Modernism in the Old Man the Sea

Topics: Consciousness, Modernism, Modernist literature Pages: 12 (3772 words) Published: April 7, 2013
Modernism in Earnest Hemingway’s Literature “The Old Man and the Sea” Introduction:
1. The definition of Modernism
2. The definition of Realism
3. The definition of terms
4. The significance of the study
Chapter one:
1. The theory of Modernism
2.1. Stream of consciousness
2.2. Internal monologue
2. Realism as a literary technique
3.3. Internal realism
Chapter two:
1. the implication of American modernism through the main characters “Santiago” … 2. The implication of stream of consciousness through the main characters … 2.1. the implication of internal monologue through the main characters 3. The relationship between Santiago and Nature

3.1. Earnest’s glorification of Nature “Utopia”

1. The definition of Modernism

Chapter one:
1. The theory of Modernism :

Broadly speaking, ‘modernism’ might be said to have been characterized by a deliberate and often radical shift away from tradition, and consequently by the use of new and innovative forms of Expression Thus, many styles in art and literature from the late 19th and early 20th centuries are markedly different from those that preceded them. The term ‘modernism’ generally covers the creative output of artists and thinkers who saw ‘traditional’ approaches to the arts, architecture, literature, religion, social organization (and even life itself) had become outdated in light of the new economic, social and political circumstances of a by now fully industrialized society. Amid rapid social change and significant developments in science (including the social sciences), modernists found themselves alienated from what might be termed Victorian morality and convention. They duly set about searching for radical responses to the radical changes occurring around them, affirming mankind’s power to shape and influence his environment through experimentation, technology and scientific advancement, while identifying potential obstacles to ‘progress’ in all aspects of existence in order to replace them with updated new alternatives. All the enduring certainties of Enlightenment thinking, and the heretofore unquestioned existence of an all-seeing, all powerful ‘Creator’ figure, were high on the modernists’ list of dogmas that were now to be challenged, or subverted, perhaps rejected altogether, or, at the very least, reflected upon from a fresh new ‘modernist’ perspective. Not that modernism categorically defied religion or eschewed all the beliefs and ideas associated with the Enlightenment; it would be more accurate to view modernism as a tendency to question, and strive for alternatives to, the convictions of the preceding age. The past was now to be seen and treated as different from the modern era, and its axioms and undisputed authorities held up for revision and enquiry.


The first half of the nineteenth century saw an aesthetic turning away from the realities of political and social fragmentation, and so facilitated a trend towards Romanticism: emphasis on individual subjective experience, the sublime, the supremacy of Nature as a subject for art, revolutionary or radical extensions of expression, and individual liberty. By mid-century, however, a synthesis of these ideas with stable governing forms had emerged, partly in reaction to the failed Romantic and democratic Revolutions of 1848. Exemplified by ‘practical’ philosophical ideas such as positivism, and called by various names – in Great Britain it is designated the ‘Victorian era’ – this stabilizing synthesis was rooted in the idea that reality dominates over subjective impressions. Central to this synthesis were common assumptions and institutional frames of reference, including the religious norms found in Christianity, scientific norms found in classical physics and doctrines that asserted that the depiction of external reality from an objective standpoint was not...
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