...“Harrison Bergeron” by Kurt Vonnegut THE YEAR WAS 2081, and everybody was finally equal. They weren’t only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General. Some things about living still weren’t quite right, though. April, for instance, still drove people crazy by not being springtime. And it was in that clammy month that the H-G men took George and Hazel Bergeron’s fourteen-year-old son, Harrison, away. It was tragic, all right, but George and Hazel couldn’t think about it very hard. Hazel had a perfectly average intelligence, which meant she couldn’t think about anything except in short bursts. And George, while his intelligence was way above normal, had a little mental handicap radio in his ear. He was required by law to wear it at all times. It was tuned to a government transmitter. Every twenty seconds or so, the transmitter would send out some sharp noise to keep people like George from taking unfair advantage of their brains. George and Hazel were watching television. There were tears on Hazel’s cheeks, but she’d forgotten for the moment what they were about. On the television screen were ballerinas. A buzzer sounded in George’s head...
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...bursts. In the beginning of the story, they are watching ballerinas on television when an announcer comes on. Although he tries very hard, can not talk so a ballerina takes over for him. She announces that Harrison Bergeron, 14 years old and 7 feet tall, has just escaped from jail and overcome his handicaps: he is a genius, an athlete, and incredibly dangerous. Shortly after she finishes speaking, Harrison bursts into the studio and announces that he is now the Emperor and the first ballerina to rise will be his Empress. One ballerina rises and becomes the empress; Harrison rips off her handicaps and does the same to the musicians. He tells them to play music and he and the ballerina dance. They neutralize gravity and kiss the ceiling. Then Diana Moon Glampers, the handicapper...
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...8/3/12 Harrison Bergeron HARRISON BERGERON by Kurt Vonnegut, Jr. THE YEAR WAS 2081, and everybody was finally equal. They weren't only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General. Some things about living still weren't quite right, though. April for instance, still drove people crazy by not being springtime. And it was in that clammy month that the H-G men took George and Hazel Bergeron's fourteen-year-old son, Harrison, away. It was tragic, all right, but George and Hazel couldn't think about it very hard. Hazel had a perfectly average intelligence, which meant she couldn't think about anything except in short bursts. And George, while his intelligence was way above normal, had a little mental handicap radio in his ear. He was required by law to wear it at all times. It was tuned to a government transmitter. Every twenty seconds or so, the transmitter would send out some sharp noise to keep people like George from taking unfair advantage of their brains. George and Hazel were watching television. There were tears on Hazel's cheeks, but she'd forgotten for the moment what they were about. On the television screen were ballerinas. A...
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...and is jailed and taken away from his parents. One day Hazel and George Bergeron sit and watch tv. They are watching a performance of ballerinas. The ballerinas littered with handicaps to hide their talent and beauty. All of a sudden the tv program is interrupted by a new bulletin. The news bulletin proclaims that Harrison Bergeron has escaped out of prison and should be considered extremely dangerous. Right then Harrison busts in the studio and appears on stage. He declares to everyone “ I am the emperor, and i will be the greatest of all time” . He then asks for someone to some forward and be his empress. A beautiful ballerina steps forward and takes off her handicaps to join him. They fly up into the air sharing a kiss. Suddenly Diana Moon Glampers rushes into the room with a...
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...the ballerina shared a dramatic and fantastical dance, until Diana Moon Glampers, the Handicapper General, stormed into the studio a shot the self-declared Emperor and Empress. Meanwhile, back at the Bergerons’ house, George returned to the living room, having missed the death of his son. He noticed Hazel was crying, but Hazel couldn’t remember why. Although one might think that day might have been an eventful one for the Bergerons, George and Hazel, as well as everyone else in the society, will never think back or question this day. Despite the General’s efforts, the society she has created has non beneficial and incomplete equality, which is shown through the Handicapper General, the handicaps, and the quality of life the civilians live. For one thing, the theme of incomplete and non beneficial equality is shown through the Handicapper General and how she lives. One example of Diana Moon Glampers’s privilege is her possession of a gun. The author stated, ‘It was then that Diana Moon Glampers, the Handicapper General, came into the studio with a double-barreled ten-gauge shotgun. She fired twice, and the Emperor and Empress were dead before they hit the floor,” (p. 19, line 273-277). In this quote, the Handicapper General clearly has a gun, something no one else seems to have. She has also developed good marksmanship if she was able to shoot the Emperor and the Empress with only two shots. Furthermore, Diana Moon Glampers’s advantages also include her seemingly lack of handicaps...
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...bring chaos due to the differences in others. We often believe equality as being the ideal society compared to an equitable society. However, in the story “Harrison Bergeron,” Kurt Vonnegut demonstrates to us that enforcing equality in our lives won’t be beneficial. In Vonnegut’s narrative, he enhances his story by including symbolism and imagery to exhibit the contrast between the reality of equality and equity in a society. As an illustration of this idea, Vonnegut includes a large amount of imagery to display...
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...the numerous ways Vonnegut makes a point to the reader is through misrepresentation. He demonstrates a principle method for embellishment by the portrayal of his principle character Harrison who is portrayed as "...a virtuoso and a competitor, [who] is under-debilitated, and [someone who] ought to be viewed as to a great degree unsafe" (136). By making a great, youthful and solid character like Harrison, Vonnegut demonstrates that there will dependably be a contradicting power in any world, regardless of how much the government tries to adjust its nationals to its radical principles, and that there will dependably be somebody to force and execute those standards for example, "...the Handicapper General, a lady named Diana Moon Glampers"(135). Diana Moon Glampers is the Handicapper General and enforcer of all things normal. She is the one who requires above-average people to be handicapped, but average is really, really low. She is a symbol because she is the representative of the laws and what is average. People believe in her because of her mediocrity. When she shoots Harrison, it reinforces the idea of average-ness, and the citizens faith in their laws. George believes in the current laws, and while Harrison defies them, he is ultimately shot down by the Handicapper General, reinforcing the strength of the new laws. "Harrison Bergeron," while loaded with dim topics, is additionally brimming with humor, which makes Vonnegut's not kidding message both simpler to...
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...For other uses, see Fiction (disambiguation). An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing afantastical game of croquet. Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.,biographies, histories). Contents [hide] * 1 Types of fiction * 1.1 Realistic fiction * 1.2 Non-realistic fiction * 1.3 Semi-Fiction * 2 Elements of fiction * 2.1 Plot * 2.2 Exposition * 2.3 Foreshadowing * 2.4 Rising action * 2.5 Climax * 2.6 Falling action * 2.7 Resolution * 2.8 Conflict * 2.8.1 Types of conflict * 2.8.1.1 Person vs. self * 2.8.1.2 Person vs. person * 2.8.1.3 Person vs. society * 2.8.1.4 Person vs. nature * 2.8.1.5 Person vs. supernatural * 2.8.1.6 Person vs. machine/technology * 2.9 Character * 2.10 Methods of developing characters * 2.11 Symbolism * 2.12 Metaphor * 3 Types of plots * 3.1 Chronological order * 3.2 Flashback * 3.3 Setting...
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...Recap... And all i could think of is "This is so K-drama cliché." I stretched my hands for support. But the guy had other ideas. He grabbed my waist and carried me bridal style. “Aish! Put me down.” I barked swinging my legs back and forth trying to get out of his cast iron grip. “Stop squirming…” he spoke. His voice sent a surge of chills down my spine; I looked up to see a handsome guy with soft brown eyes, chiseled jaw and long eyelashes staring back at me. my throat went dry; This guy was beyond gorgeous. “Yah! We’re here.” He spoke nudging me from my daydream. “O-oh” I replied hoisting myself as he put me down. ”Omo! Kenchana?” the cute old nurse spoke caressing my arm soothingly. I nodded my head in response. “I just need some ice for my ankle.” I said rubbing my swollen egg shaped ankle. .. Minho’s POV I walked down the corridor, observing my surroundings until some girl bumped into me sending her falling to the ground flat on her bum. I stretched my hands to help her up; she took my hands and tried to support herself up but I noticed her struggling she must have hurt her leg… so I grabbed her smooth legs and carried to the nurse’s office to get checked. She squirmed in my arms trying to make me let go. “Stop squirming” I told her looking her silky brown air. Her chocolate eyes met mine and I swore my heart stopped. She had this long hair, plump lips and rosy cheeks. When our eyes met I glanced away. I noticed we reached the nurse’s office. “Yah we’re here.” I said...
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...Jane Eyre by Charlotte Brontë An Electronic Classics Series Publication Jane Eyre by Charlotte Brontë is a publication of the Pennsylvania State University. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Jane Eyre by Charlotte Brontë, the Pennsylvania State University, Electronic Classics Series, Jim Manis, Faculty Editor, Hazleton, PA 18202-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Cover Design: Jim Manis Copyright © 2003 - 2012 The Pennsylvania State University is an equal opportunity university. Charlotte Brontë Jane Eyre by Charlotte Brontë PREFA PREFACE A PREFACE TO THE FIRST EDITION of Jane Eyre being unnecessary, I gave none: this second edition demands a few words both of acknowledgment and miscellaneous remark. My thanks are due in three quarters. To the Public, for the indulgent ear it has inclined to a plain tale with few pretensions. To the Press, for the fair field its honest suffrage...
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...FULL TITLE · The Canterbury Tales AUTHOR · Geoffrey Chaucer TYPE OF WORK · Poetry (two tales are in prose: the Tale of Melibee and the Parson’s Tale) GENRES · Narrative collection of poems; character portraits; parody; estates satire; romance; fabliau LANGUAGE · Middle English TIME AND PLACE WRITTEN · Around 1386–1395, England DATE OF FIRST PUBLICATION · Sometime in the early fifteenth century PUBLISHER · Originally circulated in hand-copied manuscripts NARRATOR · The primary narrator is an anonymous, naïve member of the pilgrimage, who is not described. The other pilgrims narrate most of the tales. POINT OF VIEW · In the General Prologue, the narrator speaks in the first person, describing each of the pilgrims as they appeared to him. Though narrated by different pilgrims, each of the tales is told from an omniscient third-person point of view, providing the reader with the thoughts as well as actions of the characters. TONE · The Canterbury Tales incorporates an impressive range of attitudes toward life and literature. The tales are by turns satirical, elevated, pious, earthy, bawdy, and comical. The reader should not accept the naïve narrator’s point of view as Chaucer’s. TENSE · Past SETTING (TIME) · The late fourteenth century, after 1381 SETTING (PLACE) · The Tabard Inn; the road to Canterbury PROTAGONISTS · Each individual tale has protagonists, but Chaucer’s plan is to make none of his storytellers superior to others; it is an equal company. In the Knight’s...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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...GREEK MYTHOLOGY Background to Homer’s Odyssey As you read each story, ask yourself: What is most enjoyable, predictable, or bizarre about this story? How would I have responded in this situation? What mysteries or features of the world might this story try to explain? What bit of moral or religious instructions (i.e. don’t disobey the gods) might be contained in this story? How does this story compare with Christian beliefs, or with the values of our culture today? Are there any other stories or fables I’ve heard that follow the same pattern as this story? The Creation Myths Part 1 Before there was anything, there was Chaos, a formless void. This void, this pure nothingness, gave birth to Gaea (the Earth itself), Tartarus (the underworld), Eros (love), Erebus (underground darkness) and Nyx (the darkness of night). The two kinds of darkness joined together and gave birth two kinds of light: the Light of the heavens and the Light of day. Nyx (night) also gave birth to the three Fates, who control the course of the universe and determine the length of each person’s life on their wheel of fortune. Of the fates, Clotho spins the threads of each person’s life, Lachesis measures the length of the thread, and Atropos cuts the thread. The Fates – Francisco Goya (one of the best painters ever!) 1823 – Note the scissors in the hand of Atropos and Lachesis measuring with a magnifying glass. Who’s...
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...Beginning theory An introduction to literary and cultural theory Second edition Peter Barry © Peter Barry 1995, 2002 ISBN: 0719062683 Contents Acknowledgements - page x Preface to the second edition - xii Introduction - 1 About this book - 1 Approaching theory - 6 Slop and think: reviewing your study of literature to date - 8 My own 'stock-taking' - 9 1 Theory before 'theory' - liberal humanism - 11 The history of English studies - 11 Stop and think - 11 Ten tenets of liberal humanism - 16 Literary theorising from Aristotle to Leavis some key moments - 21 Liberal humanism in practice - 31 The transition to 'theory' - 32 Some recurrent ideas in critical theory - 34 Selected reading - 36 2 Structuralism - 39 Structuralist chickens and liberal humanist eggs Signs of the fathers - Saussure - 41 Stop and think - 45 The scope of structuralism - 46 What structuralist critics do - 49 Structuralist criticism: examples - 50 Stop and think - 53 Stop and think - 55 39 Stop and think - 57 Selected reading - 60 3 Post-structuralism and deconstruction - 61 Some theoretical differences between structuralism and post-structuralism - 61 Post-structuralism - life on a decentred planet - 65 Stop and think - 68 Structuralism and post-structuralism - some practical differences - 70 What post-structuralist critics do - 73 Deconstruction: an example - 73 Selected reading - 79 4 Postmodernism - 81 What is postmodernism? What was modernism? -...
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