Nineteen Eighty-Four and the Ideology of Hate
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1984 by George Orwell Copyright Notice ©2011 eNotes.com Inc. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. All or part of the content in these eNotes comes from MAXnotes® for 1984, and is copyrighted by Research and Education Association (REA). No part of this content may be reproduced in any form without the permission of REA. ©1998-2002; ©2002 by Gale Cengage. Gale is a division of Cengage Learning. Gale and Gale Cengage are trademarks used herein under license. For complete copyright information on these eNotes please visit: http://www.enotes.com/1984/copyright eNotes: Table of Contents 1. 1984: Introduction 2. 1984: The Principles of Newspeak 3. 1984: Overview 4. 1984: George Orwell Biography 5. 1984: Summary 6. 1984: Summary and Analysis ♦ Part 1, Chapter 1 Summary and Analysis ♦ Part 1, Chapter 2 Summary and Analysis ♦ Part 1, Chapter 3 Summary and Analysis ♦ Part 1, Chapters 4 and 5 Summary and Analysis ♦ Part 1, Chapters 6 and 7 Summary and Analysis ♦ Part 1, Chapter 8 Summary and Analysis ♦ Part 2, Chapter 1 Summary and Analysis ♦ Part 2, Chapter 2 Summary and Analysis ♦ Part 2, Chapter 3 Summary and Analysis ♦ Part 2, Chapter 4 Summary and Analysis ♦ Part 2, Chapter 5 Summary and Analysis ♦ Part 2, Chapter 6 Summary and Analysis ♦ Part 2, Chapter 7 Summary and Analysis ♦ Part 2, Chapter 8 Summary and Analysis ♦ Part 2, Chapter 9 Summary and Analysis ♦ Part 2, Chapter 10 Summary and Analysis ♦ Part 3, Chapter 1 Summary and Analysis 1984 1 ♦ Part 3, Chapter 2 Summary and Analysis ♦ Part 3, Chapter 3 Summary and Analysis ♦ Part 3, Chapters 4 and 5 Summary and Analysis ♦ Part 3, Chapter 6 Summary and Analysis 7. -
DOUBLE THINK Originally Drawn in the 1960S in Yugoslavia As a Logo
,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , , , DOUBLE THINK , , , , originally drawn in the , , , , 1960s in Yugoslavia as , , a logo for the shopfronts , , , , of the state-owned , , , , clothes company , , STANDARD KONFEKCIJA , , , , by Vinko Ozic-Pajic. , , NOW AVAILABLE IN , , , , medium & bold inline , , , ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , DOUBLETHINK 1 MEDIUM 500PT 19 BOLD INLINE 500PT 84DOUBLETHINK 2 10PT The name Doublethink comes from the book 1984 by George Orwell. It means 'the power of holding two contradictory beliefs, simultaneously, in one’s mind and accepting both of them.' An appropriate name for a font prduced in a Communist regime. Medium 54PT A210PT e 36 82 50 19 43 f 72PT 48PT 2006 600PT 90PT DOUBLETHINK 3 THE SHOPS NO LONGER EXIST, HAVING ALL BEEN CLOSED AROUND 2001, AFTER THE FALL OF COMMUNISM. THERE ARE NOT MANY THAT HAVE MOURNED THE PASSING OF COMMUNISM, BUT VIRUS CAN'T HELP FEELING THAT A HUGE AMOUNT OF VALUABLE VISUAL CULTURE HAS BEEN THROWN AWAY ALONG WITH EVERY- THING ELSE. DOUBLETHINK 4 Bold Inline Bold 36 82 50 43 19 72PT 48PT 200690PT 720PT 72PT STANDARD KONFEKCIJA ITSELF STARTED OFF AS A MILITARY FABRIC COMPANY AND THEN BECAME THE FIRST FASHION BRAND IN COMMUNIST YUGOSLAVIA. IT IS FAMOUS FOR HAVING THE FIRST EVER PLASTIC CARRIER BAG IN THE COUNTRY AT THE TIME A MUCH COVETED ITEM. IT WAS ALSO HIGHLY UNUSUAL FOR ITS USE OF ORANGE AS ITS MAIN COLOUR, RATHER THAN THE OFFICIAL RED. K210PT n l11PT DOUBLETHINK 5 he power of holding two contradictory beliefs in one's mind simultaneously, and accepting both of them… To tell deliberate lies while genuinely believing in them, to forget any fact that has become inconvenient, Tand then, when it becomes necessary again, to draw it back from oblivion for just so long as it is needed, to deny the existence of objective reality and all the while to take account of the reality which one denies – all this is indispensably necessary. -
The Art of Communication in a Polarized World This Page Intentionally Left Blank the Art of Communication in a Polarized World
The Art of Communication in a Polarized World This page intentionally left blank The Art of Communication in a Polarized World KYLE CONWAY Copyright © 2020 Kyle Conway Published by AU Press, Athabasca University 1200, 10011 – 109 Street, Edmonton, AB T5J 3S8 https://doi.org/10.15215/aupress/9781771992930.01 Cover image © Suchat Nuchpleng / Shutterstock.com Cover design by Natalie Olsen Interior design by Sergiy Kozakov Printed and bound in Canada Library and Archives Canada Cataloguing in Publication Title: The art of communication in a polarized world / Kyle Conway. Names: Conway, Kyle, 1977- author. Description: Includes bibliographical references and index. Identifiers: Canadiana (print) 20200162683 | Canadiana (ebook) 20200162691 ISBN 9781771992930 (softcover) | ISBN 9781771992947 (pdf) ISBN 9781771992954 (epub) | ISBN 9781771992961 (Kindle) Subjects: LCSH: Intercultural communication. | LCSH: Translating and interpreting. LCSH: Communication and culture. | LCSH: Language and culture. Classification: LCC P94.6 C66 2020 | DDC 303.48/2—dc23 This book has been published with the help of a grant from the Federation for the Humanities and Social Sciences, through the Awards to Scholarly Publications Program, using funds provided by the Social Sciences and Humanities Research Council of Canada. We acknowledge the financial support of the Government of Canada through the Canada Book Fund (CBF) for our publishing activities and the assistance provided by the Government of Alberta through the Alberta Media Fund. This publication is licensed under a Creative Commons licence, Attribution–Noncommercial–No Derivative Works 4.0 International: see www.creativecommons.org. The text may be reproduced for non-commercial purposes, provided that credit is given to the original author. To obtain permission for uses beyond those outlined in the Creative Commons licence, please contact AU Press, Athabasca University, at [email protected]. -
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. -
From the on Inal Document. What Can I Write About?
DOCUMENT RESUME ED 470 655 CS 511 615 TITLE What Can I Write about? 7,000 Topics for High School Students. Second Edition, Revised and Updated. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-5654-1 PUB DATE 2002-00-00 NOTE 153p.; Based on the original edition by David Powell (ED 204 814). AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock no. 56541-1659: $17.95, members; $23.95, nonmembers). Tel: 800-369-6283 (Toll Free); Web site: http://www.ncte.org. PUB TYPE Books (010) Guides Classroom Learner (051) Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PC07 Plus Postage. DESCRIPTORS High Schools; *Writing (Composition); Writing Assignments; *Writing Instruction; *Writing Strategies IDENTIFIERS Genre Approach; *Writing Topics ABSTRACT Substantially updated for today's world, this second edition offers chapters on 12 different categories of writing, each of which is briefly introduced with a definition, notes on appropriate writing strategies, and suggestions for using the book to locate topics. Types of writing covered include description, comparison/contrast, process, narrative, classification/division, cause-and-effect writing, exposition, argumentation, definition, research-and-report writing, creative writing, and critical writing. Ideas in the book range from the profound to the everyday to the topical--e.g., describe a terrible beauty; write a narrative about the ultimate eccentric; classify kinds of body alterations. With hundreds of new topics, the book is intended to be a resource for teachers and students alike. (NKA) Reproductions supplied by EDRS are the best that can be made from the on inal document. -
Borat in an Age of Postironic Deconstruction Antonio López
Taboo: The Journal of Culture and Education Volume 11 | Issue 1 Article 10 December 2007 Borat in an Age of Postironic Deconstruction Antonio López Follow this and additional works at: https://digitalcommons.lsu.edu/taboo Recommended Citation López, A. (2017). Borat in an Age of Postironic Deconstruction. Taboo: The Journal of Culture and Education, 11 (1). https://doi.org/ 10.31390/taboo.11.1.10 Taboo, Spring-Summer-Fall-WinterAntonio López 2007 73 Borat in an Age of Postironic Deconstruction Antonio López The power of holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them. ... To tell deliberate lies while genuinely believing in them, to forget any fact that has become inconvenient, and then, when it becomes necessary again, to draw it back from oblivion for just so long as it is needed, to deny the existence of objective reality and all the while to take account of the reality which one denies—all this is indispensably necessary. Even in using the word doublethink it is necessary to exercise doublethink. For by using the word one admits that one is tampering with reality; by a fresh act of doublethink one erases this knowledge; and so on indefinitely, with the lie always one leap ahead of the truth. —George Orwell, 19841 I will speak to you in plain, simple English. And that brings us to tonight’s word: ‘truthiness.’ Now I’m sure some of the ‘word police,’ the ‘wordinistas’ over at Webster’s are gonna say, ‘hey, that’s not really a word.’ Well, anyone who knows me knows I’m no fan of dictionaries or reference books. -
Year 8 English Extract Pack
Year 8 English Extract Pack Extract 1- for Task 1 George Orwell George Orwell was the pen name of a man called Eric Blair. A pen name is a name used by a writer instead of their own name. Even though his real name was Eric Blair, he is known as his pen name, George Orwell. Early Life George Orwell was born in India in 1903. At the time, India was still one of Britain’s colonies. You may remember from The Tempest that a colony is a country that is controlled by a different country. At the time, India was a British colony, so many British people lived and worked in India. Orwell’s father worked as a civil servant in India. Even though he was helping to run India, he was employed by the British government as India was a part of the British Empire. When he was one, Orwell moved back to live in England with his mother. He did not see his father again until 1912, as his father had to stay in India for work. The young Orwell was very intelligent. He went to exclusive boarding schools as he was growing up. He only had to pay half the fees for his education because he was so smart. At these exclusive schools, Orwell spent a lot of time around the richest people in the country. But when he read the newspapers he saw that the majority of people around the world were not rich. He wanted to find out more about these people and their lives. -
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. -
Narrative Viewpoint and the Representation of Power in George Orwell’S Nineteen Eighty-Four
Narrative viewpoint and the representation of power in George Orwell’s Nineteen Eighty-Four BRIGID ROONEY This essay considers how ‘perspective’ and ‘choice of language’ in George Orwell’s novel, Nineteen Eighty-Four, position the reader and contribute to the text’s representation of power, powerplay and people power.1 The aims of this essay can be restated in the form of two key questions. What specific features of the narrative in Orwell’s Nineteen Eighty-Four construct the text’s representation of power, and of powerplay? How do those features position the responder to think and feel about political power and about whether there can be people power? Questions of medium, textual form, and genre It is important to distinguish, at the outset, between ‘narrative’, as a general term for story or the telling of story, and ‘the novel’, as a particular medium or form of narrative. Narratives are everywhere in culture. Not only are they integral to novels but they also permeate films, news reports, and even the everyday stories we use to make sense of life. Narratives always position the listener, reader, or responder in particular ways, expressing partial truths, and creating or constructing certain views of reality while minimizing or excluding others. The novel, on the other hand, is a specific textual form that developed, in the medium of print, during the last three hundred years or so in European societies. Not all cultures and societies have given rise to ‘novels’, though all have told stories, in visual, oral, or written forms. The European novel’s popularity peaked in the nineteenth century.