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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

Martha Gellhorn and Ernest Hemingway met in Key West in 1937, married in 1941, and divorced in 1945. Gellhorn's work exhibits a strong influence from Hemingway's work, including collaboration on her work during their marriage. I will discuss three of her six novels: WMP (1934), Liana (1944), and Point of No Return (1948). The areas of influence that I will rely on in many ways follow the stages Harold Bloom outlines in Anxiety of Influence. Gellhorn's work exposes a stage of influence that Bloom does not describe-which I term collaborative. By looking at Hemingway's influence in Gellhorn's writing the difference between traditional literary influence and collaborative influence can be compared and analyzed, revealing the footprints left in a work by a collaborating author as opposed to simply an influential one.

Because Ernest Hemingway's four major novels are often referred to as tragedies, these novels are checked against Aristotle's criteria for tragedy. "The Sun Also Rises" is not an Aristotelian tragedy because the wounding of Jake Barnes precedes the events in the novel; it is, instead, an extended tragic epilogue. "A Farewell to Arms" is a modern anti-romantic tragedy of irony, a story of disillusionment which does not provide cathartic relief. The most nearly tragic in structure, "The Old Man and the Sea" does not provide a catharsis because Hemingway fails to arouse the necessary emotions. The most tragic of the four in effect, "For Whom the Bell Tolls" lacks the proper structure for tragedy, but is a tragic epical novel. Although all four of these books have elements of the Aristotelian tragedy, all are other types of tragedy.

What is masculinity and what does it mean to be a man? This study involves two different areas: gender and literary reception. I wanted to find out what students think about masculinity and what possible strategies they use when they read and interpret literature. The investigation consists of three parts: an introductory survey, classroom observations and an ending text analysis based on ten different questions. The investigation has taken place in second grade at an upper secondary school as part of the course Swedish B. During four lessons, the pupils have been working on issues relating to sex, gender and masculinity in relation to an extract of Ernest Hemingway's Islands in the Stream. Trends in the study show that students believe that a person is born to a biological sex but still has the opportunity to shape its gender identity. The majority of the students believe that it is up to each reader to decide what interpretation is correct, but doubt that the meaning of a literary text resides primarily in the text itself. Throughout the project, the students have demonstrated interest and commitment. However, only a small number of pupils participated in the discussions in class. On the other hand, the ending text analyses were comprehensive and well-thought-out which may show that the choice of a written accounting form suited the class well. / Denna studie berör två olika områden: genus och litteraturreception. Jag ville ta reda på hur elever ser på manlighetsbegreppet samt studera vilka strategier de använder när de läser och tolkar litteratur. Undersökningen består av tre delar: en inledande enkät, klassrumsobservationer och en avslutande textanalys utifrån tio olika frågeställningar. Undersökningen har skett i åk 2 på en gymnasieskola i kursen Svenska B. Under fyra lektioner har eleverna fått arbeta med frågor som handlar om kön, genus och manlighet i anslutning till ett textutdrag ur Ernest Hemingways Öar i strömmen. Tendenser i undersökningen visar att eleverna anser att man föds till ett biologiskt kön men att man sedan har möjlighet att forma sin könsidentitet. Majoriteten av eleverna anser att det är läsaren som avgör vilken tolkning som är den rätta, och ställer sig frågande till idén om en texts inneboende mening. Under hela projektet har eleverna visat intresse och engagemang. Dock var det endast ett fåtal av eleverna som deltog i diskussionerna i helklass. Däremot var de avslutande textanalyserna både innehållsrika och genomtänkta vilket kan visa att valet av en skriftlig redovisningsform passade klassen bra.

This study opposes the traditional argument that Ernest Hemingway uses settings in his major full-length fiction which primarily depict modern man's rootlessness. On the contrary, he carefully chooses settings, with Spain as the metaphorical center, which evoke a sense of the medieval past, a concept which I define and describe as "twentieth-century medievalism." Although it is argued that Hemingway is cosmopolitan in his choice of settings, he excludes those settings which are not fundamentally Roman Catholic. In addition to his careful choice of settings and his use of medieval motifs, Hemingway also establishes the love relationship between man and woman as a central symbol for twentieth-century wholeness and unity. Once the concept of "twentieth-century medievalism" has been defined within Hemingway's major full-length fictional canon, the study then focuses on The Old Man and the Sea as the novel which consummately exemplifies how Hemingway's medievalism suggests microcosmic unity. An analysis of criticism written on The Old Man and the Sea shows the approaches to be highly eclectic and an important issue (whether the novel is a tragedy) to be unresolved. This study shows how "twentieth-century medievalism" provides a unified fictional microcosm for the novel and serves as a backdrop from which Hemingway projects his uniquely medieval modern-world tragedy. The Old Man and the Sea, however, is not simply a tragedy but is an artistic novel which correlates time (complete twenty-four-hour periods) with four literary modes of expression: comedy, lyricism, the heroic, and tragedy. During the initial days, Santiago is gradually transformed from a common fisherman to a lyric questioner of life's meaning, then to an epic hero, and finally to a tragic protagonist who acts out his role in a carefully delineated Aristotelian tragedy. Throughout the novel, the comic sense reminds both Santiago and the reader that the fisherman's experience is ultimately a comedy of transformations. The study concludes by relating the concept of artistic transformation to the emergence of the Hemingway myth and argues for a more sensible interpretation of the myth. Finally the study affirms that the intricacies of Hemingway's artistry have not been fully explored and offers the concept of "twentieth-century medievalism" as a technique to make more comprehensible Hemingway's romanticism.

Hemingway's dialogue and the texts of politeness and literature -- Brown and Levinson's politeness strategies -- The face of honesty in "The Doctor and the Doctor's Wife -- The face of bravery in "The Short Happy Life of Francis Macomber" -- The face of love in "Hills Like White Elephants" -- Interpretive implications of politeness theory.

Indiana University-Purdue University Indianapolis (IUPUI) / While it is commonly acknowledged that the primal traumatic events of Hemingway’s time as an ambulance driver in Italy during World War I had a profound influence on his works of fiction, there has been relatively little exploration of the notion that the “working through” which occurred in the recovery from his own personal trauma manifests a complex and interwoven relationship with the writing process. This is certainly not unknown territory for scholars; when Hemingway first embarked upon the earliest fiction writing of his professional career, biographical research indicates he was once again enduring a traumatic experience of sorts. Yet formal trauma theory has rarely been applied to the study of Hemingway’s most intensely autobiographical short fiction. It is my contention that the “working through” of Hemingway’s writing process demonstrated in his published and unpublished Nick Adams stories was prompted by both his defining war-time trauma experience and his later, more private hardships.

Typescript, etc. / Digitized by Kansas Correctional Industries

Photocopy of typescript. / Digitized by Kansas Correctional Industries