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1984 Sparknotes Summary Book 2
1984 SparkNotes Summary Book 2 Summary: Chapter I At work one morning, Winston walks toward the men’s room and notices the dark-haired girl with her arm in a sling. She falls, and when Winston helps her up, she passes him a note that reads “I love you.” Winston tries desperately to figure out the note’s meaning. He has long suspected that the dark-haired girl is a political spy monitoring his behavior, but now she claims to love him. Before Winston can fully comprehend this development, Parsons interrupts him with talk about his preparations for Hate Week. The note from the dark-haired girl makes Winston feel a sudden, powerful desire to live. After several days of nervous tension during which he does not speak to her, Winston manages to sit at the same lunchroom table as the girl. They look down as they converse to avoid being noticed, and plan a meeting in Victory Square where they will be able to hide from the telescreens amid the movement of the crowds. They meet in the square and witness a convoy of Eurasian prisoners being tormented by a venomous crowd. The girl gives Winston directions to a place where they can have their tryst, instructing him to take a train from Paddington Station to the countryside. They manage to hold hands briefly. Summary: Chapter II Executing their plan, Winston and the girl meet in the country. Though he has no idea what to expect, Winston no longer believes that the dark-haired girl is a spy. He worries that there might be microphones hidden in the bushes, but feels reassured by the dark-haired girl’s evident experience. -
Nineteen Eighty-Four
MGiordano Lingua Inglese II Nineteen Eighty-Four Adapted from : http://en.wikipedia.org/wiki/Nineteen_Eighty-Four Nineteen Eighty-Four, sometimes published as 1984, is a dystopian novel by George Orwell published in 1949. The novel is set in Airstrip One (formerly known as Great Britain), a province of the superstate Oceania in a world of perpetual war, omnipresent government surveillance, and public manipulation, dictated by a political system euphemistically named English Socialism (or Ingsoc in the government's invented language, Newspeak) under the control of a privileged Inner Party elite that persecutes all individualism and independent thinking as "thoughtcrimes". The tyranny is epitomised by Big Brother, the quasi-divine Party leader who enjoys an intense cult of personality, but who may not even exist. The Party "seeks power entirely for its own sake. We are not interested in the good of others; we are interested solely in power." The protagonist of the novel, Winston Smith, is a member of the Outer Party who works for the Ministry of Truth (or Minitrue), which is responsible for propaganda and historical revisionism. His job is to rewrite past newspaper articles so that the historical record always supports the current party line. Smith is a diligent and skillful worker, but he secretly hates the Party and dreams of rebellion against Big Brother. As literary political fiction and dystopian science-fiction, Nineteen Eighty-Four is a classic novel in content, plot, and style. Many of its terms and concepts, such as Big Brother, doublethink, thoughtcrime, Newspeak, Room 101, Telescreen, 2 + 2 = 5, and memory hole, have entered everyday use since its publication in 1949. -
Topic Abstract When the Clocks Were Striking Thirteen: 1984
Topic Abstract When the Clocks Were Striking Thirteen: 1984 Non-Traditionals | Washington, D.C. | February 11-14, 2021 A Georgetown International Relations Association, Inc. Conference Dear Delegates and Advisors, Greetings from NAIMUN LVIII! The staff has been working hard to make the conference the most rewarding and educational experience yet, and we are excited to welcome you all to D.C. in February! This document is the topic abstract for When the Clocks Were Striking Thirteen: 1984. It contains three key elements to allow you to prepare well in advance for the committee: topic descriptions, questions to consider, and research avenues. This abstract will give you a better understanding of the committee’s content and procedures, and it can act as a starting point for further research. We hope to be of assistance to you in your preparation for NAIMUN LVIII. If you have any questions, comments, or concerns, please feel free to contact the Secretary- General, Director-General, or your Under-Secretaries-General. You may also contact your dais directly at [email protected]. We look forward to welcoming you to the NAIMUN family! Best, Alexander Chen Sanjna Jain Secretary-General Director-General [email protected] [email protected] Kate Reeves Hellen Kuang Under-Secretary-General, Under-Secretary-General, Non-Traditionals Non-Traditionals [email protected] [email protected] Topic Abstract | naimun.modelun.org | 2 What is a Crisis Committee? Crisis Committees are markedly different from both GAs and ECOSOCs. They tend to focus on specific issues, geographic areas, and historical periods. For example, the Court of Louis XIV, 1665 simulates the peak years of King Louis XIV in power, tackling issues from the international expansion of the French empire to developing domestic institutions. -
The Roles of Telescreen and Thought Police As the Surveillance Media to Sustain Totalitarian Power in George Orwell's Ninetee
THE ROLES OF TELESCREEN AND THOUGHT POLICE AS THE SURVEILLANCE MEDIA TO SUSTAIN TOTALITARIAN POWER IN GEORGE ORWELL’S NINETEEN EIGHTY-FOUR THESIS BY TRIAN SULAEMAN NIM 0911110269 STUDY PROGRAM OF ENGLISH DEPARTMENT OF LANGUAGES AND LITERATURE FACULTY OF CULTURAL STUDIES UNIVERSITAS BRAWIJAYA 2014 ACKNOWLEDGEMENTS First, all praises are raised to Allah SWT for His blessings during the completion of this study. Special appreciation goes to the supervisor, Dyah Eko Hapsari M.Hum., for her supervision and support. Her invaluable help and guidance throughout the research and writing process have contributed to the success of this thesis. Appreciation is also expressed to the co-supervisor, Arcci Tusita, S.S, M. Hum., for her support during the research. Also, I would like to express my gratitude to the academic advisor of mine, Ni Wayan Swardhani M.A and the examiner M. Andhy Nurmansyah, M.Hum. And also thank to the Faculty of Cultural Studies including all lectures, employees, and friends in the class of 2009 of Study Program of English. I would like to thank my parents, Doddy Setya Rusmayadi and Entin Kartini for their endless support. And also, to my siblings, Reza Wibisana, Restu Prayogi, and Devi Agustini Rahayu who always support me to finish this research. Finally yet importantly, I would love to thank to Virda Andini Putri Diponegoro, Yuna Prajipta, Annisa Anindita, Vania Delicia, Ading Pradani, Adeline, Ayub Tobing, Fikri Haikal, Ahmad Haikal who directly and indirectly contributed in this research, your kindness means a lot to me. Malang, January 06, 2014 The Writer v ABSTRACT Sulaeman, Trian. -
Nineteen Eighty-Four
Nineteen Eighty-Four This article is about the Orwell novel. For other uses, see 1984 (disambiguation). Nineteen Eighty-Four, sometimes published as 1984, is a dystopian novel by English author George Orwell pub- lished in 1949.[1][2] The novel is set in Airstrip One (for- merly known as Great Britain), a province of the super- state Oceania in a world of perpetual war, omnipresent government surveillance and public manipulation, dic- tated by a political system euphemistically named English Socialism (or Ingsoc in the government’s invented lan- guage, Newspeak) under the control of a privileged Inner Party elite, that persecutes individualism and independent thinking as "thoughtcrimes".[3] The tyranny is epitomised by Big Brother, the quasi- divine Party leader who enjoys an intense cult of per- sonality but who may not even exist. The Party “seeks power entirely for its own sake. We are not interested in the good of others; we are interested solely in power.”[4] The protagonist of the novel, Winston Smith, is a member of the Outer Party, who works for the Ministry of Truth (or Minitrue), which is responsible for propaganda and historical revisionism. His job is to rewrite past newspa- per articles, so that the historical record always supports A 1947 draft manuscript of the first page of Nineteen Eighty- the party line.[5] Smith is a diligent and skillful worker Four, showing the editorial development. but he secretly hates the Party and dreams of rebellion against Big Brother. As literary political fiction and dystopian science-fiction, his unforgiving novel” in 1944, the implications of divid- Nineteen Eighty-Four is a classic novel in content, plot ing the world up into Zones of influence that had been con- and style. -
1984 Final Project Assignment
1984 Final Project George Orwell’s 1984 is so widely read because it raises many interesting and important questions. In a live or recorded presentation, examine (#1) a central theme or issue in Orwell’s fictional 1984, and compare it to (#2) things that have happened, or are happening, in the real world since the novel was written. In choosing your topic, as well as how to present it, you – unlike the characters in 1984 – have a lot of freedom. Most of these topics will be new to you, so ask yourself right away which ones appeal to you. Then, read 1984 with the focus of a researcher. It is important that you begin researching your topic early, as you’ll need your reading notes on 1984 to help you make your case. The sooner in the reading schedule that you narrow down to one or two favorite topics, the better your final project experience will be. A successful presentation: ü follows a design approved by the teacher. ü lasts roughly five minutes. ü explains the topic in 1984 in accurate detail. ü supports your work with specific passages from the text. ü explicitly connects Orwell’s writings with a real-world issue o (“Explicitly” means “don’t just hint at it, come out and say it!”) ü explains the real-world topic, defining terms as necessary. o (Explain similarities and differences to Orwell’s vision.) ü supports your major claim/s with research. Format Every project requires research. Present your findings in a speech, video, song, collage, sculpture, guest speaker or interview, short film, or almost anything other format. -
1984 by George Orwell
AP Literature Reading Questions 1984 by George Orwell. Directions: Answer each in complete sentences on notebook paper. You may need to use more than one sentence for some of the questions. Write as much as needed to fully answer the question PART1: _Chapter 1 1. When does the story begin? 2. What kind of day is it? 3. How have the clocks been changed? 4. Who is the first character introduced? 5. Where does he live? 6. Describe the place (details: smells, conditions) 7. What is the large poster? 8. Why doesn’t Winston take the lift? 9. Why is it difficult for Winston to climb the stairs? 10. What is the caption beneath the large poster on the wall? 11. Where does the “fruity” voice come from? 12. Why can’t the telescreen be completely shut off? 13. How does the telescreen differ from our television? 14. Describe Winston (Be specific) 15. What is the word on the flapping poster? 16. What police bother Winston? 17. What city and country does Winston live in? 18. Can Winston recall the city of his childhood? 19. What can Winston see from his window? 20. What are the 3 slogans of the party etched on Miniture? 21. How many buildings like these can Winston see from his window? What are they? 22. Which is the most frightening? Why? 23. Does Winston have any food? 24. What does he drink? 25. What does he smoke? 26. Where does he sit to write and why? Chapter 2 1. What does Winston realize he has done with his diary? 2. -
Dystopian Language and Thought: the Sapir-Whorf Hypothesis Applied to Created Forms of English
DePauw University Scholarly and Creative Work from DePauw University Student research Student Work 2014 Dystopian Language and Thought: The aS pir- Whorf Hypothesis Applied to Created Forms of English Kristen Fairchild Follow this and additional works at: http://scholarship.depauw.edu/studentresearch Part of the English Language and Literature Commons Recommended Citation Fairchild, Kristen, "Dystopian Language and Thought: The aS pir-Whorf Hypothesis Applied to Created Forms of English" (2014). Student research. Paper 7. This Thesis is brought to you for free and open access by the Student Work at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Student research by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. 1 Dystopian Language and Thought: The Sapir-Whorf Hypothesis Applied to Created Forms of English Kristen Fairchild DePauw University Honor Scholar 401-402: Senior Thesis April 11, 2014 2 3 Acknowledgements I would like to acknowledge and thank my three committee members for their guidance and encouragement through this process. Additionally, a special thanks to my advisor, Istvan Csicsery-Ronay Ph.D, for all his extra time and support. 4 5 Introduction The genre of science fiction is a haven for the creation of new worlds, universes, and projections of the future. Many versions of the future represent dystopian societies. While the word dystopia often evokes images of hellish landscapes or militarized super-cities, the word dystopia simply implies “a dis-placement of our reality.”1 Dystopias usually originate from social or political conditions of the present. -
Quiz for 1984
Quiz for 1984 1. What are the Party slogans – War Is Peace, 7. Where is the telescreen hidden in the room Freedom Is Slavery, Ignorance Is Strength – with Julia and Winston? examples of? a. Behind a painting a. Old Speak b. Behind the bureau b. New Speak c. Above the sink c. Doublethink d. Behind a mirror d. Oceanian 8. Where is Winston taken to be tortured? 2. Where does Winston Smith work? a. The Ministry of Torture a. The Fiction Deparment b. The Ministry of Love b. The Ministry of Truth c. The Ministry of Hate c. The War Ministry d. The Ministry of Justice d. The Outer Party Headquarters 9. What room is Winston sent to in order to 3. What does the note that Julia first gives confront his worst fears? Winston say? a. Room 212 a. “Can we meet?” b. Room 18 b. “I am your ally.” c. Room 222 c. “I am Big Brother.” d. Room 101 d. “I love you.” 10. What is Winston’s greatest fear? 4. Where do Winston and Julia go for their a. Cockroaches romantic trysts? b. Snakes a. The file room in the office c. Rats b. A room above a shop d. Needles c. The Fiction Department d. A parked car in the country 11. What does the paperweight symbolize? a. Totalitarianism 5. What group do Julia and Winston believe b. Winston and Julia’s relationship O’Brien is a member of? c. Big Brother a. The Counter Action Force d. The destruction of religion b. The Eurasian Alliance c. -
A Critique of Orwell's Oligarchic Collectivism As an Economic System
E U I W 0 R K I N G P A P E R N° 85/161 I i A CRITIQUE OF ORWELL'S OLIGARCHIC COLLECTIVISM AS AN ECONOMIC SYSTEM by ~ Domenico Mario NUT! 320 EUI 320 EUROPEAN UNIVERSITY INSTITUT~ DEPARTMENT OF ECONOMICS 8UI E U I W 0 R K I N G P A P E R N° 85/161 A CRITIQUE OF ORWELL'S OLIGARCHIC COLLECTIVISM AS AN ECONOMIC SYSTEM by ~ Domenico Mario NUT! Forthcoming in: Coexistence: A Review of East-West and Development Issues, 1985. BADIA FIESOLANA, SAN DOMENICO DI FIESOLE All rights reserved. No part of this paper may be reproduced in any fo~ without permission of the authors. (C) Domenico Mario Nuti Printed in Italy in April 1985 European University Institute Badia Fiesolana 50016 SAN DOMENICO (Fi) Italy. Summary This paper assesses the consistency, efficiency and viability of the economic system implicit and explicit in Orwell's Nineteen Eighty Four. The first section illustrates the main features of Orwell's model: (its geopolitics, the convergence to a single system, ownership, planning, markets and prices, information, statistics, resources, technology, trade, public policy, permanent warfare) and its internal dynamics. The second section provides a critique, based on the implausibility of the whole if not of the parts of the model, the uni-dimensionality and indivisibility of Orwell's notion of power, the informational inefficiency of the system, the unwarranted extension of the results of the model to a three-players game between the superstates, technological regress, the lack of micro foundations, the economic position of .Puter Party.members, the dehumani sation of the working class. -
We Love Big Brother: an Analysis of the Relationship Between Orwell's Nineteen Eighty-Four and Modern Politics in the United S
University of Connecticut OpenCommons@UConn Honors Scholar Theses Honors Scholar Program Spring 5-4-2018 We Love Big Brother: An Analysis of the Relationship between Orwell’s Nineteen Eighty- Four And Modern Politics in the United States and Europe Edward Pankowski [email protected] Follow this and additional works at: https://opencommons.uconn.edu/srhonors_theses Part of the Literature in English, North America Commons, and the Political Theory Commons Recommended Citation Pankowski, Edward, "We Love Big Brother: An Analysis of the Relationship between Orwell’s Nineteen Eighty-Four And Modern Politics in the United States and Europe" (2018). Honors Scholar Theses. 559. https://opencommons.uconn.edu/srhonors_theses/559 We Love Big Brother: An Analysis of the Relationship between Orwell’s Nineteen Eighty-Four And Modern Politics in the United States and Europe By Edward Pankowski Professor Jennifer Sterling-Folker Thesis Adviser: Professor Sarah Winter 5/4/2018 POLS 4497W Abstract: In recent months since the election of Donald Trump to the Presidency of the United States in November 2016, George Orwell’s Nineteen Eighty-Four has seen a resurgence in sales, and terms invented by Orwell or brought about by his work, such as “Orwellian,” have re- entered the popular discourse. This is not a new phenomenon, however, as Nineteen Eighty-Four has had a unique impact on each of the generations that have read it, and the impact has stretched across racial, ethnic, political, and gender lines. This thesis project will examine the critical, popular, and scholarly reception of Nineteen Eighty-Four since its publication 1949. Reviewers’ and commentators’ references common ideas, themes, and settings from the novel will be tracked using narrative theory concepts in order to map out an understanding of how the interpretations of the novel changed over time relative to major events in both American and Pankowski 1 world history. -
'Just Like Hitler': Comparisons to Nazism in American Culture
University of Massachusetts Amherst ScholarWorks@UMass Amherst Open Access Dissertations 5-2010 'Just Like Hitler': Comparisons To Nazism in American Culture Brian Scott Johnson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/open_access_dissertations Part of the English Language and Literature Commons Recommended Citation Johnson, Brian Scott, "'Just Like Hitler': Comparisons To Nazism in American Culture" (2010). Open Access Dissertations. 233. https://scholarworks.umass.edu/open_access_dissertations/233 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. ‘JUST LIKE HITLER’ COMPARISONS TO NAZISM IN AMERICAN CULTURE A Dissertation Presented by BRIAN JOHNSON Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 English Copyright by Brian Johnson 2010 All Rights Reserved ‘JUST LIKE HITLER’ COMPARISONS TO NAZISM IN AMERICAN CULTURE A Dissertation Presented by BRIAN JOHNSON Approved as to style and content by: ______________________________ Joseph T. Skerrett, Chair ______________________________ James Young, Member ______________________________ Barton Byg, Member ______________________________ Joseph F. Bartolomeo, Department Head