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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.

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.

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.

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.

In his Truth and Method, Gadamer explains that subjectivity is the everyday understanding that allows us to engage with the world. Gadamer identifies three main aspects that effect our understanding, namely history, language and dialogue. Dystopian fiction is in a unique position to portray how systems of societal control affect and effect understanding, and thus subjectivity, because dystopian fiction primarily explores societies rather than only individuals. This dissertation applies Gadamer’s framework of subjectivity to George Orwell’s Nineteen Eighty-Four and Aldous Huxley’s Brave New World to analyse their portrayals of subjectivity critically. Huxley’s imagined world of test-tube births, rampant consumerism, feelies and orgy-porgies depicts a subjectivity that is nearly completely controlled through the manipulation of history, language and dialogue, with the exception of a few rebellious characters. But Orwell’s Oceania is far grimmer, and the systems of control in place to manipulate history, language and dialogue create a harsh environment in which Winston Smith, the protagonist, struggles to assert his individuality, his own subjectivity, until the liberating sexual relationship he has with Julia. Although both novels depict stringent measures of control, the possibility of rebellion is present in the worlds depicted in both novels, suggesting that despite the manipulation around subjectivity’s three main pillars, as identified by Gadamer, something else provides the impetus for the characters’ understanding of rebellion. Therefore, the study also analyses the characters’ pre-understandings, as explained by Nietzsche and Heidegger, as sources for a wider framework. Through the novels’ portrayals of rebellion, these pre-understandings are shown to complement and inform Gadamer’s framework of subjectivity. / Dissertation (MA)--University of Pretoria, 2015. / English / MA (English) / Unrestricted

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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.

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