Hemingway 文學의 暴力 = The Violence in Hemingway's Work

다국어 초록 (Multilingual Abstract)

The purpose of this study is to eamine the ways in which Ernest Hemingway made artistic use of various kinds of violence in his work. There is a consciously manipulated progression in his use of violence and an understanding of this progression is necessary if Hemingway is to be evaluated objectively as a writer. I maintain that Hemingway moved from an initial concern with the simplest form of violence to an enduring interest in the most complex forms of violence and that this development was the product of a conscious artist who maintained careful control of his material through his writing career.
Many critics mention the existence of violence in Hemingway's Work, but none but Phillip Young seem to come to terms with violence as an integral, artistically functional, and meaningful part of Hemingway's ficition. Many critics talk about Heminway's obsession with death and he wrote about violence because he was a violent man. Young's theory of the traumatic neurosis fails to explain the existence of a progressively more sophisticated use of violence as Hemingway matures. My disagreement with Young is that I believe Hemingway controlled the violence that became the material of his art. I oppose Frohock's contention that Hemingway's use of violence was formless and haphazard.
This study sets up three kinds of violence: physical violence, verbal violence and violence of self-aggression.
Physical violence is the result of the individual's attempting to come to terms with an external, physical enviornment which is hostile or indifferent. A waiter gored by the heedless horns of a pseudo bull, an American ambulance officer in the Italian army having his leg wounded by an Austrian artillery shell, and a Key West man being shot in the stomach are examples of physical violence in Hemingway's work.
Verbal violence is the result of the individual attempting to come to terms with others in relation to himself. For lovers and married people it is all too familiar. The weapon emplolyed
is spoken word and the damage done is often more irreparable than that inflicted physically. In Hemingway's work love, fraternity, and comradeship are the human conditions within which acts of verbal violence take place. The bitchiness of a wife toward her husband, the frighteningly cruel monologue of a writer attempting to justify the failure of another of his human relations, and the clinical recitation of what the oder of death to come is like are examples of verbal violence in Hemingway's work.
Violence of self-aggression is the result of the individul's trying to understand himself. Acts of this kind of violence are often imbued with irony and usually take place in isolation. These are acts of rending and destroying which partake neither of the physical nor the verbal method but are accomplished introspectively and lead to resignation and impotency and often end in selfdestruction. The obsessive concern about a cramped left hand by an old fisherman and a man resigned to death in life and a cardiac case who overexerts himself with purpose are examlpes of violence of self-aggression.
Hemingway'sscious investigation of vioence found a focal point in the matter of style of existence. Hemingway uses violence as a metaphor. Violence functions as an artistic means to express a condition of life. The violence in Hemingway's fiction is rarely meaningless, glorified, of without reason, It is violence used as an organic element of the work of art, violence as metaphor, and it serves to reinforce and clarify the progressively more complex and more sophisticated view of life that Hemingway developed and had to come to terms with.

목차 (Table of Contents)

• Ⅰ. 序論
• Ⅱ. 肉體的 暴力
• Ⅲ. 言語的 暴力
• Ⅳ. 自己侵害的 暴力
• Ⅴ. 結論