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Dissertations / Theses on the topic 'Stylistic techniques'
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1
So, Hanna Na. "A compositional and stylistic analysis of selected works by Eak-Tai-Ahn / Two examination concerts." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62657.
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Tarafdar, Arundhati. "Wordspotting from multilingual and stylistic documents." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR4022/document.
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Les outils et méthodes d’analyse d’images de documents (DIA) donnent aujourd’hui la possibilité de faire des recherches par mots-clés dans des bases d’images de documents alors même qu’aucune transcription n’est disponible. Dans ce contexte, beaucoup de travaux ont déjà été réalisés sur les OCR ainsi que sur des systèmes de repérage de mots (spotting) dédiés à des documents textuels avec une mise en page simple. En revanche, très peu d’approches ont été étudiées pour faire de la recherche dans des documents contenant du texte multi-orienté et multi-échelle, comme dans les documents graphiques. Par exemple, les images de cartes géographiques peuvent contenir des symboles, des graphiques et du texte ayant des orientations et des tailles différentes. Dans ces documents, les caractères peuvent aussi être connectés entre eux ou bien à des éléments graphiques. Par conséquent, le repérage de mots dans ces documents se révèle être une tâche difficile. Dans cette thèse nous proposons un ensemble d’outils et méthodes dédiés au repérage de mots écrits en caractères bengali ou anglais (script Roman) dans des images de documents géographiques. L’approche proposée repose sur plusieurs originalitésWord spotting in graphical documents is a very challenging task. To address such scenarios this thesis deals with developing a word spotting system dedicated to geographical documents with Bangla and English (Roman) scripts. In the proposed system, at first, text-graphics layers are separated using filtering, clustering and self-reinforcement through classifier. Additionally, instead of using binary decision we have used probabilistic measurement to represent the text components. Subsequently, in the text layer, character segmentation approach is applied using water-reservoir based method to extract individual character from the document. Then recognition of these isolated characters is done using rotation invariant feature, coupled with SVM classifier. Well recognized characters are then grouped based on their sizes. Initial spotting is started to find a query word among those groups of characters. In case if the system could spot a word partially due to any noise, SIFT is applied to identify missing portion of that partial spotting. Experimental results on Roman and Bangla scripts document images show that the method is feasible to spot a location in text labeled graphical documents. Experiments are done on an annotated dataset which was developed for this work. We have made this annotated dataset available publicly for other researchers
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Ebeling, Sarah. "La traducción de aspectos culturales en el texto turístico : Problemas y técnicas de traducción al adaptar el texto "Los Caminos del Norte a Santiago" del contexto español al sueco." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-46060.
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Tourist texts provides information to a wide variety of readers. The main functions of these texts is typically to be both informative and persuasive. When translating a tourist text, the translator should not only maintain these two functions in the target text, but is also faced with the challenge of adapting the text to the premises of the target culture. The aim of this study is to identify the characteristics of the cultural aspects related to history and religion, as well as the stylistic features in the tourist text Los Caminos del Norte a Santiago. The techniques used in the translation of these aspects from the original spanish cultural context to the new swedish target culture are also studied, more specificly which ones of these translation techniques are the most frecuently used and why. A cualitative as well as a cuantitative analysis of our translation has been carried out, which indicates that the translation techniques most commonly used regarding the translation of the cultural aspects related to history and religion was amplification and modulation. These were used, for example, in order to compensate for the lack of previous knowledge of the Spanish culture amongst the target text readers. Regarding the adaptation of the style to the target context, modulation and especially generalization was the most commonly used translation techniques. This is due to the intention of making the text less formal and poetic so as to better adjust to the target culture and its textual conventions.
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Kim, Eun Hye. "Selected Organ Works of Joseph Ahrens: A Stylistic Analysis of Freely Composed Works and Serial Compositions." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377871051.
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Wright, David. "Stylistics versus statistics : a corpus linguistic approach to combining techniques in forensic authorship analysis using Enron emails." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8278/.
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This thesis empirically investigates how a corpus linguistic approach can address the main theoretical and methodological challenges facing the field of forensic authorship analysis. Linguists approach the problem of questioned authorship from the theoretical position that each person has their own distinctive idiolect (Coulthard 2004: 431). However, the notion of idiolect has come under scrutiny in forensic linguistics over recent years for being too abstract to be of practical use (Grant 2010; Turell 2010). At the same time, two competing methodologies have developed in authorship analysis. On the one hand, there are qualitative stylistic approaches, and on the other there are statistical ‘stylometric’ techniques. This study uses a corpus of over 60,000 emails and 2.5 million words written by 176 employees of the former American company Enron to tackle these issues in the contexts of both authorship attribution (identifying authors using linguistic evidence) and author profiling (predicting authors’ social characteristics using linguistic evidence). Analyses reveal that even in shared communicative contexts, and when using very common lexical items, individual Enron employees produce distinctive collocation patterns and lexical co-selections. In turn, these idiolectal elements of linguistic output can be captured and quantified by word n-grams (strings of n words). An attribution experiment is performed using word n-grams to identify the authors of anonymised email samples. Results of the experiment are encouraging, and it is argued that the approach developed here offers a means by which stylistic and statistical techniques can complement each other. Finally, quantitative and qualitative analyses are combined in the sociolinguistic profiling of Enron employees by gender and occupation. Current author profiling research is exclusively statistical in nature. However, the findings here demonstrate that when statistical results are augmented by qualitative evidence, the complex relationship between language use and author identity can be more accurately observed.
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Rutherford, I. "Technique and innovation in late Greek stylistics : Six studies in the idea-theory of Hermogenes and PS.Aristides." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375986.
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Snyman, de Klerk Mart-Marie. "An analysis of stylistic elements and challenges of technique and improvisation in three late piano works by Surendran Reddy (1962–2010)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78568.
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This study focuses on the analyses of the stylistic elements and challenges of technique and improvisation in three late piano works by the South African composer Surendran Reddy. Reddy’s personal identity as a crossover artist is apparent in his stylistic approach. The fusion of Western art music, jazz, contemporary and indigenous music from various parts of the world ensued in a distinctive compositional style, which he termed clazz.
Three of his shorter late piano compositions, namely African Funk for Felix (2005), Ballad for Thomas (2005) and Toccata for John Roos (2007), contain key characteristics of Reddy’s clazz style. It also represents the composer’s own pianistic virtuosity that renders them challenging to performers.
The technical, stylistic and improvisational difficulties in these three works are investigated through a practice-led approach. The methodologies used to study and perform these works were researched by means of two interviews conducted with two professional South African pianists who have performed these works. The technical difficulties in these compositions are delineated and potential solutions to overcome virtuoso passages through fingering suggestions or recommendations for alternative practising methods are examined. The diverse stylistic influences on these works, such as gospel, rock, funk, soul, pop, jazz and various elements of Western art music, are identified, discussed and explored, with emphasis on the influence of South African jazz on Reddy’s conceptualisation of clazz. Prescribed improvisation sections are examined in-depth, and potential performance strategies are devised in the form of notated exercises that would hopefully serve as an accessible methodological approach.Mini Dissertation (MMus (Performance))--Universtity of Pretoria, 2020.
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MMus (Performance)
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Floquet, Florence. "La grammaire du monologue intérieur." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0070.
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Ce travail se propose d’étudier, sous un angle grammatical, le phénomène romanesque connu sous le nom de "monologue intérieur", qu’il convient d’emblée de distinguer du "stream of consciousness", auquel il est souvent ramené. Afin de mieux cerner et de définir ce qu’est le monologue intérieur, nous confrontons les définitions qui en sont généralement données à des textes de fiction anglophones, et nous analysons les techniques linguistiques utilisées pour représenter ce discours particulier. Il apparaît donc que le monologue intérieur n’est pas une technique linguistique mais doit plutôt se concevoir comme une catégorie narratologique. Ce discours s’incarne grâce à diverses techniques linguistiques : le discours immédiat mais aussi certaines des techniques du discours rapporté, avec en son centre le discours direct (libre) et à sa périphérie le discours indirect classique. Le discours indirect libre, quant à lui, navigue entre les deux. Ces différentes techniques reposent donc sur une conception particulière du discours intérieur qu’elles véhiculent, et leur étude permet d’étudier la possibilité offerte à l’auteur ou au narrateur de détourner leur forme afin de servir une stratégie narrative, avec parfois pour but de faire passer pour verbal ce qui ne peut l’êtreThis thesis investigates the literary phenomenon known as “interior monologue” from a grammatical point of view, and is based on a clear distinction between “interior monologue” and what is called “stream of consciousness”, both phenomena usually being seen as the same. The main objectives are therefore to define what we call “interior monologue” in order to confront this definition with English language literary texts, and to analyse the various linguistic techniques used to represent this special discourse. Interior monologue is therefore seen not as a linguistic technique but as a narratological category. This particular discourse is represented using different linguistic techniques: “immediate discourse” but also some of the reported speech techniques, with (free) direct speech as the core of the category, and indirect speech at its periphery, free indirect speech navigating between those two poles. These techniques differ both in their form and in the conception of the interior discourse they convey, but they always create the illusion of giving access to the (fictional) original discourse. It is for this reason that we want to show the possibility for the author or the narrator to use a syntactic form suggesting a reported discourse seemingly closely linked to the original discourse, to represent something that sometimes cannot be considered as verbal
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Eschenbrenner-Diemer, Gersande. "Les « modèles » égyptiens en bois : matériau, fabrication, diffusion, de la fin de l’Ancien à la fin du Moyen Empire (env. 2350-1630 av. J.-C)." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20114.
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Le premier volume est consacré à l’analyse des matériaux et des techniques utilisées pour la fabrication des « modèles » funéraires, c’est-à-dire, les maquettes en bois représentant des personnages ou des scènes de la vie quotidienne, typiques du mobilier funéraire des élites entre la fin de l’Ancien et la fin du Moyen Empire (env. 2350-1630 av. J.-C.). Dans une première partie, axée sur le matériel provenant des sites de Saqqâra, Assiout et Meir, les traits stylistiques et techniques ont été examinés afin de définir des groupes d’objets et identifier des ateliers de production. Des critères de datation ont ensuite été définis et comparés aux autres pièces du mobilier funéraire découverts dans les sépultures étudiées. Suivant un déroulé chronologique depuis la fin de l’Ancien Empire, la deuxième partie se concentre sur les ateliers de fabrication et les contacts interrégionaux. Une attention particulière est portée au rapport qui unit pouvoir royal, élites et artisans au travers de l’envoi d’équipements funéraires et plus particulièrement des modèles en bois découverts de la région memphite à la Haute-Égypte. La troisième partie s’intéresse aux fonctions sociales, économiques et religieuses des modèles et examine plus particulièrement le rapport étroit qui unit ce mobilier et les pratiques funéraires entre la fin de l’Ancien et la fin du Moyen Empire. Le deuxième volume présente le corpus des modèles en bois examinés. Un troisième volume est consacré aux annexes.L’examen des modèles en bois, significatif de profonds changements politiques et religieux à l’origine de nouvelles coutumes et croyances funéraires entre la VIème et la XIIIème dynastie, précise le contexte géographique, historique et social associé à la fabrication et à l’utilisation de ce mobilier et permet d’affiner la perception du rapport entre artisans et pouvoir, rapport omniprésent dans la société égyptienne antique dès la période prédynastiqueThe first part focuses on material analysis and process use for the manufacturing of funerary “models”. These wooden objects represent people or everyday scenes of life, used by Egyptian elites for funeral furniture between the end of the Old Kingdom to the end of the Middle Kingdom (cir. 2350-1630 BC). In a first part, focused on objects from Saqqara, Assiut and Meir, the stylistic and technical features were examined to define groups of objects and workshops. Then, dating criteria were defined and compared with the funeral furniture discovered in the studied graves. According to one unwound chronological since the end of the Old Kingdom, the second part concentrates on workshops and interregional contacts. A particular attention is worn in the relationship between royal power, elites and craftsmen through the sending of funeral equipment and more particularly bare wooden models of the Memphite area to the Upper Egypt. The third part is interested in the social, economic and religious functions of the models and examines more particularly the narrow relationship which unites this furniture and the funeral practices between the end of the Old Kingdom to the end of the Middle Kingdom. The second volume presents the corpus of the examined wooden models. The third volume is dedicated to appendices. The examination of wooden models, significant of political and religious deep changes at the origin of new customs and funeral faiths between the VIth and the XIIIth dynasty, specifies the geographical, historic and social context associated with the manufacturing. The analysis of these objects allows refining the perception of the relationship between craftsmen and power, omnipresent in the Egyptian society from the Predynastic period
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Mabuza, James Khuthala Ntele. "Stylistic techniques in the short stories of D.B.Z. Ntuli." Thesis, 2000. http://hdl.handle.net/10500/17279.
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This is a semantic study, dealing with style and technique in the short stories of D. B. Z. Ntuli.
The study as a whole analyses Ntuli' s first six volumes of short stories.
The first chapter is an introduction, dealing with the aim of the study. The second sub-section
after aim is Ntuli's biographical notes. Full details of this author from high school attendance to
his contribution during his working experience are given. Ntuli's biography is followed by the
scope of study. Under this sub-heading, short story volumes to be analysed are clearly stated.
The fourth sub-heading is the method of approach and a conclusion.
Chapter two deals with various types of repetition, a literary technique. It analyses Ntuli's use of
language, and repetition of sentences approaching it from different angles.
Chapter three and four deal with choice of words. The former chapter handles the various types
of language elements semantically and the latter deals specifically with the ideophone. The
ideophone is sub-divided into two sub-sections: classification and usage.
Chapter five deals with proverbial expressions and these are sub-divided into two sections:
idioms and proverbs. The usage of idiomatic expressions is discussed under: verbs, nouns and
qualificatives, while the proverbs are analysed under classification and syntax.
Imagery is dealt with in chapter six. Imagery is further sub-divided into four categories:
metaphor, simile, personification and symbolism. Style and structure are discussed in chapter
seven. In this chapter various elements of language forms are handled: types of sentenceidiophonic;
negative forms of the ideophone, with conjunctives; sentences with adverbs; the
demonstratives; titles of short story volumes and naming of characters.
Chapter eight is the general conclusion, reflecting on Ntuli's style and technique with special
emphasis on his unique use of the language. Reference is made to discoveries regarding the
author's use of vocabulary, and his techniques in using repetition as well as avoiding it, which is
part of his style. His choice of words and how he arranges them on paper is also discussed.
Ntuli's choice of titles in naming his short story volumes is summed up showing that these have
been influenced by his background. The study concludes by suggesting areas that still require
further analysis in Ntuli 's short stories.African Languages
D. Litt. et Phil. (African Languages)
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Mohlala, Mankgoke Jonas. "‘Bamasemola’ : seretotumišo sa E.M. Ramaila." Diss., 2008. http://hdl.handle.net/2263/27041.
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The purpose of this study is to trace and describe the form, origin and history of the praise poem ‘Ba Masemola’. This praise poem was included in the volume Seriti sa Thabantsho (1956). In that period, E. M. Ramaila collected and transcribed traditional praise poems of different groups, such as the Bapedi, the Batau, the Mapulana, and others. During his collection, Ramaila urged these groups not to forget their descent and history, and pointed out that these particulars were all brought together in their praise poems. Of the clans that are represented by their praise poems in this volume, only the Batau are discussed in this study. The Batau is a large group that is in its turn divided into five smaller groups, namely the Mphanama, Masemola, Nchabeleng, Makobe and Bakgaditsi groups. From among these smaller units the ‘Ba Masemola’ are selected for closer examination. Among the praise poems about the ‘Ba Masemola’ different kings are praised, for instance Mokwene, Tseke, Mabowe, and others. Not all these poems will be scrutinised, though occasional reference will be made to them. The most important concepts that are discussed in this study are the following: the praise poem, the narrative poem (poem with epic characteristics) and the epic. These genres share certain characteristics, yet also differ from each other. With regards to the content of the poem, several important characters are praised. The foremost figures that are mentioned here are the praise poet, the praised one and the ‘audience’. Their conduct differentiate them from characters found in (other) narratives works. The actions that are described can be divided into two groups, namely those that operate autonomously from other actions, and those that link with other actions. Nevertheless, all these happenings belong to the past. The milieu in this praise poem largely corresponds to that found in the narrative works, mainly because in the traditional settings, the praise poem is a declamatory piece that has several characteristics in common with the stage performance. In the description of the structural composition of this praise poem, a distinction will be made between the poem as literary work and the poem as verse. In the first case the theme, title and structure of the poem will be examined. The description of the structure of ‘Ba Masemola’ entails the different techniques Ramaila employs to carry across his ‘message’ and elucidates his point of view. In the examination of the verse composition, the first emphasis is on metrical principles that govern form, i.e correspondence and co-ordination, and the way in which Ramaila used them is then illuminated. In the stylistic finish of the poem there is a noticeable emotional charge. This can be mentioned as an important quality of the poem, and brings to the fore the bravery and fearlessness of the clan of GaMasemola.Dissertation (MA)--University of Pretoria, 2008.
African Languages
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Chen, Yuan-tsai, and 陳源材. "Outwitting Censorship: Stylistic Paradigms, Cinematic Techniques and Narrative Strategies of Weimar Queer Cinema." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/km23sh.
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碩士國立中央大學
英美語文學系
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The first gay film in the world, Different from the Others (Richard Oswald, 1919) and the first film adopting lesbianism as the main theme, Girls in Uniform (Leontine Sagan, 1931), were both born in the Weimar Republic of Germany from 1919 to 1933. Thus, Weimar Cinema invented the subgenres of “gay film” and "lesbian film," enriching the main genre of “queer cinema.” This paper introduces the four paradigms, various cinematic techniques and narrative strategies of Weimar Queer Cinema. Through the aspects: “from silent films to talkies,” “from the censorship-free status to the dominance of film censorship,” and “from films with inter-titles to films without inter-titles” and so on, this paper analyzes Weimar gay, lesbian and horror films as well as the films directed by F. W. Murnau. Furthermore, this paper illustrates how the paradigms, techniques and strategies of Weimar Queer Cinema were transformed to outwit Weimar censorship, to inherit the mission of the Weimar queer social movement, to fight against German conservative power’s political, juridical, and religious oppressions over the homosexuals, and to create a new artistic peak of Weimar Cinema.
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Вороненко, Зінаїда Володимирівна, and Zinaida Volodymyrivna Voronenko. "Жанрово-стилістичні особливості сучасного англомовного жіночого роману (на матеріалі твору Ґаррієт Еванс “Rules for Dating a Romantic Hero”)." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9725.
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У роботі проаналізовано жанрові та стилістичні особливості сучасного англомовного жіночого роману (на матеріалі твору Ґаррієт Еванс “Rules for Dating a Romantic Hero”)», досліджуються мовні засоби втілення образів головних героїв роману.The research work focuses on the analysis of the genre and stylistic peculiarities of modern woman’s novel by Harriet Evans “Rules for Dating a Romantic Hero”, language means of representation of images of the main characters of the novel have been investigated.
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Von, Geyso Friedrich Wilhelm. "The compositional and stylistic techniques in Hendrik Hofmeyr’s Sinfonia africana and the earlier related works Gebed om die Gebeente and Afrika." Diss., 2015. http://hdl.handle.net/2263/43782.
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Hendrik Hofmeyr is a prolific South African composer, who has written well over 150 works to date. Many of these compositions were commissioned for performers such as the British duo Nettle & Markham, the Hogarth Quartet and the Latvian youth choir Kamer. Sinfonia africana was composed in 2003, as a commissioned work for the Vriende van Afrikaans.
Sinfonia africana is a large-scale work scored for solo soprano, choir and orchestra. It consists of three movements, each based on a different poem: The first movement is based on Marais’s Die Lied van Suid-Afrika, while the middle movement uses Opperman’s Gebed om die Gebeente, with the third movement concluding Sinfonia africana with van den Heever’s Afrika. Both the second and third movements of Sinfonia africana are related to earlier Hofmeyr compositions, namely the 1999 chamber work Gebed om die Gebeente and the 2001 choral work Afrika.
This study aims to identify, analyse and discuss the basic elements of music found in the three movements of Sinfonia africana, as well as in Gebed om die Gebeente and Afrika. The various elements of music that constitute compositional and stylistic techniques are: text, structure, pitch, harmony, rhythm, texture, timbre, dynamics and articulation. These elements of music will be compared with each other in the various movements of Sinfonia africana, as well as in Gebed om die Gebeente and Afrika, to determine their contribution to Hofmeyr’s compositional and stylistic techniques as a whole.Dissertation (MMus)--University of Pretoria, 2015.
Music
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Michell, Colin Simon. "Investigating the use of forensic stylistic and stylometric techniques in the analyses of authorship on a publicly accessible social networking site (Facebook)." Diss., 2013. http://hdl.handle.net/10500/13324.
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This research study examines the forensic application of a selection of stylistic and stylometric techniques in a simulated authorship attribution case involving texts on the social networking site, Facebook. Eight participants each submitted 2,000 words of self-authored text from their personal Facebook messages, and one of them submitted an extra 2,000 words to act as the ‘disputed text’. The texts were analysed in terms of the first 1,000 words received and then at the 2,000-word level to determine what effect text length has on the effectiveness of the chosen style markers (keywords, function words, most frequently occurring words, punctuation, use of digitally mediated communication features and spelling). It was found that despite accurately identifying the author of the disputed text at the 1,000-word level, the results were not entirely conclusive but at the 2,000-word level the results were more promising, with certain style markers being particularly effective.Linguistics
MA (Linguistics)
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Кривошия, Ксенія Сергіївна, and Kseniia Serhiivna Kryvoshyia. "Лінгвостилістичні засоби створення ефекту ілюзорності світу в романі Ф. К. Діка «Убік» та особливості їх перекладу українською мовою." Master's thesis, 2021. http://repository.sspu.edu.ua/handle/123456789/11817.
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У магістерський роботі виокремлено семантичні домінанти, розглянуто виразні засоби та стилістичні прийоми створення ефекту ілюзорності світу в романі Ф. К. Діка «Убік», а також способи та особливості їх перекладу українською мовою.The master’s graduation project considers the semantic dominants, expressive means and stylistic methods of creating the effect of illusiveness of the world in Ph. K. Dick's novel "Ubik" and peculiarities of their translation into Ukrainian, in particular.
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Harcombe, Aletta Maria. "A non-destructive technical and stylistic comparative analysis of selected metal artefacts from the Ditsong national museum of cultural history." Thesis, 2018. http://hdl.handle.net/10500/26236.
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Text in EnglishThe destructive nature of conventional analytical techniques, coupled with the finite nature of ancient/historical artefacts, has long restricted technical examinations of museum collections, mainly due to ethical constraints. However, over the past few decades, the application of Non-Destructive Evaluation (NDE) techniques has become increasingly popular within the fields of archaeology and cultural heritage diagnostics. The application of such techniques has facilitated the examination of objects that have long remained uninvestigated. However, this positive development also held a slight drawback, in that researchers tend to now focus on technical analyses alone, while excluding more traditional means of analyses, such as comparative stylistic analysis and surface investigation. By employing a combination of stylistic analysis, visual surface investigation (by means of SLR photography and digital microscopy) and nuclear imaging (by means of Microfocus X-Ray Computed Tomography), the thesis sets out to justify the application of mixed methodologies as part of a more holistic integrated authentication approach. Thus stated, the thesis presents a mixed-methodological approach towards the analysis of selected metal objects from the Ditsong National Museum of Cultural History in Pretoria, South Africa. The objects under investigation include a small collection of ancient Egyptian bronze statuettes, a Samurai helmet (kabuto) and mask (menpó), a European gauntlet, and an Arabian dagger (jambiya/khanjar). While all the objects are curated as part of the museum‘s archaeology and military history collections, the exact production dates, manufacturing techniques and areas of origin remain a mystery. By using a combination of techniques, the thesis aims to identify diagnostic features that can be used to shed light on their relative age, culturo-chronological framework and, by extension, their authenticity.
Old Testament and Ancient Near Eastern Studies
D. Litt. et Phil.(Ancient Near Eastern Studies)
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Hietanen, Marko. "A STYLISTIC COMPARISON OF TWO SHORT STORIES BY ERNEST HEMINGWAY : "A Clean, Well-Lighted Place" and "Hills Like White Elephants"." Thesis, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-11690.
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The purpose with this essay is to investigate how Ernest Hemingway uses his style of writing in his short stories “A Clean, Well-Lighted Place” and “Hills Like White Elephants”. The questions at issue are: What is characteristic of Hemingway's style when looking at the use of adjectives and sentence complexity? How is the Iceberg Technique used? What stylistic differences and similarities are there between the stories?
In my investigation I used a stylistic approach, in which adjectives are counted and sentence length is measured (creating mainly a quantitative analysis). The frequency of adjectives is calculated and compared against the norm in imaginative prose. Sentence length is compared against the norm for modern English. Previous research has provided a foundation for further analysis of the Iceberg Technique.
The analysis shows that the frequency of adjectives is very low compared with the norm and that many adjectives are used repeatedly. The sentences are very short, not even reaching half the length of the norm presented. Hemingway’s Iceberg Technique shows in the scarce use of dialogue tags and a plot that does not reveal much about the characters or the setting. The real plot is often hidden, leaving it to the reader to interpret and “feel” what the story is really about.
In conclusion: it may be said that both short stories are told in a minimalistic style, using only what is necessary to tell the story. They have a simple plot and simple characters, just like the Hemingway style we know.