Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Inglesa / This project is founded upon the premise that complaint and emotional expression are the marks of inadequacy in Ernest Hemingway's The Sun Also Rises (1926). These instances, however, do take place on a recurring basis between the principal characters, and are therefore of uttermost import. Providing that there are rigorous demands of a stoic code in the novel, the examination and analysis of these particular phenomena, which are shaped by the underlying notion of displacement, will be a means to gain insights into the literary texture of Hemingway's work itself. In Peter Conn's opinion, "action and language alike must be disciplined to maintain their grace under the inescapable pressure of reality's violence" in post-war Europe.

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Nearly all discussions of Hemingway and his work touch on the theme of masculinity, a recurrent theme in all of his works. Examinations of Hemingway and his relationship to masculinity have almost unanimously treated the author as a misogynist and a champion of violent masculinity. However, since the posthumous publication of The Garden of Eden in 1986, there has been much discussion of Hemingway’s uncharacteristic use of androgynous characters in the novel. Critics have taken this as a clue that Hemingway possessed a complex attitude regarding gender fluidity, but have failed to examine the constructions of gender and identity in his earlier fiction. By examining two of his earliest works, In Our Time (1925) and The Sun Also Rises (1926), I argue that Hemingway’s complex ideas about gender performance have been hidden just beneath the surface all along.

In recent years, there has been an undeniable shift in how we think about nonhuman animals. A growing philosophical literature on animal rights has encouraged a deep consideration of the moral status of animals, while scientific research has simultaneously confirmed the fact that many animals have complex cognitive, emotional, and social capacities that strongly mirror our own. Although there is still disagreement about what all this implies in terms of our responsibilities to animals, the idea that animals can experience physical or emotional pain or pleasure is the starting point and not the conclusion of the present inquiry. Many species of animals are sentient beings who possess a viewpoint from which they experience and act in the world around them - and hence may be said to be agential. My dissertation explores what it means for us to extend, conceptually and morally, agency to animals. I address this "extension of agency" predominantly from an aesthetic perspective, although in doing so I in no way intend to limit the range of related philosophical concerns. On the contrary; to extend agency to animals, I argue, calls for a revised understanding of our habitual spectatorial stances--how we look at animals. To grasp these stances, I investigate how animals have been looked at in literary works of art. Does the literature show our spectatorship to extend agency to animals or do we objectify them so as to deny their capacities as agents altogether? My dissertation focuses on excerpts from three significant works of literature--works by Nathanael West, Ernest Hemingway, and Leo Tolstoy--each of which stages a specifically athletic engagement involving animals, in this way bringing focus to the issue of our spectatorship. Each excerpt serves as philosophically illuminating material and as an exemplary case regarding humanity's willingness or refusal to extend agency to animals. I am particularly interested in the role of animals in human-engineered sports, and in how extending agency to animals in sports changes or ought to change the way we watch sports that involve animals. Within the philosophy of sport, the accepted approach has been to liken animals to sporting equipment or tools, and thus to make no substantive distinction between animal and non-animal sports. This, I argue, reflects a refusal to extend agency to animals, which has led also to an oversimplification and mischaracterization of sports involving animals in the first place. Nathanael West's The Day of the Locust takes up cockfighting, Hemingway's The Sun Also Rises centers around bullfighting, and Tolstoy's Anna Karenina includes a memorable, emotionally stirring, steeplechase episode. In addition to investigating what I refer to as the "extension of agency" to animals in these literary works, I revise some of the basic assumptions that have recently guided the burgeoning subfield of the philosophy of sports. I argue that we must acknowledge that there exists a fundamental difference between the modes of spectatorship that accompany sports that only involve humans, and those that involve animals. For to extend agency is to extend the moral domain to that or those who are "other" than ourselves. Once animals are introduced into a sport, they imbue the sport with all the aesthetic complexities that come with looking at an animal outside of sport: the unique exotic beauty of the animal body and its fitness to function, but also its vitality, wild autonomy, expressiveness, and reciprocity of gaze. This means that our interactions with animals, even in the case of organized sport or performance, are not purely aesthetic in a formal artistic sense; they are also expressive and communicative. The concept of the formal aesthetic that many employ when talking about art - the formal qualities that we attribute to the arts - is not sufficient to accommodate sports that involve animals and a spectatorship of animals. Animals are expressive, and this expressiveness is fundamental to correctly understanding our spectatorship of them. Animals are far more than our equipment. The aesthetic of animal sports must, I conclude, accordingly incorporate expressiveness and empathy, such that we see animals in fellowship with us as participants in sports. Extending agency to animals is the core concept of a morally inflected aesthetic of inter-subjectivity.

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This essay demonstrates how three popular writers of the twentieth century have created novels that contain echoes of Eliot's poem. They are F. Scott Fitzgerald's The Great Gatsby (1925), Ernest Hemingway's The Sun Also Rises (1926), and John Steinbeck's To a God Unknown (1933). I chose these particular novels because they exemplify widely different and distinctive echoes of the poem. Fitzgerald's use of waste land imagery is readily perceptible the most effective in defining and summing up the temper of the Jazz Age in America. Hemingway's borrowing lies principally in parallel characterization (Jake Barnes as he Fisher King is the outstanding example) and in depicting a morally and spiritually bankrupt world by showing that a satisfactory sexual relationship between man and woman is impossible. Steinbeck's borrowing is unique. HIs novel not only contains the Fisher King figure, desert land imagery, water motif, and the quest theme, but his protagonist, Joseph Wayne, like Eliot's Fisher King-Tiresias protagonist, is able to metamorphose from one "personage" into another. Steinbeck's borrowings are not used by him for the purpose of depicting the world of the Twenties, or any era. He may have done no more than build upon a piece of literature from the immediate past as Eliot had done from the more remote past when he created The Waste Land. There is also a possibility that Steinbeck disagrees with some of Eliot's philosophical ideas and playfully chides the poet for harboring them. In showing the nfluence of the poem on three important American novelists, perhaps this essay will disprove Karl Shapiro's statement that "at no point in the career of Eliot has there been the slightest indication of literary following,"5 and will furnish proof that Robert E. Knoll's statement regarding the influence of The Waste Land is a valid one: What The Rape of the Lock was to the Augustans and Tintern Abbey to the Romantics, The Waste Land has become to the Moderns, It is inescapable.6

The thesis explores the notion of physicality in selected novels of Ernest Hemingway and Francis Scott Fitzgerald, using the works of Jean Baudrillard as its theoretical base. The text seeks to uncover the significance of a human body in the novels through a detailed observation of the depicted characters, focusing mainly on the role of the body as an emblem that reflects not only its owner's individual battles, but also the transgressive processes taking place in the society. The study assumes that the works written by the authors of the Lost Generation capture the gradual onset of capitalism and consumerism, and thus they reflect the emergence of the consumer society, a social order that became Baudrillard's main subject of study. The main aim of the thesis is thence to explore the human body as a reflection of major societal changes and uncover the methods in which the characters use their bodies to define their own position in the newly arising system. Following the theoretical introduction, the analysis firstly examines fashion and demonstrates its capability to either unify the members of the consumer society through their shared desire to follow specific trends, or alternatively hierarchically divide the consumers based on their dissimilar approaches to consumption. Secondly, the thesis...

Cette recherche a pour but d’identifier une personnalité féminine révisionniste dans le modernisme littéraire américain. Cette personnalité révisionniste a pour nom «American Eve» et défie le «American Adam» qui est un personnage mythique patriarcal de R.W.B. Lewis provenant du dix-neuvième siècle. Cette conceptualisation est accomplie à l’aide d’une analyse socio-critique et comparative des trois protagonistes féminins dans les romans modernes The Awakening (1899) de Kate Chopin, The Sun Also Rises (1926) d’Ernest Hemingway, et The Great Gatsby (1925) de F. Scott Fitzgerald. Ma construction de cette personnalité féminine est divisée en trois chapitres, chacun étant dédié à un protagoniste en particulier. En comparant ces personnages littéraires sur un plan socio-critique et féministe, je permets à mon étude d’établir en quoi les personnages en question contribuent ou ne contribuent pas à la personnalité de «American Eve». Cette approche comparative est un excellent moyen d’évaluer l’évolution du potentiel révisionniste de la femme au vingtième siècle et les différentes façons par lesquelles elle emploie ce pouvoir.

The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.