...The Novel Project Your name: Giselle Gonzalez Your Novel: 1984 – George Orwell 1. Explain how the novel represents two or more concerns of its historical time period; these concerns may be economic, political, cultural, social, or moral concerns. Clarify the author’s view on one of the following as s/he presents the concerns: right vs wrong; conservative vs radical, or elite vs commonplace. Orwell published “1984” in 1948 just after the end of World War II. Although at this time, Hitler’s reign was brought to an end, Joseph Stalin, another ruthless leader was still in power. Though they were adversaries during WW II, both men shared acute similarities in their success towards creating a totalitarian government much like the one seen in “Nineteen Eighty-Four.” The ghastly, but impressive ease with which each ruler rose and remained in power is possibly what caused Orwell to focus so heavily on political concerns in his novel. While there are no direct allusions to the Adolf Hitler or Stalin, the political devices used by the Party to control Party members in Oceania are undeniably parallel to the manipulation and brutality that each ruler used to control government. Big Brother for instance, is a fearless leader who is loved by all of the Party members. Though it is never confirmed whether or not he is a real person or just an idea, citizens praise him almost instinctively, posters of him are found in every building, and badmouthing him is not only an act of audacity, but punishable...
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...”Nineteen Eighty-Four” – Pages 1-40 If there is any doubt of the persistent power of literature it should be banished by the novel “1984” by George Orwell. There is much that reasonant for most of us in Orwell’s dystopia in the face of Edward Snowden’s revelations about the NSA; the totalitarian State of Oceania, its menacing Big Brother, the history-erasing Ministry of Truth and the sinister Thought Police with their everpresent telescreens. Eventhough the novel “1984” was read by its readers in 1949, the novel was meant to represent a very real threat in near future: a totalitarian regime within the next thirty years. The threat against privacy is, in Orwell’s opinion, one to be fought against. Looking at “1984” while pondering over the ideological criticism, one would find traces of certain ideologies in the artifact and the artifact in this particular case being the literary work “1984” by George Orwell. The primary target when doing a ideological reading, is to discover or locate the dominant ideology or the ideologies embedded in the literary work and perhaps the ones that are muted in it. The political ideology of Big Brother in “1984” is shown through a third person narration that clearly understands what Winston experiences living under a totalitarian regime. The style that Orwell appropriates in relaying this political ideology is one of fear and control. The ‘telescreens’ are constantly watching you and listening in on your conversations; “The telescreen...
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...Winston Smith, Hero in Disguise: In George Orwell's dystopian, modernistic world of 1984, there are no true heroes or villains. There are no white knights and even the book's antagonist, O'Brien, is not clearly the main source of immorality. Yet, through all this the reader is rooting for Winston Smith. We want him to succeed and even when he ultimately fails, we have sympathy for him. In spite of his failing mind and body, we still search for that glimmer of hope in a hopeless world which probably does not exist. Winston Smith is an unconventional hero, and despite his failures he retains this status for defiance against all odds. When Winston Smith is introduced to the reader Orwell makes a conscious effort not to present him as a hero in the usual sense. At the very opening of the book in the second paragraph Orwell points out the "varicose ulcer above his right ankle" (1), setting him apart from being a glamorous protagonist. Despite this, the audience is still drawn to Winston as the book continues along. So what earns Winston his deserved status as an unconventional hero? The answer lies in his ideology. Winston is a philosophically driven person and this allows the reader to see past his flaws. In Orwell's world of 1984 Winston is completely unique in this sense. No other character is driven in the same way as him. Take for example Julia; she is largely motivated by personal gain. Julia participates in public services only to avoid being caught breaking the law. When...
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...Mastroianni Professor Marilyn Boyle-Taylor EAC 236 Monday November 2nd 2015 1984 By George Orwell There are vast amounts of ideas regarding utopia and several authors who have contributed their work which have been studied for many years (decades) in literature. Utopia is something that is imaginary; it is an ideal state of command and vision of political or social perfection. 1984 by George Orwell is one of the most widely read books based on a tale for our future society that involved nothing less than extinction of humanity itself. 1984 is based on a totalitarian government, which is a type of government that tries to take over all aspects of life without any other parties or opinions that can conflict with the exercise of it. This novel is a story based out of London where the city is very run down and dirty, there is not a lot of food to go around and mostly everything is disgusting regardless. The main character, Winston Smith, is a man who works for the government and hates the way he lives in this society he is forced to be a part of. Every day he repeats the same routine and tolerates what is expected of him or follows the consequences if he stepped out of societal boundaries. One day, a woman named Julia, who worked in the same building as him, turned his life around ever so quickly. They both wanted to rebel against “Big Brother”, the party which controlled their lives. Behind 1984 there is a sense of injustice; man versus a political system that targets individuality...
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...The Hell of Nineteen Eighty-Four. ). Did Orwell realise quite what he had done in Nineteen Eighty-Four? His post-publication glosses on its meaning reveal either blankness or bad faith even about its contemporary political implications. He insisted, for example, that his 'recent novel [was] NOT intended as an attack on Socialism or on the British Labour Party (of which I am a supporter)'.(1) He may well not have intended it but that is what it can reasonably be taken to be. Warburg saw this immediately he had read the manuscript, and predicted that Nineteen Eighty-Four '[was] worth a cool million votes to the Conservative Party';(2) the literary editor of the Evening Standard 'sarcastically prescribed it as "required reading" for Labour Party M.P.s',(3) and, in the US, the Washington branch of the John Birch Society 'adopted "1984" as the last four digits of its telephone number'.(4) Moreover, Churchill had made the 'inseparably interwoven' relation between socialism and totalitarianism a plank in his 1945 election campaign(5) (and was not the protagonist of Nineteen Eighty-Four called Winston?). If, ten years earlier, an Orwell had written a futuristic fantasy in which Big Brother had had Hitler's features rather than Stalin's, would not the Left, whatever the writer's proclaimed political sympathies, have welcomed it as showing how capitalism, by its very nature, led to totalitarian fascism? With Nineteen Eighty-Four, it is particularly necessary to trust the tale and not...
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...Western hero and the Lewis and Clark Expedition written in the early nineteenth century gave readers some of their first visions of the landscape and native peoples of the West. Later explorers added to the colorful picture of the West. However, as the realities of the West changed, so did the focus of writers who used the West as subject and symbol. Land became less available and the uses of land came into question. The environmental movement led to a reevaluation of humanity’s relationship to nature. As the region was settled a mix of cultures came into play. Writers now have come to emphasize the complexity of Western life, rather than its simplicity. Contemporary Westerns sound with more diverse voices than ever before. In George Orwell’s novel, 1984, he writes about his dark vision of the future. It may not just be of the future of the West, but the way of thinking and system portrayed are particularly Western in nature. A lot of terms coined in this novel are also use widely already in the modern day English language. It is a chilling depiction of how the power of the state could come to dominate the lives of individuals through cultural conditioning. Perhaps the most powerful science fiction novel of the twentieth century, this apocalyptic satire shows with grim conviction how Winston Smith's individual personality is wiped out and how he is recreated in the Party's image...
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...‘Dystopian fiction is less about the powerful and more about the powerless’ To what extent is this true in The Handmaid’s Tale and 1984? Dystopian fiction usually revolves over a power struggle between an oppressor and the oppressed, alternatively this can be given the label of powerful and powerless. However, the exposure given to one of these groups is often inclined to be imbalanced. For example, The Giver by Lois Lowry has biased exposure towards the powerless due to the simple fact of the third person limited narrator perspective from Jonas, a member of the aforementioned sector of respective society. This is similar to the 1984 narrator where Winston is never truly aware of what goes on when he wasn’t physically present. But, it could be for this exact reason that in 1984 the dystopian genre inclines towards the powerful, highlighting the hold over the powerless. Contrary to this, The Handmaid's Tale (THT) has blurred lines as to whether the dystopian fiction prevalent in the novels are more or less about the powerful. This is majorly due to conflicting plotlines and enigmatic characters, significant in both of the books. For example, the character of Nick could be characterized for the powerful and powerless. Nick behaves with Offred in a manner which confuses the reader about his loyalties. Ultimately, this essay will aim to prove an option that is a fusion between the two rivals of dystopian fiction offering the complex concept of the powerful powerless. The powerful...
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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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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...THE B L A C K SWAN The HIGHLY I mpact IM of the PROBABLE Nassim Nicholas Taleb U.S.A. $26.95 Canada $34.95 is a highly improbable event with three principal characteristics: It is unpre dictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. The astonishing success of Google was a black swan; so was 9 / 1 1 . For Nassim Nicholas Taleb, black swans underlie almost everything about our world, from the rise of religions to events in our own personal lives. A BLACK SWAN Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don't know. We are, therefore, unable to truly estimate oppor tunities, too vulnerable to the impulse to simplify, narrate, and categorize, and not open enough to rewarding those who can imagine the "impossible." For years, Taleb has studied how we fool our selves into thinking we know more than we actually do. We restrict our thinking to the irrelevant and inconsequential, while large events continue to surprise us and shape our world. Now, in this reve latory book, Taleb explains everything we know about what we don't know. He offers...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...MORE ADVANCE NOISE FOR QUIET “An intriguing and potentially lifealtering examination of the human psyche that is sure to benefit both introverts and extroverts alike.” —Kirkus Reviews (starred review) “Gentle is powerful … Solitude is socially productive … These important counterintuitive ideas are among the many reasons to take Quiet to a quiet corner and absorb its brilliant, thought-provoking message.” —ROSABETH MOSS KANTER, professor at Harvard Business School, author of Confidence and SuperCorp “An informative, well-researched book on the power of quietness and the 3/929 virtues of having a rich inner life. It dispels the myth that you have to be extroverted to be happy and successful.” —JUDITH ORLOFF, M.D., author of Emotional Freedom “In this engaging and beautifully written book, Susan Cain makes a powerful case for the wisdom of introspection. She also warns us ably about the downside to our culture’s noisiness, including all that it risks drowning out. Above the din, Susan’s own voice remains a compelling presence—thoughtful, generous, calm, and eloquent. Quiet deserves a very large readership.” —CHRISTOPHER LANE, author of Shyness: How Normal Behavior Became a Sickness 4/929 “Susan Cain’s quest to understand introversion, a beautifully wrought journey from the lab bench to the motivational speaker’s hall, offers convincing evidence for valuing substance over style, steak over sizzle, and qualities that are, in America, often derided. This book is brilliant...
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...the United States by corporations, institutions, and other organizations. For more information, please contact the Special Markets Department at the Perseus Books Group, 11 Cambridge Center, Cambridge MA 02142, or call (617) 252-5298, (800) 255-1514 or e-mail special.markets@perseusbooks.com. CIP catalog record for this book is available from the Library of Congress. ISBN-10: 0–465–03914–6 ISBN-13: 978–0–465–03914–2 06 07 08 09 / 10 9 8 7 6 5 4 3 2 1 Code version 1.0 FOR CHARLIE NESSON, WHOSE EVERY IDEA SEEMS CRAZY FOR ABOUT A YEAR. Code version 2.0 TO WIKIPEDIA, THE ONE SURPRISE THAT TEACHES MORE THAN EVERYTHING HERE. C O N T E N T S Preface to the Second Edition Preface to the First Edition Chapter 1. Code Is Law Chapter 2. Four Puzzles from Cyberspace PART I: “REGULABILITY” ix xiii 1 9 Chapter 3. Is-Ism: Is the Way It Is the Way It Must Be? Chapter 4. Architectures of Control Chapter 5. Regulating Code PART II: REGULATION BY CODE 31 38 61 Chapter 6. Cyberspaces Chapter 7. What Things Regulate Chapter 8. The Limits in Open Code PART III: LATENT AMBIGUITIES 83 120 138 Chapter 9. Translation Chapter 10. Intellectual Property Chapter 11. Privacy Chapter 12. Free Speech Chapter 13. Interlude PART IV: COMPETING SOVEREIGNS 157 169 200 233 276 Chapter 14. Sovereignty Chapter 15. Competition Among Sovereigns 281 294 PART V: RESPONSES Chapter 16. The Problems We...
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...An Introduction to Sociolinguistics AITA01 1 5/9/05, 4:36 PM Blackwell Textbooks in Linguistics The books included in this series provide comprehensive accounts of some of the most central and most rapidly developing areas of research in linguistics. Intended primarily for introductory and post-introductory students, they include exercises, discussion points, and suggestions for further reading. 1. Liliane Haegeman 2. 3. 4. 5. 6. 7. 8. 9. Andrew Spencer Helen Goodluck Ronald Wardhaugh Martin Atkinson Diane Blakemore Michael Kenstowicz Deborah Schiffrin John Clark and Colin Yallop 10. 11. 12. 13. Natsuko Tsujimura Robert D. Borsley Nigel Fabb Irene Heim and Angelika Kratzer 14. Liliane Haegeman and Jacqueline Guéron 15. Stephen Crain and Diane Lillo-Martin 16. Joan Bresnan 17. Barbara A. Fennell 18. Henry Rogers 19. Benjamin W. Fortson IV 20. AITA01 Liliane Haegeman 2 Introduction to Government and Binding Theory (Second Edition) Morphological Theory Language Acquisition Introduction to Sociolinguistics (Fifth Edition) Children’s Syntax Understanding Utterances Phonology in Generative Grammar Approaches to Discourse An Introduction to Phonetics and Phonology (Second Edition) An Introduction to Japanese Linguistics Modern Phrase Structure Grammar Linguistics and Literature Semantics in Generative Grammar English Grammar: A Generative Perspective An Introduction to Linguistic Theory and Language...
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