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I. 서론 5

II. 죽음과 생명의 변주곡: 헤밍웨이의 규범과 스타인벡의 비목적론 15

III. 현실대처의 양상 37

1. 규범적 삶을 통한 허무주의 극복: 『해는 또 다시 떠오른다』 37

2. 반문명적 생존방식의 한계와 극복의 가능성: 『토티야 마을』 55

IV. 초월적 수용의 양상 75

1. 대의를 위한 희생: 『누구를 위하여 종은 울리나』 75

2. 생존의 신성함: 『분노는 포도처럼』 91

V. 결론 114

Bibliography 118

ABSTRACT 133

초록보기

 This dissertation aims to illuminate Hemingway's and Steinbeck's central ideas of death and life throughout their main works in view of Code and non-teleological thinking. The former advocates the aesthetic and ethical sportsman's code as his supreme principle while the latter takes non-teleological thought as his own humanistic creed.

Chapter II proves that the literary works of both writers consistently strive for human decency, the principle distinction being that Hemingway tends to dramatize the protagonists leading their lives according to Hemingway's Code while Steinbeck tends to recognize the "raison d'être" of all the living beings in the non-teleological perspective.

In general, Hemingway's Code maintains sportsmanship and grace in the face of both hardship and death, which he believes confirms human dignity. His ethical values can be found in the behavior of protagonists representing his ideal of sportsmanship. His unified vision carries sport, art, and ethics concurrently. His writings of one usually are usually applicable to the other two as well, for, engaging in any athletic endeavor, such as fishing, hunting, bullfighting, participating in war, and even making love in Hemingway's world is a physical expression of the value inherent in writing which does not permit ethical lapses.

On the other hand, Steinbeck's non-teleological approach takes the position that seeing living entities as they are without prejudice serves to strengthen the significance of the existence of human beings. This line of thought implies that characters and even events have an order and a rationale respectively in the objective world and that this order and rationale ought not to be disturbed. Thus the function of the artist is not to insist on changing situations obtrusively but to present vividly and honestly without alteration whatever is seen in the human world. This subordination of art to unprejudiced observation is closely related to Steinbeck's central philosophy, which has its origin in his transcendental concern for the underprivileged and even all living things. Different thought both writers’ thoughts appear to be, they consistently strive to affirm human dignity by embodying Code and non-teleological thinking.

Chapter III addresses the protagonists' behavioral pattern of escape from reality, as seen in Hemingway's The Sun Also Rises and Steinbeck's Tortilla Flat in view of Code and non-teleological thinking. In The Sun Also Rises, Jake Barnes and Pedro Romero apparently follow the lines of Hemingway's code under adverse circumstances and Brett Ashley, formerly a femme fatale, achieves moral growth through suffering. Hence, Brett can also be categorized as Hemingway's code heroine. In Tortilla Flat, Danny and his paisano friends are evidently unprivileged, insignificant individuals but they also have their own reason for being as creatures of human decency, akin to Arthurian knights in spite of their defeat under unfavorable circumstances.

Chapter IV depicts the protagonists' behavioral patterns of transcendental acceptance. In For Whom the Bell Tolls, Hemingway's code hero, Robert Jordan, achieves transcendental triumph at the price of death by adhering to a selfless existence and devoting himself to the cause of humanity. In The Grapes of Wrath, Steinbeck shows his trust in humanism. That all lives are sacred is apparent in his central ideas in The Grapes of Wrath. His non-teleological perspective is closely related to his admiration of life, which leads to his humanistic concern for the underprivileged. In this novel, Ma Joad represents the writer's own voice of each living thing's raison d'être. Most of all, the last scene of Rose of Sharon nursing the starving worker in a barn confirms the writer's humanistic principle. Ma Joad and Rose of Sharon assume their own transcendental posture of acceptance of all living being and their circumstances.

In conclusion, Hemingway and Steinbeck prove human capacity for greatness of heart and spirit, for triumph in defeat, for pity, courage, and love ensuring human dignity by establishing Code and non-teleological thought.

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