Interpreting old man and the sea by ernest hemingway

The Poetics of Space.

The spacious foreground: interpreting simplicity and ecocritical ethics in The Old Man and the Sea.

In The Poetics of Space, although Bachelard focuses productively upon "quite simple images of felicitous space" xxxi and conceives of space as something to be read like a text, he nevertheless figures simple spaces only in terms of their positive use-value for the human imagination.

Santiago has moved from a vision of vast space as a woman--la mar--to a new glimpse of space as non-synthetic, ineffable other. Santiago tries to "gentle the fingers" of his hand 44but we learn that it is "[t]he sun and his steady movement of his fingers" 50 that ultimately uncramp the hand.

Here the sea reappears less as a place of friends and enemies and more as a nonhuman space, not as something that can only be associated with human perception and use, but as a simple fact in and of itself. Whereas previously he has interpreted the value of nature primarily in terms of use--he appreciates the "yellow gulf weed" because of the "added drag" it puts on his line 59 --his feeling of connection to the space when he sees the etching of the wild ducks now depends upon a theorization of responsiveness and responsibility.

As he looked down into it he saw the red sifting of the plankton in the dark water and the strange light the sun made now. I never knew how easy it was. I do not think we can attribute the diction--"formalized, iridescent, gelatinous"--to Santiago, and the generally expository and descriptive technique echoes the voice at the beginning of the passage.

His simple prose style also minimizes our ability to see the space as personified. The discomfort Santiago feels here is not a function of a personified or competitive desire but of dimensionality: Dwight Eddins reads the vast space of the sea as "an encounter with nada in all its life-denying force" 72but here the spacious setting is neither an antagonist to human life, nor a meaningless surface upon which the hero might make his mark.

In his three days at sea, Santiago grapples with this question of self and place. The sky, in this moment, becomes a space of signs, of nonhuman markings. This is a moment where the narrative almost irrupts into lyric, where the reader suspends judgment and instead projects him or herself into both perspectives at once?

In fact, Santiago idealizes the conversion of nature into place: And bed, he thought. Further, this contemplative participation in vast space eventually gives nuance to his relationship to the marlin, provoking his self-doubt and self-criticism.

The dream, then, is in a sense a different response to the interpretive challenge that the marlin had posed. As the passage moves forward, however, Hemingway does not maintain such a strict division between the two modes of seeing.

Here we observe nature move from the backdrop to occupy the narrative foreground. It is easy when you are beaten, he thought.

The Old Man and the Sea

On the other hand, the fact of the weather can be read as a fact of the space itself; the construction of the sentence suggests that human meaning need not figure into the value of the space--its goodness--because the "strange light" and the "shape of the clouds over the land" make meaning independent of Santiago.- The Old Man and the Sea by Ernest Hemingway After reading this novel, "The Old Man and the Sea," by Ernest Hemingway, I was confused about something the old man kept repeating.

During the course of the book, the old man, Santiago, refers to having gone out to far to catch the fish.

Which prize or prizes did Ernest Hemingway win because of The Old Man and the Sea? The Pulitzer Prize only The Nobel Prize only Both the Pulitzer Prize and the Nobel Prize No answer is correct. The Old Man and The Sea, Ernest Hemingway The Old Man and the Sea is a short novel written by the American author Ernest Hemingway in in Bimini, Bahamas, and published in It was the last major work of fiction by Hemingway that was published during his lifetime/5.

Mar 04,  · Interpretive Quotes #9 In The Old Man and the Sea by Ernest Hemingway, the quote on pg. 29; “He always thought of the seas as la mar which is what people call her in Spanish when they love her,” has multiple meanings.

This quote describes the old man’s character that he thinks of the seas as feminine and learned to. By proposing a new narratological category of "spaciousness," this article articulates how open spaces in The Old Man and the Sea--simply described, visually accessible settings--expose the possibility of our imaginative limitations as readers.

Mar 04,  · In the book "Old Man and the Sea" by Ernest Hemingway the protagonist Santiago, says to himself, "You killed him for pride and because you are a fisherman." He says this quote because he tries to make sense of him killing the marlin.

Interpreting old man and the sea by ernest hemingway
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