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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. -
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 George Orwell
1984 by George Orwell Reflections by the Class 3AB June 2017 – HN Development of Winston’s Attention Tina Stebler Topic Since the beginning of the book the reader knows that Winston Smith didn’t think like most of the people around him. In fact: he was a “Thought-Criminal”. Winston could still remember the past and because of that he had to be very careful. But his attention to the Party wasn’t the same in every chapter. The development of Winston’s attention can be shown in a diagram. Important quotations “Now that he had recognised himself as a dead man it became important to stay alive as long as possible.” - Part One, Chapter Two, p. 28 “Never show resentment!” - Part One, Chapter Three, p. 35 “He stopped, turned aside and pressed a switch on the wall. There was a sharp snap. The voice had stopped.” - Part Two, Chapter Eight, p. 153 Explanation for the last quotation: O’Brien turned off the telescreen. After that Winston thought everything he will say, wouldn’t be heard from the proles. He fully trusted O’Brien from this moment, only because the telescreen was turned off. Diagram 10 9 8 7 6 5 4 ATTENTION 3 2 1 0 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 CHAPTER Conclusion At the beginning Winston was very careful not to stand out. Then he began to write in his diary. When the woman over the telescreen called his name in chapter three, he was a little shocked and was more careful. -
PLOT SUMMARY 1984 Part 1, Chapter 1
PLOT SUMMARY 1984 Part 1, Chapter 1 Part 1, Chapter 1 Summary We are introduced to Winston Smith and the world in which he lives. He is a very aged thirty-nine year old man, with a small, thin stature. He works in one of the four Ministries that serve as the entire government of Oceania. The Ministry names and functions are as follows: The Ministry of Truth, which regulates all forms of media, entertainment, and arts; the Ministry of Peace, which presides over all aspects of war; the Ministry of Love, which is a form of judicial system; and the Ministry of Plenty, which governs economic affairs. The description of life in his world is bleak at best. He lives in a filthy building that smells of boiled cabbage. The elevator is always broken and his flat (apartment) is on the seventh floor. He has a terrible time getting up and down the stairs on account of a constantly oozing and aching varicose ulcer just above his right ankle. When he finally gets home, he is greeted by the same type of environment that he just left at work: constant surveillance by Big Brother, the government. This constant watch is kept on him by a telescreen, which covers the wall and is constantly monitoring not only his every action and word, but also his facial expressions. The slightest notion through gesture or appearance against the Party means death or worse. He must, in every aspect of his being, be a member of the Party, the group that supports Big Brother. -
Grade 11 Reading Questions / Assignment
CANTERBURY HIGH SCHOOL English 11 British Literature and Composition 1984 Directions: In preparation for the first day of class, based on your close, careful reading of 1984, answer each of the questions below. Cite the page number where your answer may be found. Most importantly, do your own work. The goal of summer reading is to exercise your reading skills. Do not do this with friends, and do not consult the Internet, Spark Notes, Cliff Notes, Schmoop Notes, Rats’ Notes, etc. You grow as a reader by practicing reading, and summer reading is about continuing to develop reading skills over the summer. Section One: Chapters I, II, III 4. Describe the aim of Newspeak and how it works. 1. Who is the main character? Briefly describe the main 5. What is Syme’s observation about Winston’s appreciation of character. Newspeak? 2. What is the setting of the novel? Give the country and the 6. Winston is at lunch when the message on the telescreen city. relates the good news about increases in production, including that the chocolate ration has been raised to twenty eight 3. What are the three slogans of the Party? Write them the way grams a week. What is Winston thinking as he hears this they are shown in the novel. message? 4. What does the caption on the posters say? 9. What is facecrime? Give an example. 5. Name each of the Ministries and explain its function. Also 10. Who is looking at Winston during lunch? How does this include the Newspeak name for each ministry. -
Adapting Totalitarianism: Nineteen Eighty-Four in Film Adaptations
Adapting totalitarianism: Nineteen Eighty-Four in Film Adaptations (Schaefer) Bachelor Thesis English Language and Culture, Utrecht University Student: Laura Kouters Student number: 3909670 Supervisor: Dr. Roselinde Supheert Second reader: Dr. Barnita Bagchi Date of completion: January 2015 2 Table of Contents Introduction pg. 3 1. Totalitarianism in Orwell’s Nineteen Eighty Four pg. 6 2. The Torture Scene pg. 9 3. Room 101 pg. 16 4. Symbolical Ideology pg. 20 1. Clothing pg. 20 2. Big Brother pg. 24 3. Technology pg. 25 Conclusion pg. 29 Appendix pg. 31 Works Cited pg. 39 3 Introduction After reading Russian author Yevgeny Zamyatin’s revolutionary dystopian work We (1921), British author Eric Arthur Blair began work on his own interpretation of a dystopian world, tentatively called The Last Man in Europe, and eventually published it as Nineteen Eighty- Four on 8 June 1949 under his pen name George Orwell (McCrum). Reviews of that time reveal an instant critical acclaim (Meyers), with British critic V.S. Pritchett stating that “I do not think I have ever read a novel more frightening and depressing; and yet, such are the originality, the suspense, the speed of writing and withering indignation that it is impossible to put the book down” (Pritchett). The New York Times review of 12th of June 1949 mentions that while “[it] is a great work of kinetic1 art,” it also “may mean that its greatness is only immediate, its power for us alone, now, in this generation, this decade, this year, that it is doomed to be the pawn of time.” Fortunately, this prophesy of immediate greatness has been firmly dismantled. -
Nineteen Eighty-Four and the Ideology of Hate
ENGLISH Nineteen Eighty-Four and the Ideology of Hate Kristoffer Rissanen Supervisor: Chloé Avril BA thesis Examiner: Spring 2014 Zlatan Filipovic Title: Nineteen Eighty-Four and the Ideology of Hate Author: Kristoffer Rissanen Supervisor: Chloé Avril Abstract: Hatred and ideology play an important role in George Orwell’s Nineteen Eighty-Four. This essay aims to show that hatred not only is a core tenet of the Party’s ideology, but that it also guides the protagonist Winston Smith, motivating his rebellion. The essay also suggests that Winston Smith’s resistance is not his own, but instilled in him by the Party. The essay’s method is a close reading of the text, with the primary concept of hatred in mind. The essay argues that fear is the origin of hate, and that hate empowers the Party and is used as a tool to keep the Party in control. Keywords: 1984, Orwell, emotion, hate, love, fear, control, motivation, ideology, power Table of Contents Introduction 1-5 -Method and material 5-6 -Theory and concepts 6-9 Chapter 1 10-13 Chapter 2 14-17 Conclusion 18-19 Bibliography 20-21 1 Introduction Hatred is a powerful emotion and I believe that it permeates George Orwell’s Nineteen Eighty-Four (1984). I think that it is found in the very core of humanity, as a primal force that is inexorably tied to human nature, bound to us by instinct and necessity (Sternberg, Sternberg 16). Hate is often born from fear, and it is this fear and subsequent hate that is so commonly manipulated by those who would seek to wield it. -
Orwell-1949 Nineteen Eighty Four
Eric Arthur Blair (25 June 1903 – 21 January 1950), better known by his pen name George Orwell, was an English novelist and essayist, journalist and critic. His work is characterised by lucid prose, biting social criticism, opposition to totalitarianism, and outspoken support of democratic socialism. As a writer, Orwell produced literary criticism and poetry, fiction and polemical journalism; and is best known for the allegorical novella Animal Farm (1945) and the dystopian novel Nineteen Eighty-Four (1949). His non-fiction works, including The Road to Wigan Pier (1937), documenting his experience of working-class life in the north of England, and Homage to Catalonia (1938), an account of his experiences soldiering for the Republican faction of the Spanish Civil War (1936–1939), are as critically respected as his essays on politics and literature, language and culture. In 2008, The Times ranked George Orwell second among "The 50 greatest British writers since 1945". Orwell's work remains influential in popular culture and in political culture, and the adjective "Orwellian"—describing totalitarian and authoritarian social practices—is part of the English language, like many of his neologisms, such as "Big Brother", "Thought Police", "Two Minutes Hate", "Room 101", "memory hole", "Newspeak", "doublethink", "proles", "unperson", and "thoughtcrime". Part One 1984 Chapter 1 t was a bright cold day in April, and the clocks were strik- Iing thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from enter- ing along with him. -
CNN's Two Minutes Hate
V O X P O P U L I Apr 4 CNN's Two Minutes Hate brendon sparkman The horrible thing about the Two Minutes Hate was not that one was obliged to act a part, but, on the contrary, that it was impossible to avoid joining in… The next moment a hideous, grinding speech, as of some monstrous machine running without oil, burst from the big telescreen at the end of the room. It was a noise that set one’s teeth on edge and bristled the hair at the back of one’s neck. The Hate had started. As usual, the face of Emmanuel Goldstein, the Enemy of the People, had flashed on to the screen. There were hisses here and there among the audience… Before the Hate had proceeded for thirty seconds, uncontrollable exclamations of rage were breaking out from half the people in the room… In its second minute the Hate rose to a frenzy. People were leaping up and down in their places and shouting at the tops of their voices in an effort to drown the maddening bleating voice that came from the screen… The above is taken from George Orwell’s immortalized 1984, and while few would argue that this harrowing scene and CNN’s recent town hall surrounding the ever-ambiguous demand that “something” be done about gun control in the United States are fundamentally comparable, it is nevertheless alarming to note the unmitigated anger and passion on behalf of those spectators when Dana Loesch, in a levelheaded inquiry as to how Sheriff Israel's department, after 39 calls made to the police about Nikolas Cruz over a seven year period, did not follow up with some level of detainment, is shouted down and booed. -
The Structure and Kinetics Of
The Year of the Rat: Images of Betrayal in Orwell’s Nineteen Eighty-Four A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master’s of Arts in the Department of English University of Saskatchewan Saskatoon By Seth Andrew Besenski © Copyright Seth Andrew Besenski, December, 2007. All rights reserved. 1 “The Year of the Rat: Images of Betrayal in Orwell’s Nineteen Eighty-Four” As George Orwell pondered a title for the novel that was to be named Nineteen Eighty-Four, a novel that makes extensive use of the image of the rat, it is interesting to note that the year 1984 was, itself, the Year of the Rat according to the Chinese Zodiac; further, when Orwell was writing his novel in 1948, it was another Year of the Rat. While the Zodiac suggests that those born under the sign are meticulous, intelligent, charismatic, charming, ambitious, practical, industrious, and eloquent, it also suggests that they are controlling, resentful, manipulative, cruel, vengeful, stubborn, power-hungry, and critical (Wikipedia). In western tradition, the rat is also held as a metaphor for betrayal, as in the verb “to rat,” or “[t]o desert one's party, side, or cause… to turn traitor” (OED 2a), or as in the noun, “[a] police informer; an informer in a prison” (OED 4f). Psychoanalysts suggest that “[t]he resemblance between men and rats has often been pointed out, usually in relation to a tribute to their similar intraspecific destructive competitiveness” (Schengold). In any event, the rat is a metaphor for a person or action intricately linked with betrayal. -
Introduction
Introduction December 1948. A man sits at a typewriter, in bed, on a remote island, fighting to complete the book that means more to him than any other. He is terribly ill. The book will be finished and, a year or so later, so will the man. January 2017. Another man stands before a crowd, which is not as large as he would like, in Washington, DC, taking the oath of office as the forty-fifth president of the United States of America. His press secretary later says that it was the “largest audience to ever witness an inauguration—period—both in person and around the globe.” Asked to justify such a preposterous lie, the president’s adviser describes the statement as “alternative facts.” Over the next four days, US sales of the dead man’s book will rocket by almost 10,000 percent, making it a number-one best seller. When George Orwell’s Nineteen Eighty-Four was published in the United Kingdom on June 8, 1949, in the heart of the twentieth century, one critic wondered how such a timely book could possibly exert the same power over generations to come. Thirty-five years later, when the present caught up with Orwell’s future and the world was not the nightmare he had described, commentators again predicted that the book’s popularity would wane. Another thirty-five years have elapsed since then, and Nineteen Eighty-Four remains the book we turn to when truth is mutilated, language is distorted, power is abused, and we want to know how bad things can get, because someone who lived and died in another era was clear-sighted enough to identify these evils and sufficiently talented to present them in the form of a novel that Anthony Burgess, author of A Clockwork Orange, called “an apocalyptical codex of our worst fears.” xiv Introduction Nineteen Eighty-Four has not just sold tens of millions of copies; it has infiltrated the consciousness of countless people who have never read it. -
Two Minutes Hate.” a Daily Ritual in Which All Were Obliged to Participate, All Members of the Party, It Was a Strange Event, Something Like a Religious Service
5 Easter C (5.19.19) John 13:31-35 In George Orwell’s novel 1984—in that dark world, that dystopia—there is something called the “Two Minutes Hate.” A daily ritual in which all were obliged to participate, all members of the Party, it was a strange event, something like a religious service. Busy at work, everyone would stop what they were doing to sit together in chairs, each person facing a giant screen. As the Two Minutes Hate began, upon the screen would flash various images, various objects of hatred—enemies, traitors, and so on. And it would provoke in everyone an orgiastic response: mass convulsive hatred, screaming, chanting, bellowing, hellish noises; Orwell described it as a sort of electric current, a “hideous ecstasy of fear and vindictiveness” flowing through the crowd. It was a hatred controlled perfectly by the screen, by the rhythms of sight and sound; one couldn’t help getting swept up in the “general delirium” of it, even if at first you wanted secretly to resist it. The mass orgy of hatred eventually invaded the brain; images of the worst sort of crimes and cruelty would dance across every mind. It was, of course, how the Party controlled its members, by manipulating and ritualizing hate. Hatred—hating what and whom one was told to hate—became the mark of Party loyalty; it’s what made you a good member. Even if you didn’t have any convictions about anything yourself, that didn’t matter. Hating was how one belonged, how one survived. As the character, Julia, put it, “Always yell with the crowd, that’s what I say.