This essay focuses on exploring power structures within George Orwell's narratives 1984 andAnimal Farm, through the theoretical lens of Panopticism and the discourse of language andpower. By adding Steven Lukes' multidimensional view of power it digs deep into thecomplexity of power relations and further enriches our understanding of the subject. Whenreflecting on power as a phenomenon rooted in privileged access to social resources, theshaping of language use, and the exercise of power through language strategies Foucault'sPanopticism clarifies the layers of societal intricacies and offers a fresh perspective on thetimeless themes embedded in these literary works.

In 2016, “post-truth” was chosen as the word of the year by the Oxford Dictionaries. This is a concept that has come to be associated with a type of political discourse in which objective facts are less important than factual inaccuracies which appeal to emotion to influence people’s attitudes. Due to this recent increase in post-truth politics, critical thinking becomes an important skill to master. Yet, studies have suggested that students often lack the necessary skills for critical thinking. One way of approaching this problem is through the reading of literature. This essay specifically argues that George Orwell’s 1984 provides teachers with an excellent opportunity to develop critical thinking skills among upper secondary English as a foreign language (EFL) students, with the novel as an excellent platform to also promote student reflection on current post-truth politics. In order to work with 1984 to foster critical thinking, this essay utilizes a literature-based, pedagogical model developed by Bobkina and Stefanova that draws inspiration from elements of reader-response theory and critical literacy pedagogy (CLP). To show how 1984 can be used to discuss current post-truth politics, a thematic analysis was performed where central themes and concepts from the novel, such as doublethink, Newspeak and telescreens, were compared to current trends in post-truth politics. The analysis itself was structured around the following themes: the distortion of truth for political gains, the use of language as an instrument of political power and the use of technology to spread misinformation. Following the analysis, a lesson project based on Bobkina and Stefanova’s four-stage model was constructed, focusing on different pre-, while- and post-reading activities aimed at making the students develop their critical thinking skills as well as their awareness of the three themes mentioned above. While this approach is deemed suitable for working with 1984 to discuss post-truth politics, a suggestion for further research would be to use Bobkina and Stefanova’s model together with more contemporary dystopian novels in order to discuss other topics that are more relatable to young adults, e.g. identity issues and social stratification.

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.

In the first phase of my thesis I seek to explore how novelist use the fictional architectural environments in order to propel narrative and create an immersive experience for a reader, using the well-known 1984 by George Orwell and The Castle by Franz Kafka as the primary vehicle for investigation. The thesis studies the narrative and architectural typologies, physical settings and imagined spaces used to connect the viewer to the narrative’s highly detailed world. In the second phase of my thesis, I used elements learned from this two novels and applied them to propose a building in Midtown Manhattan in New York. I chose misinformation and fake news as the my main theme in order to design a mixed use proposal as it is one of the biggest challenges of our era. I end my thesis with a comic-style story using my proposal building as the main key in the comic-strips. If the first phase is about how architecture is used in fiction, the second phase is about creating a fictional story using architecture.

Made available in DSpace on 2016-04-28T18:22:26Z (GMT). No. of bitstreams: 1 Rodrigo Fernando Assis dos Santos.pdf: 1536485 bytes, checksum: a5ecc665cf98dff5e1e30e09968b8a13 (MD5) Previous issue date: 2011-11-29 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research discusses the concept of language present in George Orwell´s book 1984 and relates it with the official concept of language of Russia during the 1920´s and 1930´s . For doing this, we chose as study object the book 1984 from which we selected newspeak as the corpus of analyses. Newspeak consists of a language system that´s is being created by the government of the plot and once it is finished and put into practice, would impeach people to have different opinions from the government and the existence of the other languages would also be impossible. The main feature of newspeak is that it is being constructed through the destruction of the current language. On the other side, we have the official Russian linguistics of the 30´s that has a similar project of destruction of the linguistic material and creation of a single universal language. Our objective in this research is to describe, analyze and interpretate through the linguistic-discursive newspeak material, the discourses that constitutes the book and establish dialogic relations between newspeak and the official russian linguistics of the 30´s, period which the book makes analogies. We inquire in this research what is the concept of language of Newspeak and the official russian linguistics of the 1920´s and 1930´s, which dialogic relations can be established between both concepts, which dialogic relations can be stablished between the newspeak lexical group that relates crime with the idea of disagreement of the government policies and the stanist society concerning the same matter and which language knowledge our dialogic relation meets. This research reconstruct some discourses about the Russian revolutionary period since the czarism regime until the great purge, it also identifies the official Russian linguistics theory of the 20´s and 30´s, and shows how 1984 materialize the discourses concerning the speech restriction policies that come from this historical period. Our methodology for the corpus´ construction was done based on the following steps; a) Describe the process of destruction of the current language; b) Identification of the term Newspeak and the terms in Newspeak through all narrative; (c) Construction of a glossary that has the definition of the words in Newspeak. Through the description of newspeak and the analyses of two linguistics marks, it was possible to realize that the human language either in life or in art, is able to create compensatory mechanisms that weakens and cancel the forces that struggles to finish with the heteroglossia that keeps the human language ideologically saturated. We also indentify the diference between the fictional language and the scientific one: the former there is not any diference between the act of uttering and the utterance, whereas the latter this difference is part of the discourse genre. This research is based on Bakhtinian´s circle theory, that discusses language through its social historical point of view. We used the concept of axiology, ideological sign, infrastructure and superstructure, monologism, dialogism, centripetal forces and centrifugal forces / Este trabalho discute o conceito de língua/linguagem em 1984 de George Orwell e relaciona esse conceito com o da linguística oficial russa das décadas de 1920/1930. Para tanto, selecionamos, especificamente, a novilíngua como corpus de pesquisa. A novilíngua consiste em um sistema linguístico elaborado pelos detentores do poder da ficção orwelliana que, quando finalizado e colocado em uso, impediria a expressão de opiniões contrárias ao regime e a existência de outras línguas. A característica central para a existência da novilíngua é a destruição da língua vigente. Ao pesquisarmos a política linguística oficial russa das décadas de 1920 e 1930, descobrimos um projeto similar de destruição das línguas existentes e de criação de uma língua única. Nosso objetivo de pesquisa, portanto, é descrever, analisar e interpretar, por meio da materialidade linguístico-discursiva da novilíngua, os discursos históricos que atravessam a obra e, a partir daí, estabelecer relações dialógicas entre o conceito de língua/linguagem de 1984 e esse mesmo conceito na linguística oficial russa das décadas de 1920/1930. Questionamos em nosso trabalho qual é o conceito de língua/linguagem da novilíngua e da linguística oficial russa das décadas de 1920/1930, quais relações dialógicas podem ser estabelecidas entre o conceito da novilíngua e esse mesmo conceito da linguística oficial russa dos anos 1930, quais relações dialógicas podem serestabelecidas entre o léxico da novilíngua, que trata o pensamento discordante ao sistema totalitário como crime, e a sociedade stalinista no que diz respeito à restrição da liberdade de expressão e quais conhecimentos sobre a linguagem humana nossa análise dialógica vai de encontro. Este estudo recupera alguns discursos que circulam sobre a história da Rússia desde o final do período czarista até o auge do expurgo stalinista, identifica a teoria linguística oficial da Rússia das décadas de 1920/1930 e mostra como a obra 1984, de Orwell, materializa os discursos advindos desse período histórico. Nossa metodologia para composição do corpus e descrição da novilíngua obedeceu à seguinte dinâmica: a) descrever o processo de destruição da língua vigente para a construção da novilíngua; b) levantamento do termo novilíngua e dos termos em novilíngua, em toda a narrativa; c) construção de um glossário que contém a definição das palavras em novilíngua. Por meio da descrição da novilíngua e da nossa respectiva análise, foi possível constatar que a linguagem humana, tanto na vida como na arte, é capaz de criar mecanismos compensatórios que atenuam e anulam as forças que querem acabar com o plurilinguísmo e assim manter a linguagem humana, mesmo sob forte coerção de sistemas políticos totalitários, pluriacentuada e ideologicamente saturada. Identificamos também a diferença entre a linguagem científica e a ficcional: na linguagem científica não há divergência entre o enunciado e a enunciação; na linguagem ficcional essa divergência é constituinte. Este trabalho está embasado pela teoria Bakhtiniana, que discute a linguagem pelo seu viés sócio-histórico ideológico. Utilizamos os conceitos de axiologia, signo ideológico, infraestrutura e superestrutura, dialogismo, forças centrípetas e centrífugas.

This thesis identifies a trend in recent postmodern dystopian fiction for writers to metafictionally dwell on the place of literature in a future context. This trend springs from similar concerns present in the two most influential dystopian novels of the 20th century, Brave New World and Nineteen Eighty-Four. Yet, unlike Huxley and Orwell, for whom the marginalization of literature is merely one symptom of the hegemonic control oppressing these future societies, the postmodern writers I identify situate the book’s future disappearance at the epicenter of culture’s demise. In Gary Shteyngart’s Super Sad True Love Story (2010), electronic technologies have virtually eradicated print literature and the novel’s protagonist, Lenny, mourns the changes in social interactions he sees this shift in technology bringing about. In Jeanette Winterson’s The Stone Gods (2007), marginalized book-lovers see the devastation humanity continuously wreaks on the environment as a product of culture’s disdain for literature.

"Down and Out in Paris and London" is typically perceived as non-political. Orwell's first book, it examines his life with the poor in two cities. Although on the surface "Down and Out" seems not to be about politics, Orwell covertly conveys a political message. This is contrary to popular critical opinion. What most critics fail to acknowledge is that Orwell wrote for a middle- and upper-class audience, showing a previously unseen view of the poor. In this he suggests change to the policy makers who are able to bring about improvements for the impoverished. "Down and Out" is often ignored by both critics and readers of Orwell. With an examination of Orwell's politicizing background, and of the way he chooses to present himself and his poor characters in "Down and Out," I argue that the book is both political and characteristic of Orwell's later work.

Language can create realities, and the totalitarian pigs in George Orwell’s Animal Farm tend to use language in order to control the oppressed animals’ minds and world view. Orwell’s dystopian fable Animal Farm repeatedly deals with manipulative language, and so an analysis of the animal characters’ language may help upper secondary students to understand themes such as the power of language and truth. Moreover, for students to understand the power of language and truth in Animal Farm more easily I, in this essay, argue that logic and epistemology might help. This logical and epistemological perspective can be seen as a philosophical perspective for English teachers and students when they discuss language and truth on the farm. Finally, this philosophical analysis of Animal Farm may also improve students’ logical reasoning skills and critical thinking.

In my dissertation Theory of Petrified Worlds on the Example of Anti-Utopian and Dystopian Literature, I deal with anti-utopian and dystopian literature, which has been largely neglected by Czech scholarship. After the introduction to the issue I deal with the detailed analysis of the novel We by Yevgeny Zamyatin, after which I devote my attention to the theoretical definition of terms, including the historical mapping of previous research. I focus on the historical context of the emergence of the genres, including a deeper analysis of its beginnings, i.e. the development of utopian literature from Plato to William Morris and Herbert George Wells, and in detail describe the emergence of anti-utopian literature primarily as an opposition to utopian tendencies and its evolution into dystopia. A major part of the work deals with a specific semiotic analysis of the characteristic and constitutive features of the genres of anti-utopian and dystopian literature of the 20th and 21st centuries. This includes, among other things, the closed and petrified world of the novels, which gave the name to the presented theory, the strict division of society, the existence of newspeak, the characteristics of the main and secondary characters, as well as the social and political context of the analysed works. In...

The three dystopian novels Brave New World by Aldous Huxley, Kallocain by Karin Boye and Nineteen Eighty-Four by George Orwell have been highly discussed amongst literary critics and scholars. Although these works are well-known, some themes have had very little or no recognition. Biological reproduction is a recurring subject in dystopian literature. Although it is not the main theme in the novels, it is a very important part in dystopian culture and dystopian society. By focusing on reproduction and the structure of gender roles in these three dystopias, I hope to bring to light something that's been in the shadows for a long time i.e. the women of dystopian society. I will address the role of nature and technology in terms of reproduction by using Pia Maria Ahlbäck's theory of the heterotopia. Later, I will discuss the problems and possibilities of the role of women in biological reproduction.