Submitted by PPG Letras (letraspg@pucrs.br) on 2017-12-20T11:10:23Z No. of bitstreams: 1 Tese Lu?s Roberto.pdf: 9089380 bytes, checksum: 1820432cb51ea104c3c9c4192f3ba499 (MD5) / Approved for entry into archive by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-12-26T16:47:13Z (GMT) No. of bitstreams: 1 Tese Lu?s Roberto.pdf: 9089380 bytes, checksum: 1820432cb51ea104c3c9c4192f3ba499 (MD5) / Made available in DSpace on 2017-12-26T17:11:18Z (GMT). No. of bitstreams: 1 Tese Lu?s Roberto.pdf: 9089380 bytes, checksum: 1820432cb51ea104c3c9c4192f3ba499 (MD5) Previous issue date: 2017-03-21 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This thesis retells and reinterprets, from a historic and literary point of view, the initial period (1922-1925) in which Ernest Hemingway lived in Paris and how he modeled his apprenticeship and forged a revolutionary style of writing prose. The main support of the thesis is the analysis of the recently published letters of the author: the first volume (2011), encompassing the years 1907-1922, and the second volume (2013), covering 1923?1925. The guiding question drives to the mechanisms that made possible Hemingway to consolidate himself as an artist and create a literary revolution. Furthermore, it aims to verify if Hemingway, in the letters, seemed to be the same brutal man whose image he wanted to cultivate. The structure of the thesis has three parts. The first part, ?The Pre-revolutionary Period?, is a sort of radiography of modernist Paris, when the city acted as a magnet for a international range of artists, creating a culture of cross-fertilisation. The theoretical pillars are Malcolm Bradbury's studies about Modernism and Antonio Candido's ideas on how a stimulating milieu helps literary creation. The second part is entitled "The Revolution" and corresponds to the core of the thesis. Using his letters as the primary source of information, the system of relation and literary exchange experienced by Hemingway is examined in detail. The third part, The Post-Revolutionary Period, investigates the posthumous book of ?fictional memories? Paris a Moveable Feast, showing its troubled composition. It?s also made a comparison between the first version (1964) and the restored edition (2009), including a number of never-before-published material. The Final Consideration confirms that Paris? cultural and literary ambiance transformed Hemingway and certifies that he was a complex man, far from his one-sided public image. / Cette th?se raconte et r?interpr?te, du point de vue historique et litt?raire, la p?riode initiale (1922-1925) o? Ernest Hemingway a v?cu ? Paris et comment il a fa?onn? sa formation et a invent? un style r?volutionnaire d'?crire en prose. La base de support de la th?se c?est l'analyse de la correspondance recueillie r?cemment publi?e de l'auteur: le premier volume (2011), couvrant les ann?es 1907-1922, et la deuxi?me (2013), se r?f?rant ? 1923-1925. La principale question de recherche porte sur les m?canismes qui ont permis ? Ernest Hemingway s??tablir comme artiste et faire une r?volution dans la litt?rature. En outre, il vise ? v?rifier si, dans les lettres, Hemingway a montr? ?tre le homme brutal dont l'image il voulait cultiver en public. La th?se est structur?e en trois parties. Dans "La p?riode pr?-r?volutionnaire", c?est fait un type de radiographie de Paris ? l??poque du modernism, quand la capitale fran?aise a attir? une gamme internationale d'artistes qui vivaient dans un r?gime d'influence mutuelle. Les piliers th?oriques sont les ?tudes de Malcolm Bradbury sur le modernisme et les id?es de Antonio Candido sur la fa?on dont un milieu stimulant contribue ? la cr?ation litt?raire. La deuxi?me partie, intitul?e ?La R?volution?, correspond ? l'?pine dorsale de la th?se. Sur la base de sa correspondance, le syst?me de relation et d'?change litt?raire v?cue par Hemingway est examin? en d?tail. La troisi?me partie, ?La p?riode post-r?volutionnaire," couvre le livre posthume de ?m?moires fictifs" Paris est une f?te, montrant comment la creation du text a ?te difficile. C?est fait aussi une comparaison entre la version publi?e en 1964 et la restored edition (2009), qui r?unit sept chapitres in?dits. Dans les Consid?rations Finales, il y a l?confirmation que l'ambiance culturelle et litt?raire de Paris a transform? Hemingway et la attestation que l'?crivain ?tait un ?tre humain beaucoup plus complexe que son image publique faisait supposer. / Essa tese reconta e reinterpreta, do ponto de vista hist?rico e liter?rio, o per?odo inicial (1922-1925) em que Ernest Hemingway morou em Paris e como ele amoldou sua forma??o e cunhou um estilo revolucion?rio de escrever prosa. A base de sustenta??o da tese ? a an?lise da rec?m-publicada correspond?ncia reunida do autor: o primeiro volume (2011), que abrange os anos de 1907-1922, e o segundo (2013), referente ao tri?nio 1923-1925. A quest?o norteadora enfoca os mecanismos que possibilitaram a Ernest Hemingway sedimentar-se como artista e promover uma revolu??o na literatura. Al?m disso, buscou-se verificar nas cartas se Hemingway foi o homem brutal cuja imagem fazia quest?o de cultivar em p?blico. A tese est? estruturada em tr?s partes. Em ?O per?odo pr?-revolucion?rio?, faz-se uma radiografia da Paris modernista, ?poca em que a capital francesa atra?a uma gama internacional de artistas, que conviviam num regime de influ?ncia m?tua. Os pilares te?ricos dessa parte s?o os estudos de Malcolm Bradbury sobre o modernismo e as ideias de Antonio Candido sobre como um meio social estimulante ajuda na cria??o liter?ria. A segunda parte, intitulada ?A revolu??o?, corresponde ao cerne da tese. Examina-se, de forma minuciosa, o sistema de rela??o e interc?mbio liter?rio vivenciado por Hemingway, tomando como base sua correspond?ncia. A terceira parte, ?O per?odo p?s-revolucion?rio?, aborda o livro p?stumo Paris ? uma festa, evidenciando a conturbada produ??o do texto e seu car?ter de ?mem?rias ficcionais?. Compara-se a vers?o lan?ada em 1964 com a restored edition (2009), que traz sete cap?tulos in?ditos. Nas Considera??es Finais, ratifica-se que Paris, pela ambienta??o cultural e liter?ria, representou um ponto de inflex?o para Hemingway e tamb?m se atesta que o escritor foi um ser humano muito mais complexo do que fazia supor sua imagem p?blica.

The purpose of this article is to establish a textual parallel between Hunter S. Thompson`s Fear and Loathing in Las Vegas and Ernest Hemingway`s Green Hills of Africa. Thompson took Hemingway’s novel as a challenge to write under extreme duress. Thompson twisted many passages from Green Hills to fit his own text. He used bitter irony to translate Hemingway`s text into his own “Gonzo” reportage. Thompson`s friend and traveling companion, Oscar Z. Acosta, is used as an example of how Thompson rewrote Hemingway. Acosta`s Autobiography of a Brown Buffalo is referenced as the nexus of the two novels, making Acosta the primary focus of Thompson`s rewrite. These men, their methods, and their works fit together under Thompson`s pen. Hemingway`s religious, racial, and bestial imagery are included in Thompson`s narrative. However, these images are made ironic and do not plagiarize the original copy.

This essay examines commitment and abandonment structured as two binary opposites informing For Whom the Bell Tolls. The intention behind this structuring is to highlight Hemingway’s message of the novel, set forth by the epigraph by Donne; everyone is part of mankind and every death diminishes everyone equally. The consistent structuring of characters can be seen by the fact that everyone who is committed, loyal and honest is punished while the reverse is true for people who abandon, desert and betray. The one exception to this is Pilar who, because of the role as a liberated woman given to her by Hemingway, is not included in this general categorization.

This study investigates how minimalist narrative techniques in American modernist literature oblige us, as readers and critics, to be self-reflexive about the ethical basis of interpretation. Through a concentrated narratological analysis of Hemingway’s and Cather’s fiction, I identify three major elements of what I term the “simple text”—thinness, smoothness, and spaciousness—and I show how each category engages a hermeneutic ethics. By gesturing towards accessibility and straightforward comprehension while also producing moments of indeterminacy that subtly resist the reader’s inferences, the simple text challenges the reader to conceive interpretation both as a positive exercise of individuation and imagination and, simultaneously, as a potentially unethical mode of critical violation and imposition. My introduction contemplates the ethical foundations of Hemingway’s and Cather’s famous aesthetics of omission to argue that such simplicity conveys a complex theory of reader engagement. Chapter One defines “thinness” by examining “thin characters” in A Farewell to Arms and My Ántonia—characters whose simplicity makes them paradoxically unreadable in a way that foregrounds the nature of our accountability towards others. The second chapter, focusing on In Our Time and Death Comes for the Archbishop, defines “smoothness” as a simple paratactic patterning that challenges our critical desire to generalize meanings from particular experiences. While the smooth surface invites our interpretive touch, its structural integrity resists marking and inscription. The final chapter details the element of “spaciousness,” showing how open and simple settings in The Old Man and the Sea and The Professor’s House inspire, in the protagonists, moments of self-conscious interpretation of the nonhuman other and solicit a practice of accountable freedom. I argue that the foregrounding of such spaces proffers a subtle yet pointed critique of American individualism, but this critique is learned only through our encounter with the text’s interpretive limits. The study concludes by suggesting how these strategies both respond to and participate in specific criticisms of American democracy that circulated during the modernist period.

This study investigates how minimalist narrative techniques in American modernist literature oblige us, as readers and critics, to be self-reflexive about the ethical basis of interpretation. Through a concentrated narratological analysis of Hemingway’s and Cather’s fiction, I identify three major elements of what I term the “simple text”—thinness, smoothness, and spaciousness—and I show how each category engages a hermeneutic ethics. By gesturing towards accessibility and straightforward comprehension while also producing moments of indeterminacy that subtly resist the reader’s inferences, the simple text challenges the reader to conceive interpretation both as a positive exercise of individuation and imagination and, simultaneously, as a potentially unethical mode of critical violation and imposition. My introduction contemplates the ethical foundations of Hemingway’s and Cather’s famous aesthetics of omission to argue that such simplicity conveys a complex theory of reader engagement. Chapter One defines “thinness” by examining “thin characters” in A Farewell to Arms and My Ántonia—characters whose simplicity makes them paradoxically unreadable in a way that foregrounds the nature of our accountability towards others. The second chapter, focusing on In Our Time and Death Comes for the Archbishop, defines “smoothness” as a simple paratactic patterning that challenges our critical desire to generalize meanings from particular experiences. While the smooth surface invites our interpretive touch, its structural integrity resists marking and inscription. The final chapter details the element of “spaciousness,” showing how open and simple settings in The Old Man and the Sea and The Professor’s House inspire, in the protagonists, moments of self-conscious interpretation of the nonhuman other and solicit a practice of accountable freedom. I argue that the foregrounding of such spaces proffers a subtle yet pointed critique of American individualism, but this critique is learned only through our encounter with the text’s interpretive limits. The study concludes by suggesting how these strategies both respond to and participate in specific criticisms of American democracy that circulated during the modernist period.

<p>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?</p><p>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.</p><p>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.</p><p>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.</p>

The dissertation argues that the transformations in Ernest Hemingway's writing style and his philosophy of the natural world between 1932 and 1952 can be attributed to his intense immersion in the environment of the Gulf Stream. This dissertation draws primarily on Hemingway's handwritten fishing logs from 1932, 1933, and 1934 in the Hemingway Collection at the John F. Kennedy Library, which have not been published or thoroughly studied. In 1929, Hemingway portrayed the Gulf Stream as a frontier, and claimed that he wanted to "write like Cezanne painted." Critics interpreted his work as a form of literary naturalism. In 1952, Hemingway portrayed the Gulf Stream world as a harmonious, organic whole, and he claimed that he would like to have his work illustrated by Winslow Homer. The distinct differences in the portrayal of themes, setting, and character between To Have and Have Not (1937) and The Old Man and the Sea (1952) are explored to illustrate the dimensions of the transformations within Hemingway's work. Numerous specific passages in the fishing logs served as seeds for scenes in these works, as Hemingway gathered raw material for his fiction. Through his scientific study of the climate, marine life, and birds of the Gulf Stream from 1932 to 1939, Hemingway's understanding of the integration of the natural world broadened. The new knowledge of "what to leave out" of his fiction refined his method of writing from the "iceberg principle," in which seven-eighths of the story is omitted. The precise observations of the logs, inscribed through hundreds of pages, generated the stylistic and philosophic transformation that occurred between 1932 and 1952.

Thesis (M.A.)--Eastern Illinois University, 2008. / Includes bibliographical references (leaves 77-84).

Thesis (Ph. D.)--Open University. BLDSC no. DXN095779.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1959. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [274]-292).