THE AESTHETICS OF MEIOSIS: HEMINGWAY'S 'THEORY OF OMISSION' (INTERDISCIPLINARY STUDY, CEZANNE)

In recent years, Ernest Hemingway's theory of omission has received much critical attention. Many studies have been devoted to this theory and, tangentially, to its corollary, the influence of French Post-Impressionist painter Paul Cezanne upon him. These studies primarily explore the various modes of Hemingway's practical application of the theory of omission to his short stories.;However, the present study is primarily concerned with the theory of omission from a theoretical point of view and seeks to situate the theory of omission within the broader provinces of the aesthetics of silence and the aesthetics of the visible and the invisible. The study is based upon an examination of Hemingway's remarks on the theory of omission and his frequent acknowledgments of artistic indebtedness to Cezanne. These remarks occur in Hemingway's letters; in his recorded conversations; in interviews; in nonfiction books such as Death in the Afternoon (1932) and A Moveable Feast (1964); and in a posthumously published fragment of one of his short stories and a preface.;A review of these sources will constitute the first chapter of this study. The second and the third chapter will respectively situate the theory of omission in the province of the aesthetics of silence and Cezanne's influence upon Hemingway in the realm of the aesthetics of the visible and the invisible. The third chapter will also connect the aesthetics of the visible and the invisible as the spatial corollary to the aesthetics of silence and another dimension of the theory of omission or the aesthetics of meiosis.