The aim of this essay is to show that Yann Martel’s Life of Pi can be read as illustrating what philosophers usually name as pragmatic arguments for religious belief. Although he favors the animal story, the final chapter reveals that the only story humans find "real" is the one in which animals are seen as anthropomorphic.
Martel creates a tangled web of many different stories which define Pi's life in order to prioritize the role of fiction in the development of human personality and dissect the relations between the human, the natural world, and the text. In this paper we argue that that the main idea of the novel is Martel's ecocriticism of humanity in general, and especially the tendency of humans to put themselves at the center of any story, whether about animals or gods. For many, it is Pi's relationship with the tiger, Richard Parker for some, it is the decentering of humans in favour of animals and yet for others, the central idea of Life of Pi lies in Martel's unusual treatment of religions and their role in human life. The "central idea" of the novel has been described differently by readers and literary critics around the world. Yann Martel's novel Life of Pi, the winner of numerous prestigious awards, was described as "very bold and extreme with a wonderful central idea" (Irish Examiner 2002).
Martel creates a tangled web of many different stories which define Pi's life in order to prioritize the role of fiction in the development of human personality and dissect the relations betwe. The 'central idea' of the novel has been described differently by readers and literary critics around the world. Yann Martel's novel Life of Pi, the winner of numerous prestigious awards, was described as 'very bold and extreme with a wonderful central idea' (Irish Examiner 2002). Moreover, it argues that Lee’s film is one of a number of recent, prominent screen adaptations of 'well-loved novels' to take such an approach, and that such works encourage us to consider the relationship between adapted texts and adaptations as intertextual. With reference to recent developments in adaptation studies – and, in particular, to critical movements away from treating 'source material' for adaptations as ‘original’ and adaptations themselves as derivative and inferior, and towards understanding the relationship between adapted texts and adaptations as intertextual – it argues that Lee’s film playfully subverts notions of “originality” by casting the novel on which it is based as the adaptation rather than as the adapted text. although abandon out, he forms an astronomic and hasty inadvertence to accession survivor the apocalyptic competition.Based about the accepted new by Yann Martel.Part of a larger, forthcoming project on screen adaptations of novels that have won or been short-listed for the Booker Prize for Fiction, this paper focuses in particular on director Ang Lee’s 2012 adaptation of Yann Martel’s 2002 Booker-winner Life of Pi.
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