George Orwell's Down and out in Paris and London
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Varieties of Modernist Dystopia
Towson University Office of Graduate Studies BETWEEN THE IDEA AND THE REALITY FALLS THE SHADOW: VARIETIES OF MODERNIST DYSTOPIA by Jonathan R. Moore A thesis Presented to the faculty of Towson University in partial fulfillment of the requirements for the degree Master of Arts Department of Humanities Towson University Towson, Maryland 21252 May, 2014 Abstract Between the Idea and the Reality Falls the Shadow: Varieties of Modernist Dystopia Jonathan Moore By tracing the literary heritage of dystopia from its inception in Joseph Hall and its modern development under Aldous Huxley, George Orwell, Samuel Beckett, and Anthony Burgess, modern dystopia emerges as a distinct type of utopian literature. The literary environments created by these authors are constructed as intricate social commentaries that ridicule the foolishness of yearning for a leisurely existence in a world of industrial ideals. Modern dystopian narratives approach civilization differently yet predict similarly dismal limitations to autonomy, which focuses attention on the individual and the cultural crisis propagated by shattering conflicts in the modern era. During this era the imaginary nowhere of utopian fables was infected by pessimism and, as the modern era trundled forward, any hope for autonomous individuality contracted. Utopian ideals were invalidated by the oppressive nature of unbridled technology. The resulting societal assessment offers a dark vision of progress. iii Table of Contents Introduction: No Place 1 Chapter 1: Bad Places 19 Chapter 2: Beleaguered Bodies 47 Chapter 3: Cyclical Cacotopias 72 Bibliography 94 Curriculum Vitae 99 iv 1 Introduction: No Place The word dystopia has its origin in ancient Greek, stemming from the root topos which means place. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Construing the Elaborate Discourse of Thomas More's Utopia
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2006 Irony, rhetoric, and the portrayal of "no place": Construing the elaborate discourse of Thomas More's Utopia Davina Sun Padgett Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the English Language and Literature Commons, and the Rhetoric Commons Recommended Citation Padgett, Davina Sun, "Irony, rhetoric, and the portrayal of "no place": Construing the elaborate discourse of Thomas More's Utopia" (2006). Theses Digitization Project. 2879. https://scholarworks.lib.csusb.edu/etd-project/2879 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. IRONY, RHETORIC, AND THE PORTRAYAL OF "NO PLACE" CONSTRUING THE ELABORATE DISCOURSE OF THOMAS MORE'S UTOPIA A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Davina Sun Padgett June 2006 IRONY,'RHETORIC, AND THE PORTRAYAL OF "NO PLACE": CONSTRUING THE ELABORATE DISCOURSE OF THOMAS MORE'S UTOPIA A Thesis Presented to the Faculty of California State University, San Bernardino by Davina Sun Padgett June 2006 Approved by: Copyright 2006 Davina Sun Padgett ABSTRACT Since its publication in 1516, Thomas More's Utopia has provoked considerable discussion and debate. Readers have long grappled with the implications of this text in order to determine the extent to which More's imaginary island-nation is intended to be seen as a description of the ideal commonwealth. -
Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected]
Clemson University TigerPrints All Dissertations Dissertations 12-2016 Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Recommended Citation Elrick, Kathy, "Ironic Feminism: Rhetorical Critique in Satirical News" (2016). All Dissertations. 1847. https://tigerprints.clemson.edu/all_dissertations/1847 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IRONIC FEMINISM: RHETORICAL CRITIQUE IN SATIRICAL NEWS A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication, and Information Design by Kathy Elrick December 2016 Accepted by Dr. David Blakesley, Committee Chair Dr. Jeff Love Dr. Brandon Turner Dr. Victor J. Vitanza ABSTRACT Ironic Feminism: Rhetorical Critique in Satirical News aims to offer another perspective and style toward feminist theories of public discourse through satire. This study develops a model of ironist feminism to approach limitations of hegemonic language for women and minorities in U.S. public discourse. The model is built upon irony as a mode of perspective, and as a function in language, to ferret out and address political norms in dominant language. In comedy and satire, irony subverts dominant language for a laugh; concepts of irony and its relation to comedy situate the study’s focus on rhetorical contributions in joke telling. How are jokes crafted? Who crafts them? What is the motivation behind crafting them? To expand upon these questions, the study analyzes examples of a select group of popular U.S. -
Orwellian Methods of Social Control in Contemporary Dystopian Literature
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Documental de la Universidad de Valladolid FACULTAD de FILOSOFÍA Y LETRAS DEPARTAMENTO de FILOLOGÍA INGLESA Grado en Estudios Ingleses TRABAJO DE FIN DE GRADO A Nightmarish Tomorrow: Orwellian Methods of Social Control in Contemporary Dystopian Literature Pablo Peláez Galán Tutora: Tamara Pérez Fernández 2014/2015 ABSTRACT Dystopian literature is considered a branch of science fiction which writers use to portray a futuristic dark vision of the world, generally dominated by technology and a totalitarian ruling government that makes use of whatever means it finds necessary to exert a complete control over its citizens. George Orwell’s 1984 (1949) is considered a landmark of the dystopian genre by portraying a futuristic London ruled by a totalitarian, fascist party whose main aim is the complete control over its citizens. This paper will analyze two examples of contemporary dystopian literature, Philip K. Dick’s “Faith of Our Fathers” (1967) and Alan Moore’s V for Vendetta (1982-1985), to see the influence that Orwell’s dystopia played in their construction. It will focus on how these two works took Orwell’s depiction of a totalitarian state and the different methods of control it employs to keep citizens under complete control and submission, and how they apply them into their stories. KEYWORDS: Orwell, V for Vendetta , Faith of Our Fathers, social control, manipulation, submission. La literatura distópica es considerada una rama de la ciencia ficción, usada por los escritores para retratar una visión oscura y futurista del mundo, normalmente dominado por la tecnología y por un gobierno totalitario que hace uso de todos los medios que sean necesarios para ejercer un control total sobre sus ciudadanos. -
2019 Study Schedule for Aldous Huxley's Brave New World
2019 Study Schedule for Aldous Huxley’s Brave New World AP Lit & Comp/Fulton Friday, March 29: Intro notes/discussion. Over the weekend, read chapters 1-2 (pp. 3-29). These two chapters, as well as chapter 3, provide basic exposition, describe the setting, and introduce some of the major characters. In your reading journal for chapters 1-2, make two columns. On the left, use your own words to write observations/descriptions of the aspects of setting and characters that you think are significant; on the right side, write down key words and phrases from the text (in quotation marks) that provide evidence of those observations/descriptions. Include the page number for each piece of directly quoted material. Due Monday. Monday, April 1: Share reading journal notes on exposition, including setting and characters. We will begin reading chapter 3 (pp. 30-56) in class, and you will need to finish it at home. Chapter 3 is a continuation of exposition, taken outdoors. Rising action begins when the students and the D.H.C. encounter Mustapha Mond. From this point onward, the omniscient narrator alternates bits of different scenes and conversations to show that they are occurring simultaneously. In your reading journal, decide on and write a title for each of the different conversations (how many are there??). Below each title, write a one to two sentence summary of that particular conversation. What is the purpose of juxtaposing these conversations in this way? Explain. Due Tuesday. Tuesday, 4/2 & Wednesday 4/3: Discuss chapter 3, focusing on the purpose of the juxtaposition of the various scenes depicted. -
Literature Review
PARODY FOR THE PUBLIC SPHERE: THE DAILY SHOW’S NARRATIVE ON DEMOCRACY INACTION by KRISTEN MARIE HEFLIN (Under the Direction of Dwight E. Brooks) ABSTRACT Parody is a narrative device that twists the conventions of an original work to create a new and typically subversive form of the original. Literary critics have studied parody in written works, but parody on television has not been closely examined. This study uses narrative analysis to look at how parody operates in the television show, The Daily Show with Jon Stewart. Findings indicate that parody functioned to tell three major narrative themes in the show: 1) The television news media is not fulfilling its role in society. 2) The political institutions of the United States are not fulfilling their role their role in society. 3) Intolerant ideologies place harmful limits on society. This study discusses how parody works in The Daily Show to produce these particular meanings, as well as, what these recurring narratives say about the show’s opinion of our American democracy and our public sphere. INDEX WORDS: Parody, Narratives, Television News Narratives, Television Criticism, The Daily Show with Jon Stewart, Public Sphere, Democracy, Television News, Political Institutions, Intolerance PARODY FOR THE PUBLIC SPHERE: THE DAILY SHOW’S NARRATIVE ON DEMOCRACY INACTION by KRISTEN MARIE HEFLIN B.A., The University of North Carolina at Chapel Hill, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Kristen Marie Heflin All Rights Reserved PARODY FOR THE PUBLIC SPHERE: THE DAILY SHOW’S NARRATIVE ON DEMOCRACY INACTION by KRISTEN MARIE HEFLIN Major Professor: Dwight E. -
Stand-Up Comedy and the Clash of Gendered Cultural Norms
Stand-up Comedy and the Clash of Gendered Cultural Norms The Honors Program Honors Thesis Student’s Name: Marlee O’Keefe Faculty Advisor: Amber Day April 2019 Table of Contents ABSTRACT .............................................................................................................................. 1 LITERATURE REVIEW.......................................................................................................... 2 COMEDY THEORY LITERATURE REVIEW .................................................................. 2 GENDER THEORY LITERATURE REVIEW ................................................................... 7 GENDERED CULTURAL NORMS ...................................................................................... 13 COMEDY THEORY BACKGROUND ................................................................................. 13 COMEDIANS ......................................................................................................................... 16 STEREOTYPES ..................................................................................................................... 20 STAND-UP SPECIALS/TYPES OF JOKES ......................................................................... 25 ROLE REVERSAL ............................................................................................................. 25 SARCASAM ....................................................................................................................... 27 CULTURAL COMPARISON: EXPECTATION VERSUS REALITY ........................... -
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. -
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. -
Report to UCL Octagon Small Grants Fund Sarah Gibbs 1 Conference: Rebel? Prophet? Relic? Perspectives on George Orwell in 2019
Report to UCL Octagon Small Grants Fund Sarah Gibbs 1 Conference: Rebel? Prophet? Relic? Perspectives on George Orwell in 2019 24-25 May 2019 University College London (UCL) Conference Programme Summary UCL’s first George Orwell conference, Rebel? Prophet? Relic? Perspectives on George Orwell in 2019, took place on May 24th and 25th. The event explored all aspects of the author’s oeuvre and presence in popular culture, from the continuing significance of his masterpiece, the political dystopia Nineteen Eighty-Four (1949), to his relationship to the British Empire and mid-century Fascism. Panelists discussed his reception history in different parts of the world, and adaptations of his work in a variety of media. The speaker list was international, and truly interdisciplinary. Presenters, who were academics, theatre directors, video game designers, authors, journalists, and members of the Armed Forces, traveled Report to UCL Octagon Small Grants Fund Sarah Gibbs 2 from Australia, Canada, Iraq, the United States, China, Germany, Scotland, and all parts of England to participate. The conference brought together a number of Orwell-focused organizations and institutions: the Orwell Foundation, the Orwell Society, and UCL Special Collections, holder of the Orwell Archive. Approximately forty members of the public also joined the event. The support of the Octagon Small Grants Fund not only allowed scholars to participate in a conference dedicated to Orwell, very few of which exist, but also enabled the University to positively engage with the community and publicize its projects and collections. Twitter: @UCL_Orwell_2019; #UCLOrwell2019 Report In 1945, George Orwell wrote of war-time rumours that American troops had come to England to thwart a communist revolution: “One has to belong to the intelligentsia to believe things like that. -
Lights and Shadows in George Orwell's Homage to Catalonia
Paul Preston Lights and shadows in George Orwell's Homage to Catalonia Article (Accepted version) (Refereed) Original citation: Preston, Paul (2017) Lights and shadows in George Orwell's Homage to Catalonia. Bulletin of Spanish Studies. ISSN 1475-3820 DOI: 10.1080/14753820.2018.1388550 © 2017 The Author This version available at: http://eprints.lse.ac.uk/85333/ Available in LSE Research Online: November 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s final accepted version of the journal article. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Lights and Shadows in George Orwell’s Homage to Catalonia PAUL PRESTON London School of Economics Despite its misleading title, Orwell’s Homage to Catalonia is almost certainly the most sold and most read book about the Spanish Civil War. It is a vivid and well-written account of some fragments of the war by an acute witness.