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.

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"What can the England of 1940 have in common with the England of 1840? But then, what have you in common with the child of five whose photograph your mother keeps on the mantelpiece? Nothing, except that you happen to be the same person". This comes from George Orwell's wartime pamphlet The Lion and the Unicorn in which, according to Tosco Fyvel, he sought "to identify himself with England in its finest hour". Orwell offered a more prosaic justification – "I don't share the average English intellectual's hatred of his own country" – in one of his regular "London Letters" to the American Partisan Review and from these three sources a complex constellation of questions emerges. The issue at stake is Orwell's relationship with his country and it involves ideas of identity, history, ownership, love, hatred, community and, crucially, his position as spokesperson. Drawing and expanding upon work on Orwell and Englishness, focusing on Orwell's often overlooked originality as a novelist and challenging Raymond Williams' influential account in Orwell and Culture and Society, "Re-Conditioning England" seeks to negotiate a path through this complex of questions. This path, as the title and opening quotation imply, is guided by the past and by Orwell's engagement with the mid-nineteenth century mode of social realism. It is informed by Williams' conception of the novel as a "knowable community" and Benedict Anderson's of the nation as an "imagined community". A chronological and contextual study, the thesis pays attention, throughout, to both when and where Orwell wrote. It places his work within contemporary debates over the status of Charles Dickens, poetry, language and the nation to the end of arguing: in his engagement with contemporary social-problems, Orwell first consciously updates and then self-consciously critiques the nineteenth-century genre of condition-of-England writing.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-09-30T21:00:24Z No. of bitstreams: 1 Disserta??oCarolinaPurifica??o.pdf: 694082 bytes, checksum: fa7324aabcff3909f23e711aa3e73dea (MD5) / Made available in DSpace on 2015-09-30T21:00:24Z (GMT). No. of bitstreams: 1 Disserta??oCarolinaPurifica??o.pdf: 694082 bytes, checksum: fa7324aabcff3909f23e711aa3e73dea (MD5) Previous issue date: 2013-08-23 / This paper has for object analyze the experience of the Spanish Civil War (1936-1937) through the writings of English George Orwell, seeking to understand, in their comprehension about the event, the gaze that their condition of foreigner printed to the conflict and the modifications that the reality of the front has made in the vision that he had about his own country, England. For this reason, this study aimed to examine their previous experiences the War with the objective of characterizing their worldview forged in accord with their identity; and consider its performance writing after the confrontation in an attempt to grasp the depth of the modification effected by experience during his stay in Spain, understanding it within a context of dispute of memories. / Este trabalho tem por objeto analisar a experi?ncia da Guerra Civil Espanhola (1936-1937) atrav?s dos escritos do ingl?s George Orwell, buscando perceber, em sua compreens?o sobre o evento, o olhar que sua condi??o de estrangeiro imprimiu ao conflito e as modifica??es que a realidade do front efetuaram na vis?o que possu?a sobre seu pr?prio pa?s, a Inglaterra. Para isso, procurou-se examinar suas experi?ncias anteriores ? Guerra com o objetivo de caracterizar sua vis?o de mundo forjada em conson?ncia a sua identidade; e considerar sua atua??o escrita ap?s o confronto na tentativa de apreender a profundidade da modifica??o efetuada pela experi?ncia durante sua estadia na Espanha, entendendo-a dentro de um contexto de disputa de mem?rias.

Modernity has changed the world and subsequently has caused emotional wounds and a sense of nostalgia for those pleasant times and places left in the past. In fact, nostalgia and modernity were two principle notions that people face in the early 20th century. This study calls on the notion of nostalgia defined by J. Wilson, which suggests that hard life situations and modernity enforcing unwanted changes in life, bring a feeling for the past like missing something left behind. Taking Wilson’s definition as a point of departure, this study analyses the protagonist's nostalgic feeling and nostalgia in the novel Coming Up For Air written by George Orwell. It also compares Coming Up For Air with two other Orwell’s writings which demonstrate that a grief for legacy of the past is recurrent in his writings. In addition, this study argues that nostalgia is not only a sentimental motion or mourning for the lost past but it also creates a pleasant space for the protagonist to recover from hardships caused by the modern life in the early 20th century. This study investigates the protagonist’s returning to his childhood town to make his dream of home real. The notion of Place Attachment by Ben Dowler is applied in this study, which demonstrates that the hometown means happiness and a safe place for the protagonist because he was in connection with a sense of happiness and joy in that place. In addition, Abraham Maslow’s theory about human basic needs, which demonstrates that the protagonist looks for a safe place because of his aroused basic need of being secure in the war times, is addressed. Furthermore, this study applies Sigmund Freud’s theory of Mental Structure. The theory is about the three layers of mind from instinct to mature and demonstrates that three different layers of the protagonist’s mind lead him to reply differently to his need of returning home. The main claim of this theory is that although the protagonist has no control over his aroused basic need for security, the mature one makes him more connected to the real world and helps him to cope with his nostalgia.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-11-13T19:03:48Z No. of bitstreams: 2 Dissertação - Héllen Nívia Tiago - 2015.pdf: 1472763 bytes, checksum: 4cce39998ab85039d6ab56128658ae2d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-11-13T19:06:06Z (GMT) No. of bitstreams: 2 Dissertação - Héllen Nívia Tiago - 2015.pdf: 1472763 bytes, checksum: 4cce39998ab85039d6ab56128658ae2d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-13T19:06:06Z (GMT). No. of bitstreams: 2 Dissertação - Héllen Nívia Tiago - 2015.pdf: 1472763 bytes, checksum: 4cce39998ab85039d6ab56128658ae2d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-04-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The Work 1984 by George Orwell portrays a society that the state imposed it on the population of totalitarian form, both for control of the actions of individuals and the creation of many scattered control devices and surveillance at various points of the city, is in workspaces or in domestic and public spaces. In this authoritarian regime, the State oppresses and torture individuals, causing resistance of some and adhesion others. Such issues will be observed in the society portrayed in the romance, so we can discuss how power compose and challenges the subject, influencing your production pathways controlled by such systems of power. In this sense supported by analysis of foucaultina perspective of discourse, we set out to reflect on the constitution of the subject and the power relations that emerge from the 1984, through standard-setting instruments that "promote" the docile the subject submitted to totalitarian society , narrated in the George Orwell novel. Starting from this objective, we will use Michel Foucault's studies present in the books A Arqueologia do saber (2007), Vigiar e Punir: nascimento da prisão (1999), Microfísica do Poder (1986), among others, in which the discussion on the topic power is highlighted. We will take the concept of statement as the romance sequences analysis procedure to observe the following questions: how power is exercised in the novel? What are the possibilities of resistance to totalitarian power deployed in the novel? Therefore, the practices and discursive processes that promote social control and the constitution of the subject will be observed. Therefore this study aims to analyze how is (in) the (s) subject (s) in the work of Orwell, and how power is exercised, ruling and taming offenders. The analyzes indicates that in the first instance, there is an exclusionary effect of the rebel guy, who happens to be characterized as a rebel / resistant. In a second moment, looks at how the subject "rebel", to be exposed to disciplinary practices, exercised in prison, becomes the party statutes, changing the position occupied at the beginning of the narrative. Thus, from the analysis of discursive sequences, cut and analyzed in our research object, we see that there is the emergence of speeches aimed at normalization of subject, for only then be able to be (re) inserted within the fictional society of Orwell. Thus, the statements analyzed point for relations of power and disciplinary practices that seek to standardize and regulate the subject transgressor. / A Obra 1984, escrita por George Orwell, retrata uma sociedade em que o Estado se impõe sobre a população de forma totalitária, tanto pelo controle das ações dos indivíduos quanto pela criação de diversos aparelhos de controle e vigilância espalhados em vários pontos da cidade, seja nos espaços de trabalho ou nos espaços domésticos e públicos. Nesse regime autoritário, o Estado oprime e tortura indivíduos, provocando resistência de alguns e adesão de outros. Tais questões serão observadas na sociedade retratada no romance, de forma que possamos problematizar como o poder interpela e constitui os sujeitos, influenciando os modos de produção de sujeitos controlados por tais dispositivos de poder. Nesse sentido, apoiados na Análise do Discurso, com contribuições foucaultinas, propusemo-nos a refletir sobre a constituição do sujeito e as relações de poder que emergem da obra 1984, através de instrumentos normalizadores que “promovem” a docilização do sujeito submetido à sociedade totalitária, narrada no romance de George Orwell. Partindo de tal objetivo, recorreremos aos estudos de Michel Foucault presentes nos livros A Arqueologia do saber (2007), Vigiar e Punir: nascimento da prisão (1999), Microfísica do Poder (1986), dentre outros, nos quais a discussão sobre a temática do poder ganha destaque. Tomaremos o conceito de enunciado como procedimento de análise de sequências do romance para observar as seguintes questões: como o poder se exerce no romance? Quais as possibilidades de resistência ao poder totalitário implantado no romance? Para tanto, serão observadas as práticas e os processos discursivos que promovem o controle social e a constituição dos sujeitos. Portanto, este trabalho se propõe a analisar como se constitui (em) o(s) sujeito(s) na obra de Orwell, e como o poder é exercido, governando e docilizando os transgressores. As análises realizadas indicam que, em primeira instância, há um efeito de exclusão do sujeito rebelde, que passa a ser caracterizado como rebelde/resistente. Em um segundo momento, observa como o sujeito “rebelde”, ao ser exposto às práticas disciplinares, exercidas na prisão, se converte aos preceitos do Partido, alterando a posição ocupada no início da narrativa. Destarte, a partir das análises das sequências narrativas, recortadas e analisadas de nosso objeto de pesquisa, verificamos que há a emergência de discursos voltados à normalização desse sujeito, para só assim estar apto a ser (re) inserido no seio da sociedade fictícia de Orwell. Desse modo, os enunciados analisados apontam para as relações de poder e práticas disciplinares que buscam normalizar e disciplinar o sujeito transgressor.

[pt] Este trabalho tem como objetivo central analisar comparativamente três dos principais romances distópicos escritos na primeira metade do século XX: We (1924) de Yevgeny Zamyatin, Brave New World (1932) escrito por Aldous Huxley e 1984 (1949) escrito pelo romancista e jornalista inglês George Orwell. Não se trata aqui de pensar apenas em como essas obras foram moldadas por um ou outro conjunto de pressões históricas, mas sim procurar refletir especialmente se e como essas obras também podem possuir uma dimensão propositiva comum a todas elas. Elabora-se, a partir desse esforço, a categoria de estética do prognóstico, no interior do próprio pensamento crítico e ensaístico de Aldous Huxley. Partindo da obra de Huxley e posterioremente testando a força dessa categoria de estética do prognóstico frente aos dois outros romances, fomos capazes de perceber como a ficção opera a construção de uma encenação que pretende ser mais do que mera encenação. Pretende ser ela mesma uma espécie de realismo do futuro, chamado por nós de realismo distópico. Mas esse realismo não encontra o ponto máximo de sua representação da realidade na literatura ao profetizar (prognosticar) os meios pelos quais a sociedade do futuro irá se desenvolver, mas sim nas tópicas centrais à construção de seus protagonistas: o amor e a morte. / [en] This work is mainly aimed at comparing three of the main dystopian novels written in the first half of the twentieth century: We (1924) by Yevgeny Zamyatin, Brave New World (1932) written by Aldous Huxley and 1984 (1949) written by the english novelist and journalist George Orwell. We re not only interested to think of how these works were shaped by either set of historical pressures, but rather trying to reflect especially if and how these works may also have a common propositional dimension to all of them. Draws up from that effort, the category of the aesthetic of prognosis, built inside the critical and essayistic thought of Aldous Huxley himself. Starting from the work of Huxley and then testing the strength of this category of aesthetic of prognosis compared to the other two novels, we were able to understand how fiction works to build a staging that aims to be more than mere acting. Want to be itself a kind of realism of the future, called by us the dystopian realism. But this realism did not find the peak of its representation of reality in literature prophesying (predicting) the means by which the society of the future will develop, but on the construction of the central protagonists issues: love and death.

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.

This essay argues that the patriarchy is pervasive throughout George Orwell’s novella Animal Farm. By providing examples of narrative events and character actions, the essay aims to make evident the ways in which the patriarchy is represented throughout the novella. The concept of patriarchy is defined, and characters and events that take place within the narrative of Animal Farm are analyzed through the lens of traditional gender roles and toxic masculinity. Both male and female characters are included to present the ways in which society in Animal Farm is patriarchal and the essay argues that the presence of the patriarchy pervades the narrative. The presence of patriarchal structures can be seen throughout the narrative, including characters, character’s actions and how events are portrayed. To conclude, discussing the novella from a feminist theoretical perspective is good for understanding the work in a way that is different from most other analyses in academia and this essay argues that the patriarchy indeed is present throughout the narrative of Animal Farm.

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