Relevant bibliographies by topics / Nineteen eighty-four (Orwell, George)

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Academic literature on the topic 'Nineteen eighty-four (Orwell, George)'

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Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Nineteen eighty-four (Orwell, George)"

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Banks, Thomas. "Nineteen Eighty-Four: A Treatise on Tyranny." Political Science Undergraduate Review 3, no. 1 (February 15, 2018): 82–88. http://dx.doi.org/10.29173/psur53.

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George Orwell's Nineteen Eighty-Four portrayed the societal antithesis of modern liberalism, and in so doing, established the adjective "Orwellian" in popular use. Orwell's novel thematically represents conceptual frameworks of tyrannical governance. Recently, questions regarding a crisis of democratic liberalism have prompted debate, discussion, and study. This article investigates how Orwell characterises the processes by which totalitarianism develops, delineates the nature of autocratic governance, and describes how totalitarianism achieves continuity. Further, this article parallels the typologies of tyranny, developed in Nineteen Eighty-Four, with the modern world. I seek to detail the ways in which Orwell's novel is a cautionary, critical commentary of totalitarianism relevant to contemporary society.
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Lavau, Georges. "1984 (Nineteen Eighty-Four) de George Orwell." Revue française de science politique 59, no. 4 (2009): 805. http://dx.doi.org/10.3917/rfsp.594.0805.

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Buchowski, Michał, David B. Kronenfeld, William Peterman, and Lynn Thomas. "Language, Nineteen eighty-four, and 1989." Language in Society 23, no. 4 (September 1994): 555–78. http://dx.doi.org/10.1017/s0047404500018194.

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ABSTRACTThe article examines the fact that the push for democracy and the end of Communist rule in Central Europe was phrased in terms of traditional European notions of freedom and democracy, in spite of longlived Communist attempts to redefine these and related terms in order to make them a Communist reality. Communist language usage was forcefully brought home to the West by George Orwell in Nineteen Eighty-Four, especially in his notion of “doublethink”. We use the semantic theory of David Kronenfeld, along with Leon Festinger's theory of cognitive dissonance and Jean Piaget's views of how children's cognitive systems develop (including natural language), to derive a theoretical explanation for the failure of the Orwellian prediction and of the Communist linguistic efforts on which it was predicated. The explanation involves Ferdinand de Saussure's central idea that language is an interlinked system which is crucially social, and points to the critical role of childre's early language learning (in mundane, everyday contexts) on the development and structuring of their adult system. (Extensionist semantics, politics and language, cognitive dissonance, Central Europe, Poland, George Orwell, propaganda, language change)
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Zhang, Yuting. "Anti-heroism in Nineteen Eighty-Four." Journal of Education and Educational Research 8, no. 1 (April 12, 2024): 262–66. http://dx.doi.org/10.54097/sh21xy21.

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George Orwell’s dystopian masterpiece, Nineteen Eighty-Four is one of the most pervasively influential books of the twentieth century. Many previous researchers have explored its profound themes and cultural implications. Starting from a different perspective, this thesis approaches the story in the light of anti-heroism. By analyzing the image of Big Brother and the protagonist, the anti-heroic spirit shown in the transformations of the protagonist presents the glory of humanity under the pressure of totalitarianism. The suffering of the protagonist especially when he is under arrest shows readers how humanity will be tortured by totalitarianism in a world which is dominated by traditional heroism. Orwell expresses his comprehending of the freedom and concern for the future of mankind and gives his answer about hero and freedom after a close reading. A true hero is not the one who maintains the leadership of the party, but a man with independent thought, identifying the beauty and ugliness. And the right of freedom is the freedom of ideology on the basis of history.
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Zhou, Zhenni, and Jingdong Zhong. "Winston’s Redemption in Orwell’s Nineteen Eighty-Four." Frontiers in Humanities and Social Sciences 3, no. 5 (May 23, 2023): 166–73. http://dx.doi.org/10.54691/fhss.v3i5.5059.

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Nineteen Eighty-Four is a political satire against the totalitarian government by the famous British writer George Orwell, one of the “Anti-Utopia Trilogy.” It depicts the destruction of Winston’s personality under the violence of war, lies, government surveillance, and physical restraint, and satirizes the dark and fearful totalitarian government. This paper will briefly elaborate on the previous studies on the novel. Then, the paper will explore Winston’s attempts at various forms of redemption in a society, resisting totalitarian oppression and ideological control. The far-reaching social and political significance of his redemptive acts will also be discussed.
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MURADIAN, Gayane. "THE ABUSE AND MISUSE OF THE ENGLISH WORD IN G. ORWELL’S DYSTOPIAN NOVEL NINETEEN EIGHTY-FOUR." Foreign Languages in Higher Education 21, no. 1 (22) (May 15, 2017): 34–40. http://dx.doi.org/10.46991/flhe/2017.21.1.034.

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George Orwell’s novel “Nineteen Eighty-Four” (first published in 1949) is a totalitarian dystopia in which the focus is on language as a political medium to conceal the truth from the public, to manipulate and brainwash people, to make them accept all propaganda as unmistakable. Orwell succeeds in demonstrating clearly that the modern use of English, more precisely the abuse and misuse of the English word, is a powerful mind-control tool able to destruct human will and spirit, destroy real beauty and happiness in the society. This is exactly done by the new words of the Newspeak language (created by Orwell) which is the object of a discourse stylistics case study in the present paper based on the qualitative stylistic method of analysis to highlight the linguistic features of Orwell’s new words that evoke literary (and emotional) experiences for the readers, to reveal the stylistic peculiarities of Orwell’s word of fiction, as well as the linguistic and extra-linguistic aspects conditioning the creation and functioning of the mentioned linguistic units.
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Dr. Ritu Kumari. "George Orwell’s Nineteen Eighty Four: A Dystopian Novel." Creative Launcher 5, no. 2 (June 30, 2020): 162–66. http://dx.doi.org/10.53032/tcl.2020.5.2.20.

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The famous British author George Orwell, pen name of Eric Arthur Blair, was born in motihari (East Champaran, Bihar), then under Bengal Presidency in British India on June 25, 1903. However, he left Motihari when he was only one year old, went with his mother to England for his schooling and for higher studies, wrote many novels, but became famous for the two, Animal Farm, a modern beast fable attacking Russian revolution and Stalinism, and 1984, a dystopian novel setting forth his fear of totalitarian government and Increasingly bureaucratic state of the future, Nineteen Eighty four often published as 1984, is a dystopian novel published in 1949. Set in Oceania, one of the three Intercontinental super states that divided the world among themselves after a global atomic war, the story unfolds in London, the chief city of Airstrip one, governed by the Party, dictated by political system euphemistically named Engsocialism or Ingsoc in the government Invented language called newspeak, under the privileged elite of the Inner Party, that persecutes individualism and independent thinking headed by the big brother which is a tyrannical figure “Posters screaming” BROTHER IS WATCHING YOU. Big brother, is just the name, someone who is unseen and all the people are scared of Big brother. He keeps an eye on everything. He has CCTV, telescreens to control the society. Every street corner, every lamp post, and every wall has life- size picture of Big Brother's face, his eyes following wary citizens as they walk, cast it."
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Hazhar Ramadhan Ahmed, Shabanb, and Othman Mohammed. "Literary Parody of Russian Communism Harmonizing to George Orwell's Two Novels "Animal Farm" and "Nineteen Eighty Four"." International Journal of Language and Literary Studies 3, no. 2 (June 29, 2021): 216–28. http://dx.doi.org/10.36892/ijlls.v3i2.554.

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This Paper concerns within one of the foremost critical viewpoints in literature, where the metaphorical and mocking centrality of ‘Animal Farm’ and ‘Nineteen Eighty-Four' by George Orwell is highlighted, Through 'Animal Farm' and 'Nineteen Eighty-Four' Orwell by implication assaults Russian communism, Orwell combines political reason with a creative one to voice his critical conviction. Orwell utilized parody to grant more impact and understanding of his two books. Parody in Literature constitutes one of the viable literary strategies writers utilize in their stories to assault an individual, a thought, or behaviour that they think awful or silly. An essayist in parody employments an anecdotal character, which stands for genuine individuals to uncover and condemn their debasement, the analyst takes after the descriptive-analytic strategy. Animal Farm is ostensibly an animal story, but deep down it is a moral story, a parody around the Russian Revolution of 1917 with wrong qualities of course battle. To a few degrees, Nineteen Eighty-Four moreover centres on the concepts of the free venture and person flexibility, which don't really exist. There as it were remains a world of scorn. Segregation, and fear as superpowers. Eurasia and East Asia are two superpowers and Oceania, the third one, is continuously at war with one of them. By using political parody within the two books, the writer makes a consul and curiously air that influences progressing the plot in arrange to provide a clear understanding and improving its structure. In arrange to connect the investigate questions and the discoveries, a nitty-gritty clarification on the concept of the parody has been displayed as a curiously literary method; something else, peruses would not discover a relationship between the two works. At long last, Orwell actually succeeds in encoding his knead within the shape of a parody and hence peruses associated with him.
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Mullen, Lisa J. "‘The few cubic centimetres inside your skull’: a neurological reading of George Orwell’s Nineteen Eighty-Four." Medical Humanities 45, no. 3 (June 25, 2018): 258–66. http://dx.doi.org/10.1136/medhum-2017-011404.

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Nineteen Eighty-Four (1949), George Orwell’s political satire on state surveillance and mind control, was written between 1946 and 1948, at a time when new thinking in forensic psychiatry coincided with scientific breakthroughs in neurology to bring questions of criminality, psychotherapy and mental health to the forefront of the popular imagination. This paper examines how Nineteen Eighty-Four inverts psychiatric paradigms in order to diagnose what Orwell sees as the madness of totalitarian regimes. It then goes on to place the novel’s dystopian vision of total surveillance and mind control in the context of the neurological research and brain scanning techniques of the mid-20th century. Not only does this context provide new insight into the enduring power of Orwell’s novel, it also locates it within a historical moment when technological interventions into the brain seemed to offer a paradigm of mental health and illness as a simple, knowable binary. Nineteen Eighty-Four complicates this binary, and deserves to be acknowledged as an early example of what might be called ‘electric shock’ literature, within a mid-20th century canon that includes Harold Pinter’s The Caretaker (1960), Ken Kesey’s One Flew Over the Cuckoo’s Nest (1962), and Sylvia Plath’s The Bell Jar (1963).
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McBeath, Neil. "Why Do We Still Read George Orwell?" Journal of Arts and Social Sciences [JASS] 5, no. 2 (June 1, 2014): 15. http://dx.doi.org/10.24200/jass.vol5iss2pp15-27.

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This paper approaches Orwell’s writing from the perspective of the 21st century and asks whether Animal Farm, his satirical fable of the USSR, and the dystopian vision of Nineteen Eighty-Four remain relevant. It dismisses the suggestion that these last two novels can be regarded as the natural culmination of Orwell’s earlier work, principally by examining these other writings demonstrates that there is no natural trajectory. The paper also refers to key dates in Orwell’s life and comments on his career at those particular moments. Orwell remains relevant, the paper concludes, because the forces of oppression he so vehemently opposed remain potent today. The residue of Stalinism survives in some countries, while others have become tyrannies where personality cults can flourish. Political doublethink still exists. The very fact that the adjective “Orwellian” remains current in English, and that his metaphors have entered mainstream discourse, are further indications that his work remains important. Far from being a writer of the 1930s, Orwell has been able to transcend both distance and time.
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Dissertations / Theses on the topic "Nineteen eighty-four (Orwell, George)"

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Tsang, Ka-fai Walter. "A study of three Chinese translations of George Orwell's Nineteen Eighty-four." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31462893.

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Sallans, Bonnie Jean. ""I am not Winston Smith" : Orwell, the BBC, and Nineteen eighty-four." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56915.

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The subject of this thesis is the influence of George Orwell's experience as a war-time BBC radio broadcaster on the author as he created the world of NINETEEN EIGHTY-FOUR. In 1985 W. J. West published the transcripts of Orwell's wartime broadcasts. West suggested in his introductory preface that Orwell's NINETEEN EIGHTY-FOUR was based directly on his BBC experience and problems encountered with the Ministry of Information at that time. This thesis argues that, though Orwell probably drew on his BBC experience for the psychological content of NINETEEN EIGHTY-FOUR, Winston's treatment at the hands of Big Brother is not based on anything the author endured during his tenure at the BBC. To this end Orwell's personal and political reasons for both joining and leaving the BBC are discussed. The connection between reality and fiction in Orwell's works, both documentary and fictional, is examined, and the literary nature of all of Orwell's writing taken into consideration in an exploration of the creative dynamic shaping Orwell's expression.
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Santos, Sandra Keli Florentino Veríssimo dos. "Re-escritura e manipulação em duas traduções de Nineteen Eighty-four de George Orwell." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/95435.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Estudos da Tradução
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O presente trabalho visa a apresentar um estudo sobre duas traduções da obra Nineteen eighty-four de George Orwell (1949), para o português brasileiro, publicadas respectivamente em 1954 e 2009 e realizadas por tradutores diferentes. O foco principal da análise se concentra nos aspectos políticos e ideológicos da obra que resultaram em traduções bem distintas, as quais trazem à tona discussões sobre uma possível interferência do contexto em que ambas foram publicadas. Considerando-se que nesse intervalo de mais de cinquenta anos que separa as duas traduções, o Brasil passou por várias transformações, principalmente no que concerne à liberdade de expressão, investiga-se de que forma o contexto político e social em que ambos os tradutores estiveram inseridos, interferiu nos cortes e seleção de termos e expressões, no processo de tradução da obra. O estudo se baseia nas teorias de manipulação e re-escritura fundamentadas por André Lefevere (1992) e Lawrence Venuti (1998), cujas visões confluem ao tratar a literatura traduzida como produto a ser realizado a serviço de um poder ou autoridade.
The present study aims at presenting some reflections on two translations of George Orwell´s novel, Nineteen eighty-four (1949), into Brazilian Portuguese, published respectively in 1954 and 2009 and made by different translators. The main focus of the analysis is concentrated on the political and ideological aspects of the novel which resulted in distinct translations. This brings into question a discussion about the possible interference of the context in which each translation was published. Considering that during this gap of more than fifty years, Brazil passed through several changes, mainly concerning freedom of expression, it is investigated how the political and social context in which both translators were situated, influenced on the cuts of parts of the text and selection of .words and expressions during the process of the translation. This study is based on the theories of rewriting and manipulation supported by André Lefevere (1992) and Lawrence Venuti (1998), whose views converge, when treating literature as a product controlled by a power or authority.
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Padden, Michaela. "Big Brother is Watching You: Panoptic Control in George Orwell’s Nineteen Eighty-Four." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35343.

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George Orwell’s Nineteen Eighty-Four, first published in 1949, is a vision of socialism gone wrong. The setting of Oceania is a world ruled over by an oligarchical collective, “The Party,” which wields absolute power through a formidable combination of surveillance technology and the operation of the principles of “panoptic control,” a concept drawn from Jeremy Bentham’s model prison design of the late 1700s and revived by Foucault in the mid 1970s. The combination of surveillance technology and panoptic control is central to the functioning of power in Orwell’s novel, a union which has created a self-sustaining form of totalitarianism dependent on the oppression of individual identity for its automatic perpetuation. This essay offers a reading of Nineteen Eighty-Four as an implicit critique of Bentham’s Panopticon which in many ways foreshadowed the later work of Michel Foucault on the functioning of power within this specific type of physical and social architecture.
George Orwells roman 1984, vilken publicerades första gången 1949, är en framtidsvision om socialism som gått fel. Romanen utspelas i Oceania, en värld som styrs av ett oligarkiskt kollektiv, “Partiet,” vilket utövar absolut makt genom en utstuderad kombination av övervakningsteknik och teorin om “panoptisk” kontroll, ett begrepp sprunget ur av Jeremy Benthams fängelsemodell från sent 1700-tal, vilket återskapades av Michel Foucault i mitten av 1970-talet. Kombinationen av övervakningsteknologi och panopticism har i Oceanien skapat en totalitarianism som fungerar med automatik och förtrycker individuell identitet för att befästa statens makt. Denna uppsats närmar sig Orwells 1984 som en underförstådd kritik av Benthams arbete. Vidare identifier i romanen 1984 många av Foucault’s idéer om hur makt fungerar i en panoptisk struktur.
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Berggren, Amalia. "Surveillance in Nineteen Eighty-Four : The Dismantling of Privacy in Oceania." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-41716.

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The purpose of this essay is to analyze how certain elements of panopticism manage to dismantle the notion of privacy in George Orwell’s novel Nineteen Eighty-Four. By reading the text through a lens of panopticism, a theory introduced by Jeremy Bentham, I give examples on how the surveillance methods used by the Party share similarities with the system of surveillance within a Panoptic prison, but also in what ways that they differ. In the end, it is obvious that the society of Oceania cannot be considered to be a complete Panopticon, although several elements of panopticism are present within the text and that they dismantle the aspect of privacy in the novel.
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Morton, David. "Hypertext : the intertextualities of George Orwell's Nineteen Eighty Four." Thesis, University of Sheffield, 1997. http://etheses.whiterose.ac.uk/15125/.

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Dübeck, Helena. "Strategies for Preserving Status Quo in George Orwell's Nineteen Eighty-Four and Animal Farm." Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1751.

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In George Orwell's two most famous novels Nineteen Eighty-Four and Animal Farm we find a totalitarian state, and in each case there are strategies that enable these societies to stay totalitarian. The reader of today not only sees the Soviet Union when reading Animal Farm and Nineteen Eighty-Four, but a large number of other totalitarian societies with similar structures and systems that exist throughout the world. A close reading of the novels shows that the strategies for the leaders in Nineteen Eighty-Four and Animal Farm to preserve the status quo include the control of media and flow of information, maintaining the class system, controlling education, creating distractions from issues that matter, being able to put the blame on a traitor, and enforcing control of people’s memory. Media is used to make the inhabitants believe that they are better off now than before, so that they will be content with what they have. Traitors and enemies are used to silence resistance and make sure that people stay in line. People’s memory is something that the leaders manipulate, even if it works in different ways in the two stories. In Animal Farm the animals just have a bad memory, and in Nineteen Eighty-Four it might be that the people have lost their ability to think critically and thus their ability to remember. Maintaining the class system and controlling education is to remain in control and minimizing the risks of another uprising. The reason why the Animal Farm becomes totalitarian is because the animals themselves looked the other way as the pigs started to take more than their fair share, which means that the responsibility of this situation is just as much the leaders as it is the peoples. The totalitarian societies in these books remain at status quo, but the message of these novels is that it can be different in real life. If we do not let things get out of hand, and if we keep on being aware of what is happening around us, we can stop this from happening.

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Goodman, Ralph. "The dialogics of satire : foci and faultlines in George Orwell's Animal Farm and Nineteen Eighty-Four." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51961.

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Dissertation (PhD)--Stellenbosch University, 2000.
ENGLISH ABSTRACT: This thesis uses Mikhail Bakhtin's theory of dialogism, as well as postmodernism, to open up faultlines in satire, and to explore and challenge various perceptions and discourses surrounding and related to it. Both dialogism and postmodernism are used to suggest fresh approaches to satire, by repositioning it in relation to other discourses and reframing it as a complex dynamic, rather than a closed and inflexible system. Chapter 1 of the thesis opens with an historical survey of the beginnings and subsequent development of satire. It also contains a general discussion of the nature of satiric strategies and opens the door for the incorporation of postmodern perspectives into the argument. Chapter 2 contrasts the issues of morality and re-presentation in satire, arguing that satirists do not simply invite their audience to condemn, but offer them an opportunity to discover alternative worlds. The affinity between satire and postmodernism is emphasised by the postmodern predilection for modes highly favoured by satire: allegory, parody and fantasy. In Chapter 3 the issue of language and its referents is explored, starting with Saussure's theory of how the signifier and the signified function. It is argued that satire has never respected this fixed relationship, and that it is in this respect similar to deconstruction. The last part of the chapter is devoted to examining four key socio-political discourses - psychoanalysis, ideology, propaganda and political myth - in relation to satire. These four discourses are, like satire, intent on influencing the perceptions which people have of the world. The intention in juxtaposing these discourses is to create a dialogic process which will throw a fresh light on all of them, including satire itself. The four socio-political discourses named above play an important part in Animal Farm and Nineteen Eighty-Four, and are relevant to the subsequent discussion of these novels. Chapter 4 consists of a detailed discussion of Animal Farm, in which the various layers comprising the work are examined. The satirical aspects of the novel are closely related to the fabular and fairy tale elements which are an important part of its constitution. These elements or levels are juxtaposed with the historical details alluded to continuously in Animal Farm and indicate its close concern with the world outside the novel. Chapter 5 consists of a detailed exploration of Nineteen Eighty-Four, which is illuminated by a process of dialogism between the modernist ideology from which the novel springs and the postmodern perspective introduced into the thesis, as well as the four socio-political discourses mentioned earlier. The main postmodern theories used in this chapter are those of Foucault. The last section of the thesis demonstrates how Orwell's personal experience drives his satire, and relates this specifically to a discussion of utopia / dystopia in satire.
AFRIKAANSE OPSOMMING: Die Dialogiek van Satire: Fokuspunte en Breuke in Orwell se Animal Farm en Nineteen Eighty-Four: Hierdie proefskrif maak gebruik van Mikhail Bakhtin se teorie van dialogisme, sowel as die postmodernisme, om die breuke in satire bloot te le, en om die verskillende persepsies en diskoerse wat verband hou met die satire te ondersoek en te bevraagteken. Beide die dialogisme en die postmodernisme word gebruik om nuwe perspektiewe op satire te open, deur dit te herposisioneer in verhouding tot ander diskoerse en dit voor te stel in terme van 'n komplekse dinamika eerder as 'n geslote en onbuigsame sisteem. Die eerste hoofstuk van die proefskrif begin met 'n historiese oorsig van die oorspronge en daaropvolgende ontwikkeling van satire. Dit omvat ook 'n algemene bespreking van die aard van satiriese strateqiee en open die moontlikheid om postmodernistiese perspektiewe in die argument te integreer. Hoofstuk 2 kontrasteer die kwessies van moraliteit en representasie in satire met mekaar; daar word geargumenteer dat satirici nie net hulle gehore uitnooi om te veroordeel nie, maar hulle die geleentheid gee om alternatiewe werelde te ontdek. Die verwantskap tussen satire en postmodernisme word benadruk deur die postmodernisme se voorliefde vir die modi waaraan die satire so dikwels voorkeur gee: allegorie, parodie en fantasie. In hoofstuk 3 word die kwessie van taal en referensialiteit ondersoek, beginnende by Saussure se teorie oor die funksionering van die betekenaar en die betekende. Daar word geargumenteer dat satire nog nooit die vaste verhouding tussen betekenaar en betekende eerbiedig het nie, en dat dit in hierdie opsig verwant is aan die dekonstruksie. Die laaste gedeelte van die hoofstuk word gewy aan 'n ondersoek van vier sentrale sosio-politiese diskoerse - psigoanalise, ideologie, propaganda en politieke mitologie - in verhouding met satire. Hierdie vier diskoerse is, soos satire, daarop ingestel om mense se persepsies/opvattings van die. wereld te verander. Die doelstelling met die jukstaposisie van hierdie diskoerse is die skep van 'n dialogiese proses wat al vier hierdie diskoerse, insluitende satire, in 'n nuwe lig sal stel. Die genoemde sosio-politiese diskoerse speel 'n belangrike rol in Animal Farm en Nineteen Eighty-Four, en is relevant vir die daaropvolgende bespreking van die romans. Hoofstuk 4 bestaan uit 'n gedetailleerde bespreking van Animal Farm, waarin daar ondersoek ingestel word na die verskillende lae waaruit die roman bestaan. Die satiriese aspekte van die roman word in noue verband gebring met die fabulere en die feeverhaalelemente wat so 'n belangrike deel uitmaak van die roman se samestelling. Hierdie elemente of vlakke word gejukstaponeer met die historiese detail waarna daar deurlopend in Animal Farm verwys word en wat die noue bemoeienis met die wereld buite die roman aandui. Hoofstuk 5 bestaan uit 'n intensiewe ondersoek van Nineteen Eighty-Four, wat belig word deur 'n proses van dialogisme tussen die modernistiese ideologie waaruit die roman spruit en die postmodernistiese perspektiewe wat in die proefskrif ingevoer word. Die belangrikste postmodernistiese teoriee wat in hierdie hoofstuk gebruik word, is die van Foucault. Die laaste afdeling van die proefskrif demonstreer hoedat Orwell se persoonlike ervaring bepalend is vir sy satire en bring dit spesifiek in verband met 'n bespreking van utopie/distopie in satire.
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Brax, Emelie. "A Rhetorical Reading of George Orwell's 1984 : The brainwashing of Winston in the light of ethos, logos and pathos." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-34961.

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The aim with this essay is to cast a light upon the brainwashing carried out by the totalitarian Party in George Orwell’s dystopian novel, 1984, and induce a deeper understanding of its persuasive effect on Winston Smith, the main character. Winston passionately hates the Party and its leader Big Brother who govern the country Oceania in which he lives. However, after having undergone brainwashing that also includes torture, Winston surrenders to the ideology of the Party and at the end of the novel his hatred towards Big Brother has turned to love. In order to understand Winton’s conversion I carry out a close reading of the novel and apply the three rhetorical means of persuasion, ethos, logos and pathos, to the novel and demonstrate when and how these appeals are used on Winston. Against this rhetorical background the analysis shows that the Party’s usage of rhetorical appeals can explain why the brainwashing works successfully in its persuasive aim. This result also demonstrates that these three appeals play a prominent role over a course of several years in the Party’s indoctrination of Winston. Additionally, the presence of rhetoric proves that there is more than Winston being tortured to his conversion. Thus, Winston is not only tortured into repeating the principles of the party, he is also persuaded into actually believing in them and loving Big Brother by the Party’s strategic appeals to ethos, logos and pathos.
Syftet med detta arbete är att belysa hjärntvätten utförd av det totalitära Partiet i George Orwells dystopiska roman, 1984, och bidra till en djupare förståelse för dess övertygande effekt på huvudkaraktären Winston Smith. Han hatar innerligt Partiet och dess ledare Storebror som styr landet Oceanien, i vilket Winston lever. Efter att ha genomgått hjärntvätt, som också innebär tortyr, överlämnar han sig dock till Partiets ideologi och i slutet av romanen har hans hat för Storebror vänts till kärlek. För att förstå Winstons omvändelse analyserar jag romanen utifrån de tre retoriska övertalningsmedlen, ethos, logos och pathos och påvisar när och hur dessa används mot Winston. Mot denna retoriska bakgrund visar analysen att Partiets användning av dessa medel kan förklara varför hjärntvätten lyckas. Resultatet visar också att dessa medel spelar en viktig roll över en längre period i Partiets indoktrinering av Winston. Dessutom visar närvaron av retorik att hjärntvättens utfall inte endast är avhängigt Partiets tortyr. Winston är således inte enbart genom tortyr tvingad till att repetera Partiets ideologi, han övertygas också att tro omfatta denna och att älska Storebror genom Partiets strategiska användning av ethos, logos och pathos.
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Tsang, Ka-fai Walter, and 曾家輝. "A study of three Chinese translations of George Orwell's Nineteen Eighty-four." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31462893.

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Books on the topic "Nineteen eighty-four (Orwell, George)"

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Glover, Julian. Nineteen eighty four: George Orwell. Devizes: Poulshot, 1987.

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1952-, Rose Jonathan, ed. The Revised Orwell. East Lansing: Michigan State University Press, 1992.

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Boon, Kevin A. George Orwell: Animal farm and Nineteen eighty-four. New York: Marshall Cavendish Benchmark, 2009.

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E, Brown G. Brodie's notes on George Orwell's " Nineteen eighty-four". Basingstoke: Macmillan, 1994.

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Harold, Bloom, ed. George Orwell's Nineteen eighty-four. New York: Chelsea House Publishers, 1996.

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Orwell, George. Yi jiu ba si: Nineteen eighty-four / George Orwell. Shanghai: Shanghai yi wen chu ban she, 2015.

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Orwell, George. Yi jiu ba si: Nineteen eighty-four / George Orwell. Taibei Xian Zhonghe Shi: INK yin ke wen xue sheng huo za zhi chu ban you xian gong si, 2009.

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Bjornson, Richard, Marilyn Robinson Waldman, and Charles Klopp. 1984: Vision and reality. Edited by Ohio State University. Center for Comparative Studies in the Humanities. Columbus, Ohio: Ohio State University, Center for Comparative Studies in the Humanities, 1985.

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1903-1950, Orwell George, ed. Nineteen eighty-four George Orwell / Insight text guide, Ross Walker. Elsternwick, Vic: Insight Publications, 2006.

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Orwell, George. Nineteen eighty-four. Boston: Houghton Mifflin Harcourt, 2008.

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Book chapters on the topic "Nineteen eighty-four (Orwell, George)"

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Fowler, Roger. "Nineteen Eighty-Four." In The Language of George Orwell, 181–227. London: Macmillan Education UK, 1995. http://dx.doi.org/10.1007/978-1-349-24210-8_10.

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Meyers, Valerie. "Nineteen Eighty-Four: An Anti-Utopia." In George Orwell, 114–39. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21540-9_8.

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Böker, Uwe. "Orwell, George: Nineteen Eighty-Four." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14453-1.

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Hammond, J. R. "Nineteen Eighty-Four: A Chronology." In A George Orwell Chronology, 113–14. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230286801_5.

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Quo, F. Quei. "Orwell’s Nineteen Eighty-Four and Mao’s Cultural Revolution." In George Orwell: A Reassessment, 126–35. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19587-9_9.

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Epstein, Richard A. "Does Literature Work as Social Science? The Case of George Orwell." In On "Nineteen Eighty-Four", edited by Abbott Gleason, Jack Goldsmith, and Martha C. Nussbaum, 49–70. Princeton: Princeton University Press, 2010. http://dx.doi.org/10.1515/9781400826643.49.

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Morgan, Gerald A. "False Freedom and Orwell’s Faust-Book Nineteen Eighty-Four." In George Orwell: A Reassessment, 77–90. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19587-9_5.

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Gleason, Abbott. "Puritanism and Power Politics during the Cold War: George Orwell and Historical Objectivity." In On "Nineteen Eighty-Four", edited by Abbott Gleason, Jack Goldsmith, and Martha C. Nussbaum, 73–85. Princeton: Princeton University Press, 2010. http://dx.doi.org/10.1515/9781400826643.73.

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Macey, Samuel L. "George Orwell’s Nineteen Eighty-Four: The Future that Becomes the Past." In George Orwell: A Reassessment, 23–31. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19587-9_2.

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Harris, Mason. "From History to Psychological Grotesque: The Politics of Sado-Masochism in Nineteen Eighty-Four." In George Orwell: A Reassessment, 32–50. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19587-9_3.

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