GROUP 6 PRODUCTIONS
LITERARY CRITICISM PORTFOLIO
TABLE OF CONTENTS Content
Page
1. The theory of literature .................................................... 3 2. Structuralism and semiotics ........................................... 4 3. Poststructuralism and Deconstruction......................... 5 4. Postmodernism ..................................................................... 6 5. Feminist Criticism................................................................. 7 6. Psychoanalytic Criticism.................................................... 8 7. Marxist Criticism .................................................................. 9 8. New Historicism and Cultural Materialism................... 10 9. Stylistics..................................................................................... 11 10. Narratology............................................................................. 12 11. Postcolonial Criticism.......................................................... 16 12. Intertextuality interaction .............................................. 19 13. The black cat by Edgar Allan Poe ......................................20 14. Mary Shelley WON THE CONTEST......................................23 15. Lord of the Flies .......................................................................26 16. The old man and the sea........................................................29 17. Acknowledgment letter to Peter B. Kyne.........................32 18. Authors .....................................................................................34
Guatemala June, 17
The theory of literature Before introducing the definition of the theory of literature, let´s first start by defining what literature is. It is not easy to define the meaning of literature. In the past, people only knew that literature consisted of poems, prose, and drama, but nowadays that definition is too absurd.
The theory is not practice and vice versa, but they are related to each other and need one another. There will be no theory if there is no successive practice. Theory cannot stand for isolation because it will influence the thoughts of many people. It will not be a theory if there is no one supports it.
According to Harper´s magazine, the idea that literature contains multitudes is not new. For the greater part of its history, literature referred to any writing formed with letters. Up until the eighteenth century, the only true makers of creative work were poets, and what they aspired to was not literature but poesy.
Basically, literary theory is a branch of literature that explains the principles, laws, categories, and criteria of literature that differ from those which are not literature. It was first acknowledged by Aristoteles in his book entitled Poetica.
We can understand then that literature is built from the way people think and talk. So then, what is the difference? And do we need the theory to analyze it? .
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Structuralism and semiotics Structuralism is an intellectual movement that began in France in the 1950s. Its essence is the belief that things cannot be understood in isolation - they have to be seen in the context of the larger structures they are part of. Anthropologist Claude Levi-Strauss’s work in 1908 Literary critic Roland Barthes (1915-1980)
The arrival of the Structuralism approach to Literature It caused a great deal of controversy, precisely because literary studies in these countries had traditionally had very little interest in large abstract issues of the kind structuralists wanted to raise. The so-called 'Cambridge revolution' in English studies in the 1920s had promulgated the opposite to wider questions, abstract issues, and ideas.
Signs of the fathers - Saussure Saussure: meaning we give to words is arbitrary, maintained by convention. Is no inherent connection between a word and what it designates. Structuralism: language isn't a reflection of the world and of experience, but a system that stands quite separate from it.
Scope of Structuralism In Saussure’s model language was transferable and would explain the functioning of all systems of signification as well. Claude Levi-Strauss applied the structuralist perspective to the interpretation of myth. With this method, the story and the cycle of which it is a part are reconstituted in terms of opposition.
The broader structure can also be found, in the entire corpus of an author’s work. Sin culture is made up of many structural networks that carry meaning and can be shown to function in a systematic way. This network functions through codes as a system of signs. These codes can be read or decoded by the structuralist or semiotician These elements have their place in an overall structure, and the structure if of greater importance than the individual element.
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Poststructuralism and Deconstruction
Poststructuralism Philosophical and literary forms of theory both build upon and reject ideas established by structuralism. It is an intellectual movement that emerged in philosophy and the humanities in the 1960s and 1970s. Post-structuralism rejects the idea of a literary text having a single purpose, a single meaning, or one singular existence. Instead, every individual reader creates a new and individual purpose, meaning, and existence for a given text. Rejects definitions that claim to have discovered absolute 'truths or facts about the world. Certain meanings are elevated by social ideologies to a privileged position. Consider, in our own society,
Freedom, Family, Democracy, Independence, Authority, Order, and so on, sometimes meanings are seen as the origin of all the others, the source from which they flow; but this, as we have seen, is a curious way of thinking, because for this meaning ever to have been possible other signs must already have existed. Deconstruction Meanings are not fixed. Phonocentrism. writer centered. According to post-structuralist theory, literature can have no singular meaning for a number of reasons: The first reason is that no two readers will be alike. Each person flipping through the pages will bring his or her own life experiences to the work, and with that, his or her own interpretation of the meaning of words and themes.
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POSTMODERNISM The term postmodernism was used in the 1930s, but its current sense and vogue can be said to have begun with Jean-Francois Lyotard's.
Postmodernism literature is a literary movement that eschews absolute meaning and instead emphasizes play, fragmentation, metafiction, and intertextuality. Postmodernism asserts that truth is not mirrored in human understanding of it, but is rather constructed as the mind tries to understand its own personal reality. Another major theorist of postmodernism is the contemporary French writer Jean Baudrillard, whose book Simulations (1981, translated 1983). Baudrillard is associated with what is usually known as 'the loss of the real', which is the view that in contemporary life the pervasive influence of images from film, TV, and advertising has led to a loss of the distinction between real and imagined, reality and illusion, surface and depth. The result is a culture of 'hyperreality', in which distinctions between these are eroded.
Postmodern literature builds on the following core ideas: Language is a social construct that speaks and identifies the subject. Knowledge is contingent, contextual and linked to power.. The critids do foreground the element of 'narcissism' in narrative technique. They discover postmodernist themes, tendencies, and attitudes within literary works of the twentieth century and explore their implications.
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FEMINIST CRITICISM
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WHAT FEMINIST CRITICS DO: 1. Rethink the canon, aiming at the rediscovery of texts written by women. 2. Revalue women's experience. 3. Examine representations of women in literature by men and women. 4.Challenge representations of women as 'Other', as 'lack', as part of 'nature'. 5. Examine power relations which obtain in texts and in life, with a view to breaking them down, seeing reading as a political act, and showing the extent of patriarchy.
The Anglo-Americans seem to accept the conventions
of
literary
realism,
and
treat
literature as a series of representations of women's lives and experience which can be measured and evaluated against reality. They see the close reading and explication of individual literary texts as the major business of feminist
criticism.
Generally,
this
kind
of
feminist criticism has a good deal in common with the procedures and assumptions of the liberal
humanist
approach
to
literature,
although feminists also place considerable emphasis on the use of historical data and nonliterary material (such as diaries, memoirs, social and medical history) in understanding the literary text.
The American critic Elaine Showalter is usually taken as the major representative of this approach, but other exemplars would be Sandra Gilbert and Susan Gubar, Patricia Stubbs, and Rachel Brownstein.
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Guatemala June, 17 Psychoanalysis is a form of therapy that aims to cure mental disorders by investigating the interaction of conscious and unconscious elements in the mind.
Psychoanalitic Criticism It is a form of literary criticism which uses some of the techniques of psychoanalysis in the interpretation of literature.
Sigmund Freud Sigmund believes that every character we see in a story is the representation of writers unconscious mind.
What Freudian Psychoanalytic Critics do
Pay close attention to unconscious motives and feeling of the author or characters.
Jacques Lacan According to Lacan, the unconscious is linguistic in structure, based on the basic poles of the language identified by the linguist Roman Jakobson, which are: metaphor and metonymy.
What Lacanian Critics do
They pay close attention to unconscious motives and feelings, but instead of excavating for those of the author or characters, they search out those of the text itself.
Sigmund Freud & Jacques Lacan Pag. 8
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Marxist Criticism
The central principle of Marxist criticism is that the nature of literature is influenced by the social and political circumstances in which it is produced.
Karl Marx a German philosopher, and Friedrich Engels a German sociologist (as he would now be called), were the joint founders of this school .
What Marxist critics do
Make a division between the 'overt' (manifest or surface) and 'covert' (latent or hidden) content of a literary work and then relate the covert subject matter to basic Marxist themes, such as class struggle, or the progression of society through various historical stages, for example, the transition from feudalism to industrial capitalism.
Althusser's definition quoted by Goldstein and it is as follows:
Ideology is a system (possessing its logic and proper rigour) of representations (images, myths, ideas or concepts according to the case) endowed with an existence and an historical role at the heart of a given society.
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New Historicism and Cultural Materialism Definition A simple definition of the new historicism is that it is a method based on the parallel reading of literary and non-literary texts, usually of the same historical period.
New and old historicisms - some differences Bnew historicism is indeed a historicist rather than a historical movement. That is, it is interested in history as represented and recorded in written documents, in history-as-text. Historical events as such, it would argue, are irrecoverably lost.
What new historicists do: 1. They juxtapose literary and non-literary texts, reading the former in the light of the latter. 2. They try thereby to 'defamiliarise' the canonical literary text, detaching it from the accumulated weight of previous literary scholarship and seeing it as if new. 3. They focus attention (within both text and co-text) on issues of State power and how it is maintained, on patriarchal structures and their perpetuation, and on the process of colonisation, with its accompanying 'mind-set'.
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Stylistics Stylistics is a critical approach which uses the methods and findings of the science of linguistics in the analysis of literary texts. By 'linguistics' here is meant the scientific study of language and its structures, rather than the learning of individual languages.
The specific differences between conventional close reading and stylistics include the following: 1. Close reading emphasises differences between literary language and that of the general speech community; it tends to isolate the literary text and see it as a purely aesthetic art object, or 'verbal icon', whose language operates according to rules of its own. 2. Stylistics uses specialised technical terms and concepts which derive from the science of linguistics, terms like 'transitivity', 'under-lexicalisation', 'collocation', and 'cohesion' 3. Stylistics makes greater claims to scientific objectivity than does close reading, stressing that its methods and procedures can be learned and applied by all.
What stylistic critics do They describe technical aspects of the language of a text -such as grammatical structures and then use this data in interpretation. The purpose of doing this is sometimes simply to provide objective linguistic data to support existing readings or intuitions about a literary work. At other times the purpose is to establish a new reading, which may be based only, or mainly, on this linguistic data, and may challenge or counter existing readings. Pag. 11
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NARRATOLOGY Narratology: what is it?
• The study of narrative structures • How narratives make meaning • What the basic mechanisms and procedures are which are common to all acts of story-telling. ‘STORY’ versus ‘PLOT’ • The ‘story’ is the actual sequence of events as they happen • The ‘plot’ is those events as they are edited, ordered, packaged, and presented in what we recognise as a narrative.
‘Story’ • The ‘story’, being the events as they happen, has to begin at the beginning, of course, and then move chronologically with nothing left out. The ‘Plot’ • The ‘plot’, on the other hand, may well begin somewhere in the middle of a chain of events, and may then backtrack, with a flashback which fills us in on things that happened earlier • The plot is a version of the story which should not be taken literally. Pag. 12
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NARRATOLOGY Good Old Aristotle • In his Poetics, Aristotle identifies CHARACTER and ACTION as the essential elements in a story • The character must be revealed through the action = through aspects of the plot
Aristotle’s Three Key Elements in a Plot 1. The Hamartia • ‘Sin’ or ‘Fault’ • In tragic drama = tragic flaw • 2. The Anagnorisis • ‘recognition’ or ‘realisation’ • When the truth of the situation is recognised by the protagonist 3. The Peripeteia • A ‘turn-round’ or a ‘reversal’ of fortune • In classic tragedy this is usually a fall from high to low estate, as the hero falls from greatness • Categories essentially to do with moral purposes of the stories • However, these three elements may not suit all narratives.
Vladimir Propp (1895-1970) • Russian Formalist critic; Russian folktales • Morphology = the study of forms • His work is based on the notion that all tales are constructed by selecting items from a basic repertoire of 31 ‘functions’ (all possible actions) Pag. 13
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NARRATOLOGY
Propp’s 7 ‘Spheres of Action’
1. The villain 2. The Donor (provider) 3. The Helper 4. The Princess (a sought-for-person) and her father 5. The Dispatcher 6. The Hero (seeker or victim) 7. The False Hero
Gerrard Genette 1. Focus: how the tale is told • The Process of telling the tale itself • 6 key areas: 2. It is the basic narrative ‘mimetic’ or ‘diegetic’? • Mimesis • = showing or dramatising; represented in a scenic way; setting, dialogue/ direct speech • = slow telling, what is done and said is ‘staged’ for the reader, creating the illusion that we are ‘seeing’ and ‘hearing’ things for ourselves. 3. Diegesis • = ‘telling’ or ‘relating’ • = more rapid or panoramic or summarising way • = gives us the essential information as efficiently as possible, without creating the illusion that the events are taking place before our eyes. • ** In reality, writers use the two modes in tandem for strategic reasons.
Focalisation • Viewpoint or perspective • Which point of view the story is told • External focalisation = viewpoint outside the character depicted; we are told things only external and observable; what the characters say and do • Internal focalisation = focus on what the characters think and feel. Pag. 14
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What narratologists do 1. They look at individual narratives seeking out the recurrent structures which are found within all narratives. 2. They switch much of their critical attention away from the mere 'content' of the tale, often focusing instead on the teller and the telling . 3. They take categories derived mainly from the analysis of short narratives and expand and refine them so that they are able to account for the complexities of novel-length narratives. 4. They counteract the tendency of conventional criticism to foreground character and motive by foregrounding instead action and structure. 5. They derive much of their reading pleasure and interest from the affinities between all narratives, rather than from the uniqueness and originality of a small number of highlyregarded examples.
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POSTCOLONIAL CRITICISM Postcolonialism Emerged in the 1990’s Undermines universalist claims Universal claims disregard difference Regional National Cultural Social White Eurocentric norms should not be privileged
To achive postcolonial perspective First step for the “colonized” is to reclaim their own past i.e.. History did not begin with the Europeans Second step is to erode colonialist ideology that devalued their past
Orientalism Filled with anonymous masses of people (not individuals) Actions determined by instinct (lust, terror, fury, etc.) vs. logic fury, etc.) Their reactions are determined by racial considerations rather than individual circumstance Pag. 16
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POSTCOLONIAL CRITICISM Characteristics of Postcolonial Criticism 1. An awareness of representation of non-Europeans as exotic or ‘‘Other’ 2. Concern with language Some conclude the colonizer's language is permanently tainted, to write in it involves acquiescence in colonial structures. 3. Emphasis on identity as double or unstable (identify with colonizer and colonized)
Stages of postcolonial criticism Phase 1: Analyze white representation of colonial countries...uncover bias. Phase 2 Postcolonial writers explore selves and society (the empire writes back)
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POSTCOLONIAL CRITICISM
What Postcolonial Criticism do ►Reject claims of universalism ► Examine representation of other cultures ► Show how literature is silent on matters of imperialism and colonialism ► Foreground questions of diversity and cultural difference ► Celebrate ‘cultural polyvancy’ (belonging to more than one culture) ► Assert that marginality, plurality and ‘Otherness’are sources of energy and potential change.
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Intertextuality Interaction
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Guatemala June, 17 INTRODUCTION Even before the field of Psychology was introduced and brought into practice some American writers, threw a spotlight on the mechanism of the human brain in their works. Edgar Allan Poe "as one of them who seems to be keenly aware of the complexities of the human brain and its effects on human behavior. His understanding of the human mind is marked in his various short stories and “The Black Cat” is one of them. The purpose of this essay is to analyze and explain the reason behind the behavioral change of The Black Cat’s Narrator. The narrator who was once an animal lover gradually changed into an animal abuse and abuser. "The Black Cat" is a short story written by Edgar Allan Poe. It was first published in the August 19, 1843, edition of The Saturday Evening Post. It is a study of the psychology of guilt, often paired in analysis with Poe's "The Tell-Tale Heart". The story is presented as a first-person narrative using an unreliable narrator. In using the Psychoanalysis approach of literary criticism in this story, the narrator’s character development will be elaborated based on Sigmund Freud’s division of human personalities of id, ego, and superego. It is of no surprise to conclude the narrator of the story The Black Cat has a very peculiar and complex mind. The Black Cat’s Narrator by Edgar Allan Poe According to the Oxford Dictionary Psychoanalysis itself is a form of therapy which aims to cure mental disorders “by investigating the interaction of conscious and unconscious elements in the mind”. As described by Freud “unconscious” is the epicenter of repressed experiences, traumatic memories, fears, thoughts, sexual desires and aggression. The psychoanalytic criticism is a form of literary criticism which uses some of the techniques of psychoanalysis in the interpretation of literature. The Austrian, Sigmund Freud (1856-1939) plays an important part on this literary criticism, he believes that every character we see in a story is the representation of writer’s unconscious mind. Freudian Psychoanalytic Critics focus on stressing the distinction between the conscious to the unconscious mind, paying close attention to unconscious motives and feeling of the author or characters, demonstrating the presence in the literary work of classic psychoanalytic, making a large-scale application of psychoanalytic concepts to literary history in genre and identifying a ¨psychic context for the literary work, at the expense of social or historical context. Freudian Interpretation includes questions such as; What was the writer's intention? - What does he not want to tell the world? - What is it that he did not want to write? Allan Poe is a very interesting writer, he shares part of his personal life in his literary work, that is the way he expresses himself, in the Black cat story there is a lot that can be discovered as part of his personality and who he really is.
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Guatemala June, 17 The “Black Cat” is a story that leaves the reader perplexed. The narrator of the story gradually changes from being a soft-hearted animal lover who also adores his life to a person who tortures regularly his animals and life. It certainly contains all the ingredients necessary to satisfy the appetite of any Poe enthusiast; alcohol, mutilation, strangulation, murder, and, last but not least, one of Poe's slight obsessions, perversity in the story, The Black Cat, there is a lot of symbolism regarding hidden attributes of his life.
The black cat itself represents not only a hidden meaning but a meaning the narrator wished to keep hidden. The black cat symbolizes the narrator's or Poe's alcoholism. Edgar Allen Poe has been accused of being an alcoholic throughout his life and it may have actually led up to the cause of his death. The short story may give a view at Poe's fight with the disease. The black cat may not only be a symbol of the alcoholism that Poe faces but perhaps just his conscious in general. Another interesting fact is that in creating the narrator of “The Black Cat”, Poe exaggerated all the faults of his personality while drunk. Even though the narrator denies this, we become aware of his superstitious belief as the story progresses from the fact that he calls his cat, Pluto, who in Greek and Roman mythology was the god of the dead and the ruler of the underworld.
Conclusions
·Allan Poe could consciously or unconsciously present himself as a cat and thepsychoanalytical analysis helped to understand the behavioral change expressed by the author. ·The questions for a Freudian Interpretation; What was the writer's intention? What does he not want to tell the world? What is it that he did not want to write? Really helps to do a psychoanalytical analysis.
Abigaíl Lourdes Galicia López 201706235 Pag. 22
S W E N G BREAKIN
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Mary Shelley woN THE CONTEST Yesenia Cifuentes News reporter
Marry shelley a little dreamer girl who at the age of sixteen runs away with poet Percy Bysshe Shelley, another dreamer. Two years later, they travel to Switzerland where they meet a famous poet, Lord Byron. On a stormy summer evening, with five young people gathered around a fire, Byron suggests a contest to see who can create the best ghost story that bring Frankenstein came alive
About the author
Shelley was born Mary Wollstonecraft Godwin on August 30, 1797, in London, England. She was the daughter of philosopher and political writer William Godwin and famed feminist Mary Wollstonecraft — the author of The Vindication of the Rights of Woman (1792). Sadly for Shelley, she never really knew her mother who died shortly after her birth
Even though,, she didn't have a formal education, she did make great use of her father's extensive library. Shelley could often be found reading, sometimes by her mother's grave. She also liked to daydream, escaping from her often challenging home life into her imagination.
She once explained that: "As a child, I scribbled; and my favourite pastime, during the hours given me for recreation, was to 'write stories.'" In 1812 Mary met Percy Bysshe Shelley for the first time. In 1814 she began a relationship with him. Mary Shelley had a daughter in February 1815 but the child died after a few days. However, in January 1816 Mary gave birth to a son named William. In May 1816 Mary, Pag. 23
S W E N G BREAKIN Percy, and their son traveled to Lake Geneva. While there Mary was inspired to write the novel Frankenstein. It was published in 1818. Mary married Percy on 30 December 1816 in London. On 2 September 1817 Mary gave birth to another daughter. This one was called Clara. Unfortunately, Clara Shelley died on 24 September 1818. Mary’s son William died on 7 June 1819. However on 12 November while in Florence Mary gave birth to another son, Percy Florence Shelley. He was the couple’s only surviving child.
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After his death, Mary Shelley returned to England and she continued writing. In 1826 she published another novel. This one was called The Last Man. It is set in the 21st century when a plague decimates the population. Mary then wrote a historical novel called The Fortunes of Perkin Warbeck. It was about the pretender to the throne who lived at the time of Henry VII. It was published in 1830.
Frankenstein
While journeying through the North Pole, Robert Walton saves the frozen Victor Frankenstein from the ice. After learning his story, Robert Walton sits with quill in hand ready to tell this tale to his sister—a cautionary tale about the limits of science.
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S W E N G BREAKIN
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About the book Plot Frankenstein tells the story of gifted scientist Victor Frankenstein who succeeds in giving life to a being of his own creation. However, this is not the perfect specimen he imagines that it will be, but rather a hideous creature who is rejected by Victor and mankind in general. The Monster seeks its revenge through murder and terror.
Opinions "I enjoyed this book, which ultimately questions what it is to be human. Every book that has been written about artificial intelligence since Frankenstein owes something to Mary Shelley."
"I liked the fact that although Frankenstein sees his monster as a brutal demon, the book allows readers to see events from the monster's perspective."
Yesenia Beatriz Cifuentes Castañon 201705533 Pag. 25
Patric k Nes s and Guada Luca gnino are ad Lord o aptin f the F g lies fo r the big sc reen.
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Author Patrick Ness has been confirmed to pen the screenplay for Luca Guadagnino’s upcoming adaptation of Lord Of The Flies.
It was announced last year that Guadagnino would be directing the new Warner Bros. adaptation of William Golding’s popular 1954 novel.
Luca Guadagnino
Patrick Ness
The book, which follows a group of British boarding school boys who are split into two groups after being stuck on a desert island without an authority figure, was made into a movie in 1963 by Peter Brook, and then again in 1990 by Harry Hook.
Given its popularity, it’s actually a little surprising that nobody has adapted Lord of the Flies for film or television in over three decades. But the dynamic duo of Guadagnino and Ness seems like an inspired choice to reimagine the novel for a twenty-first century audience, and though the tolerance people for child actors is low, it will be approached this adaptation with cautious optimism. Pag. 26
About the author
Guatemala June, 17 Patric k Nes s and Guada Luca gnino are ad Lord o aptin f the F g lies fo r the big sc reen.
William Golding's 1954 novel Lord of the Flies has seen a handful of adaptations over the years, with the most recent being back in 1990. The classic story has influenced other stories about groups of misfits, and now it will be adapted for a new generation at Warner Bros. Pictures with a best-selling young adult author tackling the screenplay this time.
t o l P
The author of The Lord of the Flies, William Golding, was a British soldier in World War II. He was intensely impacted by his experiences and became convinced that within all humans exists the possibility of evil. His writing work, after his time in the war, reflected this idea. The Lord of the Flies was written post-WWII during what is known as the “atomic age.” During this time, Western society lived in fear of nuclear attacks, which came to an initial rise at the end of WWII. The Cold War started developing between Russia and the United States as both countries engaged in a nuclear arms race. This had an intense effect for many people across the world, who had to live in constant fear of a nuclear bomb falling on them like it did in Japan at the end of WWII. Pag. 27
Lord of the Flies
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Themes
Civilization versus Savagery The novel focuses on an internal human battle between the need for civilization and the countervailing drive toward savagery. The side that leans toward civilization feels the need or desire to live an ordered life guided by rules and a basic respect for others. The side that leans toward savagery is only interested in self-fulfillment of basic needs. This side is willing to use any means, including violence, to reach a desired goal.
Loss of Innocence That innocence is illustrated by their reactions to the lack of adult supervision as well as on the island exploration walk that Ralph, Simon, and Jack take. At first, the boys look forward to having fun on the island until the adults come get them. As their time on the island grows longer, the boys change. With their long hair, unkempt bodies, and painted faces, the boys discover and act out different sides of themselves. Many of the boys develop bloodlust and ultimately commit terrible acts, including murdering Simon.
Nature of Evil As the text demonstrates, Golding believed everyone has the capacity for inhumanity and evil. As the novel proceeds, it is easy to forget that the oldest of the protagonists is only 12 years old. They are not adults who have been fully socialized and can blame their evil on that socialization. Instead, they act on natural human impulses. As the Lord of the Flies, which represents this evil, says to Simon, you can't kill the evil within because it's part of you.
Rosa Maribel Hernández Muralles 199920335 Pag. 28
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THE OLD MAN AND THE SEA
BY ERNEST HEMINGWAY The Old Man and the Sea, short heroic novel by Ernest Hemingway, published in 1952 and awarded the 1953 Pulitzer Prize for fiction. Pag. 29
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ERNEST HEMINGWAY (1899-1961), He was born in Oak Park, Illinois, started his career as a writer in a newspaper office in Kansas City at the age of seventeen. After the United States entered the First World War, he joined a volunteer ambulance unit in the Italian army.
SOME FACTS
Serving at the front, he was wounded, was decorated by the Italian Government, and spent considerable time in hospitals. After his return to the United States, he became a reporter for Canadian and American newspapers and was soon sent back to Europe to cover such events as the Greek Revolution
01
The fish in The Old Man and the Sea was an Atlantic blue marlin.
02
The Old Man and the Sea was dedicated to Hemingway's recently deceased friends.
03
A stop-motion film of The Old Man and the Sea won an Oscar.
04
Type Of Work: Novella
05
Genre Parable; tragedy
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Adventure The Old Man and the Sea is the story of an epic struggle between an old, seasoned fisherman and the greatest catch of his life. For eighty-four days, Santiago, an aged Cuban fisherman, has set out to sea and returned empty-handed. So conspicuously unlucky is he that the parents of his young, devoted apprentice and friend, Manolin, have forced the boy to leave the old man in order to fish in a more prosperous boat. Nevertheless, the boy continues to care for the old man upon his return each night. The central character is an old Cuban fisherman named Santiago, who has not caught a fish for 84 days. The family of his apprentice, Manolin, has forced the boy to leave the old fisherman, though Manolin continues to support him with food and bait. Santiago is a mentor to the boy, who cherishes the old man and the life lessons he imparts. Convinced that his luck must change, Santiago takes his skiff far out into the deep waters of the Gulf Stream, where he soon hooks a giant marlin. With all his great experience and strength, he struggles with the fish for three days, admiring its strength, dignity, and faithfulness to its identity; its destiny is as true as Santiago’s as a fisherman. He finally reels the marlin in and lashes it to his boat.
The Old Man and the Sea can be interpreted as an allegory of Hemingway’s career at the time he wrote it. Hemingway was lonely when he wrote The Old Man and the Sea , and his loneliness is apparent in the protagonist’s loneliness and isolation. Furthermore, in this novel, women are portrayed in a negative way, which is a result of Hemingway’s failed relationships with women, including his mother.
Zoila Ileana Boc Choxín 201410017 Pag. 31
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Mr. Kyne your novel named the “Go getter” is considered a masterpiece of the American literature by many generations and the main reason it is because is a classical motivational parable (I prefer to call it novel) that has demonstrated how to make or create opportunities in life no matter what the situation the individual is going through. The importance of your written work is amazing and has been read in the schools to encourage the students in many countries to achieve their goals and most impressive is that it has been translated in more than 25 languages around the world. The sequence of the events of Mr. Peck keeps the reader interested chapter after chapter and the integrity shown by the main character it is a lesson that no matter how bad we can be seen by other people or the society we must overcome and maintain in mind the values taught in the house by our parents.
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Personally, I wanted to express that when I read the novel by the first time it did not look interesting at all. However, when I started reading it, the plot of that small book grabbed my attention and I could not stop reading until the end of it, as a matter of fact I was impressed by the bravery and the persistence of the main character that I felt identify in many aspects in life on that specific moment, definitely it was something that changed my mind status because it showed me that mothing it is impossible if we persist until achieve our goals, your novel impacted my life that as a teacher I have my students read it make some essays about it and they are so excited and they have looked for a movie about this novel. Mr. Kyne your work will continue changing and inspiring lives, and I just want to say thank you from the deepest of my heart and I hope that this little novel continue been reading not only on the schools but also by people who loves to get educated and that have many goals to achieve in their lives, without a doubt the Go Getter is one my favorite books and I hope to read more novels from your person. Regards, Maynor Soto
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OUR TEAM
Rosa Maribel Henández Muralles 199920335
Zoila Ileana Boc Choxín 201410017
Yesenia Beatriz Cifuentes Castañon 201705533
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Guatemala June, 17
OUR TEAM
Maynor Manuel Soto Mérida 201705552
Abigaíl Lourdes Galicia López 201706235
Pag. 35
