Mémoire de maîtrise--Paris 3. / Bibliogr. p. 179-184.

George Orwell's reputation as a writer rests largely upon his final two works, selected essays and some of his journalism. As a novelist, he is often considered limited, and it is for this reason that his writing has perhaps received less serious attention than that of many of his contemporaries. Some recent publications have sought to redress this balance, identifying an impressive level of artistry, not only in his more recognised works, but in the neglected novels of the 1930s. Yet, aside from studies focused upon his political beliefs, there has been a lack of attention given to the wider ideas underpinning Orwell's writing, in particular, those which might be considered, in popular terms, ‘existential'. Given its unusually firm grounding in the many experiences he underwent, Orwell's thought, I argue, can be viewed profitably from this philosophical standpoint. By engaging his writing in a dialogue with that of the phenomenological-existentialist thinkers, Martin Heidegger, Jean-Paul Sartre, and Emmanuel Levinas, this project aims to make sense of the ideas implicit within his work. Where the work of the aforementioned figures is often opaque and highly abstracted, it will be shown that Orwell's offers the reader literary and real-life exemplars as a means of making difficult ideas understood. The study is divided into four two-part chapters, which track the Orwell canon in a broadly chronological fashion. In parallel with this, the ideas of the existential philosophers are, too, introduced chronologically: Heidegger, Sartre and, Levinas. The thesis attempts to argue that understanding the implicit existentialism in the work of Orwell not only offers a more complete insight into the man, and the tensions inherent in his character, but also affords the reader many much-needed exemplifications, and in some cases augmentations, of some of the most important ideas in existentialist philosophy.

Kwok, Tsz Ki. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 116-120). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Abstract --- p.ii / 摘要 --- p.iii / Abbreviations --- p.v / Chapter Chapter One --- Introduction --- p.1 / Chapter Chapter Two --- """Honest! Honest!"" - Down and Out in Paris and London" --- p.11 / Chapter Chapter Three --- """It is almost impossible to be honest and remain alive"" -The Road to Wigan Pier" --- p.42 / Chapter Chapter Four --- "“Still, I have done my best to be honest"" ´ؤ Homage to Catalonia" --- p.76 / Conclusion --- p.108 / Bibliography --- p.116

Tsang Tim. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 101-105). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.ii / Table of Contents --- p.iii / Abbreviations --- p.iv / Introduction --- p.1 / Chapter Chapter I --- Journey to Poverty in Paris and London --- p.8 / Chapter Chapter II --- Struggles and Failures in Two Novels --- p.35 / Chapter Chapter III --- The Road from Fellow Feeling to a Yearning for Common Decency --- p.61 / Conclusion --- p.89 / Bibliography --- p.101

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 54-56).

Thesis (M.A.)--University of Akron, Dept. of English-Literature, 2009. / "August, 2009." Title from electronic thesis title page (viewed 10/21/2009) Advisor, Alan Ambrisco; Faculty readers, Hillary Nunn, Robert Pope; Department Chair, Michael Schuldiner; Dean of the College, Chand Midha; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 54-56). Also available in print.

Thesis (M. A.)--University of Hong Kong, 2003. / Title proper from title frame. Also available in printed format.

Texte remanié de: Th.--English literature--New Haven--Yale university, 1964. / Bibliogr. p. 119-121. Index.

This study examines George Orwell's contribution to our understanding of imperialism and to political writing in general. The basic assumptions of the study are that for a creative writer plot performs essentially the same function as model-building does for the political scientist and the role of the imagination is paramount both in the drawing of a novelist's picture of environment and in a social scientist's selection of variables. To show how a creative writer can offer the student of politics an unusual perspective of various systems of government (in this case, imperialism), the study draws upon concrete examples from Orwell's novel Burmese Days and other of his related writings to illustrate a number of political science's theoretical concepts. The study is also concerned with showing how Orwell was a pacesetter, as it were, in rejecting jargon as a means of expression and instead pressing vigorously, particularly in his description of imperialism in Burmese Days, for a straightforward yet imaginative prose in describing political as well as other events. The study assumes that Orwell's plea is echoed in a succeeding generation by others such as Landau and asserts that Burmese Days has either rendered many of imperialism's more harmful clichés impotent or has at least exposed them to closer scrutiny. At the same time, despite Orwell's often vehement denunciation of imperialism, it is assumed that there is implicit in the dialogue of some of his characters a recognition that while the system of uninvited foreigners exploiting and governing another people's country may be morally repugnant, in the light of an all-embracing and privacy-invading industrialism British imperialism may have been the least offensive kind of such exploitation. The study argues that our understanding of the motivations for group behaviour may, in some cases such as imperialism, be best pursued through more intensive studies of individuals within the group rather than by investing all of our attention in observing the collective action of the group. The study has evolved not from the notion that a creative writer can ever replace the perhaps more disciplined approach of the social sciences in understanding our world, but that he can significantly aid the academic world in illustrating its theoretical concepts. Finally, it is the overriding conclusion of this study that the moderately experimental nature of its juxtaposition of social science theory and fiction is mutually beneficial to both the social scientist and the student of literature in offering them new perspectives in their respective fields of interest. / Arts, Faculty of / Political Science, Department of / Graduate