...destroying itself. A way authors do this is by critiquing norms of society. For example, George Orwell uses his book 1984 to critique the normalities found in society. To be specific, Orwell uses the novel 1984 to critique the social, political, intellectual norms of today’s society which can be seen extensively throughout the book. To start, George Orwell uses 1984 to critique to social norms of today’s society. One way he does this is through the use of telescreens. Telescreens are a propaganda tool used by the Big...
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...One major form of this is spying or 24 hour surveillance. Two of the most famous dystopian has example of surveillance. In 1984 there are literally camera and mics everywhere, “”. Also in F-451 there are advanced ways to find people plus in an instant besides the hound the citizens will go on a manhunt in an instant to find a criminal, “Everyone in every house in every street open a front or rear door” (Bradbury 132). The reason why government does this is to make sure and prevent any issues from happening. Also, if the people know they are being watched citizens in turn will be less likely to do anything rash. Now this is a claim that no one can deny, because even recently stuff about the NSA has come out. Places like North Korea do indeed spy on their citizens to make sure they don’t have any insubordination. This and many more characteristics were what the books...
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...their own parents for thinking out of line. Where intellectuals are beaten down for their intelligence. This is the dystopian setting of George Orwell's 1984, Ayn Rand's Anthem, and Ray Bradbury's Fahrenheit 451, where the motif of collectivism and control works to convey the message that collectivism and control make totalitarian control second nature. Totalitarian control through collectivism plants its seeds through childhood brainwashing. In the book 1984, brainwashing is carried out through organizations such as the Junior Spies and the Junior Anti-Sex League. Winston says, "… by means of organizations...
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...In the science fiction novel 1984 George Orwell creates the character Winston, who lives in the superstate Oceania and is exposed to the cruel practices of his government. Oceania's ruling government, The Party, is an adherent of a totalitarianism political system. The Party uses various methods to keep their people oppressed in order to stay in power. The unknown government leaders in the novel cling to the utilization of censorship, propaganda, and secret police in order to keep the citizens of Oceania laden with ignorance and little individuality; to withhold their grasp on political power in the superstate. The Party ensures the effectiveness of these three methods by preforming actions such as: censoring people by not allowing the possession of personal journals as well as obliterating all forms of literature, spreading propaganda, such as their slogans and mass exposure to their figure of a political leader Big Brother, and finally application of a constant pressure radiated by a mysterious and unmerciful group of police, the Thought Police. A key practice used by Winston's government to maintain control politically is censorship. For example, Winston secretly purchases a diary to keep record in, though “[it] was not illegal (nothing was illegal, since there [are] no longer any laws), but if detected it [is] reasonably certain that it would be [punishable] by death, or at least by twenty-five years in a forced labor camp” (9). Even though it is not illegal, the small action...
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...The novel 1984, which was published in 1949 by George Orwell, is very significant to humans and society. In its own particular day, it was viewed as a 'visionary' and 'modern' novel, which placed how the world would be in years to come. Undoubtedly, we can state that a considerable lot of Orwell's thoughts, specifically as to totalitarianism in this work, were demonstrated genuine social orders, governments, did ventures to reduce mainstream opportunity/s and nationals' voices and challenges, and frameworks of watchfulness rose that help one to remember 'The government' viewing. Indeed, even today, in the 21st century, more than 60 years after the novel's distribution, there are various ways that it is as yet applicable; whereby we can perceive...
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...Performance treatment Tongtong Zhang I believe the play 1984 by George Orwell is representational. According to the definition of representational acting, representational style of acting provide audience an illusion of watching a representation of life. A representational set generally form a type of reality setting. We need a lot of actors, costumes and props for representational acting. For example, the scene should be happened in a hard, bare room. Therefore, the stage is set up like a room. There are tables, chairs, one telescreen, and lots of posters. All these setups are trying to convince the audience what they see is a hard, bare room where the story happened. Also, there are 12 actors to play 12 different roles. Moreover, the representational set is more suitable for a realism play. Representational acting doesn’t require interaction between actors and audiences. It is as though the audience doesn’t even exist; they are separated from the stage and the actor is unaware of the audience’s presence. In contrast of representational acting, presentational is a term which use to emphasize theatricality and acknowledges the theatre as theatre. In presentational setting there is no illusion. In presentational theatre, epic stories can be told with a minimum number of actors and a few costumes and props. There are several conflicts exist in this play and I want to talk about the central conflict first. The central conflict in a play is the main problem in the story. The...
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...War is peace. Freedom is slavery. Ignorance is strength. —George Orwell, “1984” Secrets are lies. Sharing is Caring. Privacy is theft. —Dave Eggers, “The Circle” The construction begs for comparison, and yet “The Circle” is no “1984.” In the future, according to Dave Eggers, one mega social-network corporation, the namesake of his new novel, has become the technological architect of daily life—arranging conversations, restocking pantries, making payments, and ranking human beings. The company’s leaders wear zip-up hoodies, of course, and enjoy surfing, yet they are known with reverent remove as the Three Wise Men. It’s serious business—so serious that even the parties are work, since attendance is monitored by your boss—and Eggers emulates this sobriety in his writing, which plods across the corporate campus resentfully. New hire Mae Holland, the novel’s protagonist, bounds forth into the communal ethos of her overlords, embracing her first assignment, answering e-mails that provide a “human experience” to small advertisers. Eggers seems bored by the task—Oh, must we spend another day at the Customer Experience desk, minutiae un-inspected, e-mails unread? He doesn’t want to be in the grind, or even playfully tease it. Disclosure is the story of “The Circle,” yet Eggers hardly tells enough. But even without the searing wit of “1984,” the book is capable of landing on point—when it’s at its most irksome. Where “1984” has the vigilant Police Patrol and Thought Police, “The...
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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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...“Google-ing” China: An ethical analysis of Google’s censorship activities in the People’s Republic by Leonard T. Musielak Introduction The spread of the internet to all corners of the world has led to tremendous business opportunities for many American businesses. With these opportunities may also come many ethical dilemmas. When operating abroad, businesses are required to abide by the laws of the host country. For US companies operating in China and other countries with totalitarian regimes, this requirement may include actions that are viewed as unethical or illegal in the United States. These “expatriate” corporations must often choose to ignore the basic rights guaranteed to American citizens, and disregard their own corporate missions, in order to respect the foreign society’s mores and meet the government demands. While cooperating assures legality, the question remains is their compliance ethical? Case Background/Research Findings “The Great Firewall of China” With an email stating “Beyond the Great Wall, Joining the World,” China signed onto the internet in 1987. (Liange & Lu, 2010, p. 104) Quickly, internet usage in the Communist country began to grow. The Chinese Communist Party (“CCP”), which governs China, exercises almost total control over all forms of communication within its domain. If the CCP wished to continue to maintain its communication stranglehold, they realized that a way to police the internet needed to be developed...
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... 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 yearn for and struggle against. Like the Bible's Book of Revelation, Oryx and Crake should be read not as a prediction of the future, but as a nightmare of the present. It stands in a tradition of novels like Brave New World or 1984 that are vaticinia ex eventu: history disguised as prophecy. If the imaginative success of a Cassandraist novel as a warning must be measured in direct...
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...B.A. (HONOURS) ENGLISH (Three Year Full Time Programme) COURSE CONTENTS (Effective from the Academic Year 2011-2012 onwards) DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 0 Course: B.A. (Hons.) English Semester I Paper 1: English Literature 4(i) Paper 2: Twentieth Century Indian Writing(i) Paper 3: Concurrent – Qualifying Language Paper 4: English Literature 4(ii) Semester II Paper 5: Twentieth Century Indian Writing(ii) Paper 6: English Literature 1(i) Paper 7: Concurrent – Credit Language Paper 8: English Literature 1(ii) Semester III Paper 9: English Literature 2(i) Paper 10: Option A: Nineteenth Century European Realism(i) Option B: Classical Literature (i) Option C: Forms of Popular Fiction (i) Paper 11: Concurrent – Interdisciplinary Semester IV Semester V Paper 12: English Literature 2(ii) Paper 13: English Literature 3(i) Paper 14: Option A: Nineteenth Century European Realism(ii) Option B: Classical Literature (ii) Option C: Forms of Popular Fiction (ii) Paper 15: Concurrent – Discipline Centered I Paper 16: English Literature 3(ii) Paper 17: English Literature 5(i) Paper 18: Contemporary Literature(i) Paper 19: Option A: Anglo-American Writing from 1930(i) Option B: Literary Theory (i) Option C: Women’s Writing of the Nineteenth and Twentieth Centuries (i) Option D: Modern European Drama (i) Paper 20: English Literature 5(ii) Semester VI Paper 21: Contemporary Literature(ii) Paper 22: Option A: Anglo-American Writing from 1930(ii) Option B:...
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...Contents Preface to the First Edition Introduction Part 1. Thought Control: The Case of the Middle East Part 2. Middle East Terrorism and the American Ideological System Part 3. Libya in U.S. Demonology Part 4. The U.S. Role in the Middle East Part 5. International Terrorism: Image and Reality Part 6. The World after September 11 Part 7. U.S./Israel-Palestine Notes Preface to the First Edition (1986) St. Augustine tells the story of a pirate captured by Alexander the Great, who asked him "how he dares molest the sea." "How dare you molest the whole world?" the pirate replied: "Because I do it with a little ship only, I am called a thief; you, doing it with a great navy, are called an Emperor." The pirate's answer was "elegant and excellent," St. Augustine relates. It captures with some accuracy the current relations between the United States and various minor actors on the stage of international terrorism: Libya, factions of the PLO, and others. More generally, St. Augustine's tale illuminates the meaning of the concept of international terrorism in contemporary Western usage, and reaches to the heart of the frenzy over selected incidents of terrorism currently being orchestrated, with supreme cynicism, as a cover for Western violence. The term "terrorism" came into use at the end of the eighteenth century, primarily to refer to violent acts of governments designed to ensure popular submission. That concept plainly is of little benefit to the practitioners of state terrorism...
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...* Alphabetical idioms - lists A : * list A1 : abbreviated piece of nothing → (hold all the) aces * list A2 : achilles heel → alarm bells * list A3 : all along → all the rage * list A4 : all sizzle and no steak → apple of your eye * list A5 : (upset the) applecart → at all costs * list A6 : at this stage of the game → (have an) axe to grind * Alphabetical idioms - lists B : * list B1 : (leave someone holding the) baby → in bad shape * list B2 : badger someone → whole new ball game * list B3 : ballpark figure → battle lines are drawn * list B4 : battle of wills → beat a dead horse * list B5 : beat a hasty retreat → before your very eyes * list B6 : beggar can't be choosers → beside yourself * list B7 : best bet → beyond any reasonable doubt * list B8 : beyond one's wildest dreams → bite the bullet * list B9 : bite the dust → blamestorming * list B10 : blank cheque → blow away the cobwebs * list B11 : blow a fuse → above board * list B12 : in the same boat → bored to tears * list B13 : born with silver spoon in your mouth → all brawn no brain * list B14 : know which side your bread is buttered → a breeze * list B15 : bricks and mortar/bricks and clicks → pass the buck * list B16 : kick the bucket → burning question * list B17 : bury your head in the sand → by degrees ...
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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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...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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