Columbia University Charles Dickens Oliver Twist Research Paper Do a Research paper source packet Based on Oliver Twist -Charles DickensI’ve attached an ex

Columbia University Charles Dickens Oliver Twist Research Paper Do a Research paper source packet Based on Oliver Twist -Charles DickensI’ve attached an example, you should do the Oliver Twist source packet like that. Include analysis. 5 sources are needed DIY Research Paper Assignment Packet
Studento 1
Masculine Power in Ernest Hemingway’s “Hills Like White Elephants”
Jane Studento
Research Question: Is Ernest Hemingway critiquing male dominance over women through his
characterization of the American and Jig?
I. PRIMARY TEXT
Hemingway, Ernest. “Hills Like White Elephants.” Literature: Reading Fiction, Poetry, and
Drama. Ed. Robert DiYanni. New York: McGraw Hill, 2007. Print.
Drinking=Control for the American
Jig asks, “What should we drink?” (Hemingway 563). The American replies, “ ‘Let’s drink
beer.’”(563). He proceeds to order “’Dos cervezas’”(563) and even chooses the size of the beer.
These details reveal that the American is in control.
American leads the conversation
He says, “It’s really an awfully simple operation, Jig’”(Hemingway 564).
He changes the content of the conversation from her to a life and death procedure. It’s so cavalier
and nonchalant.
Jig’s dialogue shows she is out of control – maybe Hemingway is showcasing that to reveal how
the oppression is impacting her. She says, “Would you please please please please please please
please stop talking’”(Hemingway 566). Why seven times? Archetypal meaning? Some might
argue that Jig has the power in this case because she is getting emotional and loud – also, she is
changing the course of the discussion. However, she is reduced to this hysterical reaction and in
that sense, she seems disempowered.
American comes out on top – Despite her lea, he continues to talk about this painful subject. He
says, “’But I don’t want you to…I don’t care anything about it’”(Hemingway 566). Only when
Jig threatens that she will “scream”(566) is the conversation finally over.
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II.
Grant, David. “Hemingway’s ‘Hills Like White Elephants’ and the Tradition of the
American in Europe. Studies in Short Fiction 35.3 (1988): 267. Literary Reference
Center. Web. 27 Feb. 2018.
Power demonstrated by Americans in Europe during this time. Grant explains,
“Hemingway’s story, then, builds first toward Jig’s construction of a framework that divides the
couple’s experience along the lines of gain and loss, and then toward an unconvincing retreat
from that construction. To feel safe, the couple must imagine a world where an action is nothing
at all, an operation no real operation, where they can have Europe again because they are frozen
in a present that neither the pregnancy nor the abortion could disrupt, a present whose stability
even their quarrel cannot pierce because the behavior of having a fine time has crossed over into
the permanent state of feeling fine”(Grant). It sounds like Grant is focusing on the paralysis of
this conversation and how it blurs lines between life and death—war does that. Relationships do
that, too. I wonder if that’s H’s point.
III.
Rankin, Paul. Hemingway’s ‘Hills Like White Elephants.’” Short Story Criticism, Ed. Jelena O.
Kristovic. Explicator 63.4, Summer 2005, pp.234-237.
Rankin uses research from Frederick Busch, whom he says “phrases it most succinctly when he
argues that Jig ‘buries her way of seeing as she will bury her child’”(762). OUCH. Talk about
losing a sense of feminine power and life itself to a man!
Rankin also includes an opposing viewpoint on the topic from Janet Burroway: “A closer look at
what Janet Burroway refers to as the pattern of shifting power, however, reveals a more
subversive current in the dialogue—one in which Jig, the xenofeminine, outwits her boorish
American inamorato and manipulates both the conversation and the man at each turn to control
the shared destiny of her and the unborn child”(36). Burroway seems to say that Jig manipulates
and controls the conversation, not the American.
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IV.
O’Brien, Tim. “Allusion, Word-Play, and the Central Conflict in Hemingway’s ‘Hills
Like White Elephants.’” Hemingway Review 12.1 (1992): 19-26.
“The male’s language [of distance and control] overpowers [Jig] (O’Brien 22).
“Jig…knows that she will never bear the child she is carrying (O’Brien 22-3).
According to O’Brien, Hemingway glorifies the American through the power he gives him over
Jig. The power shows up in the male language but also through the implanted ideas the male
(ironically) puts in Jig.
V.
O’Connor, Margaret Anne and John Alberti. Ernest Hemingway: 1899-1963. Web.
“Of the many possible works of comparison, one of the most fruitful would be T.S. Eliot’s The
Waste Land. Compare this rootless couple escaping the commitment of parenthood with Eliot’s
set of lovers in Book II of his poem. The song of the nightingale “so rudely forced” is “Jug,
Jug,” which is echoed in the man’s choice of a nickname for the girl.
I’m not sure this is significant to my research but it’s an interesting point I have to investigate
further.

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