A basic premise of this paper is Hemingway's definition of bullfighting as a tragic art form. Americans have been so conditioned to view any sort of contest as sport that it is virtually impossible for us to consider the bullfight in other terms. Once accepted as tragedy, however, the implications of the bullfight as an influence upon Hemingway become manifold. It must be understood that this paper is not meant to imply that the bullfight is the only influence, or even the most paramount, for it is to be recognized that any artist derives from many sources, both external and psychic. I will show that Hemingway was subjected to an intense association with the bullfight at an age and a period in his life when he would have been greatly impressed by the things he found there. To be an afficianado conveys more than interest. It has the connotation of passionate devotion. Becoming so concerned that one cannot talk to another on a lower plane. Hemingway was an afficianado. He probably holds the Anglo-Saxon record for watching bullfights-- some fifteen hundred over a period of ten years.

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It will be the purpose of this study to begin such a consideration by treating but one aspect of Hemingway’s art, that of the relationship between Hemingway’s view of the world, as seen in his short stories, and the diction he uses to create this fictional world. In effect, the problem resolves itself around these three basic questions: (1) What is the world like that Hemingway creates in his short stories?; (2) What is the diction like that he uses to portray this world?; and finally and most importantly, (3) How well suited is the diction for revealing Hemingway’s fictional world? I.e., is there an organic relationship between this basic element of style and vision.

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Hemingway claims in Green Hills of Africa that "all modern American literature comes from one book by Mark Twain called Huckleberry Finn." If this basic idea is applied to his own work, elements of Adventures of Huckleberry Finn appear in some of Hemingway's Nick Adams stories and his novel The Old Man and the Sea. All major characters and several minor characters in these works share the quality of natural innocence, composed of their primitivism, sensibility, and active morality. Hemingway's Nick, Santiago, and Manolin, and Twain's Huck Finn and Jim reflect their authors' similar backgrounds and experiences and themselves come from similar environments. These environments are directly related to their continued possession and expression of their natural innocence.

Modernism has been called “a reaction to the carnage and disillusionment of the First World War and a search for a new mode of art that would rescue civilization from its state of crisis after the war” (Lewis, 109) Hemingway attempts this rescue by re-thinking aspects of the novel that were taken for granted in earlier periods, just as the conventions of modern life were taken for granted pre-WWI. Furthermore, his work tries to rectify the dissonance between a pre and post-war self through the exploration of social conventions relating to violence, trauma and masculinity.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 249-256). Also available for download via the World Wide Web; free to University of Oregon users.

The relationship of James to Hawthorne and of Hemingway to James certainly indicates the close literary relationship of the three writers. This development makes it seem only natural that three such self-conscious artists would have recourse to similar interests and would employ in their writings common themes, ideas, and methods.

This thesis uses a combination of medical humanities, queer public theory, and literary analysis to showcase the uniquely American connections between alcoholism and masculinity in the literature of Ernest Hemingway. By situating both Hemingway and his characters within the medico-legal rhetoric of modernism’s famous Parisian Jazz-age, which occurred at the same time as American prohibition, I reveal changes in white American men’s relationships with gender, bodily autonomy, and the patriarchy that are often overlooked due to Hemingway’s publicly constructed masculine persona. My work provides new queer interpretations of The Sun Also Rises (1926) and the posthumous Garden of Eden (1986) divorced from Hemingway’s masculine persona and critical of how celebrity and scholarship impacted the public reception of these novels and American masculinity as a whole. Through my analysis, I forward a new, uniquely American concept in the masculine gender performance I call the autonomy of masculinity.