Lelaki Tua dan Laut Karya Ernest Hemingway (Sebuah Ulasan)

Mirya Anggrahini Nimpuno
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Abstract

Novel Lelaki Tuadan Laut by Ernest Hemingway contains many of the themes that preoccupied Hemingway as a writer and as a man. The routines of life in a Cuban fishing village are evoked in the opening pages with a characteristic economy of language. The stripped-down  existence of the fisherman Santiago is crafted in a spare, elemental style that is as eloquently dismissive as a shrug of the old man’s powerful shoulders.Hemingway was famously fascinated with ideas of men proving their worth by facing and overcoming the challenges nature. Through his struggle, Santiago demonstrated the ability of the human spirit to endure hardship and suffering in order to win. It is also his deep love and knowledge of the sea, in its impassive cruelty and beneficence, that allows him to prevail. The essential physicality of the story – the smells of tar and salt and fish blood, the cramp and nausea and blind exhaustion of the old man, the terrifying death spasm of the great fish – is set against he ethereal qualities of dazzling light and water, isolation, and the swelling motion of the sea. And through it all narrative is constantly tugging, unreeling a little more, and then pulling again, all in tandem with the old man’s struggle.Structural analysis aims to describe (1) elements, characters, settings, and perspectives in the novel Old Man and The Sea, (2) the interrelationships between intrinsic elements in the form of themes, plot, background, character, characterization and perpective in the novel Old Man and The Sea by Ernest Hemingway.
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欧内斯特·海明威的小说《拉基·图丹·劳特》包含了海明威作为一个作家和一个男人所关注的许多主题。古巴渔村的日常生活在开篇的几页中以一种特有的简洁语言被唤起。渔夫圣地亚哥的简朴生活被精心雕琢成一种简洁、质朴的风格,就像老人有力的肩膀耸了耸肩一样,令人信服地不屑一顾。海明威对人类通过面对和克服自然挑战来证明自己价值的想法非常着迷。通过他的斗争,圣地亚哥展示了人类精神的能力,忍受艰苦和痛苦,以取得胜利。这也是他对大海的深爱和了解,在它无情的残酷和仁慈中,使他获胜。这个故事的本质——焦油、盐和鱼血的气味,老人的痉挛、恶心和盲目的疲惫,大鱼可怕的死亡痉挛——与炫目的光和水、孤立和大海膨胀的运动等空灵的品质相映照。在整个过程中,叙事一直在不断地拖拽,再松开一点,然后再拉,所有这些都与老人的挣扎同步。结构分析的目的是描述(1)小说《老人与海》中的要素、人物、场景和视角;(2)海明威小说《老人与海》中的主题、情节、背景、人物、人物塑造和视角等内在要素之间的相互关系。
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