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The Intertextualities of George Orwell's Nineteen Eighty-Four

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The Intertextualities of George Orwell's Nineteen Eighty-Four HYPERTEXT! THE INTERTEXTUALITIES OF GEORGE ORWELL'S NINETEEN EIGHTY-FOUR DAVID MORTON, UNIVERSITY OF SHEFFIELD IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, lS23 7BQ www.bl.uk This thesis contained two 3.5 inch discs and an instruction sheet. The instruction sheet has been scanned and the discs copied as additional content. HYPERTEXTl THE INTERTEXTUALITIES OF GEORGE ORWELL'S NINETEEN EIGHTY-FOUR Chapter One - The Hypertextuality of Nineteen Eighty-Four 5 1.1. Introduction 5 1.2. Argument 6 1.3. Methodology 10 1.3.1. Methodological Considerations 16 1.3.1.1. The Computer-Hypertext 1984 17 1.3.2. Review of the Reading 18 1.4. Conclusion 27 Chapter Two - Giving It Away: The Subtextuality of Nineteen Eighty-Four 29 2.1. Introduction 29 2.2. Surveillance 31 2.2.1. The Genre of Surveillance 32 2.2.2. The Symbolism of Surveillance 34 2.3. The Deconstruction of Panopticism 41 2.4. The PresencelAbsence of Panopticism 46 2.5. The Undecideability of 'GivingAway' 51 2.6. Darkness Before Light: What Happens Before '1984' 53 2.6.1. Seven Years of Darkness 54 2.7. Conclusion: The Destination of 1984 59 Chapter Three - 'We Are The Dead': Nineteen Eighty-Four and Writing 62 3.1. Introduction 62 3.2. Intertexts of 'Dead Men' Within and Beyond 1984 64 3.3. The Meaning of Death in 1984 68 3.4. 'Thoughtcrime IS Death': What Winston Recognises 70 3.4.1. 'We are The Dead': Death as Capitulation to Language 71 3.5. The Two Subtextual Traces of Death 85 3.5.1. The Intimate Dead: Winston's Mother 85 3.5.2. The Authorial Dead 89 3.5.2.1. Withers and Ogilvy 90 3.5.2.2. Goldstein 91 3.5.2.3. Jones, Aaronson and Rutherford I 94 3.5.2.3.1. Jones, Aaronson and Rutherford IT 96 3.6. Conclusion 100 Chapter Four - 'Die in Silence': Nineteen Eighty-Four, Arthur Koestler, and the Possibility of 'Political Writing' 103 4.1. Introduction: 'Political Writing' 103 4.2. The Seriousness of 1984 104 4.3. 1984' s Intertextualities with Darkness at Noon 107 4.3.1. Dead Men 113 4.3.2. Photographs and Traces 116 4.3.3. The 'Oceanic' Subtexts of 1984 and DatN 119 4.3.3.1. DatN and the 'Oceanic' 126 4.3.3.2. The Future of an lllusion: The Origins and Ends of 'Oceanism' 130 4.4. Conclusion 133 Chapter Five - Determination: Power, Language, Nineteen Eighty-Four and The Iron Heel 135 5.1. Introduction 135 5.2. The Intertext 137 5.3. The Pre-Citations of 'a boot stamping on a human face' 141 5.3.1. The Boot 141 5.3.2. Faces 149 5.4. The Boot-Face Subtext Traced to The Iron Heel 155 5.4.1. IH and 'The Fascist Within Us All' 155 5.5. Conclusion 160 Chapter Six - 'An Interesting Link in The Chain of Utopia Books': Nineteen Eighty-Four, We and Freedom 163 6.1. Introduction: 'The Chain of Utopia Books' 163 6.2. 'The Utopian Mentality' 164 6.3. Extrinsic Links: 1984, Brave New World, and We in General 169 6.3.1. Orwell's Public-ation of We 171 6.4. Intrinsic Links: 1984's Differantial Reiterations of We 172 6.4.1. 'I am Simply Transcribing': We in 1984 173 6.4.2. (Re )Turning the Outside In: 1984' s Subtextual Indication of We 185 6.5. Conclusion: The Utopianist in Utopia 192 Chapter Seven - Family, Sanity, Instinct and Other Fictions: 1984 and Brave New World 195 7.1. Introduction 195 7.1.1. BNW's Positioning on 'the Chain of Utopia Books' 196 7.2.Campaigns Against the Past: BNW and Shakespeare and 1984 and Writing-in-General 202 7.2.1. The (Sub)Textualisation of the Female Characters in 1984 207 7.2.1.1. Language Users vs. Linguists: Women and Men in 1984 and in BNW 214 7.2.1.2. The Return of the Mother from 1984 to BNW 219 7.3. Conclusion: History, Freedom and Language 226 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk PAGE MISSING IN ORIGINAL CHAPTER ONE 5 CHAPTER ONE THE HYPERTEXTUALITY OF NINETEEN EIGHTY-FOUR Because I still like him, I can foresee the impatience of the bad reader: this is the way I name or accuse the fearful reader in a hurry to be determined, decided upon deciding (in order to annul, in other words to bring back to oneself, one has to wish to know in advance what to expect, one wishes to expect what has happened, one wishes to expect (oneself). Now, it is bad, and I know no other definition of the bad, it is bad to predestine one's reading, it is always bad to foretell. It is bad. reader, no longer to like retracing one's steps. Derrida, "Envois", The Post Card. p.4. What happens - and what is dispensed with - when a text, for example a so-called literary fiction [ ... ] puts truth onstage? And when, in doing so. it delimits the analytic reading, assigns the analyst his position. shows him seeking truth, and even finding it, shows him discoursing on the truth of the text, and then in general proffering the discourse on truth, the truth on truth? What happens in a text capable of such a scene? A text confident, in its program, of situating analytic activity grappling with the truth? Derrida. "Le Facteur de la Verite" , p.414. 1.1. Introduction From the first, George Orwell's Nineteen Eighty-Four (hereafter 1984) has been regarded as referring to something. There is little agreement, though, over what this 'something' is; Stalinism, post-WWII Britain, television, the B.B.C., the future in general, the utopian tradition in literature, Orwell's schooldays or any other part of his life, English Socialism, and the Spanish Civil War have each been suggestedl . Yet this text is a great work of fiction, and, at the same time as it has been taken to be 'about' something, it has not been taken 'seriously'. It has been generically determined, read as a fictionalisation, a satire or parody of whatever it is about. This thesis takes 1984 seriously, takes it, that is, to be discussing the 'real world' as much as any piece of writing can. What we suggest it is 'about' is not any of the above in particular, but the possibility of writing 'about' something in general. That is, we argue that 1984 is an analysis of the relationship between truth and language, an analysis which proposes that reality, the reality of experience, is always kept at a remove by language and that the lRegarding 1984 as a commentary upon the Soviet Union, see Pravda's review (included in Meyers, ed., 1975) which assumes it to be such, and Milosz's The Captive Mind: '[e]ven those who know Orwell only by hearsay are amazed that a writer who never lived in Russia should have so keen a perception into its life' (p.42). Deutscher sees 'elements of Oceania in [Orwell's] own days', that is, of the post-war period when Orwell was writing 1984 ("The Mysticism of Cruelty", p.2(0). For 1984's deconstruction of television as an organ of control, see Burgess's 1985, p.22: [T]he television screen that looks at you - Orwell had lifted that from Chaplin's Modem Times. But its prophetic, too. We're in the supermarket age already, with a notice saying 'Smile - you're on TV! Thompson notes that '[t]he Ministry of Truth is quite evidently based on the wartime B.B.C.' (Orwell's London, p.65). Irving Howe sees 1984 as a reaction against utopianism ("The Fiction of Anti-Utopia", p.177). Orwell himself felt the need to respond to suggestions that the book was purely 'prophecy' (see CEJUVI158;564). Crick (George. OrweU: A life, n3 to p.4l) catalogues Orwell's psychobiographers. Warburg's "Publisher's Report on 1984" suggests the novel attacks English socialists, and 'is worth a cool million voted to the conservative party' (p.248). Trilling sees 1984 as having its 'genesis' in Orwell's experiences in the Spanish Civil War ("George Orwell and the Politics of Truth "). CHAPTER ONE 6 knowledge of this is the basis of powerl . Specifically, we view 1984 as concerned with what we are calling totalitarianism in general, with the idea that language can be controlled, by a state or a literary tradition or whomever, and that who controls language controls reality. Thus, we will argue, it is 'about' all of the things we list above, because it is about representation in language, and refers to Stalinism as a language-based polity just as it refers to Orwell's schooldays as he himself described them in his essays. That is it is about, at various points, all of the above, but it considers them as fictions, as realities held at an unbreachable remove by language, even if some of these fictions delimit men's lives. We shall see 1984 discuss this remove in several ways; by stretches of text that resemble essays and have all the essay's properties of argumentation (and of fictionality), by a narrative demonstration of the difference between experience and the perception or perceptions of experience, and by the citation and involvement in the text of other texts which also discuss this remove via the conventions of fiction. This thesis is entitled 'hypertext' to indicate, from the beginning, that 1984 is not going to be viewed as a single text, or as having a single genre; 1984 is a compendium of texts, and of approaches to its problematic of fictionality­ and-truth, a form which interferes with genre.
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