...A Brave New World by Aldous Huxley is a dystopian novel of the early 1930s, gives a new definition to a functioning society. Throughout this novel, characters are not allowed to have an individual thought process, as they thought it could be dangerous to society. As you read, Bernard is the only character born in the "New World" that does not fit within societal norms, no matter what he tries to do. In the book, you can see that Bernard is not the only socially outcast person, as John the Savage, Linda's son, is too. Literary perspectives such as social class, gender, and feminist that are main supplements to this story. This dystopian society is separate from the outside lands or known as "savage lands." The "new world" is based on conditioning...
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...By its very definition, technology refers to the machines and devices that are scientifically developed. From its definition, technology sounds completely harmless, built only to help the human race thrive. But has anybody thought of the effects of using these machines and devices too much? In the novel Fahrenheit 451, the author, Ray Bradbury, addresses the effects of using technology to do everything. Set in a futuristic dystopian society, Fahrenheit 451 describes the monotone lives that people lead when it’s dominated by technology. Through his application of similes and hyperboles, Bradbury conveys that the negative influence of technology can cause people to become oblivious to their environment. Using similes, Bradbury demonstrates the...
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...Alienation and Dehumanization within The Road The novel The Road is about the United States being in a dystopian setting in which the main character, Man, has to pass through desolate land with his son, Boy, and learning through the trials of survival on a path to the coast. Man and Boy are living on bare supplies as they travel across different places to reach a safer place fighting for food and shelter which brings Man and Boy having to see and be lowered within the standards of humans being alienated. Man and Boy try their hardest to bring light in the situation as there is no way to run from the world. Throughout the novel humans are cornered into dehumanization for survival and also by choice. The isolation in the novel symbolically...
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...The novel Divergent is set in a future-day Chicago that is divided into five factions. Each faction values a certain characteristic or trait more than all the others. Our main character, Beatrice Prior, takes an aptitude test to tell her which faction she is best suited to. However, Beatrice’s test results in major complications as she discovers that she is Divergent, or fits into more than one faction. After discovering this, she chooses the Dauntless faction, a faction that values bravery. Beatrice quickly discovers that fitting in here will be very difficult due to the somewhat odd customs of the Dauntless. This becomes even harder when she discovers that the government is always chasing after the “Divergent rebels”, as they are normally...
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...In his own version of a dystopian England in the 1990s, Ishiguro presents two distinct classes in a power driven culture in which one class works and the other gains the benefits. In the novel, Kathy notes that the recovery centers are run at minimum costs to maximize profit. Specifically, Kathy says: “you can always hear traffic on the big roads beyond the fencing, and there’s a general feeling they never properly finished converting the place” (Ishiguro). In the beginning of the novel, Kathy mentions a higher class “they” Who hold complete control and get to decide how long she gets to work as a carer. Throughout the story, it is learned that there are people in society who receive the organs donated by the clones. Through Kathy’s descriptive...
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...harrowing life that she finds herself unable to overcome. Thrown into a mental institution, her baby taken away, and later going on to be divorce by her husband, Maria’s life is filled with pain. So it’s only fitting that she is the embodiment of “great sorrow.” She uses the word “sorrow” 22 separate times throughout her narration. In the first page of chapter 1 of Maria, Wollstonecraft characterizes Maria as a depressed and gloomy person with her internal monologue: “The retreating shadows of former sorrows rushed back in a gloomy train, and seemed to be pictured on the walls of her prison, magnified by the state of mind in which they were viewed—Still she mourned for her child, lamented she was a daughter, and anticipated the aggravated ills of life that her sex rendered almost inevitable, even while dreading she was no more.” She later goes on to use words like “agony” to describe her situation. This paragraph shows the audience immediately what kind of person Maria is. She is sorrowful and depressed. She is grasping at any sense of connection and has deep longing for mutual love. With her ending undecided, I believe that she would likely have killed herself. Her living does not fit with her as a character or with the story as a whole. Additionally, It’s also very fitting that Wollstonecraft would name her main protagonist Maria for the fact that Wollstonecraft was accused by an anti-Jacobin preacher of threatening the morality of good Christian women. Wollstonecraft herself...
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...life until a teenager named Clarisse brings it up to him. She asked Montag if he was happy and his first thought was to be stunned at such a question. When Clarisse asked him he responded by saying “ ‘am I what?... happy! Of all the nonsense.’ ” (Bradbury 7-8). Montag was so greatly affected by society that he thinks it’s impossible for someone to be sad. This is Bradbury’s way of providing social commentary on the fact that people think that they must be happy. Society when he wrote the book, and currently, is in this mindset. It is an issue to be discussed because people often think that it’s not okay for them to be sad. This leads to people staying unhappy and not reaching out for help because they think they will look foolish for not fitting in with the world’s “norm” of having fun and constantly being...
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...The recruiters were never mentioned in court, and they may be doing this to other children still, over a decade later. Despite the fact that some people believe child soldiers should not be given amnesty, I strongly believe they should. Child soldiers should be given amnesty due to their age, since children as young as eight, witness horrors nobody should. Moreover, child soldiers have endured too much, so it’s understandable to react drastically to fragile environments. Lastly, the mental effects war and the military have had on child soldiers proves that there are other variables in why they committed the actions they did. Child soldiers are treated similarly to the contestants participating in the dystopian world of The Hunger Games, both are forced into war and neither are sure if they will come out the other end alive. The KONY 2012 campaign consisted of 3.7 million people marching to arrest Joseph Kony, leader of Lord’s Resistance Army (a rebel group operating in north Uganda). Knowing that the human race was able to achieve a feat like this and show unity for a common cause proves how far we can go. If we are able to spread the word of child soldiers so that everybody is aware of what millions of children go through, it’s a step closer to bringing an end to it....
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...This post-WWI novel tells the tale of a dystopian future where society is structured around everyone being happy. The story includes three main characters that do not conform to society’s standards and want more than a life of continuous, senseless bliss that is caused by taking soma, essentially a “happy pill”. Other lengths are taken in society as well such as eliminating monogamy and childbirth, because they either cause unhappiness or pain. Postman compares this addiction to happiness to the addiction to entertainment. He makes the point of if anything is not posed to society as a form of entertainment, then it is viewed as not as truthful, much like those in Huxley’s novel that if monogamy sometimes leads to unhappiness, then it does not have a place in their world. The most important...
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...“I do not wish [women] to have power over men; but over themselves” (Wollstonecraft, Poston). This quote, which Mary Wollstonecraft eloquently stated in A Vindication of the Rights of Woman, portrays the exact feelings of Offred, the main character in Margaret Atwood’s novel The Handmaid’s Tale. Taking place in a dystopian future, The Handmaid’s Tale depicts a totalitarian government under which women are harshly subjugated. Instead of accepting her current position as a handmaid. Offred longs to return to her previous life; however, in the Republic of Gilead, gender-based oppression is commonplace and often prevents Offred from achieving both her short and long-term aspirations. Similar to the painting Fair Rosamund by Arthur Hughes, Margaret Atwood’s The Handmaid’s Tale examines how sexual oppression leads to the loss of identity, shaming of...
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...The Failure of Fahrenheit 451 By Jeremy Smith 13 October 2003 I. In 1953, Ray Bradbury published a novel in which the burning of books presages the burning of the world. In the half century since, Fahrenheit 451 has emerged as a staple of high school and college syllabi and continues to chart best-seller lists. Both Simon & Schuster and Del Rey are releasing fiftieth anniversary editions this year. This past summer it was the number one best-selling science fiction/fantasy paperback in Barnes & Noble stores. While it is most often used as a way of talking about media and censorship, Fahrenheit 451 also represents a literary mode that seeks to prevent a certain future by describing it. This mode is often -- but not always -- dystopian. It is distinguished most by a moralistic and apocalyptic state of mind. Let's call it Cassandraism, after the daughter of Troy whose prophecies were not believed. Launched with Mary Shelley's Frankenstein, Cassandraism remains the most socially acceptable branch on the family tree of science fiction, embracing such respectably literary figures as Aldous Huxley, George Orwell, Kurt Vonnegut, Jr., and Margaret Atwood, who with her 1986 novel The Handmaid's Tale became its foremost contemporary practitioner. In Atwood's new novel Oryx and Crake, digital convergence and genetic engineering are combined and carried to their logical conclusion, a media-filtered apocalypse that the characters (and, one senses, the author) simultaneously...
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...Colorblindness and our loss of heritage Like many popular literary works in American history “The Color of Water” focuses on the issue of race in America. This is nothing new since a lot of the great works of American history like “Huckleberry Finn” and “The Color Purple” took on the somewhat of a unique experience that many Americans have regarding race. One of things that is a different about ‘The Color of Water” is that the character of Ruth espouses to her children the idea that we build a society that is color blind. Even the title of the work hints at this view since water has no color, thus the color of water is clear. Even though this idea of a colorless society sounds great it is utopian and just not possible. It is a much better idea that if we are going to tackle the issue of race in this country, that we do not pretend that we can’t see differences amongst various ethnicities. The real goal should be that we recognize these differences and celebrate them. To understand why Ruth would say to advocate something like a color blind society it is important to understand who Ruth is. The character of Ruth, even though she was a real person, could be looked upon as being a symbol for the American experience. The classic American dream is one in which hard working immigrants move to the US, the land of opportunity, and make it big through hard work and determination. The American experience is different from the American Dream in that it is the realistic events and...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced...
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...THE PROBLEM WITH WORK A JOHN HOPE FRANKLIN CENTER BOOK THE PROBLEM WITH WORK Feminism, Marxism, Antiwork Politics, and Postwork Imaginaries KATHI WEEKS Duke University Press Durham and London 2011 © 2011 Duke University Press All rights reserved Printed in the United States of America on acid-free paper co Designed by Heather Hensley Typeset in Minion Pro by Keystone Typesetting, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. THIS BOOK IS DEDICATED WITH LOVE TO JulieWalwick (1959-2010) Contents ix Acknowledgments INTRODUCTION i The Problem with Work i CHAPTF1 37 Mapping the Work Ethic CHAPTER 2 79 Marxism, Productivism, and the Refusal of Work CHAPTER 3 113 Working Demands: From Wages for Housework to Basic Income CHAPTER 4 151 "Hours for What We Will": Work, Family, and the Demand for Shorter Hours 5 CHAPTER 175 The Future Is Now: Utopian Demands and the Temporalities of Hope EPILOGUE 227 A Life beyond Work 235 255 Notes References 275 Index Acknowledgments thank the following friends and colleagues for their helpful feedback on versions of these arguments and portions of the manuscript: Anne Allison, Courtney Berger, Tina Campt, ChristineDiStefano, Greg Grandin, Judith Grant, Michael Hardt, Stefano Harney, Rebecca I would like to Karl, Ranji Khanna, Corey Robin...
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