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Specifičnost a originalita jazyka v románech A. Burgesse a G. Orwella / The Specificity and Originality of Language in George Orwell and A. Burgess's Experimental NovelsZEMANOVÁ, Lucie January 2015 (has links)
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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"Gramophones Playing the Same Tune": Club Ideology and Mass Media in George Orwell's Burmese Days (1934)Blanc, Marc 13 July 2018 (has links)
No description available.
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The dialogics of satire : foci and faultlines in George Orwell's Animal Farm and Nineteen Eighty-FourGoodman, Ralph 12 1900 (has links)
Dissertation (PhD)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This thesis uses Mikhail Bakhtin's theory of dialogism, as well as
postmodernism, to open up faultlines in satire, and to explore and challenge
various perceptions and discourses surrounding and related to it. Both
dialogism and postmodernism are used to suggest fresh approaches to satire,
by repositioning it in relation to other discourses and reframing it as a
complex dynamic, rather than a closed and inflexible system. Chapter 1 of the
thesis opens with an historical survey of the beginnings and subsequent
development of satire. It also contains a general discussion of the nature of
satiric strategies and opens the door for the incorporation of postmodern
perspectives into the argument. Chapter 2 contrasts the issues of morality
and re-presentation in satire, arguing that satirists do not simply invite their
audience to condemn, but offer them an opportunity to discover alternative
worlds. The affinity between satire and postmodernism is emphasised by the
postmodern predilection for modes highly favoured by satire: allegory, parody
and fantasy. In Chapter 3 the issue of language and its referents is explored,
starting with Saussure's theory of how the signifier and the signified function.
It is argued that satire has never respected this fixed relationship, and that it
is in this respect similar to deconstruction. The last part of the chapter is
devoted to examining four key socio-political discourses - psychoanalysis,
ideology, propaganda and political myth - in relation to satire. These four
discourses are, like satire, intent on influencing the perceptions which people
have of the world. The intention in juxtaposing these discourses is to create a
dialogic process which will throw a fresh light on all of them, including satire
itself. The four socio-political discourses named above play an important part
in Animal Farm and Nineteen Eighty-Four, and are relevant to the subsequent
discussion of these novels. Chapter 4 consists of a detailed discussion of
Animal Farm, in which the various layers comprising the work are examined.
The satirical aspects of the novel are closely related to the fabular and fairy
tale elements which are an important part of its constitution. These elements or levels are juxtaposed with the historical details alluded to continuously in
Animal Farm and indicate its close concern with the world outside the novel.
Chapter 5 consists of a detailed exploration of Nineteen Eighty-Four, which is
illuminated by a process of dialogism between the modernist ideology from
which the novel springs and the postmodern perspective introduced into the
thesis, as well as the four socio-political discourses mentioned earlier. The
main postmodern theories used in this chapter are those of Foucault. The last
section of the thesis demonstrates how Orwell's personal experience drives
his satire, and relates this specifically to a discussion of utopia / dystopia in
satire. / AFRIKAANSE OPSOMMING: Die Dialogiek van Satire: Fokuspunte en Breuke in Orwell se Animal
Farm en Nineteen Eighty-Four: Hierdie proefskrif maak gebruik van Mikhail Bakhtin se teorie van dialogisme,
sowel as die postmodernisme, om die breuke in satire bloot te le, en om die
verskillende persepsies en diskoerse wat verband hou met die satire te
ondersoek en te bevraagteken. Beide die dialogisme en die postmodernisme
word gebruik om nuwe perspektiewe op satire te open, deur dit te
herposisioneer in verhouding tot ander diskoerse en dit voor te stel in terme
van 'n komplekse dinamika eerder as 'n geslote en onbuigsame sisteem. Die
eerste hoofstuk van die proefskrif begin met 'n historiese oorsig van die
oorspronge en daaropvolgende ontwikkeling van satire. Dit omvat ook 'n
algemene bespreking van die aard van satiriese strateqiee en open die
moontlikheid om postmodernistiese perspektiewe in die argument te
integreer. Hoofstuk 2 kontrasteer die kwessies van moraliteit en representasie
in satire met mekaar; daar word geargumenteer dat satirici nie net hulle
gehore uitnooi om te veroordeel nie, maar hulle die geleentheid gee om
alternatiewe werelde te ontdek. Die verwantskap tussen satire en
postmodernisme word benadruk deur die postmodernisme se voorliefde vir
die modi waaraan die satire so dikwels voorkeur gee: allegorie, parodie en
fantasie. In hoofstuk 3 word die kwessie van taal en referensialiteit ondersoek, beginnende by Saussure se teorie oor die funksionering van die
betekenaar en die betekende. Daar word geargumenteer dat satire nog nooit
die vaste verhouding tussen betekenaar en betekende eerbiedig het nie, en
dat dit in hierdie opsig verwant is aan die dekonstruksie. Die laaste gedeelte
van die hoofstuk word gewy aan 'n ondersoek van vier sentrale sosio-politiese
diskoerse - psigoanalise, ideologie, propaganda en politieke mitologie - in
verhouding met satire. Hierdie vier diskoerse is, soos satire, daarop ingestel
om mense se persepsies/opvattings van die. wereld te verander. Die
doelstelling met die jukstaposisie van hierdie diskoerse is die skep van 'n
dialogiese proses wat al vier hierdie diskoerse, insluitende satire, in 'n nuwe
lig sal stel. Die genoemde sosio-politiese diskoerse speel 'n belangrike rol in
Animal Farm en Nineteen Eighty-Four, en is relevant vir die daaropvolgende
bespreking van die romans. Hoofstuk 4 bestaan uit 'n gedetailleerde
bespreking van Animal Farm, waarin daar ondersoek ingestel word na die
verskillende lae waaruit die roman bestaan. Die satiriese aspekte van die
roman word in noue verband gebring met die fabulere en die feeverhaalelemente
wat so 'n belangrike deel uitmaak van die roman se samestelling.
Hierdie elemente of vlakke word gejukstaponeer met die historiese detail
waarna daar deurlopend in Animal Farm verwys word en wat die noue
bemoeienis met die wereld buite die roman aandui. Hoofstuk 5 bestaan uit 'n
intensiewe ondersoek van Nineteen Eighty-Four, wat belig word deur 'n
proses van dialogisme tussen die modernistiese ideologie waaruit die roman
spruit en die postmodernistiese perspektiewe wat in die proefskrif ingevoer
word. Die belangrikste postmodernistiese teoriee wat in hierdie hoofstuk
gebruik word, is die van Foucault. Die laaste afdeling van die proefskrif
demonstreer hoedat Orwell se persoonlike ervaring bepalend is vir sy satire
en bring dit spesifiek in verband met 'n bespreking van utopie/distopie in
satire.
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Experience, Interpretation, and the Performance of Authorship: A Study of Multiple Perspective in the Work of George OrwellRose, Robert 16 December 2013 (has links)
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.
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Brasil, 1979-1989: uma década perdida?Rostoldo, Jadir Peçanha 11 July 2003 (has links)
Made available in DSpace on 2016-12-23T14:00:40Z (GMT). No. of bitstreams: 1
JADIR PECANHA ROSTOLDO.pdf: 354537 bytes, checksum: 5836735017e698b30c7c4f5716239795 (MD5)
Previous issue date: 2003-07-11 / Analisa as transformações da sociedade brasileira, no período de 1979 a 1989, efetuando reflexões que levam a uma compreensão mais ampla da natureza dos problemas do País. A análise foi efetuada a partir de uma ótica multidisciplinar, questionando a expressão Década Perdida à qual o período é normalmente vinculado. Recupera a política econômica de 1955 a 1989. Descreve as expressões culturais, os movimentos sociais e o movimento sindical dos anos 1980, mostrando seu papel transformador. Discorre sobre o processo de redemocratização, desde a Anistia Política até as eleições diretas para presidente da República. Levanta os indicadores sociais do período, inclusive o Índice de Desenvolvimento Humano (IDH), e relaciona com o conceito de desenvolvimento humano. Conclui que, apesar da recessão econômica, a sociedade obteve ganhos em vários aspectos e o período pode ser considerado de mudanças e transformações, e não perdido. / Analyses the transformations of the Brazilian Society, from 1979 to 1989, making reflections that take to a wider comprehension of the country problems. The analysis was done through a multi-disciplinary view, questioning the expression Lost Decade , which the period is usually connected to. Recovers the economic politics from 1955 to 1989. Describes the cultural expressions, social movements and syndicalist movement of the 1980 s, showing their transforming action. Runs over about the redemocratization process, since the politic amnesty until the direct elections for President. Brings the social indicators of the period, including the Human Development Index (HDI) and its relation to the concept of human development. The conclusions show that even there was economic recession, the society had positive achievements in many aspects and the period can be considered as a period of changes and transformations, not lost.
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Big Brother is Watching You: Panoptic Control in George Orwell’s Nineteen Eighty-Four / Storebror ser Dig: Panoptic kontroll i George Orwells 1984.Padden, Michaela January 2014 (has links)
George Orwell’s Nineteen Eighty-Four, first published in 1949, is a vision of socialism gone wrong. The setting of Oceania is a world ruled over by an oligarchical collective, “The Party,” which wields absolute power through a formidable combination of surveillance technology and the operation of the principles of “panoptic control,” a concept drawn from Jeremy Bentham’s model prison design of the late 1700s and revived by Foucault in the mid 1970s. The combination of surveillance technology and panoptic control is central to the functioning of power in Orwell’s novel, a union which has created a self-sustaining form of totalitarianism dependent on the oppression of individual identity for its automatic perpetuation. This essay offers a reading of Nineteen Eighty-Four as an implicit critique of Bentham’s Panopticon which in many ways foreshadowed the later work of Michel Foucault on the functioning of power within this specific type of physical and social architecture. / George Orwells roman 1984, vilken publicerades första gången 1949, är en framtidsvision om socialism som gått fel. Romanen utspelas i Oceania, en värld som styrs av ett oligarkiskt kollektiv, “Partiet,” vilket utövar absolut makt genom en utstuderad kombination av övervakningsteknik och teorin om “panoptisk” kontroll, ett begrepp sprunget ur av Jeremy Benthams fängelsemodell från sent 1700-tal, vilket återskapades av Michel Foucault i mitten av 1970-talet. Kombinationen av övervakningsteknologi och panopticism har i Oceanien skapat en totalitarianism som fungerar med automatik och förtrycker individuell identitet för att befästa statens makt. Denna uppsats närmar sig Orwells 1984 som en underförstådd kritik av Benthams arbete. Vidare identifier i romanen 1984 många av Foucault’s idéer om hur makt fungerar i en panoptisk struktur.
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Brasil, 1979-1989: uma década perdida?Rostoldo, Jadir Peçanha 11 July 2003 (has links)
Made available in DSpace on 2016-12-23T14:00:40Z (GMT). No. of bitstreams: 1
JADIR PECANHA ROSTOLDO.pdf: 354537 bytes, checksum: 5836735017e698b30c7c4f5716239795 (MD5)
Previous issue date: 2003-07-11 / Analyses the transformations of the Brazilian Society, from 1979 to 1989, making reflections that take to a wider comprehension of the country problems. The analysis was done through a multi-disciplinary view, questioning the expression Lost Decade , which the period is usually connected to. Recovers the economic politics from 1955 to 1989. Describes the cultural expressions, social movements and syndicalist movement of the 1980 s, showing their transforming action. Runs over about the redemocratization process, since the politic amnesty until the direct elections for President. Brings the social indicators of the period, including the Human Development Index (HDI) and its relation to the concept of human development. The conclusions show that even there was economic recession, the society had positive achievements in many aspects and the period can be considered as a period of changes and transformations, not lost. / Analisa as transformações da sociedade brasileira, no período de 1979 a 1989, efetuando reflexões que levam a uma compreensão mais ampla da natureza dos problemas do País. A análise foi efetuada a partir de uma ótica multidisciplinar, questionando a expressão Década Perdida à qual o período é normalmente vinculado. Recupera a política econômica de 1955 a 1989. Descreve as expressões culturais, os movimentos sociais e o movimento sindical dos anos 1980, mostrando seu papel transformador. Discorre sobre o processo de redemocratização, desde a Anistia Política até as eleições diretas para presidente da República. Levanta os indicadores sociais do período, inclusive o Índice de Desenvolvimento Humano (IDH), e relaciona com o conceito de desenvolvimento humano. Conclui que, apesar da recessão econômica, a sociedade obteve ganhos em vários aspectos e o período pode ser considerado de mudanças e transformações, e não perdido.
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Historicizing Maps of HellWilson, Mark Robert 11 May 2005 (has links)
No description available.
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Le orecchie si piene di Fiandra : Italian news and histories on the Revolt in the Netherlands (1566-1648)Lamal, Nina January 2014 (has links)
This thesis examines the Italian news reports, political debates and histories of the revolt in the Netherlands between 1566 and 1648. Many Italians were directly involved in this conflict and were keen narrators of these wars. Despite this, a systematic study of the Italian interest for the conflict has not yet been undertaken. This thesis argues that the complex political constellation of the Italian peninsula, dominated by the Habsburg monarchy, shaped the Italian news, debates and interpretations of the Dutch Revolt. Chapter one examines the different ways in which news from the Low Countries reached Italian states. It demonstrates that Italian military officers, active on the battlefield in the Netherlands in the Habsburg army, played a crucial role as purveyors of news and opinion on the conflict. The two following chapters study the circulation of political treatises on the Italian peninsula. Chapter two reconstructs the debates sparked by the events in the Low Countries between 1576 and 1577. Chapter three examines the descriptions of the emergence of a new state in the Northern Netherlands and the discourses on war and peace between 1590 and 1609. Chapter four looks into the development of a market for printed news pamphlets and explores the connections between manuscript and printed news. Chapter five studies how news was used by Italian history writers in their contemporary chronicles. It also investigates how these authors celebrated Italian protagonists in the war as Italian and Catholic heroes. The conclusion examines the evolution of all these Italian discourses related to Dutch Revolt.
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Obraz médií v britských dystopiích / Depiction of Media in British Dystopian FictionBakič, Pavel January 2013 (has links)
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...
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