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Marcelo Pelissioli from Allegory Into Symbol: Revisiting George Orwell's Animal Farm and Nineteen Eighty-Four in the Light Of
MARCELO PELISSIOLI FROM ALLEGORY INTO SYMBOL: REVISITING GEORGE ORWELL’S ANIMAL FARM AND NINETEEN EIGHTY-FOUR IN THE LIGHT OF 21 ST CENTURY VIEWS OF TOTALITARIANISM PORTO ALEGRE 2008 2 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ÊNFASE: LITERATURAS DE LÍNGUA INGLESA LINHA DE PESQUISA: LITERATURA, IMAGINÁRIO E HISTÓRIA FROM ALLEGORY INTO SYMBOL: REVISITING GEORGE ORWELL’S ANIMAL FARM AND NINETEEN EIGHTY-FOUR IN THE LIGHT OF 21 ST CENTURY VIEWS OF TOTALITARIANISM MESTRANDO: PROF. MARCELO PELISSIOLI ORIENTADORA: PROFª. DRª. SANDRA SIRANGELO MAGGIO PORTO ALEGRE 2008 3 4 PELISSIOLI, Marcelo FROM ALLEGORY INTO SYMBOL: REVISITING GEORGE ORWELL’S ANIMAL FARM AND NINETEEN EIGHTY-FOUR IN THE LIGHT OF 21 ST CENTURY VIEWS OF TOTALITARIANISM Marcelo Pelissioli Porto Alegre: UFRGS, Instituto de Letras, 2008. 112 p. Dissertação (Mestrado - Programa de Pós-graduação em Letras) Universidade Federal do Rio Grande do Sul. 1.Totalitarismo, 2.Animal Farm, 3. Nineteen Eighty-Four, 4. Alegoria, 5. Símbolo. 5 Acknowledgements To my dear professor and adviser Dr. Sandra Maggio, for the intellectual and motivational support; To professors Jane Brodbeck, Valéria Salomon, Vicente Saldanha, Paulo Ramos, Miriam Jardim, José Édil and Edgar Kirchof, professors who guided me to follow the way of Literature; To my bosses Antonio Daltro Costa, Gerson Costa and Mary Sieben, for their cooperation and understanding; To my friends Anderson Correa, Bruno Albo Amedei and Fernando Muniz, for their sense of companionship; To my family, especially my mother and grandmother, who always believed in my capacity; To my wife Ana Paula, who has always stayed by my side along these long years of study that culminate in the handing of this thesis; And, finally, to God, who has proved to me along the years that He really is the God of the brave. -
The Cultural Cold War the CIA and the World of Arts and Letters
The Cultural Cold War The CIA and the World of Arts and Letters FRANCES STONOR SAUNDERS by Frances Stonor Saunders Originally published in the United Kingdom under the title Who Paid the Piper? by Granta Publications, 1999 Published in the United States by The New Press, New York, 2000 Distributed by W. W. Norton & Company, Inc., New York The New Press was established in 1990 as a not-for-profit alternative to the large, commercial publishing houses currently dominating the book publishing industry. The New Press oper- ates in the public interest rather than for private gain, and is committed to publishing, in in- novative ways, works of educational, cultural, and community value that are often deemed insufficiently profitable. The New Press, 450 West 41st Street, 6th floor. New York, NY 10036 www.thenewpres.com Printed in the United States of America ‘What fate or fortune led Thee down into this place, ere thy last day? Who is it that thy steps hath piloted?’ ‘Above there in the clear world on my way,’ I answered him, ‘lost in a vale of gloom, Before my age was full, I went astray.’ Dante’s Inferno, Canto XV I know that’s a secret, for it’s whispered everywhere. William Congreve, Love for Love Contents Acknowledgements .......................................................... v Introduction ....................................................................1 1 Exquisite Corpse ...........................................................5 2 Destiny’s Elect .............................................................20 3 Marxists at -
Professor Peter Davison
GETTING IT RIGHT – Peter Davison January - March 2010 GETTING IT RIGHT January – March 2010 Peter Davison On at least two occasions George Orwell said he had done his best to be honest in his writings. In a letter to Dwight Macdonald on 26 May 1943 he wrote, „Within my own framework I have tried to be truthful‟; in a „London Letter‟ to Partisan Review, probably written in October 1944, he said, „I have tried to tell the truth‟ and goes on to devote the whole Letter to where in past Letters he had „got it wrong and why‟. When giving titles to volumes X to XX of The Complete Works, „I have tried to tell the truth‟ seemed to me apposite for one of them (Volume XVI). Telling the truth went further for Orwell. Writing about James Burnham, he was aware that what he had written in his „Second Thoughts on James Burnham‟ in Polemic, 3 (XVIII, pp. 268-84) would not be liked by that author; „however,‟ he wrote, „it is what I think‟ (XVIII, p. 232). Attempting to „get it right‟, even in the much lowlier task of editing than in the great variety of activities in which Orwell engaged, is about the only thing I can claim to have in common with Orwell. I am aware and embarrassed by my multitude of mistakes, misunderstandings, and my sheer ignorance. The Lost Orwell does what it can to try, belatedly, „to get it right‟. I was once taken to task by a reader who complained that „typewritten‟ had been misspelt: how ironic he thought! Would that were all! What one might call „ordinary, run-of-the-mill, errors‟ are no more than a matter of paying sustained attention – although maintaining that over some 8,500 pages of The Complete Works and seventeen years, with many changes of publisher, is clearly difficult. -
Volume 95 • 2001 Transactions of the Leicester Literary & Philosophical Society
TRANSACTIONS OF THE LEICESTER LITERARY & PHILOSOPHICAL SOCIETY. VOLUME 95 AUGUST 2001 ‘If Stones could Speake’ Reporting on Sport The Writer as Reader Trees and Woods in Art and Reality Orwell and the Secret State Alien’s Guide to Earthling Science The Europeanness of shakespeare Dangerous Earth Alfred Russel Wallace The Society’s History Graduate Education in the UK The Society’s Constitution Ministry in a new Millennium Annual Reports TRANSACTIONS OF THE LEICESTER LITERARY & PHILOSOPHICAL SOCIETY. VOLUME 95 • AUGUST 2001 CONTENTS ‘IF STONES COULD SPEAKE’ Presidential Address by Mrs Hilary Lewis ............................................................................2 THE WRITER AS READER Penelope Lively ...................................................................................................................7 DID ORWELL SERVE THE SECRET STATE? ORWELL AND THE INFORMATION RESEARCH DEPARTMENT OF THE FOREIGN OFFICE Professor Peter Davison, O.B.E. .........................................................................................10 THE EUROPEANNESS OF SHAKESPEARE Dr Robert Smallwood........................................................................................................12 LEICESTER AND EVOLUTION: THE STORY OF ALFRED RUSSEL WALLACE Dr Sandra Knapp...............................................................................................................13 DEVELOPING GRADUATE EDUCATION IN THE UK Professor Robert Burgess ...................................................................................................15 -
Literary Miscellany
Literary Miscellany A Selection from Recent Acquisitions and Stock Including Prose and Poetry from the 17th - 20th Centuries Association Copies and Letters Fine Printing, Illustrated Books, Film Material, And Varia of Other Sorts Catalogue 306 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. -
George Orwell: the Critical Heritage
GEORGE ORWELL: THE CRITICAL HERITAGE THE CRITICAL HERITAGE SERIES General Editor: B.C.Southam The Critical Heritage series collects together a large body of criticism on major figures in literature. Each volume presents the contemporary responses to a particular writer, enabling the student to follow the formation of critical attitudes to the writer’s work and its place within a literary tradition. The carefully selected sources range from landmark essays in the history of criticism to fragments of contemporary opinion and little published documentary material, such as letters and diaries. Significant pieces of criticism from later periods are also included in order to demonstrate fluctuations in reputation following the writer’s death. GEORGE ORWELL THE CRITICAL HERITAGE Edited by JEFFREY MEYERS London and New York First published in 1975 Reprinted in 1997 by Routledge This edition published in the Taylor & Francis e-Library, 2002. 11 New Fetter Lane London EC4P 4EE & 29 West 35th Street New York, NY 10001 Compilation, introduction, notes and index © 1975 Jeffrey Meyers All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data ISBN 0–415–15923–7 (Print Edition) ISBN 0–203–19635–X Master e-book ISBN ISBN 0–203–19638–4 (Glassbook Format) For Alfredo and Barbara General Editor’s Preface The reception given to a writer by his contemporaries and near- contemporaries is evidence of considerable value to the student of literature. -
Zeszyt Prasowy (PDF 83.3
wszystkie fot. dzięki uprzejmości artysty dzięki uprzejmości wszystkie fot. Andrzej Krauze, wycinanka, 2018 wernisaż wystawy 21.02.2020, godz. 19 kontakt dla mediów: Olga Gawerska [email protected] +48 22 556 96 55, +48 603 510 112 Zdjęcia dla mediów: zacheta.art.pl/pl/prasa /zdjęcia do pobrania (dostępne po zalogowaniu) 22.02–17.05.20 Zachęta — Narodowa Galeria Sztuki Andrzej Krauze. Lekcja fruwania kuratorka: Hanna Wróblewska współpraca: Marta Miś projekt ekspozycji i identyfikacji wizualnej: Lotne Studio partnerzy wystawy: Filmoteka Narodowa – Instytut Audiowizualny, British Council, Włoski Instytut Kultury w Warszawie wydawca książki towarzyszącej wystawie: Polski Instytut Wydawniczy partnerzy książki: Polski Holding Nieruchomości S.A., PKP Cargo Lekcja fruwania to wystawa Andrzeja Krauzego, wybitnego polskie- Instalacja-archiwum przedstawiająca zespól rysunków Gu- go rysownika od prawie czterdziestu lat mieszkającego i tworzącego ardianowskich zestawiona jest z seriami prac bardziej osobistych, w Londynie. tworzonych w pracowni, dla siebie. W Zachęcie można zobaczyć po W Polsce Krauze znany jest przede wszystkim jako twórca sa- raz pierwszy prezentowany w całości autobiograficzny cykl Mr Pen. tyryczny. Starsi czytelnicy pamiętają jego prace z lat siedemdzie- His life and work / Pan Pióro. Jego życie i twórczość czy Unfinished siątych, zamieszczane na łamach „Kultury”. Niezwykle wówczas Biography of Mr Pen / Niedokończona biografia Pana Pióro. A także ważne dla oddania nastrojów epoki. Jednak wystawa skupia się wo- — będące swoistymi arcydziełami rysunku — wycinanki, w któ- kół innego okresu twórczości. Głównym wątkiem konstruującym rych narzędzie pracy artysty pióro ze stalówką zastępuje... skalpel. ideę pokazu jest ilustracja i rysunek tworzone dla gazet w okresie Tytuł Lekcja fruwania odwołuje się do pracy dyplomowej An- ostatnich 30 lat. -
Nineteen Eighty-Four
저작자표시-변경금지 2.0 대한민국 이용자는 아래의 조건을 따르는 경우에 한하여 자유롭게 l 이 저작물을 복제, 배포, 전송, 전시, 공연 및 방송할 수 있습니다. l 이 저작물을 영리 목적으로 이용할 수 있습니다. 다음과 같은 조건을 따라야 합니다: 저작자표시. 귀하는 원저작자를 표시하여야 합니다. 변경금지. 귀하는 이 저작물을 개작, 변형 또는 가공할 수 없습니다. l 귀하는, 이 저작물의 재이용이나 배포의 경우, 이 저작물에 적용된 이용허락조건 을 명확하게 나타내어야 합니다. l 저작권자로부터 별도의 허가를 받으면 이러한 조건들은 적용되지 않습니다. 저작권법에 따른 이용자의 권리는 위의 내용에 의하여 영향을 받지 않습니다. 이것은 이용허락규약(Legal Code)을 이해하기 쉽게 요약한 것입니다. Disclaimer 교육학석사학위논문 Individual and System in George Orwell’s Nineteen Eighty-Four 조지 오웰의 1984에 나타나는 개인과 체계 2014년 8월 서울대학교 대학원 외국어교육과 영어전공 류 수 아 Individual and System in George Orwell’s Nineteen Eighty-Four by Su Ah Ryu A Thesis Submitted to the Department of Foreign Language Education in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Education At the Graduate School of Seoul National University August 2014 Individual and System in George Orwell’s Nineteen Eighty-Four 조지 오웰의 1984에 나타나는 개인과 체계 지도교수 민 병 천 이 논문을 교육학 석사 학위논문으로 제출함 2014년 6월 서울대학교 대학원 외국어교육과 영어전공 류수아 류수아의 석사학위논문을 인준함 2014년 8월 위 원 장 _________________________ 부위원장 _________________________ 위 원 _________________________ Individual and System in George Orwell’s Nineteen Eighty-Four APPROVED BY THESIS COMMITTEE: ________________________________________ MOONSU SHIN, COMMITTEE CHAIR ________________________________________ DOO-SUN RYU ________________________________________ BYOUNG CHUN MIN ABSTRACT Nineteen Eighty-Four, the last novel of George Orwell who has lived a life deeply involved with political situations of the time, exhibits the writer’s profound hatred toward the ruling party and the class system. -
Forbidden to Dream Again: Orwell and Nostalgia
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Birkbeck Institutional Research Online Forbidden To Dream Again: Orwell and Nostalgia Joseph Brooker There is even a tendency to talk nostalgically of the days of the V1. The good old doodlebug did at least give you time to get under the table, etc. etc. Whereas, in fact, when the doodlebugs were actually dropping, the usual subject of complaint was the uncomfortable waiting period before they went off. Some people are never satisfied. ‘As I Please’, 1 December 1944 (CEJL 3: 320) The Orwell century closed as the anniversary of his birth was marked in 2003. As it recedes, it is appropriate to think about the forms taken by retrospect. Andreas Huyssen has argued that contemporary culture is pervaded by commemoration. Memory, private or public, has been a theoretical focus and a political battlefield, in an era of controversial monuments and ‘memory wars’.1 In what Roger Luckhurst has dubbed the Traumaculture of recent years, the relation of individuals and groups to the past has often been staged as grieving and self-lacerating.2 But the flipside of the traumatic paradigm of memory has gone comparatively unexplored, despite its own weight in contemporary society. Nostalgia is vital to the appeal of the retro culture of the last twenty years, in cinema, literature and other arts.3 It remains politically contentious: regularly involved, and often used as an accusation, in arguments over Englishness, social change, national decline. Yet the topic has yet to receive the attention accorded to darker forms of memory.4 This essay aims to enhance our thinking about it via a reading of George Orwell. -
Introduction
Notes Introduction 1. While I appreciate that the terms ‘British’ and ‘English’ are not synonymous and not necessarily interchangeable, similarly to the use of these terms by Williams in The Country and the City, I also refer more broadly to the British empire, but focus on particular English forms of cultural imagination linked to rural England. My focus on England is partially determined by the forma- tion of English Heritage which was established under the National Heritage Act of 1983, and partially in response to perceptions of ‘English’ being a distinct racial category. However, I have chosen to consistently engage with the term ‘contemporary Britain’ throughout this study as the more general observations about immigration and race relations as legacies of the British empire are broadly applied to Britain as a nation, even while this study implicitly acknowledges that England continues to play the dominant role within national politics. I also wish to privilege the term ‘Britain’ as a more inclusive one than ‘England’. By raising these concerns in the first half of this study, I also aim to foreground the ongoing definitional tensions and discussions around the relationship between ‘British’ and ‘English’. 2. John Major made his well-documented speech to the Conservative Group for Europe on 22 April 1993. See (Butler and Butler, 2000, 296). 3. Throughout this book, I consider Britain as a ‘postimperial’ nation, while the nation-states that formed following the demise of empire are consid- ered ‘postcolonial.’ However, there are clearly many citizens and inhabitants within Britain who continue to engage with postcolonial concerns through connections with the ex-colonies and lingering forms of racism and margin- alisation that stem from imperial ideologies. -
A Remembrance of George Orwell (1974), P
Notes Introduction 1. Jacintha Buddicom, Eric and Us: A Remembrance of George Orwell (1974), p. 11. Hereafter as Eric and Us. 2. See Tables 2.1 and 5.1, pp. 32 and 92-3, and, for full details, my 'Orwell: Balancing the Books', The Library, VI, 16 (1994), 77-100. 1 Getting Started 1. Sir Richard Rees, George Orwell: Fugitive from the Camp of Victory (1961), pp. 144-5. Hereafter as 'Rees'. Mabel Fierz's report is quoted by Shelden, p. 127. 2. Eric and Us, pp. 13-14. 3. CEJL, iv.412. 4. Rees, p. 145. 5. See Bernard Crick, George Orwell: A Life, (third, Penguin, edition, 1992), p. 107; Michael Shelden, Orwell: The Authorised Biography (1991), p. 73; US pagination differs. Hereafter as 'Crick' and 'Shelden' respectively. 6. Stephen Wadhams, Remembering Orwell (1984), p. 44. As 'Wadhams' hereafter. Wadhams's interviews, conducted in 1983, are a particu larly valuable source of information. 7. Rees, p. 145. Mabel Fierz gave Wadhams a similar account, pp. 44-5. 8. Crick, pp. 48-9; Shelden, pp. 22-3. 9. VII.37. See also Crick, pp. 54-5; he identifies Kate of the novel with Elsie of the Anglican Convent Orwell attended from 1908 to 1911, with whom Orwell says in 'Such, Such Were the Joys' he 'fell deeply in love' - when aged about 6. 10. Eric and Us, p. 19. A footnote on that page reproduces part of a letter from Avril to Jacintha, 14 March 1973, in which Avril, having read a draft of Jacintha's book, says that she 'is making a very fair assess ment of Eric's boyhood'. -
George Orwell Ante Sus Calumniadores
George Orwell ante sus calumniadores Primera edición: Mayo 2014 Coedición: DDT Banaketak & Ediciones El Salmón Esta edición consta de: 700 ejemplares Este texto apareció publicado en castellano en 2003 y 2004 por la editorial Felix Likiniano Kultur Elkartea de Bilbao Título: George Orwell ante sus calumniadores Título original: George Orwell devant ses calommiateurs Autor: Éditions Ivrea y Éditions de L´Encyclopédie des Nuisances Traducción: Javier Rodríguez Hidalgo Colección: Salmonetes Para pedidos e insultos: Calle Gonzalo Mengual 21, 5B, 03013, Alacant / [email protected] Diseño de la colección: Miguel Sánchez Lindo Impreso por: Gráficas Castuera ISBN: 978-84-941092-3-2 Depósito legal: M-14121-2014 Se puede reproducir este texto tranquilamente Prefacio de los editores [...] Evidentemente ser de izquierda pero ser también crítico con la política comunista, la teoría marxista y la idea de revolución era algo que no daba mucha popularidad y que dejaba insatisfecho un poco a to- dos. Ser crítico de la izquierda sin por ello pasarse a la derecha, ser usado por la propaganda de derechas y continuar criticando la cultura burguesa y la socie- dad capitalista, no estaba incluido en el juego. Alfonso Berardinelli, «Derecha e izquierda en literatura» El libro que tienes entre las manos se publicó por vez primera en Francia en el año 1997. Meses antes, el 11 de julio de 1996, el diario inglés The Guardian anunciaba en su portada que George Orwell había entregado a los servicios secretos británicos una lista con los nombres de intelec- tuales sospechosos de ser «criptocomunistas» o «compañeros de viaje», dejando entrever que el autor de Rebelión en la granja habría ejercido de delator para la inteligencia británica.