que atravessam todas as etapas do processo de produção da informação jornalística. A pesquisa está amparada em Modelo de Caracterização e Análise de Reportagens, ferramenta analítica desenvolvida nesta Tese e sustentada na Narratologia. Examinamos matérias de Hemingway e García Márquez publicadas entre 1918 e 1999, textos que são instigantes não apenas porque contam uma história do século XX, mas porque traduzem forma particular de conhecer, de narrar e de documentar uma versão do presente. Essa forma prioriza abordagens socioculturais temáticas, recorre a fontes cidadãs, está ancorada na observação e na apuração realizada pelo próprio repórter. Sua estrutura narrativa é descritiva, reveladora e interpretativa. Os relatos são circunstanciados, detalhistas e movidos por intrigas humanistas e embates morais virtuosos que confirmam a visão de García Márquez de que a reportagem é o mais fascinante dos gêneros jornalísticos. ___________________________________________________________________________________ ABSTRACT / The theoretical and empirical effort of this thesis arises from the question “What is Reportage ?”. The study is aligned with the tradition of the current thinking that understands journalism as a narrative and a form of knowledge. To answer the research question, the study retrieves the journalistic works by Ernest Hemingway and Gabriel García Márquez, two master-writers who worked as reporters and signed more than 1.340 texts in newspapers and magazines. Both of them boasted regular and intense production, but little was studied in Brazil. The central premise of the research is that reportage is a narrative form of knowledge of the real and that this "knowledge" is based on refined and textual peculiarities which start off with the theme on the agenda, gain argumentative density in the investigative process, are consolidated in textual strategies and, finally, are evident in editing. The research is supported by Model Description and Analysis Reports, a analytical tool developed in this research and sustained within the precepts of Narratology. We examined reports published between 1918 and 1999. They are thought-provoking texts not only because of their characteristics but also because they tell a version of the 20th century history. The comparison of information showed significant similarities between the works of two authors and these have proven to be consistent results that reflect a particular way of knowing, of narrating and documenting a version of the present. This form emphasizes thematic sociocultural approaches which are not dated, using sources from citizens. Besides that, it is based upon observation and verification conducted by the reporter himself. Its narrative structure is descriptive, revealing and interpretive. Reports are detailed, meticulous and driven by humanistic intrigues and virtuous moral conflicts that corroborate García Márquez's view that the reportage is the most fascinating journalistic genre. _____________________________________________________________________________________ RÉSUMÉ / L'effort théorique et empirique de cette thèse est dû à une question : Qu'est-ce que le reportage ? Cette interrogation découle de la tradition de courants de pensée qui comprennent le journalisme comme une narration et comme une façon d'appréhender le monde. Pour répondre à la problématique de cette recherche, ce travail a repris l'œuvre journalistique d'Ernest Hemingway et de Gabriel García Márquez, deux artisans du mot qui ont été reporters et ont signé plus de 1340 articles dans des journaux et des revues. Il s'agit d'une production régulière et intense qui est encore peu étudiée au Brésil. La prémisse de ce travail consiste à affirmer que le reportage est une narration de l'appréhension du réel et que cette « connaissance » provient de particularités qui commencent dès le choix du thème, gagnent en densité argumentative au moment de l'analyse, se consolident grâce aux stratégies textuelles et sont mises en évidence lors de l'édition. Cette recherche se développe sur un modèle de caractérisation et d’analyse des reportages. Il s’agit d’un outil analytique développé dans la thèse et qui est basé sur les règles de la narration. Les reportages publiés entre 1918 e 1999 ont été examinés. Ces textes ne sont pas seulement stimulants du fait de leurs caractéristiques, mais aussi parce qu’ils donnent une version de l’histoire du XXe siècle. D’ailleurs, lorsqu’elles sont comparées, les informations présentées par ces deux auteurs sont très semblables. Ces résultats sont consistants et traduisent une façon particulière d’appréhender, d’exposer les faits et de documenter une vision du présent. Tout cela démontre une approche socioculturelle de thèmes qui ne sont pas datés, qui ont recours à des sources citoyennes et sont basés sur une observation et une analyse faite par le reporter lui-même. Cette structure narrative est descriptive, révélatrice et interprétative. Les rapports sont circonstanciés, détaillés et motivés par des intrigues humanistes et des débats moraux de génie qui confirment la vision de García Márquez. En effet, pour cet auteur la reportage est le plus fascinant des genres journalistiques. ____________________________________________________________________________________ RESUMEN / El esfuerzo teórico y empírico de esta Tesis nasce de la pregunta ¿Qué es Reportaje . EL trabajo está alineado a la tradición de las corrientes de pensamiento que entienden el periodismo como narrativa y como una configuración de conocimiento. Para responder a la pregunta de investigación, el trabajo recupere la obra periodística de Ernest Hemingway y Gabriel García Márquez, dos artesanos de la palabra que fueron reporteros y firmaron más de 1.340 textos en periódicos y revistas. Es una producción regular y intensa, pero poco estudiada en Brasil. La premisa central es que la reportaje es una configuración narrativa del conocimiento de lo real y que este "conocer" tiene sus raíces en especificidades significativas y articuladas que atraviesan todas las etapas del proceso de producción de la información periodística. La investigación tiene su base en el Modelo de Descripción y Análisis de Reportajes, herramienta analítica desarrollada en la Tesis y sostenida en los preceptos de la Narratología. Fueron analizados artículos publicados entre 1918 y 1999. Los textos son instigantes, no sólo por sus características sino también porque relatan una versión de la historia del siglo XX. El cotejo de la información mostró similitudes significativas entre la obra de los dos autores. Estés resultados son consistentes y traducen una configuración particular de conocer, de narrar y de documentar una versión del presente. Esa forma prioriza abordajes socioculturales temáticas, está fundamentada en fuentes ciudadanas, está anclada en la observación y en la investigación llevada a cabo por el propio periodista. Su estructura narrativa es descriptiva, interpretativa y reveladora. Los relatos son circunstanciados, detallados y movidos por una intriga humanista y por conflictos morales virtuosos que confirman la visión de García Márquez que este la reportaje es el más fascinante de los géneros periodísticos.

The purpose with this essay is to investigate how Ernest Hemingway uses his style of writing in his short stories “A Clean, Well-Lighted Place” and “Hills Like White Elephants”. The questions at issue are: What is characteristic of Hemingway's style when looking at the use of adjectives and sentence complexity? How is the Iceberg Technique used? What stylistic differences and similarities are there between the stories? In my investigation I used a stylistic approach, in which adjectives are counted and sentence length is measured (creating mainly a quantitative analysis). The frequency of adjectives is calculated and compared against the norm in imaginative prose. Sentence length is compared against the norm for modern English. Previous research has provided a foundation for further analysis of the Iceberg Technique. The analysis shows that the frequency of adjectives is very low compared with the norm and that many adjectives are used repeatedly. The sentences are very short, not even reaching half the length of the norm presented. Hemingway’s Iceberg Technique shows in the scarce use of dialogue tags and a plot that does not reveal much about the characters or the setting. The real plot is often hidden, leaving it to the reader to interpret and “feel” what the story is really about. In conclusion: it may be said that both short stories are told in a minimalistic style, using only what is necessary to tell the story. They have a simple plot and simple characters, just like the Hemingway style we know.

Hemingway has given us pictures of individual members of society in the United States, in Africa and in Europe from the nineteen-twenties to the present time. In order to present Hemingway's characters as a study in social structure, the following classes will be considered: primitives, peasants, middle class, upper class, aristocrats.

The purpose of this study was to critically evaluate the aesthetic decisions and theoretical complexity of three of Ernest Hemingway’s most experimental texts: IN OUR TIME, TO HAVE AND HAVE NOT, and THE GARDEN OF EDEN, and to show that the usually maligned Hemingway was an author invested in the avant-garde and in analyzing and dissecting rigid societal rules, not championing them. Through critical analysis this study examined how Hemingway makes specific aesthetic decisions in order to more clearly examine the disparity between whites and both women and racial minorities in America. The problems that Hemingway makes clear through his art are meant to have a profound effect upon the reader and encourage re-evaluation of societal rules, their purpose, and their fairness to those who are not white, male, and typically in a position of power. The findings demonstrate that Hemingway’s entire oeuvre is open to re-interpretation on the basis of a progressive view of the author.

"Isn't it pretty to think so?" The ambiguity of this question, posed by Jake Barnes in the last line of The Sun Also Rises, is a reflection of the novel's evolving definition of what constitutes a relationship. As the focus of Hemingway criticism has slowly broken from tired discussions of misogyny a space has opened for considering the complex ways his writings address questions of gendered identity. Through this lens critics have asked exactly what kind of man and women Jake Barnes and Lady Brett Ashley represent. For decades critics and scholars have viewed this final line as having a negative connotation, signifying the death of love not only in the novel, but in the era. However, this reading fails to take into account the evolving gender roles the Brett and Jake represent. My essay looks at the novel's protagonists not simply as Brett or Jake, but also as Brett and Jake. Through this lens it becomes clear that Hemingway's portrayal of these characters is not one of the "bitch-goddess" and a defeated male, but of two people who, through their rapidly evolving gender roles and sexuality, are uniquely suited to be side by side when the rubble of the fiesta comes crashing down around them, not merely as friends, but as the only relationship that can truly exist.