To see the other types of publications on this topic, follow the link: Nineteen eighty-four (Orwell, George).
Dissertations / Theses on the topic 'Nineteen eighty-four (Orwell, George)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 37 dissertations / theses for your research on the topic 'Nineteen eighty-four (Orwell, George).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Estudos da TraduçãoMade available in DSpace on 2012-10-26T01:37:16Z (GMT). No. of bitstreams: 1 301940.pdf: 830581 bytes, checksum: f24062c9ae22e10864e0ca145d521732 (MD5)
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
Morton, David. "Hypertext : the intertextualities of George Orwell's Nineteen Eighty Four." Thesis, University of Sheffield, 1997. http://etheses.whiterose.ac.uk/15125/.
Full text
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full text
11
Canto, Silva Héctor del. "The room above the junkshop in nineteen eighty-four : an approach from non-places theory and a deconstructive analysis." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/110898.
Full textAbstract:
Informe final de Seminario de Grado para optar al grado de Licenciado en Lengua y Literatura InglesasFacultad de Filosofía y Humanidades
George Orwell is most popularly known because of his novels dealing with the issue of totalitarian governments or states: Animal Farm and Nineteen Eighty-Four. The former, deals with the topic by means of satire; while the latter, deals with it by means of a dystopia. Orwell‟s dystopia, which is the novel to be studied in this graduate thesis paper, is set in London, in the year 1984. It has been more than twenty-five years form that date, however the threats of a state of that kind and, the worst all, the many reflections of the novel in our society have not disappeared, nor, perhaps, diminished. In the following work, I will study the issue of places and non-places in Nineteen Eighty-Four. Evidently, it is not my intention to analyse all places and non-places present in this novel but mainly one, which is, from my perspective, the room Winston rents to the fake antique dealer. For this purpose, I will analyse selected passages and episodes from the object novel of this thesis, Orwell‟s Nineteen Eighty-Four, especially those that relate with Winston‟s experiences in the city and the room.
12
Rocha, Luana. "Fear and manipulation in George Orwells Nineteen Eighty-Four and Alan Moores V for Vendetta." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9278.
Full textAbstract:
O objetivo desta dissertação é analisar a questão da política do medo e das várias formas de manipulação da realidade encontradas nas narrativa de 1984 (1949), de George Orwell, assim como na narrativa gráfica de V de Vingança tanto na sua versão em quadrinhos, de Alan Moore (1982-88), quanto na sua adaptação cinematográfica, escrita pelos Wachowskis (2005). Em particular, tenta demonstrar similaridades nas técnicas usadas, assim como na análise dos personagens, procurando embasar certos questionamentos com a ajuda de filósofos políticos, estudos de psicologia, culturais, e distópicos. Ao final, este trabalho tenta identificar a importância da influência dos autores estudados, assim como outros autores distópicos, na criação e desenvolvimento de uma nova geração social de mentalidade inconformistaThis dissertation aims to analize the question of the politics of fear and the many forms of manipulation of reality found in George Orwells Nineteen Eighty-Four (1949), as well as in Alan Moores graphic novel V for Vendetta (1982-88) and its film adaptation written by the Wachowskis (2005). In particular, it tries to show similarities among the used techniques, as well as in the character analysis, trying to support these findings with the help of political philosophers, as well as psychological, cultural and dystopian studies. In the end, this work tries to identify the importance of these authors, as well as other dystopian authors, and their influence on the creation and development of a new generation of nonconformists
13
Pelissioli, Marcelo. "From allegory into symbol : revisiting George Orwell's Animal Farm and Nineteen Eighty-Four in the light of 21 st century views of totalitarianism." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/15320.
Full textAbstract:
Os primeiros textos do escritor inglês George Orwell consideram o apelo do ideário comunista, ao passo que seus dois últimos romances, A Revolução dos Bichos (publicado em 1946) e 1984 (publicado em 1949) se contrapõem radicalmente a esse regime. Ao longo da segunda metade do século XX, foi-se estabelecendo a mística de uma forte ligação entre a obra de Orwell e o histórico do regime comunista, de modo que, com a queda do Comunismo, o desinteresse pelo assunto parece haver provocado uma diminuição no conceito dos méritos do escritor. O argumento da presente dissertação é que estamos frente a um momento nevrálgico no desenrolar da fortuna crítica de George Orwell, no qual a leitura alegórica feita até aqui deve ser substituída pela leitura simbólica, para que os textos do autor possam transcender à derrocada do movimento Comunista, sustentando-se na estética de sua literariedade e na atemporalidade de seu apelo ético. Em outras palavras, não é o texto de Orwell que precisa ser mudado, e sim, o ângulo de abordagem daqueles que constroem a fortuna crítica do autor, pois as referências temporais desgastadas diminuem a potencialidade interpretativa das obras. Um ponto comum que permanece, e que transpassa a obra literária de Orwell, é a opressão exercida por quaisquer sistemas políticos que possam ter atitudes consideradas totalitárias. Esta observação não remete apenas ao sistema comunista, mas também ao imperialista, ao autocrático, e até mesmo ao democrático. Orwell demonstra que um sistema não é totalitário por si só, mas através de suas atitudes em relação ao povo. Se, na época de seus lançamentos, a temática totalitária foi relacionada ao comunismo, tomando-se os textos como alegorias irreversíveis do discurso anti-comunista, a queda daquele regime, ou sua gradual abertura a práticas capitalistas, não basta para condenar as obras de Orwell ao anacronismo, descartando maiores possibilidades interpretativas. Ao propor uma releitura de A Revolução dos Bichos e 1984 substituindo as referências ao comunismo por qualquer tipo de prática totalitária — e concentrar o foco das observações no que é simbólico, ao invés de alegórico — acredito estar cumprindo minha parte neste processo de resgate da fortuna crítica de um escritor que considero ser um dos mais honestos e competentes de seu tempo.The first texts of the English writer George Orwell approach the appeal of Communist views; however, his two last novels, Animal Farm (published in 1946) and Nineteen Eighty-Four (published in 1949) radically oppose this regime. Along the second half of the 20th century , strong bonds were established between Orwell’s works and the history of the Communist regime, however, with the fall of Communism, the lack of interest for the subject seems to have generated a diminution in the merits and recognition of the writer. The argumentation of this thesis is that we have been facing a central moment in the unfolding of George Orwell’s critical heritage, in which the allegorical reading done so far must be replaced by the symbolical reading, so that the texts of the author can transcend the fall of the Communist movement, supported by the esthetic of the literariety and atemporality of their ethic appeal. In other words, it is not the text of Orwell which must be changed, but the angle of the approach of those who build the author’s critical heritage, because outdated temporal references impair the interpretative possibility of the works. A remaining point that seems to cross all Orwell’s literary works is the oppression exerted by any political systems that can have attitudes considered totalitarian ones. This remark does not address only the Communist system, but also the Imperialist, the autocratic and even the Democratic ones. Orwell demonstrates that a system is not totalitarian on its own, but through its manifestations towards people. If, at the age of their launchings, the totalitarian theme was connected to Communism, taking the texts as irreversible allegories of the anti-Communist discourse, the fall of that regime, or its gradual opening to Capitalist practices, is not enough to condemn Orwell’s works to anachronism, discharging more comprehensive interpretative possibilities. I believe that, by proposing a new reading of Animal Farm and Nineteen Eighty-Four, replacing the references to Communism for references to any kind of totalitarian practice--, and concentrating the focus of the observation on what is symbolical – I will be doing my part in this process of rescuing the critical heritage of a writer who I consider one of the most honest and competent authors of his time.
14
Svensson, Tobias. "“Where you think no one sees you – do what you want!” : Nineteen Eighty-Four and Upper Secondary School Students’ Perception of Surveillance." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-100086.
Full textAbstract:
The purpose of this essay is to juxtapose students’ perceptions of surveillance to the surveillance portrayed in George Orwell’s Nineteen Eighty-Four. By using Michel Foucault’s expansion of Jeremy Bentham’s discussion of the Panopticon, this essay shows that upper secondary school students modify their behaviour, like the characters in the novel, when they are under surveillance. Furthermore, this essay argues that even though there have been vast developments in the field of surveillance since the publication of Nineteen Eighty-Four, similar notions of concern regarding the impact of surveillance on the human psyche are still upheld by students. This essay expands upon current research which points to desensitization regarding the impact of surveillance on younger generations and a gap between current knowledge and necessary knowledge for an informed opinion. By juxtaposing students’ perceptions of surveillance and that portrayed in Nineteen Eighty-Four, this essay provides insights into why this topic could be dealt with in the EFL-classroom as a means of providing students with the opportunity to develop their knowledge on social issues and cultural features which could make them more aware of the cultural impact of constant surveillance.
15
Touzani, Hamza. "Itinéraires d'Aldous Huxley et de George Orwell à travers l'étude de Brave new world et de Nineteen eighty-four et leurs rapports au contexte actuel." Paris 4, 1994. http://www.theses.fr/1994PA040205.
Full textAbstract:
Cette thèse concerne les carrières d'A. Huxley et de G. Orwell à travers l'étude en commun de leurs deux ouvrages respectifs Brave new world et Nineteen eighty-four. Elle incorpore trois parties : la première est consacrée à l'étude des contenus des deux ouvrages. Le premier chapitre étudie les personnages de Brave new world et de Nineteen eighty-four. Le deuxième chapitre traite des valeurs, des visions du monde et des institutions des sociétés futures qu'ils contiennent. La deuxième partie est, elle, consacrée à l'étude des contextes dans lesquels G. Orwell et A. Huxley ont écrit leurs deux romans en question. Le premier chapitre porte sur les biographies des deux auteurs et sur l'influence des contextes socio-politiques sur Brave new world et Nineteen eighty-four. Le deuxième chapitre contient l'étude des influences écrites : littéraires, scientifiques, politiques et philosophiques sur A. Huxley et G. Orwell et leurs œuvres. La troisième partie étudie les rapports de Brave new world et de Nineteen eighty-four au contexte actuel. Le premier chapitre contient une sorte de diagnostic de la société moderne à la lumière des mises en garde et des anticipations de Huxley et d’Orwell ; le deuxième incorpore des solutions et des alternatives (tout en les comparant avec celles des deux écrivains en question) aux diverses crises de la société industrielleThe thesis deals with a study of the literary and intellectual itineraries of Aldous Huxley and Georges Orwell through the analysis of two of their literary works: Brave new world and Nineteen eighty-four. The thesis is divided into three parts, the first of which presents an analysis of the two novels's contents. A discussion of the plots and the characters of brave new world and nineteen eighty-four was provided. In addition to this, a study of the values, visions of the word and the institutions of the futures societies imagined by A. Huxley and G. Orwell has been largely discussed. Concerning the second part which is in itself divided into two chapters, it discusses the social and historical context in which the two authors have written their two novels. More explicitly we find a study of the biographies of the two writers as well as the impact of the socio-historical context on Brave new world and Nineteen eighty-four. Equally important, I have discussed the literary, scientific, philosophical and political influences on A. Huxley and G. Orwell and on their literary products. A study of Brave new world and Nineteen eighty-four's relation to the contemporary society is the theme of the last part. It consists of a diagnostic of the modern society compared to A. Huxley and G. Orwell's anticipations in Brave new world and Nineteen eighty-four
16
Marceau, Catherine. "Socio-sonic control, deviant musicality, and countercultural resistance in Nineteen Eighty-Four, Player Piano, and One Flew Over the Cuckoo's Nest." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69914.
Full textAbstract:
Ce mémoire considère trois œuvres littéraires des décennies d'après-guerre dans lesquelles le contrôle social est omniprésent, soit Nineteen Eighty-Four de George Orwell, Player Piano de Kurt Vonnegut, et One Flew Over the Cuckoo's Nest de Ken Kesey. L'analyse propose que ces auteurs examinent les réponses individuelles et collectives possibles face au contrôle socio-sonique, incluant le conformisme et la déviance, à travers la musicalité de leurs personnages. Mon approche repose sur des théories reliées à la sociologie, la musicologie et les études sonores afin d'élaborer une perspective holistique des paysages sonores de la modernité qui caractérisent les romans. Ce cadre théorique permet de traiter deux idées centrales, soit le contrôle social par l'institutionnalisation de cultures sonores et la musicalité sous forme de carrière déviante. Mon argument principal est qu'Orwell, Vonnegut, et Kesey présentent la réception sonore de leurs personnages comme étant doublement liée à leurs réactions face à la répression. D'une part, les auteurs représentent la musique et le son en tant qu'outils de contrôle produits et utilisés par des pouvoirs autoritaires. Dans les romans, ces pouvoirs établissent des normes socio-soniques qui supportent un système social basé sur la subjugation de la population sous une idéologie hégémonique. D'autre part, les auteurs présentent la musicalité en tant que moyen de résistance : ils établissent un parallèle entre les réactions déviantes de leurs protagonistes envers le son et les postures contre-culturelles de ceux-ci. La musique et le son font partie intégrante de la prose d'Orwell, Vonnegut, et Kesey; je soutiens que leurs représentations de musicalité traduisent une évaluation des notions d'agentivité et d'opposition contre-culturelle à l'autoritarisme. Ce mémoire offre une approche innovatrice à l'analyse des œuvres de par son interdisciplinarité, qui mène à de nouvelles considérations illuminant la relation entre le contrôle socio-sonique et la musicalité déviante dans les dystopies antiautoritaires d'après-guerre.This thesis considers three literary works from the postwar decades in which social control is omnipresent: George Orwell's Nineteen Eighty-Four, Kurt Vonnegut's Player Piano, and Ken Kesey's One Flew Over the Cuckoo's Nest. The analysis posits that these authors depict potential individual and collective responses to socio-sonic control, including conformism and deviance, through the musicality of their characters. My approach, grounded in theorizations related to sociology, musicology, and sound studies, develops a holistic perspective of the soundscapes of modernity that characterize the novels. This theoretical framework allows for an examination of two central notions in the narratives; namely, the institutionalization of sonic cultures for purposes of social control, and the concept of musicality as part of a deviant career. My main argument is that Orwell, Vonnegut, and Kesey present their characters' reception of sound as being doubly tied to their reactions to repression. On one hand, the authors represent music and sound as tools of control produced and used by authoritarian powers. In the novels, such powers enforce socio-sonic norms that support a social system based on the subjugation of the population under a hegemonic ideology. On the other hand, the authors present musicality as means of resistance: they interlink their protagonists' deviant reactions vis-à-vis sound and their countercultural postures. Music and sound are an integral part of Orwell's, Vonnegut's, and Kesey's prose; I argue that, through their portrayals of musicality, they foreground the possibility for individual agency and countercultural resistance to oppose authoritarianism. The thesis offers an innovative approach to the narratives, as its theoretical interdisciplinarity leads to new considerations illuminating the relationship between socio-sonic control and deviant musicality in postwar anti-authoritarian dystopias.
17
Blanc, Marc. ""Gramophones Playing the Same Tune": Club Ideology and Mass Media in George Orwell's Burmese Days (1934)." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524847264997736.
Full text
18
Kebsi, Jyhene. "The marriage between sciences and the state in George Orwell's Nineteen eighty-four, Anthony Burgess's A clockwork orange and Owen Gregory's Meccania: the superstate." Master's thesis, Université Laval, 2012. http://hdl.handle.net/20.500.11794/23449.
Full textAbstract:
Nineteen Eighty-Four de George Orwell, A Clockwork Orange d'Anthony Burgess et Meccania: The Superstate d'Owen Gregory révèlent trois régimes oppressifs qui manipulent la science dans le but de contrôler leurs populations. Les auteurs dénoncent la déshumanisation et l'esclavage générés par cette collaboration politico-scientifique. Ainsi, cette étude va explorer les dystopies susmentionnées en analysant leur critique du mariage politico-scientifique. Je vais montrer que la coopération entre les politiciens et les scientifiques est destinée à contrôler les individus et à pénaliser les éléments dissidents. Je vais examiner les mécanismes politico-scientifiques de surveillance et de punition, tout en montrant que les politiciens usent de la science pour assurer la continuité et la stabilité des régimes tyranniques. Finalement, je vais souligner la capacité de l'écriture à dévoiler les abus politico-scientifiques, et à prévenir une coalition entre la connaissance scientifique et le pouvoir despotique.
19
Dutel, Jérôme. "Linguistique-fiction & fictions linguistiques : un essai de définition à partir de La Grande Beuverie (1938) de René Daumal, 1984 (1949) de George Orwell, Les Langages de Pao (1957) de Jack Vance." Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/in/theses/2007_in_dutel_j.pdf.
Full textAbstract:
Cette thèse réunit et confronte les oeuvres de René Daumal, George Orwell et Jack Vance (et plus spécialement leurs romans respectifs : La Grande Beuverie -1938-,1984 -1949- et Les Langages de Pao -1957-) du point de vue de leur appartenance au genre de la linguistique-fiction. L'étude des langages imaginaires et des théories linguistiques mises en oeuvre dans ces récits fantastiques permet ainsi d'étudier les possibilités mais aussi les limites de ce genre littéraire très spécifique tout en mettant en lumière, à travers la quête moderne d'un langage idéal, les démarches littéraires propres à ces trois auteursThis doctorate addresses and confronts the works of René Daumal, George Orwell and Jack Vance (more specifically their respective novels: A Night of Serious Drinking -1938-, 1984 -1949- and The Languages of Pao -1957-) from the perspective of their belonging to the linguistic fiction literary genre. The systematic study of imaginary languages and linguistic theories at play in these fictions allows for an insight into the potentialities as well as the limits of this specific genre while also highlighting, through the central issue of the quest for a perfect language, each the writers' specific literary approach
20
Sorlin, Sandrine. "Des utopies linguistiques aux langues fantastiques : les cas de Orwell, Burgess, Hoban, et Golding." Lyon, Ecole normale supérieure, 2006. http://www.theses.fr/2006ENSF0032.
Full textAbstract:
Cette thèse s'intéresse aux utopies linguistiques théoriques et fictionnelles, depuis les "langues philosophiques" du XVIIe siècle jusqu'aux langues internationales du XXe siècle (elles-mêmes issues des projets de langues universelles du XIXè siècle), avant de s'attarder sur leurs avatars littéraires au XXe siècle. Quatre romans en particulier sont à l'étude : "Nineteen eighty-four" de George Orwell, "A clockwork orange" d'Anthony Burgess, "Riddley Walker" de Russell Hoban, et "The Inheritors" de William Golding. Ces oeuvres écrites dans un anglais altéré, modifié, déformé, sont analysés à la lumière des inventions utopistes de langue afin de déterminer s'il y a filiation, continuité ou rupture. Il est d'abord proposé une histoire des idées linguistiques afin de bien saisir les motivations, les buts et les enjeux des projets de langue artificielle chargée de décrire le monde de manière exacte et univoque, depuis le "caractère universel" de Francis Bacon jusqu'aux langages formels des logiciens au XXè siècle. L'analyse conduite montre que loin de rendre compte du monde de façon objective et neutre, les projets utopiques, lui imposent un modèle idéologique toujours déjà linguistique. Les romans du XXè siècle s'inscrivent alors en rupture par rapport à ce rêve d'une humanité réconciliée grâce à un langage unique et parfait. Ils présentent en effet des hommes qui ont perdu leurs repères, et le langage qui les traverse, qualifié de "fantastique", est obscur, parfois méconnaissable, jouant toutes ses "imperfections". Mais à travers les déformations qu'il subit, le langage parvient à se libérer du moule idéologique de l'oeuvre et à en sublimer le pessimisme, révélant toute sa puissance interne, génératrice d'être. Cette thèse met en évidence la capacité du langage à structurer ou à produire le monde, qu'il s'agisse du monde réel (les utopies linguistiques) ou du monde fictionnel (les langues fantastiques)This dissertation deals with the theorical and fictional arificial languages, dating back to the 17th-century philosophical languages until the 20th-century international languages the latter arising from the universal language projects of the 19th century, before dwelling upon their 20th century literary avatars. Four novels in particular are under study : "Nineteen eighty-four" by George Orwell, "A clockwork orange" by Anthony Burgess, "Riddley Walker" by Russell Hoban, and "The inheritors" by William Golding. These books written in a distorted language are analysed in the light of those utopian languages to determine whether there is filiation, continuity or rupture. The work sarts with an overview of man's different conceptions of language to fully grasp the motivations goals and stakes of these projects of artificial language designed to describe the world accurately and unambiguously, from Francis Bacon's "universal character" to the logicians formal languages in the 20th century. The analysis carried out shows that far from giving an objective and neutral reading of the world, the utopian projects apply to it an ideological pattern which is always already linguistic. The novels of the 20th century break off with the dream of humanity reconciled by a unique and perfect language. Indeed, they present man at a loss in a nightmarish atmosphere and the English language used is "fantastic", obscure, sometimes unrecognizable, playing with what the projectors called its "imperfections". However, in and through the alteration undergone, language succeeds in setting itself free from the ideological mould of the story and in sublimating the pessimis, enhancing its inner, engendering power. This thesis brings out the capacity of language to structure or generate the world, be it the real world (the utopian language) or the fictional world (the "fantastic" language)
21
Kebsi, Jyhene. "The Marriage between sciences and the state in George Orwell's «Nineteen eighty-four», Anthony Burgess's «A clockwork orange» and Owern Gregory's «Meccania: the superstate»." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28978/28978.pdf.
Full text
22
Dunphy, Patricia. "Den nya generationen: Dystopisk reproduktion : En tematisk genusanalys av Karin Boyes Kallocain, Aldous Huxleys Du sköna nya värld och George Orwells 1984." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-5700.
Full textAbstract:
The three dystopian novels Brave New World by Aldous Huxley, Kallocain by Karin Boye and Nineteen Eighty-Four by George Orwell have been highly discussed amongst literary critics and scholars. Although these works are well-known, some themes have had very little or no recognition. Biological reproduction is a recurring subject in dystopian literature. Although it is not the main theme in the novels, it is a very important part in dystopian culture and dystopian society. By focusing on reproduction and the structure of gender roles in these three dystopias, I hope to bring to light something that's been in the shadows for a long time i.e. the women of dystopian society. I will address the role of nature and technology in terms of reproduction by using Pia Maria Ahlbäck's theory of the heterotopia. Later, I will discuss the problems and possibilities of the role of women in biological reproduction.
23
Leth, Corina. "What is the Meaning of Meaningless sex in Dystopia?" Thesis, Högskolan i Gävle, Akademin för utbildning och ekonomi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-16223.
Full textAbstract:
The aim of this essay is to provide an answer to the question "What is the Meaning of Meaningless sex in Dystopia?". It will show that meaningful concepts such as sexual satisfaction, pleassure, passion, love, bonding, procreation and family are handled as threats in dystopian societies described in well-known novels as We, Brave New World and Nineteen Eighty-Four . It will explain how the conflict between the collective and the individual influences peoples' sexuality. It will also show how leading powers in the three dystopian societies use different methods to remove the significanse and functions of sex. It will suggest meaningless sex is a means to control the masses in a collective and that meaningful sex is an act of rebelion against the state..
24
Picot, Jean-Pierre. "Contribution à une étude de l'imaginaire chez quelques écrivains des XIXe et XXe siècles." Clermont-Ferrand 2, 1988. http://www.theses.fr/1988CLF20012.
Full textAbstract:
Autour des voyages extraordinaires de jules verne, cette contribution envisage un corpus dont la coherence se veut d'ordre psycho-thematique : le voyage comme exploration de la mort, et l'ecriture comme voyage fantasmatique. Des lors, le voyage n'est plus seulement le reve d'epuiser les ressources de la mappemonde, mais aussi un reve d'utopies : utopies de l'ailleurs, de l'amour, du futur, d'un accord nature-societe-utopies qui se voient contraintes, devant les ingerences du siecle, a l'exorcisme paradoxal que constituent les diverses contre-utopies : mal moral explore par le recit policier ou le recit fantastique, souvent associes ; mal politique envisage tant en fonction des blocages imposes au desir, que des trop reelles oppressions d'une histoire titubant a l'aveuglette- tandis que la science-fiction tente d'y voir clair dans la stochastique du futur. D'ou la dilection de notre travail pour les differentes formes de la litterature des limites, celle qui, sachant que le monde n'est que notre representation, se soucie peu des normes d'un pseudo-realisme reducteur. Merveilleux, fantastique, science-fiction, utopie et contre-utopie, poesie et exploration du mal sont donc autant de manieres de dire, non pas l'absurdite, mais le sens infini du monde. Que la transcendance debute par l'ecrit, tel fut peut-etre, du premier au dernier de ces textes, notre fil conducteurThis thesis is a corpus centred round jules verne's voyages extraordinaires and its coherence is meant to be psychothematic : travelling is seen as an exploration of death, and writing as an imaginary journey. Thus, travelling is not merely a dream of exhausting what a map of the world may offer, but also a dream of utopias : the utopias of the extraneous, of love, of the future, of a harmony between nature and society - such utopias are forced into the para- doxical exorcism which the various counter-utopias have formed: a moral evil explored by detective of fantastic narratives, a political evil seen as a repre- hension of desires and as the oppression inflicted by history- meanwhile science-fiction tries to see through a hazardous future. Hence our preference for the various aspects of the literature of limits, which, aware that the world is only our weltanschaaumg, is quite heedless of the rules of a reducing pseudo-realism. Therefore, the wonderful, the fantastic, science-fiction, utopias and counter-utopias, poetry and the exploration of death are as many ways of expressing not the preposterousness but the infinite significance of the world. Let transcendency begin with writing, such was, perhaps, our clew, from the first to the last of these texts
25
Wilzbacher, Melisa Katharine. "Orwell's Unmediated Hand: The Compositional Stages of Nineteen Eighty-Four." Thesis, 2012. http://hdl.handle.net/1805/2728.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)Nineteen Eighty-Four has become a hallmark example of the first, great cautionary sociological and political dystopias of the postwar era. Over the last sixty years, literary critics have thoroughly studied the plot, setting, characters, themes, scenes, subliminal meanings, and overt meanings of this text. However, very few critics have utilized one of the most precious resources available for analysis of Orwell’s creative process – the surviving, but fragmented, stages of early composition. In order to understand the full significance of these pages, it is necessary to illuminate the presubmission history of Nineteen Eighty-Four from the point at which George Orwell began composition to the date of press submission – a span of roughly twenty-nine months, from the summer of 1946 to November 1948, when Orwell’s British publisher, Secker and Warburg, received the typesetting copy. Nineteen Eighty-Four, his final work, is also the sole Orwell novel where manuscript stages are known to survive. The submitted typescript survives in the Orwell Archives at University College in London, and its underlayer reflects the fullest development of Nineteen Eighty-Four under Orwell’s unmediated hand. Although the 1947 manuscript is a conglomeration of hand written pages, typed pages, hand corrected pages, and type corrected pages, it is vital that literary and textual criticism focus on what the manuscript reveals about Orwell’s development of the narrative structure and text.
26
Mon-chan, Shieh, and 謝孟成. "Simulation, Romance, and Deconstruction: A Postmodern Reading of George Orwell''s Nineteen Eighty-Four." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/36053812962089851629.
Full textAbstract:
碩士國立中興大學
外國語文學系
88
In George Orwell''s Nineteen Eighty-Four, the world Orwell depicted is supposedly divided into three super states. The protagonist, Winston Smith, works in the Ministry of Truth, whose main task is in fact to make up lies, to correct lies, and to erase the historical record and human memory. In the world Winston lives in, two and two does not necessarily make four. Every "truth" has been controlled by the high-tech machine―the omnipresent Big Brother. In the text, many prophecies have their symbolic significance. In the contemporary postmodern world, we are dominated by a culture of simulation that proliferates many illusionary but seemingly real images, just like the mysterious image of Big Brother. My thesis contains three main chapters. Chapter One deals mainly with the resemblance between Big Brother''s mysterious significance and postmodern hyperreal simulation. In some postmodern debates, people often speak of the crisis in history, representation and narration. We cannot really see the reality but only the media-derived simulation. And in Nineteen Eighty-Four, Big Brother is like that kind of detached media, which dominates history, representation, and narration. Chapter Two is mainly concerned with the romance of Winston and Julia, in which I compare it with the postmodern scene. In addition, in this chapter, I also introduce the postmodern theatric theory to analyze the romance. In Chapter Three, I focus on the main character, Winston Smith, whose rebellious attack on representations resembles some postmodern phenomenon. Besides his deconstructive spirit, Winston''s postmodern tendencies include schizophrenia and nostalgic disposition, coming out of a distorted of non- human freedom and privacy.
27
Liu, Joyce Tzu-Yu, and 劉子瑜. "Two-Staged Reduction in George Orwell's Nineteen Eighty-Four." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/18717393864076873470.
Full textAbstract:
碩士輔仁大學
英國語文學系
89
The aim of my thesis is to argue that reduction in Nineteen Eighty-Four has two stages. In the first stage, reduction is a terrible means for the Party to pursue absolute power. Chapter One discusses how the government reduces the public life of Outer Party members, in terms of poor material life, restricted language, chosen history, and limited knowledge. Chapter Two centers on the dehumanization of private life of citizens, especially on hostile family relationships, barren marriage life, the loss of joy in sex, and twenty-four-hour surveillance. However, with merciless and mechanical control, both the ruled and the rulers are reduced to soulless and heartless automatons, which is how the second-staged reduction shows itself, and which is my focus in Chapter Three. And Oceania, a seeming Utopia with the mask of high technology and efficiency, is but an act of imagination, a ruthless world of mechanism, and an earthy hell.
28
Vicente, Maria Eduarda Gil. ""'Make Orwell Fiction Again': Rereading Orwell's Nineteen Eighty-Four and Other Dystopian Novels in the Trump Age"." Master's thesis, 2019. http://hdl.handle.net/10316/93326.
Full textAbstract:
Dissertação de Mestrado em Estudos de Cultura, Literatura e Línguas Modernas apresentada à Faculdade de LetrasDesde que anunciou a sua candidatura à presidência dos Estados Unidos, Donald Trump destacou-se pela postura controversa e os discursos inflamatórios de índole populista, revelando, sem qualquer pudor, preocupantes tendências autoritárias. Inicialmente visto como o mais improvável dos candidatos, Trump foi subindo nas intenções de votos e, em novembro de 2016, foi eleito como 45º presidente americano, para grande incredulidade de metade do país e do mundo em geral. A ansiedade face ao futuro, que já se fazia sentir desde os tempos da campanha, rapidamente se agravou com as mentiras de Sean Spicer e os “factos alternativos” de Kellyanne Conway. A tumultuosa era de Trump tem vindo a alimentar medos antigos, de cujos contornos, em grande medida, a arte e principalmente a literatura já se ocuparam. Neste contexto, as distopias têm servido dois objectivos: surgem como estratégias para compreender esta nova realidade – que desafia a própria noção do real –, mas também como instrumentos de resistência à administração Trump. É justamente daí que surge o slogan: “Make Orwell Fiction Again”. A presente dissertação propõe-se tratar a relação entre a América de Trump e algumas das mais proeminentes distopias do século XX, i.e., pretende estudar a relação entre a realidade e a ficção numa conjuntura de grande agitação social e política, que pode vir a revelar-se um ponto de viragem histórico. Na primeira fase do trabalho, será considerada a evolução das utopias e distopias como géneros literários, bem como o seu potencial para inspirar mudanças sociais e políticas. A fase seguinte dedicar-se-á ao legado de George Orwell, cujo romance Nineteen Eighty-Four é o incontestável bestseller e a principal referência literária no domínio das distopias na era de Trump. Desde há várias décadas, a figura do autor e a sua obra influenciam o modo como o público avalia e pensa questões relacionadas com o autoritarismo, o abuso de poder e a manipulação da linguagem, pelo que têm destaque central na dissertação. A fase final consistirá num levantamento e análise de episódios da administração Trump que se assemelham a alguns dos aspectos mais alarmantes de Nineteen Eighty-Four e também de Brave New World, The Handmaid’s Tale e It Can’t Happen Here.
Ever since he announced his candidacy for the presidency of the United States, Donald Trump has become notorious for his controversial posture and inflammatory populist speeches, characterized by worrying authoritarian tendencies. Initially seen as the most unlikely of candidates, Trump quickly rose in voting intentions and, in November 2016, was elected the 45th American president, to the great incredulity of half of the country and the world at large. The anxiety concerning the future, which had been growing since the campaign, was enhanced by Sean Spicer's lies and Kellyanne Conway's “alternative facts”.Trump's tumultuous era has been raising old fears, the contours of which have long been the object of art, especially literature. In this context, dystopias have been serving two purposes: they emerge as strategies for understanding this new reality - which challenges the very notion of the real - but also as instruments of resistance against the Trump administration. That’s precisely where the slogan “Make Orwell Fiction Again” comes from. This dissertation proposes to deal with the relationship between Trump’s America and some of the most prominent dystopias of the twentieth century, that is, it intends to study the relationship between reality and fiction amidst great social and political upheaval, at a time that may prove to be a historical turning point.The first phase of the paper will consider the evolution of utopias and dystopias as literary genres, as well as their potential to inspire social and political change. The next phase will go through the legacy of George Orwell, whose novel Nineteen Eighty-Four is the Trump Age’s undisputed bestseller and the main literary reference within the field of dystopias. For several decades, the figure of the author and his work have influenced the ways in which the public understands and thinks about issues pertaining to authoritarianism, the abuse of power and the manipulation of language, hence they have central prominence in the dissertation. The final phase will consist of a survey and analysis of Trump administration episodes that resemble some of Nineteen Eighty-Four’s most alarming aspects, as well as of Brave New World, The Handmaid's Tale and It Can't Happen Here.
29
ŤUPA, Jan. "Téma zla a morálního zájmu v románech George Orwella A Clergyman´s Daughter, Animal Farm a Nineteen Eighty-Four." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-253975.
Full textAbstract:
This diploma thesis is concerned with the analysis of famous novels written by the English writer George Orwell. It is confronted with ethical concept represented by Emmanuel Lévinas. The thesis is about a social evil in all aspects. It observes the roots of historical events and searches for the crucial solutions why evil is still present in the human society and can be a threat for the society anytime. The thesis discusses the elements like demagogy, physical and psychological terror towards the humans in any possible dictatorships. At the end of the thesis, the author is drawing on Orwell´s and Lévinas´s ideas, which should be respected in the correct functioning of any social system.
30
Tsai, Yun-ju, and 蔡昀汝. "The Representations of the Intellectual Translator: Political Influence on the Chinese Translation of Nineteen Eighty-Four by George Orwell." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/19973919982360245367.
Full textAbstract:
碩士國立臺灣師範大學
翻譯研究所
96
A professional translator has more obligations than just being a bilingual cultural broker, or a walking monopoly of knowledge; instead, a translator is obliged to communicate between two different cultures through his words, writing, and translations. According to Said, an intellectual's mission in life is to advance human freedom and knowledge. As Foucault indicates, authority determines how knowledge is perceived, what kind of knowledge people should acquire and what an object represents to people. “Knowledge” in turn reinforces the authority. Therefore, to Said, the functions of intellectuals are to represent the suppressed, question authority and speak the truth. Only when a universal standard like “freedom and equality” is pursued, can a person or an intellectual be freed from the power structure. Often “Intellectuals” cannot function because they are bound by professionalism, expertise or corporate interest, etc. A law, a rule or an act of an authority may unfairly operate against a minority. People dare not question the authorities on behalf of the suppressed because they are afraid of losing jobs, being expelled from an interested community, being unprofessional or being unqualified. People are educated that it is better not to deviate from the norm. But the task of an intellectual is to speak out and make a change. The above-mentioned coincides with Levefere’s perspective. He thinks there are three elements affecting the translation process—poetics, patronage, and ideology. This thesis shall examine how the political elements (power and ideology) work in the process of translation and whether the translator fulfills his personal obligation as an intellectual by discussing how Nineteen Eighty-Four was and is translated and communicated in Taiwan, China, and Hong Kong.
31
李明哲. "The Impact of Political Ideology on Literary Translation: On the Chinese Translation of Nineteen Eighty-Four by George Orwell." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/37603593148192934630.
Full textAbstract:
碩士國立臺灣師範大學
翻譯研究所
99
Itamar Even-Zohar argues in his polysystem theory that, in a given literary system, translated literature becomes one of its most important activities to assume the central position of a literature when there are turning points, crises, or literary vacuums in it. Translated literature is then correlated with other co-systems of the target culture, such as political, economic and socio-cultural systems, to adopt specific norms, behaviors and policies to function as expected. For example, translated literature could be subservient to the dominant political ideology. The British translation theorist Theo Hermans, known as the initiator of the idea of “manipulation” in translation studies, claims that all translation implies a degree of manipulation of the source text for a certain purpose. Andre Lefevere continues to argue that translations can be realized through rewriting and refraction of the original. He points out the literary image established by translation is dominated by the ideology of the translator or the patronage and the dominant poetics in the target culture. Such legitimate and canonized literary repertoire accepted by the ruling class is usually inseparable from major historic events or special contexts. “Anti-communist literature” is recognized as the cultural hegemony of Taiwan’s dominant literature in the 1950s. At the time, the political ideology based on Dr. Sun Yat-sen’s “Three Principles of the People” gradually occupied the dominant position of Taiwan’s cultural polysystem. The values defended and opposed by George Orwell’s Nineteen Eighty-Four were both compatible with the political interests of the KMT National Government and the U.S. Government in the 1950s. The Chinese translation of Nineteen Eighty-Four was soon published in Taiwan in 1950 as a result. This thesis, on the basis of Andre Lefevere’s rewriting theory, is aimed to discuss how the Chinese translation of Nineteen Eighty-Four was completed through approaches like abridgment, rewriting, reduction and abbreviation in accordance with the dominant political ideology within the literary policies implemented in Taiwan in the 1950s.
32
Kuo, Chin-Jung, and 郭晉榕. "The Quest for the Authentic Life in Aldous Huxley'' s Brave New World and George Orwell'' s Nineteen Eighty-Four." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/n8vgdy.
Full textAbstract:
博士國立中山大學
外國語文學系研究所
96
This dissertation intends to study the quest for the authentic life in both Aldous Huxley’s Brave New World and George Orwell’s Nineteen Eighty-Four. In this dissertation, I attempt to examine how Huxley and Orwell criticize the modern trend toward dehumanization and how both writers assert the value of the authentic life in their individual dystopian novels. In the twentieth century, the rise of totalitarianism and the development of science and technology threaten the independence of the individual. In their respective dystopian novels, both Huxley and Orwell reflect this crisis of the death of individuality in the modern world and warn us against it by portraying the quest of the characters for an individual meaningful life. On the other hand, the rise of existentialism also reflects the human desire to live a life of authenticity in this excruciating modern condition. Philosophers like Heidegger and Sartre all try to assert the value of the individual authentic life in this modern world where traditional values seem no longer sufficient to guide the individual in his life. Thus, it seems that the four authors Heidegger, Sartre, Huxley and Orwell all share the concern for the freedom of humans in the modern world. To them, an authentic individual life has a value in itself. It overrides the past utopian concern for rational order that overlooks the freedom and independence of the individual. The introduction focuses on presenting the major tents of Heidegger’s and Sartre’s ideas on authenticity. In his Being and Time, Heidegger mentions the characteristics of a life of fallen-ness, the individualizing effects of anxiety, the call of conscience and the authentic life. And in his Being and Nothingness, and Existentialism and Humanism, Sartre emphasizes the freedom of the individual to define himself through his own free choice of actions. In their individual philosophical works, both of them emphasize the freedom of the individual to take the initiative to create an authentic life. Chapter two focuses on a comparison between three works, Plato’s The Republic, Huxley’s Brave New World and Orwell’s Nineteen Eighty-four. In my discussion of their similarities and differences, we try to point out both Huxley’s and Orwell’s reflections on the modern world and their implied criticism of Plato’s utopian ideals which can be taken advantage of by the modern dictators. Chapter three treats Huxley’s dystopia Brave New World as essentially an anti-existential world in which there exists no possibility for the individual to lead a truly authentic life. Through the characters’ rebellion, Huxley suggests to the reader that the true authentic life consists in the quest for beauty, love and truth. Chapter four focuses on the protagonist’s quest for the authentic life in Orwell’s dystopia Nineteen Eighty-four. By starting a diary to keep a faithful record of the past, by developing a love affair and joining the Brotherhood to revive the past authentic life, Orwell’s protagonist Winston Smith actually serves as the novelist’s alter ego to express his ideal for the individual authentic life.
33
Stefaisk, Stéfanie Alves. "A few cubic centimetres inside your skull: a interpretação dos sonhos de Winston Smith em Nineteen eighty-four, de George Orwell." Master's thesis, 2014. http://hdl.handle.net/10451/20318.
Full textAbstract:
Aliando Nineteen Eighty-Four, de George Orwell, e A Interpretação dos Sonhos, de Sigmund Freud, esta dissertação pretende interpretar os sonhos da personagem principal da obra de George Orwell para, assim, compreender os mecanismos de repressão da personagem, suas neuroses, traumas, fobias, anseios e desejos, e tentar perceber a fundo quem ele, no seu mais profundo inconsciente, realmente é.
Analisando sete sonhos relatados pela personagem durante a narrativa, pretendo aplicar a metodologia desenvolvida pelo pai da psicanálise na interpretação da vida onírica de pacientes e personagens literárias para, da mesma forma, melhor entender os sonhos de Winston Smith. Tal investigação pretende revelar o inconsciente da personagem e ajuda a justificar o caminho que Orwell traçou para sua obra.Abstract: Combining the reading of Nineteen Eighty-Four, by George Orwell, with that of The Interpretation of Dreams, by Sigmund Freud, this dissertation aims to interpret the dreams of the main character of the George Orwell’s work (Winston Smith) in order to understand the mechanisms of repression of this character, his neuroses, traumas, phobias, anxieties and desires, and thus try to understand who he, in his deepest unconscious, really is. By analyzing seven dreams reported by the character throughout the narrative, I intend to apply the methodology developed by the father of psychoanalysis in the interpretation of the dream life of patients and literary characters in order to better understand Winston’s dreams. This research aims to reveal the unconscious dimension of Orwell’s character and the form Orwell wished his work to take.
34
Taillefer, Hélène. "L'intelligence artificielle comme figure de la dystopie dans Nineteen eighty-four, de George Orwell, le Dépeupleur, de Samuel Beckett, et Neuromancer, de William Gibson." Mémoire, 2009. http://www.archipel.uqam.ca/2229/1/M10931.pdf.
Full textAbstract:
Ce mémoire porte sur la figure de l'intelligence artificielle, en ce qu'elle permet d'incarner les craintes et les angoisses mises au jour par la critique sociale véhiculée dans les fictions dystopiques. Il analyse les manifestations d'êtres-machines et de structures de contrôle social créés par l'humanité, et dont la conduite témoigne d'une forme d'intelligence; il montre ainsi en quoi certaines structures sociales se calquent sur les machines pensantes imaginées. S'appuyant sur une approche pluridisciplinaire qui fait notamment appel aux domaines de la cybernétique, de la biologie et de la science politique, cette étude de la dystopie se concentre plus particulièrement sur le corpus littéraire suivant: Nineteen Eighty-Four, de George Orwell, Le Dépeupleur, de Samuel Beckett, et Neuromancer, de William Gibson. Prenant ses racines dans l'utopie, la dystopie a été façonnée au XIXe siècle à partir des craintes et des désillusions liées à une industrialisation qui modifiait radicalement le mode de vie humain. Dans ce type de fictions, les rapports de force entre l'humanité et ses outils -ses créations -basculent, car la technique y permet la transmission d'un ascendant sur l'être humain. Cette emprise se voit exacerbée par la machine pensante, dont l'accession à la vie autorise un niveau d'indépendance et d'initiative inaccessible à ses prédécesseurs. Ce faisant, l'intelligence
artificielle permet d'imager le déplacement de point focal qui s'opère quand l'outil devient une fin en soi, de même qu'elle illustre les potentialités asservissantes d'une utilisation inconsidérée de la technique. À l'image de l'être artificiel, les structures machiniques de la dystopie acquièrent
suffisamment d'autonomie pour pouvoir, elles aussi, attenter à la souveraineté de l'individu. L'humain, noyé au sein de ces structures qui le submergent, n'est alors plus qu'une composante insignifiante dont la spécificité se fait systématiquement gommer par la machine sociale. En définitive, qu'il s'agisse d'un être ou d'un système, la figure de l'intelligence artificielle apparaît comme un sujet agissant, qui incarne la propension de la dystopie à réduire l'individu à l'état de pion. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Dystopie, Intelligence artificielle, Cybernétique, George Orwell, Samuel Beckett, William Gibson.
35
ZEMANOVÁ, Lucie. "Specifičnost a originalita jazyka v románech A. Burgesse a G. Orwella." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-252626.
Full textAbstract:
The aim of this thesis is to compare two distinct principles of making new linguistic style and their role in fictional society. The thesis will present both novels (Burgess' A Clockwork Orange and Orwell's Nineteen Eighty-Four) and then it will focus on function and principles of making neologisms used in these novels. In the end the thesis will focus on summarization of both principles and it will analyze the language role in both novels.
36
Rose, Robert. "Experience, Interpretation, and the Performance of Authorship: A Study of Multiple Perspective in the Work of George Orwell." 2013. http://hdl.handle.net/10222/42721.
Full textAbstract:
This thesis examines stylistic technique and narrative strategy in a range of George Orwell’s fictional and non-fictional texts to demonstrate how personal experience and detached interpretation interact dialectically in his work to create layers of narrative complexity. Moving from Raymond Williams’ observation that the figure of “Orwell” is the writer’s “most successful” creation, this study asserts a vital correlation between form and content in Orwell’s work, specifically in the central position that perspective occupies in his political outlook. The multiple perspectives that surface in Orwell’s texts – the reluctant Imperial policeman, the tramp in disguise, the advocate of the working poor, the rebellious and satirically-inclined anti-totalitarian writer – correspond with the author’s life experiences, and yet are revealed as rhetorically constructed positions that are adopted strategically to generate nuanced, and at times contradictory, impressions of a wide range of subject matter. Chapter 1 treats Orwell’s Burmese writings as ethnographically-inflected texts; Chapter 2 examines the figure of the mask in Down and Out in Paris and London and in The Road to Wigan Pier; Chapter 3 analyses a dialectic of experience and interpretation at play in Homage to Catalonia; Chapter 4 scrutinizes the mobilization of the rebel writer figure in a selection of Orwell’s mature essays; and Chapter 5 examines the strategic deployment of competing perspectives in Nineteen Eighty-Four’s anatomy of the totalitarian state. This array of analytical approaches serves the dual function of highlighting the versatility and sophistication of narrative strategy across a range of individual texts in Orwell’s oeuvre, and of demonstrating a trajectory in his work that adheres simultaneously to both formal and political considerations. Orwell’s highly prolific two-decade-long writing career, I argue, can be productively understood as an ongoing experiment with narrative strategy, and this experiment exerts at each stage a direct influence on his evolving political aesthetic.
37
Bakič, Pavel. "Obraz médií v britských dystopiích." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329193.
Full textAbstract:
The thesis aims to give an overview of the treatment of media in texts that have formed modern dystopian writing and to which new additions in the genre necessarily relate. This set of texts consists of George Orwell's Nineteen Eighty-Four, Aldous Huxley's Brave New World and When the Sleeper Awakes by H. G. Wells; first chapter substantiates this selection and proceeds to define the concepts of "media" and "dystopia". Second chapter is concerned with the understanding of history in dystopian societies and shows that the very concept of historicity is undesirable for a totalitarian state, which seeks to blur history and reduce it to a three-point schema "before the Event - the Event (revolution) - after the Event". Closer analysis then shows that the Event itself can be divided into a further triad that has to be completed in order to pass into eternal post-Event society. Third chapter describes the use of citizens as media and shows that while Huxley's society uses what Michel Foucault calls "biopower" to achieve this goal, Orwell's society rather uses the concept of "discipline". Fourth chapter turns to printed media a the privileged role they are ascribed in the novels: The authors see literature as an embodiment of individuality and, at the same time, as a guarantee of tradition established by an...