Proefschrift--Utrecht University, 1972. / Includes bibliographical references (p. 284-289) and index.

Proefschrift--Utrecht University, 1972. / Includes bibliographical references (p. 284-289) and index.

Inaug.-Diss.--Freiburg i.B. / Vita. Bibliography: p. [197]-211.

Thèse--Berne. / Label on cover: Porrentruy, la Bonne presse, 1966. Bibliography: p. 221-233.

Thesis (M.A.)--Villanova University, 2006. / English Dept. Includes bibliographical references.

Th.--Lett.--Paris 7, 1978. / Index.

Structural pattern is a very important aspect of any novel and an understanding of it often leads to a much better comprehension of a particular work than is otherwise available. This is true of the novels of Ernest Hemingway, yet the structural patterns of his major works have been somewhat neglected by his many critics. It will be shown in this thesis that the conventional dramatic structure is basic to Hemingway's four major novels: A Farewell to Arms. The Sun Also Rises. For Whom the Bell Tolls, and The Old Man and the Sea. These four novels will be studied in terms of the introduction, rising action, climax, falling action, and catastrophe in each. This will lead to a better understanding of the unity, motivation, conflicts, points of crisis, movement, and themes of the novels. It will indicate the essentially dramatic, and, at times, tragic nature of them, and it will lead eventually to a good understanding of Hemingway's attitude toward man and life. It will also indicate the basic importance of this pattern to Hemingway's work by demonstrating that the pattern is almost identical in every one of the four novels. Having thus established the predominance of this particular pattern in the work of Ernest Hemingway, this thesis will advance the conclusion that the pattern must, because of its frequency, be essential to Hemingway's mind, and that, for this reason, one cannot hope to understand his work with any approach to thoroughness without being fully aware of the pattern. The purpose of the thesis, then, is dual: to demonstrate that Hemingway possessed a clear consciousness of form, despite the contrary views of some of his critics, and to show that he succeeded in constructing all of his major novels in accordance with a particular dramatic pattern. In studying the predominance of the dramatic pattern in Hemingway's four major novels, it will be shown that the respective heroes of these works are all attempting, through different means, to escape from the decadence and limited happiness of life in modern society, and to find some source of meaning in life, some basis for a belief that there is a purpose in living. It will be shown that, barring religion, the only way in which one may achieve any sense of meaning and purpose in life is, according to Hemingway, through one's love for his fellow man. The ultimate aim here, then, is to present a structurally oriented method for studying the work of Ernest Hemingway which will lead to a clearer and more complete understanding of what he is trying to say and do in that work. / Arts, Faculty of / English, Department of / Graduate

The major theme of Hemingway's last novel, Islands in the Stream, is the moral and spiritual development of the protagonist, Thomas Hudson. Gradually he moves away from his "carapace of work" and discipline, which shields him from any emotional involvement and the inevitable pain it contracts, towards an acceptance of a higher concept of duty than that which is concerned primarily with practical results. In this way he grows from a state of emotional alienation to a point at which he attains a genuine capacity to love his fellow men. This growth culminates with his encounter with death whereby he comes to an understanding of himself and of his purpose in life. I have traced his development by examining several themes and motifs which reflect his emotional state. The most important of these is the pervasive sea imagery which changes with Hudson's changing moral attitude. The basic sea-chase in the last section of the novel is really an allegory which represents, on a metaphorical level, Hudson's personal quest inward for self-knowledge. Hudson's relationship in various families, some natural and some surrogate, also reflects his growing capacity to love and to establish the necessary emotional found ation for a real family situation. He grows from an inability to under stand his natural sons to a capacity to love his spiritual brothers. Another motif of a "language of love" also develops in accordance with Hudson'8 growth. At the end of the novel, with Hudson's death, these themes and motifs coalesce with the culmination of Hudson's symbolic crucifixion and marriage-in-death. In my conclusion I am primarily interested in proving that Hudson final understanding of himself, and his struggle towards it, is as worthy as the absolute achievements of earlier Hemingway heroes. His growth is not obvious to many reviewers simply because his heroism is based upon a different concept than that of past Hemingway protagonists. Thomas Hudson is different in that his struggle with life resembles that of the average man, and like the average man he must learn to accept his flaws and weaknesses, and to accept "approximate" successes instead of absolute victories. / Arts, Faculty of / English, Department of / Graduate

Thesis (B.A.)--Haverford College, Dept. of English, 2003. / Includes bibliographical references.

Primarily, the thesis will reconsider the "minority report" position regarding Hemingway, and attempt to rationalize attendant charges that Hemingway's later fiction betrayed elements of self-parody (Across the River and Into the Trees. 1950), self-imitation (The Old Man and the Sea, 1952), and self-indulgence (A Moveable Feast, 1964). The minority report holds that the later writer had come to identify with the image of his public persona, and that subsequent attempts at fiction were as a result overcharacterized by self-congratulation, wish-fulfillment, and a crucial loss of ironic or otherwise aesthetic distance. The paper will dispute the biographical bias which advances much of this rationale by demonstrating that Hemingway's alleged decline as a writer is in any case incidental to his fame, and that his fame as a writer is incidental to the biographical fallacy in Hemingway criticism. The paper will propose instead that the Hemingway persona had become derivative, had ceased to offer a reliable alibi for fiction for which his readers, attracted in the first place by the author's much-publicized dictum of writing-after-experience, had come to expect a reasonable basis in autobiographical reality.