Note:

Note:

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.

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The purpose of this thesis is, first, to examine the critical controversy surrounding the publication of Ernest Hemingway's Across the River and Into the Trees and, second, to show what Hemingway was trying to do in the novel, even though he may not have been successful in doing it. Chapter I examines the major critical responses to Across the River and Into the Trees, together with Hemingway’s own comments, and introduces the critical study which comprises the following three chapters. Chapter II examines the relationship between Cantwell's military past and the present, and discusses the effects of this dichotomy. Chapter III examines Cantwell's code of honor, mainly as it applies in his present peacetime situation, and discusses how he finally re-affirms his ideal principles of resolution and endurance, thus enabling him to accept the idea of his own death. Chapter IV examines Cantwell's preparation for death through Renata, secondary characters, and various symbols, and shows how he eventually becomes free of bitterness. Chapter V, a final appraisal of the novel's literary worth, discusses why the novel is not successful as a work of fiction. / Arts, Faculty of / English, Department of / Graduate

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.

This thesis is a study of war as a factor in Ernerst Hemingway's novels and stories.