The purpose of this thesis is to study the structure of the five major novels of Hemingway, excluding Torrents of Spring and Across the River and into the Trees. They are: The Sun also Rises; A Farewell to Arms; To Have and Have not; For Whom the Bell Tolls; and The Old Man and the Sea.

No description available.

The purpose of this study was to determine whether the application of Adlerian life style techniques would provide greater understanding of the psychological factors which shaped the life of Ernest Hemingway. Hemingway's birth order position, the dynamics and atmosphere of his family, and the early recollections of his childhood were studied and analyzed for a consistent theme or belief system. Biographies, critical evaluations of his work and selected published writing were utilized to provide a basis for a life style projection. This projection was then found to correlate with observable incidents in his adult behavior.

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.

This essay will discuss Ernest Hemingway's Islands in the Stream, posthumously published 1970, focusing in particular on the importance of the protagonist's fluid gender identity and interest in queer sexuality. Central to my discussion is queer theorist Judith Butler's view of gender as something performed and contextual and her objection to the binary of man and woman. I will argue that the issues of gender identity and queer forms of sexuality are ever-present throughout the novel, and that in the protagonist Thomas Hudson, Hemingway presents a different hero in comparison to the hardboiled macho-man he has been claimed to glorify in his work. My thesis is that the protagonist's denial of his ambiguous gender identity and his interest in queer sexualitey are the underlying causes for the development of the plot. The novel will be discussed in relation to the thesis in chronological order: first, it examines the protagonist's detachment and separation from his sons; second, his difficulties to sustain any longer relationships with women, and third, why he never dares to trust the people who say they love him.

This essay is about the female characters in the books of Hemingway. Are they as simple as some critics say, or are they more complex beings, and which ones of the women in the life of Hemingway, can be noticed in his female characters? In the work with this essay, biographies of Hemingway as well as a few of his novels have been studied. The selected novels are Farewell to Arms, Across the River and into the Trees, The Sun also rises and the short story The Snows of Kilimanjaro. The selection was based on the fact that these stories contain good female characters. The result of the essay is that I don´t think that it is possible to divide the female characters in the works of Hemingway, in two categories. I think that they are more complex beings and a reflection of their time.

Thesis (Ph. D.)--Northwestern University, Evanston, Illinois, 1985.

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

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