Hemingway and Bullshit

<p>This paper uses Harry Frankfurt's definition of bullshit as a lens to re-examine Ernest Hemingway's aesthetic of factual details and omission. Frankfurt argues that bullshit consists of speech made with indifference to its veracity, and one who makes a habit of bullshitting may lose touch with reality. By studying three works across the author's career, "Big Two-Hearted River," "The Short Happy Life of Francis Macomber," and The Old Man and the Sea, one sees that Hemingway's prose style evolves and eventually contradicts his artistic statements. Given the fact that he promotes his aesthetic while discarding it, his theory becomes bullshit. Because normative critical interpretation of the author rests largely on his aesthetic theory, it too is inaccurate. Though Hemingway misrepresents how he writes, the success of his work regardless of aesthetics demonstrates that his writing is more complex than many think and deserves a more thorough re-evaluation.</p>

Name thesis:degree_name

M.A.

Level thesis:degree_level

Masters Thesis

Year dc:date.available

2008

Author dc:creator

• Eilers, Nathan R. L.

Contributors dc:contributor

• Clark Davis, Ph.D.
• Brian Kiteley
• Joyce Goodfriend

• Aesthetics
• Big Two-Hearted River
• Bullshit
• Ernest Hemingway
• The Old Man and the Sea
• The Short Happy Life of Francis Macomber
• English Language and Literature
• Literature in English, North America

Statement dc:rights

• <p>Copyright is held by the author. User is responsible for all copyright compliance.</p>

Language dc:language

en

Repository record dc:identifier

https://digitalcommons.du.edu/etd/803

OAI identifier oai:identifier

oai:digitalcommons.du.edu:etd-1802