Saturday, November 26, 2016
Selected terms in post colonial literature
paper no.- 11
topic- Selected terms in post colonial literature
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topic- Selected terms in post colonial literature
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Puritan Society in "Scarlet Letter"
Feminism in to The Lighthouse
Thursday, November 10, 2016
Various Approches in Language Learning paper-12
Name : Gohil Umaba B
Roll No : 16
Email id : umabagohil123@gmail.com
Topic: Various Approches in Language Learning
Paper : 12 ELT
Submitted By: Smt S.B.Gardi maharaja Krishnakumarsinhji Bhavnagar university
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Various Approches in language learning
An Approach
An
approach is a theory about language learning or even a philosophy
of how people learn in general . They can be psychologically
focused such asbehavorisom or cognitivism .they can also be based
on older philosophieses of scholasticism, faculty of psychology or
evenperennialism. Each
the branch of these philosophies encouraged the development of the
mind in the way of a muscle . Train the
brain and a person would be able to do many different things .
These philosophieses have impacted some methods of language
teaching as we see below
Importance
of Language
The Study of Language approaches and
methods provides teachers with a view of how the field of language
teaching involved.
Approaches and methods can be studied not
as prescription for how to teach but as a source of well-used
practice, which teachers can adopt or implement based on their own
needs.
In order
to understand language teaching. It’s important to conceptualize
the notion of approach and method. Edward Anthony identified three
levels of conceptualization and organization.
1.
Approaches 2. techniques 3. methods
An Approach is a set of correlative assumptions dealing with the nature of language teaching and learning. An approach is axiomatic matter to be taught.
Method is an overall plan for the orderly presentation of language material, no part of which is axiomatic based upon, the selected.
Anthony says that approaches is the level at which assumptions and beliefs about language and language learning are specified. Method is the level at which theory is put into practice and at which choice are made about the particular skill to be taught, the content to be taught, and the order in which the content will be presented.
So, let’s have look upon the various approaches of language teaching. There are four main approaches of language learning.
The Oral & Situational language teaching
The Lexical approach
The Natural approach
These are the approaches of language teaching. So, let’s have look upon in detail.
1) There was a general consensus among language teaching specialist, such as palmer, that vocabulary was one of the most important aspect of foreign language learning.
2) A second influence was the increased emphasis on reading skills as the goal of foreign language study in some countries.
Vocabulary was seen as an essential component of reading proficiency this led to the development of principle of vocabulary control, which have major practical impact on teaching of English The leterion report on vocabulary selection, it is based on frequency as well as other criteria. This basic efforts to introduce a scientific and rational basis for choosing the vocabulary content of language course represent the first attempt to establish principle of syllabus design in language.
Gramasimar control
Its basic focus on grammatical content of language course. Palmar had drawn attention to the problems of grammar for research in English teaching from 1922 with until world war second. His views are different from grammar translation method palmar, Hornly and other British applied linguists analyzed English and classified it’s major grammatical structure into sentence patterns it can be used to internalize the rules of English sentence structure.
In learning languages , a distinction is usually made between toungues, second language and foreign languages. A mother toungue is first language or languages one learns as a child. When immigrants come to a new country and the learn the language of that country and learn the language of that country, they are learning second language.
1 Lexical approach
based
on the assertion that language consists of pre fabricated
chunks.Focus on teaching pharases which show words in
combination.valuable for developing a lexis / lexicon.
2
A task based larning activity
step
1 pre-task : introduce topic
and task pre-teach vocabulary and expressions.
Step
2 task cycle ; performance of
task with little guidence.
step
3 language focus ; Analyze
performance practice language.
Language
is used to accomplish a concrete task . Necessary vocabulary,
expressions , and grammatical structure are often pre taught
.translation may be used, if appropriate. Linguistic variation is a
central concept in material and methodology . Sequences is not solely
based on principle of linguistic complexity but also through
consideration of function , meaning and content.intrinsic motivation
is maintained by what is being communicated. Contextualization is a
basic premise . Language learning to communicate not learning about a
language. Comprehensible pronounciation is sought not a false ideal.
Drilling is used but not to ensure memorization without context.
CLT
starts from theory of language as acommunication.CLT draws on michale
hailliday's (1970) account of language as 'functional' e.g
instrumental function (using language to get things) representational
function (using language to communicate information)
4.
total physical responses (TPR)
understanding
the spoken language before develping the skills of
speaking.tmperatives are the main structures to transfer or
communicate information. The student is not forced to speak. But is
allowed to spontaneously begin to speak. Combines information and
skills through the use of the kinesthetic senseory system.
5
A Substitution Activity
Audio-
lingualism
change
the following verbs to their-'ing forms so you can say what you like
to doing
example
i like -------- skiing---- (ski)
i
like ----------- (swim)
i
like ------------(draw)
i
like ------------(watch)
6
presentation, practice, and production (PPP)
Begins
with the teacher presenting or demonstating language to be
taught.student then practice the language , often by repeating after
the teacher in chorus. Finally students produced the language, by
answering questions orally and doing written exercise.
7.
Audio – lingualism
Grammar
teaching is inductive rather than deductive.
The
meaning of words can be learned only in a linguistic and cultural
context.
input
is highly refined.
it
is teacher centered.
Relieses
heavily on drills.
Based
on behaviorism.
The
audiolingual approach which was very popular from the 1940 through
the 1960s , is the based in structural linguistics (sructuralism) and
behavioristic psychology (skinner 's behaviorism), and places heavy
emphasis on spoken rather than written language, and on the grammer
of particular language , stressing habit formation as a mode of
learning. Rote memorization,role playing and structure drilling are
the predominant activities. Audiolingual approches do not depends so
much on the instructors creative ability and do not require excellent
proficiency in the language , being always railed t0 sets of lessons
and books. Therefore, they are easy to implemented, cheap to be
maintained and are still use by many packaged laguage courses.
8.
Direct Method
Classroom
instruction was conducted exclusively in the target language. Only
everyday vocabulary and sentences were taught. Greater focus oral
communication: skills were built up around question and answer
exchanges between teachers and students. Grammer taught
inductively.concrete vocabulary was taught through demonstration,
objects, and pictures.
the
goal is to be learn a language in order to read its litreature or
benefit from the intellectual development that results from foregin
language study.grammer is taught deductively, by presentation and
study of grammer rules , which are then practised through translation
exercises. The students native language is the medium of instruction.
Focus on reading and writing.
Grammer
translation method is an early method based on the assumptions that
language is primarily graphic, that the main purpose of second
language either as a tool for literary reserch and translation or for
the development of the learners logical powers and that the process
of second language learning must be deductive, requires efforts ,
and must be carried out with constant reference to the learner's
native language.
now
get together with two other peoples and out of your three lists, make
a lists of 5 items that the three of you would take and
priorities. You have 3 miniutes for this activity . While you are
carrying out the activity think about the language skills you need.
11.
Terminology
method
'a
method is the practical realisation of an approach hamer'
procedure
an
ordered sequence of techiniques
Approach
.....
describes how people acquire theire knowledge of the language and
makes statements about the conditions which will promote sucessful
language learning.... 'harmer'
12
CLT
Communicative
language teaching
CLT
takes pedalogical ideas from a wide range of methodological
approaches and it is therefore adaptable to a range of different
learner needs and styles.
‘The structure of language’
Conclusion:-
By concluding we can say that approach is different from methods.
Ciatation:-
www.s.k.com
https://educationalreserchtechniques
Black Skin White Mask general overview paper no-11
Name: Gohil
Umaba B
Sem: 3
Roll No: 16
Paper No : 11 post colonial litreature
Topic: Black Skin White Mask general overview
Email id : umabagohil123@ Gmail.com
Submitted by: Smt S.B.Gardi maharaja Krishnakumarsinhji Bhavnagar university
Black Skin White Mask general overview
“Balck Skin White Mask” (1952) is a book about the mindset or psychology of racism by Frantz Fanon, a Martinican psychiatrist and black, post-colonialist thinker. The book looks at what goes through the minds of blacks and whites under the conditions of white rule and the strange effects that has, especially on black people.
The book started out as his doctoral thesis that he wrote to get his degree in psychiatry. So it is written for white French psychiatrists and speaks mainly about Martinique and France in the early 1950s.
That makes it a hard book for the general reader to understand. Every now and then he says something wow that keeps you going, but it requires rereading and a good deal of thought to understand a given chapter. And even then you do not fully understand it – you just understand it better.
Chapter One and two : The Negro & Language
In this chapter, Fanon shares his thoughts on how langauge choice reveals some of the effects oppression has had on the black psyche. He points out that, for black people, "to speak is to exist absolutely for the other" meaning that the language one chooses to communicate with requires that he or she "assume a culture, support the weight of a civilization" . Key to this theory is the notion that, in the oppressed black mind, there is the tendency to equate European culture and whiteness with humanity. Thus, "the Negro will become whiter--become more human--as he masters the white man's language".
Near the end of the chapter, Fanon provides us with one more example of language pathology when he states that "there is no reason why Andre Breton should say of , 'Here is a black man who handles the French language as no white man today can". For Fanon, this is the height of insult. He closes the chapter by saying, "we should be honored, the blacks will reproach me, that a white man like Breton writes such things".
Chapter 3 The Man of Colour and the White Woman
This Chapter from Fanon covers the topic of self alienation that he feels his fellow black men put themselves through when trying to assimilate with the “White mans world”. He picked the controversial topic of interracial relationships that is even till this day is sometimes looked down upon in certain parts of the country to show what lengths people are willing to go to feel normal. This sense or needing to feel like one belongs is something that everyone goes through in their lifetime. However when it came to marriage or just intimate race relations in general the biggest taboo was for a black male to be with a White female. At first Fanon explains that the desire to be with a white woman or touch white flesh is something that is thrusted upon the black man due to all those years of the whites being unattainable . However the more pressing and deeper issue is brought to light when he examines one male in particular and his quest to marry a white woman whom he loves. When he became puzzled with the question of if he should and deserve the right to ask for her hand in marriage, his white friend reassures him that there is nothing black about him and that he is basically a French man that is just very very dark, instead of black so there is nothing to worry about. His rationalization that it was okay for him to get married with a white female just because he was raised around whites so he seemed “less black” was something that Fanon and the man took much offense to. What i found very interesting is that the Female that he was planing on marrying expressed her love and genuine feelings back towards him but instead of taking them and marrying her at the expense of his pride, he didn’t. He instead went into self imposed isolation to see how truly wrong it would be to accept the reasoning that because he isn’t a real black man (savage like) that he was able to marry this woman. Fanon explains that the feeling of self inflicted alienation is a result to wanting to be accepted for what he is not viewed as a mistake or a stain on white skin but, as a proud and Black male. Its these types of prejudices that make him not want to join a white mans world but in a sense make an even playing ground for all.
Chapter 4 : The So-Called Dependency Complex of Colonized Peoples
Chapter four
encompasses Fanon' thoughts surrounding the work of one of his
contemporaries, Octave Mannoni, specifically, a work entitled
"Prospero and Caliban; Psychology of Colonization". Fanon
states that he has chosen the author's work because it emphasizes the
problem of "exhaustive" studies on the effects of
colonialism tat still cannot manage to provide any real insights into
the phenomenon.
Fanon is primarily concerned with
the lack of subjectivity displayed by Mannoni, which he believes is
responsible for the scholar's assumption that, "the inferiority
complex [is] something that antedates colonization" or put more
simply, that inferiority complexes are somehow inherent to
"primitive" or uncivilized peoples.
Finally, Fanon ends the chapter by rephrasing his point: that
inferiority complexes in people of color are the result of the white
man's arrival and that "Mannoni lacks the slightest basis in
which to ground any conclusion applicable to the situation, the
problems, or the potentialities of the [Africans] in the present
time".
Chapter 5 The Lived Experience of the Black Man
The following is based on Chapter 5 of Frantz Fanon’s book “Black Skin, White Masks” (1952): “The Lived Experience of the Black Man”:
Frantz Fanon wants to be a man. But in the white world in which he lives his skin colour becomes everything, more important than even his education and achievements. While his neighbour or his cousin might hate him for good reason, white people hate him without even getting to know him. They are irrational.
He is seen not as Dr Fanon but as a black man who is a doctor. Everyone is watching and waiting for him to make a mistake.
I was walled in: neither my refined manners nor my literary knowledge nor my understanding of the quantum theory could find favor.
Chapter 6 Fanon: The Black Man and Psychophology
The following is based on Chapter 6 of Frantz Fanon’s “Black Skin, White Masks” (1952): “The Black Man and Psychopathology”:
Why white people are so afraid of black men:
Black men are seen as being way less moral.
White men fear they will take white women from them.
Take the last one first:
White men think that black men have bigger penises. They think that once a white woman sleeps with a black man she will never want a white man again: if it is not for their size then it is because black men are so much better in bed.
None of this is based on fact. According to science the African penis and the European penis are the same size on average. There is no proof whatsoever that “Once you go black you never come back”. And prostitutes will tell you that black men and white men are pretty much the same in bed.
Black men are seen as little better than animals. Therefore they are feared for what their bodies can do, which means they are feared for their penises, which accordingly become large in the white imagination. Thus: “whoever says rape says black man”.
In Europe Jews were feared too but no one feared Jewish rapists. When violence was turned on them no one thought to castrate them. Because they were feared for their minds, not their bodies.
But the sex thing is not all of it. Blacks are also seen as morally dark, as sinful and evil – as if blacks were born with original sin but whites were born pure.
Even in Martinique where Fanon grew up and where nearly everyone was black, his mother would tell him to “stop acting like a nigger” if he did something wrong. And if his conscience was clear he would say he was “white as snow”.
Chapter 7 The Black Man and Recognition
In this Chapter Fanon points out the black man’s craving for recognition. Fanon was not a big believer of Adler and Hegel but nonetheless Henry used their ideas as a jumping off point to understand the black from his home island of Martinique. Adler: you understand someone not through his words and actions but through the end Henry aims to achieve. Know that and all his thought and actions fall into place – even if Henry is a madman.
So blacks in America, having had to fight for equal rights against whites, have a firm sense of themselves. Seeing the hatred in the eyes of white people and hearing the names they were called and knowing the body count, they fought for an equal place in society. The blacks in Martinique were not so fortunate. They never fought for anything – except for the white man in wars overseas. Whites freed the slaves on their own.
Conclusion:
Fanon, in the whole book, tries to be analytical without attachment. He talks about black men’s desires to be white with psychological reasons. He never become insulting for blacks and also doesn’t present hatred for white people. But he fairly well describes their psychology of superiority mindset/complex.
citation :-
http://abagod.wordpress.com
www.weblog.liberatormagazine.com
http://currentsoc6.wordpress.com
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Major Movement of Modern Age paper no-9
Name: Gohil Umaba B
Sem: 3
Roll No: 16
Paper No : 9 Modernist Literature
Topic: Major Movement of Modern Age
Email id : umabagohil123@ Gmail.com
Submitted by: Smt S.B.Gardi maharaja Krishnakumarsinhji Bhavnagar university
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Major movement of the modern age
The literary period of Modernism (1900-1945) followed the Realist movement. This period was not the typical literary movement (signified by a somewhat universal ideology of the writers of the period). Instead, the Modernist movement existed as numerous small groups of writers. Historically, the most significant event during this literary period was that of World War I. In a sense, the literature of the period mirrored the conflict, division, and destruction of the war. Writers of this period tended to speak out against conformity (acting as literary rebels).
Human events which fueled the movement were also ground in the war. Prior to WWI, literary texts illustrated the breaking away from conformity (as seen in James Joyce's Ulysses), while, after the war, texts illustrated the reality behind destruction (as seen in T.S. Eliot's "The Waste Land").
The themes of the period placed value on the human experience. Alienation, the past, and the stream of consciousness all played a part in many Modernist texts. Given that the period led America into the human rights era, it is of no surprise that Modernist texts forced readers to examine life from a very different perspective. Modernists relied upon the flow of thoughts (stream of consciousness) which led readers through the texts. This mode of narration illustrated more than one's literal experience in life. Instead, it illustrated how people thought about things such as conformity, war, violence, destruction, and change.
The most influential movements of "modern art" are (1) Impressionism; (2) Fauvism; (3) Cubism; (4) Futurism; (5) Expressionism; (6) Dada; (7) Surrealism; (8) Abstract Expressionism; and (9) Pop Art.
(1) Impressionism (1870s, 1880s)
Exemplified by the landscape paintings of Claude Monet (1840-1926), Impressionism focused on the almost impossible task of capturing fleeting moments of light and colour. Introduced non-naturalist colour schemes, and loose - often highly textured - brushwork. Close-up many Impressionist paintings were unrecognizable. Highly unpopular with the general public and the arts authorities, although highly rated by other modern artists, dealers and collectors. Eventually became the world's most famous painting movement. See: Characteristics of Impressionist Painting (1870-1910). The main contribution of Impressionism to "modern art" was to legitimize the use of non-naturalist colours, thus paving the way for the wholly non-naturalist abstract art of the 20th century.
2) pop Art.
Pop Art is thought to be an art style that returned to the material realities of everyday life, to popular culture (this is where the “pop” term comes from) which derives from most of the visual pleasures of people – like television, magazines or comics.
A style of art whose images reflected the popular culture and mass consumerism of 1960s America. First emerging in New York and London during the late 1950s, it became the dominant avant-garde style until the late 1960s. Using bold, easy to recognize imagery, and vibrant block colours, Pop artists like Andy Warhol (1928-87) created an iconography based on photos of popular celebrities like film-stars, advertisements, posters, consumer product packaging, and comic strips - material that helped to narrow the divide between the commercial arts and the fine arts. The main contribution of abstract expressionism to "modern art" was to show that good art could be low-brow, and could be made of anything.
3) Fauvism
In modern art, the term Fauvism refers to a highly fashionable, if short-lived, art movement associated with the Ecole de Paris, which formed around friendships between French artists around the turn of the century. Famous above all for their bold use of colour, the 'Fauves' received their name at the 1905 Salon d'Automne exhibition in Paris, from the influential French art critic Louis Vauxcelles, who insultingly described their vividly coloured canvases as being the work of wild beasts (in French, fauves), and the name stuck.
Curiously, while Matisse (1869-1954) and his French colleagues were dubbed fauvists, neither Wassily Kandinsky nor the 'Russian Matisse' Alexei von Jawlensky - both of whom exhibited alongside the Fauves at the Salon - were given the same treatment.
4) cubism
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse and Puteaux) during the 1910s and extending through the 1920s.
The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne.
The impact of Cubism was far-reaching and wide-ranging. Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of an evolutionary process that produced diversity; it was the antecedent of diverse art movements
5) Futurism
The most important Italian avant-garde art movement of the 20th century, Futurism celebrated advanced technology and urban modernity. Committed to the new, its members wished to destroy older forms of culture and to demonstrate the beauty of modern life - the beauty of the machine, speed, violence and change. Although the movement did foster some architecture, most of its adherents were artists who worked in traditional media such as painting and sculpture, and in an eclectic range of styles inspired by Post-Impressionism.
Nevertheless, they were interested in embracing popular media and new technologies to communicate their ideas. Their enthusiasm for modernity and the machine ultimately led them to celebrate the arrival of the First World War.
The Futurists were fascinated by the problems of representing modern experience, and strived to have their paintings evoke all kinds of sensations - and not merely those visible to the eye. At its best, Futurist art brings to mind the noise, heat and even the smell of the metropolis.
Unlike many other modern art movements, such as Impressionism and Pointillism, Futurism was not immediately identified with a distinctive style.
6) Expressionism
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express the meaning[3] of emotional experience rather than physical reality.
Expressionism was developed as an avant-garde style before the First World War. It remained popular during the Weimar Republic,particularly in Berlin. The style extended to a wide range of the arts, including expressionist architecture, painting, literature, theatre, dance, film and music.
7) Dada
Dada was the first conceptual art movement where the focus of the artists was not on crafting aesthetically pleasing objects but on making works that often upended bourgeois sensibilities and that generated difficult questions about society, the role of the artist, and the purpose of art.
So intent were members of Dada on opposing all norms of bourgeois culture that the group was barely in favor of itself: "Dada is anti-Dada," they often cried. The group's founding in the Cabaret Voltaire in Zürich was appropriate: the Cabaret was named after the eighteenth century French satirist, Voltaire, whose novella Candide mocked the idiocies of his society.
Dada artists are known for their use of readymade objects - everyday objects that could be bought and presented as art with little manipulation by the artist. The use of the readymade forced questions about artistic creativity and the very definition of art and its purpose in society.
8) sur realism
movement in visual art and literature, flourishing in Europe between World Wars I and II. Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; but Surrealism’s emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the “rationalism” that had guided European culture and politics in the past and that had culminated in the horrors of World War I.
9) Abstract Expressionism
Abstract expressionism is a post–World War II art movement in American painting, developed in New York in the 1940.It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term abstract expressionism was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.
Ciatation
; www.enotes.com
Old Man and The Sea Characters and Theme paper no.-10
Name
– Umaba Gohil B
Paper
no. - 10 American Literature
Topic:-
Old Man and The Sea Characters and Theme
Roll
No.- 16
Email
id- umabagohil123@gmail.com
Submitted
by; - Department of English M.K.B.U University
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Old
Man and The Sea; Characters
1)
Santiago:
The
hero of the story. He is an old Cuban fisherman who is a
perfectionist when it comes to fishing. Despite his precise methods,
he has no luck at sea. Santiago wants to be unique: a greater and
stranger person than his peers out at sea. He loves baseball and
dreams of lions. He is alone, except for the company of Manolin. He
is determined to catch one big fish. Going eighty four days without a
catch, Santiago embarks on a journey initially to prove himself as a
fisherman but later discovers that it was not the material
possessions but rather the experience gained.
Round
character changed throughout the story: initially set off to prove
himself but later found that it only mattered that he knew the great
things he did and that he was safe in the end.
Dynamic
protagonist.
During
his battle with the great fish, the old man recalls an arm-wrestling
match that he finally won after an entire day of ferocious battling.
The sea also reminds him of numerous encounters with marlins, sharks,
seabirds, turtles, and all other forms of life that make their home
in the sea just like he does. These thoughts give him the strength to
endure the vicious trials of his three-day confrontation with the
great fish. Although some of the other fishermen pity, and sometimes
even make fun of, his old age and lack of luck, Santiago is never
resentful.
He
is a simple man who loves the sea for all it has given him and deeply
respects the great fish, his worthy, noble, and beautiful adversary.
Through his interactions with Manolin, the old man demonstrates his
kind, compassionate side. Although he is victorious in his battle
with the great fish, the wound that proves fatal leaks blood into the
sea that attracts sharks, which eventually tear all of the meat off
the prized catch. Despite the odds against him, Santiago refuses to
give in to the predators, as he fights off the sharks with any weapon
he can fashion on his boat until there is nothing left to the great
fish except its skeleton.
2)
Manolin (The Boy) :-
Even
though his parents have ordered him to work with fisherman with
better luck, Manolin remains Santiago's loyal caretaker. For the
first few weeks of Santiago's fishing drought, the boy was by his
side on the skiff every day, helping him carry the mast, tie the
line, hoist the sail, and push the boat off in the early morning.
Now, when Manolin returns from his sailing duty on another vessel, he
faithfully returns to the old man. The boy uses his own credit to get
food, coffee, and bait for the old man, who could not survive without
such generosity. Manolin also listens to all of the old man's stories
and learns all of his fishing techniques from him. Santiago is deeply
grateful for the boy's friendship. Throughout his three-day battle
with the great fish, the old man evokes thoughts of the boy as
motivation to help him endure. He often wishes that the boy was
there, and when he feels that he may not have the strength to defeat
the great fish, he is rejuvenated by thinking about the lesson his
endurance would teach the boy. When Manolin discovers Santiago
prostrate on his bed with his hands mutilated by the line, he breaks
into tears several times. Although other members of the fishing
community are supportive, Manolin is the only one that empathizes
with the Santiago's great ordeal. In the final scene, Manolin
lovingly watches over the old man while he sleeps in recuperation
from his days at sea.
3)The
Marlin -
Santiago's
worthy opponent succumbs to Santiago, and to the chagrin of all,
becomes a tasty snack.Other than the 1997 and 2003 Florida Marlins
who won the World Series, Santiago's marlin has achieved more
notoriety than any other marlin ever to live. He presents Santiago
his greatest challenge. He is admired and, like Santiago, becomes
heroic in defeat. In a 1972 interview with the Undersea Times,
Frankie the Hammerhead claims that Santiago's marlin may have been
the tastiest fish he had ever eaten.
4)
The Shark
When
you're out at sea during most of the novel, there aren't too many
humans to talk to, so you start talking to fish.The sharks represent
life's trials and the predatory nature of humans. Regardless of
individual success, the sharks will eventually get you. It's
inevitable. That doesn't mean, however, that one must simply give up.
Santiago fights the sharks, regardless of the predetermined outcome.
Some claim the sharks symbolize literary critics who had viewed
Hemingway's more recent works negatively. To those literary critics,
I say shut up! Look who won a Nobel Prize in Literature. To the
sharks I say thanks for not eating me when I swam in the ocean last
week.
Old
Man And The Sea
:- Themes
Pride:-
Hemingway’s
treatment of pride in a novella is ambivalent. A heroic man like
Santiago should have pride in his actions, and as Santiago shows us.”
Humility was not disgraceful and it carried no loss of true pride.”
It is apparently Santiago’s pride which presses him to travel
dangerously far out into the sea,” beyond all people in the world,”
to catch the marlin. While he loved the marlin and called him
brother, Santiago admits to killing it for pride, his blood stirred
by battle with such a noble and worthy antagonist. Some have
interpreted the loss of the marlin as the price Santiago had to pay
for his pride in travelling out so far in search of such a catch.
Contrarily, one could argue that this pride was beneficial as it
allowed Santiago an edifying challenge worthy of his heroism. In the
end, Hemingway suggests that pride in a job well done, even if pride
drew one unnecessarily into the situation, is a positive trait.
Heroism
Triumph
over crushing adversity is the heart of heroism, and in order for
Santiago the fisherman to be a heroic emblem for humankind, his
tribulations must be monumental. Triumph, though, is never final, as
Santiago's successful slaying of the marlin shows, else there would
be no reason to include the final 30 pages of the book. Hemingway
vision of heroism is Sisyphean, requiring continuous labor for
essentially ephemeral ends. What the hero does is to face adversity
with dignity and grace, hence Hemingway's Neo-Stoic emphasis on
self-control and the other facets of his idea of manhood. What we
achieve or fail at externally is not as significant to heroism as
comporting ourselves with inner nobility. As Santiago says, "
Man is not made for defeat....A man can be destroyed but not
defeated".
Perseverance
Bringing
man and fish together since 1952. The old man’s battle with the
fish is not only a battle of strength, but a battle of wills. The old
man makes up for his old age with incredible endurance, willing to
withstand hunger, physical pain, and isolation from the rest of the
world as he battles the fish. Endurance becomes a way we connect the
old man and the fish he fights, as they share a determination that,
in its magnitude, separates them from other people and creatures.
Manhood:-
Heming
way’s ideal of manhood is nearly in separable from the ideal of
heroism discussed above. To be a man is to behave with honor and
dignity and to be a man is to suffering, to accept one’s duty
without complaint, and most importantly to display a maximum of
self-control. The representation of femininity, the sea is
characterized expressly by its caprice and lack of self-control. If
she did wild or wicked things it was because she could not help them.
The representation of masculinity, the marlin is described as great,
beautiful, calm, and noble. Santiago steels him against his pain by
talling himself.
“Suffer
like a man, or a fish.”
In
Hemingway’s ethical universe, Santiago shows us not only how to
live life heroically but in a way befitting a man.
His
Christian virtues:-
There
is something of the Christian saint about Santiago. He has achieved
the most difficult and saintly of all Christian virtues, that is
humility. It is humility so absolute that is involves” no loss of
true pride.” There is even in him a suggestion of Saint Francis, in
his attitude to animal life, and especially to birds. Moreover at
various moments in the story Santiago affirms the major Christian
virtues like faith, hope and charity. In the very first dialogue
between Santiago and the boy marlin we learn that the boy’s father
has not much, faith, Santiago and mandolin have it:
“He
hasn’t much faith.”
“No,”
the old man said. “But we have. Haven’t we?”
“Yes”,
the boy said.
Towards
the close of the novel, the old man tells himself:
“It
is silly not to hope. Besides it is a sin.”
As
for charity we see it clearly in his generous love of men and
animals.
Success:-
The
novel is indeed remarkable for its stress on what man can “do”
and on the world as an arena where heroic deeds are possible. In this
universe everyone has a role to play and Santiago’s role is to
pursue the great marlin: “that which I was born for”, he
reflects. To be a hero means to dare more than other man. To be a
hero means to expose oneself to greater dangers and therefore more
greatly to risk the possibilities of defeat and depth. Santiago
fulfils this test of heroism about such a man it would be absurd to
say that things are done to him and that he does little. On the
eighty-fifth day Santiago rows far beyond the customary fishing area.
That is itself doing something big. Because he goes out too far in
the sea, he catches the great fish. The fish is so powerful it pulls
his skiff even farther out so far that he cannot get back in time to
prevent the marlin being eaten up by the sharks. The greatness of the
experience and the inevitable nature provides human beings with
unlimited opportunities for the great experience. The experience
carries with it a heavy tragic price. Santiago’s achievement
creates a sensation among the fishermen in his village. The tourists
of the story mistake the marlin for a shark but they too are struck
by a sense of the extraordinary.
Conclusion:-
There
are many themes in this novella but the main theme is heroism. We can
see some heroic deeds which are done by the character Santiago.
Citation:
www.jiffynotes.com
www.brighthubeducation.com
www.bookrags.com
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