헤밍웨이의 빙산이론과 침묵의 언어

소수만 ( Soo-man Soh ) 대한영어영문학회 1999 영어영문학연구 Vol.25 No.1

This purpose of this study is to analyze Hemingway’s famous Iceberg Theory and its effect, silent language. The definition of the Iceberg Theory is as follows; one eighth of the iceberg is above water and seven eighths of it are under water. Like this iceberg principle, the writer should omit and eliminate the many unnecessary parts and details. Also the writer should select the sin qua non and the basic words to strengthen the expressed one eighth part of the iceberg. The creation of Hemingway’s Iceberg Theory was influenced by Paul Cézanne’s basic geometric patterns: the cylinder, the cone, and the sphere. One aspect of writing using the Iceberg Theory is the technique of omission and simplicity. However, the simplicity is deceptive, so in Hemingway’s style of deceptive simplicity, “the essence of what is said often lies in what is suggested or left unsaid.” The effective use of this technique is a further testimony to the rigidity of Hemingway’s style as much as to its potential power. He also developed a highly selective use of image words in a way that, by repeating them, hidden meanings are implied or silent rather than stated. By this principle we see “the irony of the unsaid,” silent language, space language, unsaid sayings, objective correlative symbolism, and image words in Hemingway’s novels.

헤밍웨이 소설 접근법의 3대 기준(I): 성공작의 경우

소수만 ( Soh Soo-man ) 대한영어영문학회 2010 영어영문학연구 Vol.36 No.3

This paper aims to suggest methods useful in understanding Hemingway’s novels. Three approaches are suggested in this paper. They are the Moment of Truth, the Tragic Hero, and the Iceberg Theory Style. The Moment of Truth is related to the background and the climax of the work. The Tragic Hero refers to the tragedy of the protagonist of the work. The Iceberg Theory Style is the unique style associated with Hemingway. All three of these factors are appeared in Hemingway’s most successful and major works. In contrast to his successes, the works that failed either lacked one or two of these factors or omitted them completely. Therefore, the three factors are the criterions or the common threads that dictate the success or failure of Hemingway’s novels. This paper analyzes the three factors of such successful works as The Sun Also Rises, A Farewell to Arms, The Old Man and the Sea, and “The Killers.” (Woosuk University)

헤밍웨이 문체의 미학(1): 간결과 리듬

소수만 ( Soo-man Soh ) 대한영어영문학회 2000 영어영문학연구 Vol.26 No.1

This paper introduces Hemingway’s basic pattern or aesthetics of simplicity and rhythm, the two great wheels of his style, and then makes an extended analysis of this pattern or aesthetics in its varied aspects. Many of the characteristic features of Hemingway’s writing such as understatement, painting technique, rigor, terseness, repetition, concreteness, omission, objectivity, and rapid tempo can be traced back to this basic form of simplicity and rhythm which are closely interdependent in the actual operation. Major influences in the formation of this technique are his journalistic experience on the Kansas City Star and his exposure in the Paris years to the doctrines of Gertrude Stein and Ezra Pound. During his Kansas City Star days, C. G. Wellington and Galhoun Moise introduced him to a discipline of simplicity based on the Star’s style sheet which contains 110 rules on writing. Rule 1 is: “Use short sentences. Use short first paragraphs. Use vigorous English, not forgetting to strive for smoothness. Be positive, not negative.” More importantly, Rule 21 could have helped the young journalist to “avoid the use of adjectives, especially such extravagant ones as splendid, gorgeous, grand, magnificent, etc.” It is noteworthy that under the tutelage of Moise, Hemingway could learn to create pure objective writing which is, according to Moise, the only true form of storytelling. It was during these years that he also could incorporate the device of brevity in his style, which was to mold his fiction in several important ways. In his Paris years Hemingway was under the direct influence of Gertrude Stein in terms of the technique of repetition and the treatment of time and he could use these stylistic devices for the development of his rhythmic style. Through his relationship with Ezra Pound he could gain masterful control over the technical method of simplicity and the rhythmic sentence or paragraph. < Woosuk University >

헤밍웨이 소설 접근법의 3대 기준(II): 실패작의 경우

소수만 ( Soh Soo-man ) 대한영어영문학회 2011 영어영문학연구 Vol.37 No.2

This paper aims to analyze four works of failure by Hemingway and to suggest the reasons why these novels failed by discussing the three methods useful in understanding Hemingway’s novels. The three approaches that are suggested in this paper are the essential factors in deciding the success or failure of Hemingway’s works. The three approaches are The Moment of Truth, The Tragic Hero, and The Iceberg Theory Style. All three of these factors are present in Hemingway’s successful works. However, his works of failure lack either one or two of these factors or omitted them completely. As stated above, this paper analyzes the three factors of such failed works as For Whom the Bell Tolls, Across the River and Into the Trees, To Have and Have Not, and The Garden of Eden. For Whom the Bell Tolls is considered as a work of failure because it is not written in the Iceberg Theory Style, although it has both a moment of truth and a tragic hero. Across the River and Into the Trees, To Have and Have Not, and The Garden of Eden are all considered to be failed novels because these three works do not possess any of the three factors at all. (Woosuk University)

헤밍웨이 소설에 나타난 양대 서술패턴

蘇洙萬 ( Soo-man Soh ) 대한영어영문학회 1998 영어영문학연구 Vol.24 No.3

The purpose of this study is to analyze the two narrative patterns, forward movement and backward movement, in Hemingway's novels. The creation of the two narrative patterns were influenced by Hemingway's time and rhythm. Hemingway's time is basically present or the now-time. If rapid tempo & time are immersed into a sentence, the sentence has sentence-rhythm or contraction. Reversely, the sentence becomes loosened or relaxed. If the sentence-rhythm technique is developed into paragraphs or overall work, there appears the two narrative patterns, forward movement and backward movement. If hero's present action is strengthened by rapid tempo or fast timing, the scene becomes forward movement. In contrast, if the time or strength of action is loosened or relaxed, the scene becomes backward movement. Therefore the former "signifies the actual happening and the stress and strain of relationships," whereas the latter occurs "when the individual is by himself." In scenes of backward movement, the protagonist tends to be introspective and penetrative in a passive way and he tries to make the most of his thought and situation. Also the spiritual action is brought to life in this backward movement. Hemingway installed the two narrative patterns in his successive works such as The Sun Also Rises, A Farewell to Arms, "The Killers," and The Old Man and the Sea. And Hemingway used these two narrative patterns to suggest his theme or idea. For example, his heroism is expressed in the forward movement, whereas the immortality of the soul expressed in the backward movement. Viewed in terms of theme or idea, the former is characteristic of activism while the latter is tinged with the problems of the universal or of "the mysterious Unknown." It is clear that Hemingway thought the backward movement more important than the forward movement. And I believe that passivity is vital to Hemingway's action and the passive hero is Hemingway's true protagonist. And also I affirm that the two narrative patterns were created with the bases of organic principle.

세잔, 피카소, 스타인, 헤밍웨이: 그들 기법의 영향관계

소수만 ( Soh Soo-man ) 대한영어영문학회 2009 영어영문학연구 Vol.35 No.3

This paper aims to analyze the influence of Cézanne on Picasso, of Cézanne and Picasso on Stein, and of Cézanne, Stein, and Picasso on Hemingway, in particular in their techniques. Cézanne’s techniques such as basic geometric or cone-cylinder-sphere pattern, sine qua non, and seeing things from various points of view influenced Picasso in his creation of Cubism painting. Cézanne and Picasso influenced Stein in her experimental writings such as the techniques of basic attributes, repetition, image words, simple sentences, plastic art, portraiture, collage writing, equality, or sameness etc. Cézanne and Picasso and Stein influenced Hemingway in the creation of his unique Iceberg Theory. Like an iceberg, seven eights of which is hidden underwater, the writer should omit detailed vocabulary and select only the necessary word. The Iceberg Theory Style appears in Hemingway’s best works. (Woosuk University)

Hemingway소설의 상징 : 새로운 접근과 기법 A New Approach & Technique

蘇洙萬 又石大學校 1991 論文集 Vol.13 No.-

Though Ernest Hemingway rejects symbolism itself, the basis of his work is symbolic technique. So in order to undeerstand his work it is necessary to analyze his symbolism. Furthermore it is important to find the correct viewpoint to his symbolism. Hemingway's symbolism should be analyzed by using both the objective correlative and Cezanne's space conceptions from which the iceberg theory was produced. From this viewpoint Hemingway's symbolism has two root techniques: economical expression and repetition. Economical expression can be divided into three types: omission, silence, and objective representation. Omission is simplified expression omitting unnecessary words according to the iceberg theory. Silence is unexpressed expression that induces a reader's introspection by leaving hero or other characters silent. Objective representation excludes the author's subjectivity. Repetition can siso be divided into three types ?? symbol repetition repetition of action, and repetition of any word Nutural symbol repetition is a technique that produces an image or mood by repeating such natural phenomena as "lion." "rain." "baseball." "leopard." "hyena." "vuiture." " snow." and "squirrel." These natural phenomena symbolize deeper meanings. Repetition of action is a technique that makes symbolic meaning by repeating a certain action, Repetition of word is slso an image technique that creates symbolic meaning by both repeating any word or phrase and giving a certain image to the repeated word or phrase. This is the most Hemingwayesque. Hemingway's symbolism should not be understood in view of traditional symbolism it-self. His symbolism should not be understood thematically, but structurally in style or context.

Hemingway文學世界에 있어서 Nick對 Santiago

蘇洙萬 又石大學校 1982 論文集 Vol.4 No.-

In Hemingway's literary world, the protagonist Nick Adams who has the tinge of Biblical name has made a life journey along the writer's works. Nick was born in "Indian Camp" of In Our Time. He has learned the meaning of birth, good, evil, death, and courage in the next works. In "Big Two-Hearted River", he has tried to fish for trouts. His world of experience has been widened in Men Without Women. The name Nick was changed into Frederic Henry in A Farewell to Arms, and here he has deepened the knowledge of love and war. In The Sun Also Rises, Jake Barnes. Nick's another alter ego, has come into the moods of degradation. In translation of his literary background into Africa, the protagonist. Harry or Francis Macomber, has been purge of all human pride, however. At last, Nick's last alter ego Santiago has appeared in The Old Man and the Sea. In short, Santiago is the last name of Nick Adams' life journey in Hemingway's literary world.

헤밍웨이의 『노인과 바다』 : 회화기법의 성공적 복귀와 우화의 시학 A New Poetics of Allegory

蘇洙萬 又石大學校 1996 論文集 Vol.18 No.-

The purpose of this study is to analyze both the successful return to the painting technique and the development of the poetics of allegory so noticeable in The Old Man and the Sea. After the photographic realism of "Up in Michigan." Hemingway successfully transformed the painting technique into the style and technique of his earlier works, such as "Big Two hearted River" and The Sun Also Rises. In his middle period works, such as Across the River and into the Trees. For Whom the Bell Tolls, and To Have and Have Not. Hemingway put aside the painting technique and his Iceberg Theory. As a result, these works failed critically. However, Hemingway successfully returned to his painting technique in The Old Man and the Sea. In all his writing. Hemingway best applied the applied the Iceberg Theory of painting technique to The Old Man and the Sea, so this work has deeper levels of symbolic meaning. In The Old Man and the Sea the reader can find various techniques applied successfully, such as image word, symbolic technique, organic composition, objective expression of inner emotion, the stylization of painting technique itself, the rhythm of forward and backward movement of narration, etc. This novella probably makes the most use of Hemingway's Iceberg Theory. With these techniques the style is tense on the surface and suggests myriad layers of meaning in the deep structure. Hemingway successfully constructs a method of adding extra meaning to this work that on the surface appears so simple. He also achieves an objective tone by the simple coupling of the structure. For all its apparent simplicity, however, Hemingway's sentence structure, which leaves more to the reader's own insight, is suggestive. The stripped-down diction, the simple syntax, the repetition, and the use of conjunctions for rhythmic purposes are simplifying techniques used in this story of Santiago. The coupling of the Iceberg Theory style of painting technique and the symbolic of Christian allegory, chiefly produced by Santiago's character, makes beautiful poetics.

Ernest Hemingway 小說의 技法과 그 特性 : rhythm과 narrative patterns 그리고 그 適用 rhythm and narrative patterns and their application

蘇洙萬 又石大學校 1986 論文集 Vol.8 No.-

Ernest Hemingway's Novel Techniques and Their Characteristics: rhythm and narrative patterns and their application. Ernest Hemingway's novel techniques-iceberg theory → omission → compression → contraction - seem to produce short and simple sentence in his works. In contrast to this contraction, the rhythm technique creates "expansion" Also two narrative patterns - forward movement and backward movement, which is, in Chaman Nahal's terms, 'systolic action' and 'diastolic action' - come from the rhythm technique. The one is "the actual happening and the stress and strain of relationships, while the other is when the individual is by himself." In the latter scenes, the protabonist is in the passivity or so. He is instrospective and penetrative. And he tries to make a betterment of his thought and situation. In the presentation of the theme or idea, the former conveys activism and the latter does the problems of the universal or mysterious problems of the Unknown. According to the interposition of the time and tense, two narrative pattems make a various ones. In short and tensed time, the systolic action turns out a strong tension -contraction. The relation of description vs. action scenes results from this technique. As is with the example of chapter Ⅳ in SAR, the theme is represented to its suitable pattern. The aboved-stated various techniques result in rhythmical sequences in Hemingway's works. Byond the literary art, the techniques seem to come form the visual art-in particular, Expressionism, however.