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”I Want to Make Them Think” : An Analysis of Teachers’ Use of Dystopian Literature in the Swedish EFL ClassroomAlmqvist, Whilma January 2020 (has links)
This study aims to investigate the role of dystopian literature in the Swedish EFL classroom. In particular, it intends to investigate and analyze the method that Swedish EFL teachers use to employ this genre into the classroom, as well as the aim for the usage. The study is qualitative and has been carried out through the conducting of semi-structured interviews consisting of open-ended questions. The findings of the study show that there are a number of common aims and methods among the respondents. The aim for the using of this particular genre was commonly to increase the students’ willingness to read by working with literature that would hopefully be appealing to them. Common methods for using this genre of literature include discussions in different group-constellations, as well as employing films and shorter video clips as a complement to the standard literature used during lectures. Further findings show that teachers are inclined to adapt their teaching depending on the individual student groups. In other words, there is a tendency among the respondents to be flexible in their teaching, in order to favor students’ development in the English language.
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Miranda's Dream Perverted: Dehumanization in Huxley's Brave New WorldChizmar, Paul Christopher 15 May 2012 (has links)
No description available.
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Atomic Apocalypse - 'Nuclear Fiction' in German Literature and CultureLueckel, Wolfgang 06 December 2010 (has links)
No description available.
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Fear and manipulation in George Orwells Nineteen Eighty-Four and Alan Moores V for Vendetta / Fear and manipulation in George Orwells Nineteen eighty-four and Alan Moores V for vendettaLuana Rocha 27 April 2015 (has links)
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 inconformista / This 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
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Histórias do futuro e a arte do pensar-contra: utopia, esperança e pessimismo distópico / Histories of the future and the art of thinking-against: utopia, hope and dystopian pessimismo.Diogo Cesar Nunes da Silva 22 June 2011 (has links)
Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A protagonista do presente trabalho, a Utopia, a arte do pensar-contra, foi apresentada e definida, nas sendas da Filosofia da Esperança de Ernst Bloch, como uma consciência antecipadora que não se conforma com o está-aí das coisas, com a realidade fática; e como um
logos, linguagem-ação que cria furos no tempo saltando para-adiante, para o topos-outro. Negativa e Esperançosa, ela representa a verdade-de-fora: não é o irreal, pois existe. E a existência do topos de fora, o topos-outro, se justifica pelo fato de que a vida e o mundo não são sistemas fechados, porque seus horizontes estão em aberto: atravessados por possibilidades, ainda-não-são. Contra o que é estático, o que é fatal e fático, se posiciona o sonho utópico, abrindo espaços no fluxo do mesmo. Ao fazê-lo, cria duas frentes reciprocamente reais: o aqui-e-agora de quem sonha e o aqui-e-agora do sonho, o u-topos. Assim, tanto seu caráter de projeção ao porvir quanto, na sua base, o descontentamento com o atual, revelam seu comprometimento com o presente. Negando e afirmando a história, transformou-se em conteúdo e, sobretudo, forma, de Morus a Fourrier, de Marx a Orwell. E é por comprometer-se com o futuro, o presente e o passado, que, nos tempos sombrios do início do século XX, ela subverte a si mesma e faz vir ao mundo sua versão pessimista: a Distopia. Articulando e fazendo dialogarem as obras distópicas de Orwell, Aldous Huxley e Jerome K. Jerome com os pensamentos de Adorno, Marcuse, Horkheimer, Hannah Arendt, Karl Kraus e Walter Benjamin, tentamos encaminhar a pergunta originária da nossa pesquisa: é possível uma utopia pessimista? Será este pessimismo, ainda, uma Utopia?
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Fear and manipulation in George Orwells Nineteen Eighty-Four and Alan Moores V for Vendetta / Fear and manipulation in George Orwells Nineteen eighty-four and Alan Moores V for vendettaLuana Rocha 27 April 2015 (has links)
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 inconformista / This 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
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Histórias do futuro e a arte do pensar-contra: utopia, esperança e pessimismo distópico / Histories of the future and the art of thinking-against: utopia, hope and dystopian pessimismo.Diogo Cesar Nunes da Silva 22 June 2011 (has links)
Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A protagonista do presente trabalho, a Utopia, a arte do pensar-contra, foi apresentada e definida, nas sendas da Filosofia da Esperança de Ernst Bloch, como uma consciência antecipadora que não se conforma com o está-aí das coisas, com a realidade fática; e como um
logos, linguagem-ação que cria furos no tempo saltando para-adiante, para o topos-outro. Negativa e Esperançosa, ela representa a verdade-de-fora: não é o irreal, pois existe. E a existência do topos de fora, o topos-outro, se justifica pelo fato de que a vida e o mundo não são sistemas fechados, porque seus horizontes estão em aberto: atravessados por possibilidades, ainda-não-são. Contra o que é estático, o que é fatal e fático, se posiciona o sonho utópico, abrindo espaços no fluxo do mesmo. Ao fazê-lo, cria duas frentes reciprocamente reais: o aqui-e-agora de quem sonha e o aqui-e-agora do sonho, o u-topos. Assim, tanto seu caráter de projeção ao porvir quanto, na sua base, o descontentamento com o atual, revelam seu comprometimento com o presente. Negando e afirmando a história, transformou-se em conteúdo e, sobretudo, forma, de Morus a Fourrier, de Marx a Orwell. E é por comprometer-se com o futuro, o presente e o passado, que, nos tempos sombrios do início do século XX, ela subverte a si mesma e faz vir ao mundo sua versão pessimista: a Distopia. Articulando e fazendo dialogarem as obras distópicas de Orwell, Aldous Huxley e Jerome K. Jerome com os pensamentos de Adorno, Marcuse, Horkheimer, Hannah Arendt, Karl Kraus e Walter Benjamin, tentamos encaminhar a pergunta originária da nossa pesquisa: é possível uma utopia pessimista? Será este pessimismo, ainda, uma Utopia?
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Critical Thinkers through The Hunger Games : Working with Dystopian Fiction in the EFL ClassroomSelzer, Dominik January 2017 (has links)
This essay gives examples of possible ways to inspire young adults to become politically more aware and active using dystopian fiction in the EFL classroom. First, an overview of the dystopian genre and different ways of using it in the EFL classroom to improve critical thinking skills will be given. Subsequently, different scenes from The Hunger Games will be analyzed to show how young adults can be inspired to be more aware of social and environmental justice and to act. Finally, it is discussed why literary material in a classroom must relate to a student’s personal life and why the relevance must be explained to a student to raise their interest. As a conclusion, it is claimed that it cannot be expected that all students care for the world, but showing them why they should and how they could do it is a first step.
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HINGED, BOUND, COVERED: THE SIGNIFYING POTENTIAL OF THE MATERIAL CODEXChristina M McCarter (11186181) 29 July 2021 (has links)
<div>
<p>The idea of “the
book” overflows with extraneous significance: books are presented as windows,
gateways, vessels, lighthouses, and gardens. Books speak to us and feed us, and
they are a method of escape. The book has long represented much more than a
static, hinged, bound, covered object inscribed with words. Even when a book is
not performing an elaborate, imaginative function, the word “book” very often
signifies the text it holds or even the text’s author: You can open <i>The Bluest Eye</i> or carry Toni Morrison in
your bag. Fourteenth-century author Geoffrey Chaucer invokes a “book” by
“Lollius” as authoritative source of his<i>
Troilus and Criseyde</i>, though no person exists; likewise, to conclude the
same text, Chaucer asks directs his project to “go, litel bok, go.” When a book
makes an appearance in narrative, it is rarely j<i>ust a book</i>—without legs, the book moves, and without breath, it
lives. This dissertation asks what about the shape of the codex has helped the
book become such a metaphorically rich signifier.<br></p>
<p>This
dissertation attempts to unravel the various threads of meaning that make up
the complex “idea of the book.” I focus on one of these threads: the book as a
material object. By focusing on how the book as object—not the book as
idea—functions within narrative, I argue that we can identify what about the
book object enables its metaphorical range. I analyze moments in literature,
television, and film when metaphorical functions are assigned, not to an
ephemeral, complex idea of the book, but rather to the material realities of
the book as an object. In these moments, the codex’s essential, material shape
(what I am calling its bookishness) enables metaphorical functioning; I show
that, by examining when mundanely physical bindings, pages, covers, and spines
initiate metaphorical action, we can identify how the material book has come to
mean so much more than itself.</p>
<p><a></a>Indeed, despite a renewed appreciation for the
book as both material and cultural object, books have become so significantly
meaningful that attempts to define “the book” evade simplicity, rendering books
as everything and nothing at the same time. My inquire explores this complexity
by starting with a simple premise: Metaphors are based on some element of
physical truth. Though the book has sprouted in a variety of metaphorical
directions, many of those metaphors are grounded in the book’s material realities.
Acknowledging this, especially in an age of fast-evolving media and bookish
fetishism, offers a valuable and novel perspective on how and why books are
both semantically rich and culturally valued objects.</p>
</div>
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