The Individual and the social system:
We all sometimes feel isolated in a world which seems determined to thwart our needs, deny our perceptions and foist false upon us. In 1984 this feeling is cast into a fantastic form and pursued to a horrifying extreme.
While this ease of identification is a major source of the book’s appeal, it is the particular nature of the nightmare world Winston inhabits which accounts for the enormous impact that the book has had. Winston’s rebellion is not directed simply against a repressive job or unsympathetic parents, but an infinitely more alarming antagonist, totalitarianism.
Many of the book’s original readers, having witnessed the relentless mass cruelty unleashed by Hitler and Stalin, naturally asked themselves whether such a system could ever develop in their own countries. It was undeniable that throughout the first half of the 20th century there had been more and more government intervention in people’s lives in all developed nations, and that this trend had been accelerated by the Second World War. Orwell believed that greater government power was not only inevitable but was the only practicable way to bring about a more equal and democratic society, yet he feared that it could all too easily end in totalitarianism, a closed society where everything and everyone was controlled by a rigid dictatorship. The best way to avoid the danger was for people to be aware of the problem and vigilant in ensuing that it did not come about. 1984 was written to assist in this task.
Orwell takes some of the worst features of Nazi Germany and Communist Russia, imagines them refined to a vicious perfection by time and improved technology, and projects them onto the Britain of the near future, giving us an alarming reading experience which will encourage us to oppose this evil, plus a clear model of what it is that we should oppose. The book makes it clear that the power of totalitarianism does not derive simply from the power of the state, immense though it may be, but also from the weakness of the citizens. While the proles are victims because they are uninterested in politics and accept government as they do the weather, intellectuals like Winston are contrastingly vulnerable to the impressive-sounding philosophical arguments which the rulers to justify their power and the pseudo-religious promise that, in joining them, individuals will be accepted into a protecting order, freed from the anxiety, guilt and weakness which are actually a normal part of the human condition.
While totalitarianism is Orwell’s chief target, 1984 also conveys a suspicious of modern life in general. Much of what Orwell foresaw has since come into being- television, security cameras, the 24hour clock, metrication, a loss of Britain’s status as a great power- but so far without the sinister consequences which he linked to these developments. Orwell’s skepticism towards modernity can still be defended, however, for a major theme of the book is the struggle of the individual to lead an authentic life, fully in touch with their feeling, in a ‘packaged’ world of media manipulation and social expectation. To Orwell the good life is only loosely linked to affluence and technology; it has satisfying relationships, with self-knowledge and closeness to the basic facts of life. The book suggests that future developments may bring into being social forces so powerful that they can cut off the individual from these sources of health and leave him or her a victim of manipulation from above. The form this alienating society can take maybe as brutal as in the 1984 or a pleasure obsessed, affluent one as in Brave New World, but the worry is the same, and arguably it a concern which should not be lightly dismissed.
Context: Key Questions:
How is this theme influenced by or representative of George Orwell’s own context? What do you think the ending tells us about how Orwell viewed this struggle? Why do you think he ends the book the way he does? How might you link that to context?
Other themes to consider:
Loss of humanity
Social division
Control through language
Technological advancements
Control through technology
Read more...
Monday, August 31, 2009
GATTACA THEMES:
The dangers of genetic engineering and scientific experimentation:
“I would hate for anyone to look at my film and think it is advocating that you never tamper with genes, because there have been and will be many positive things to come out of this kind of science in terms of curing diseases. But the problem is that blurred line between health and enhancement. How far do you go? Do you consider short-sightedness a disease? Premature balding? Crooked teeth? Where do you draw the line?” -Andrew Niccol
Science fiction is not so much about current state technology as about what might be. It often works too by exaggerating a trend to the point where it is obviously intolerable, as with the film’s depiction of a society ruled by ‘genoism’, and thereby inviting debate about what are real contemporary issues potential problems.
Contextual links:
· 1962 discovery of DNA
· 1969 onwards- identification of which genes define the characteristics of all organisms
· 1970 the synthesis of genes
· 1976 the beginning of true genetic engineering
· 1984 genetic fingerprinting
· 1988 genetic modification of animals
· 1994 development of genetically modified food
· 1997 Dolly the sheep
· 1998 stem cell research and other types of gene research
The name GATTACA comes from the four different nitrogen elements- guanine, adenine, thymine and cystosine. The society is a society which is based on genetic perfection. In the title sequence these letters are bolded- a subtle clue to this idea.
Gattaca is really pointing us towards what is both a new and old controversy:
· The Human Genome Project which looked at finding the genetic profiles of common diseases (Parkinson’s, Alzheimer’s etc.) and the cloning of Dolly the sheep in 1997.
What fears did this awaken in people?
The understanding of how fast technology can take us into unchartered territory. What would happen if we took things too far?
It’s important to note that these were not new fears:
· Hitler’s Aryan race
· Multiple warnings in literature ie) Frankenstein, Brave New World
What do we make of this then?
It seems that people worry about ‘interfering with nature’ as Vincent’s parents significantly do in Scene 10 of the film.
‘ Humans are discovering a God-like power to alter the world but may not have the moral understanding or prescience to see where such tinkering might take us.’
-The producers of Gattaca
Genres
Science fiction: speculative fiction pushes an important and disturbing idea (such as genetic engineering) to its logical conclusion. This genre can be used to make quite insightful and moving comments on the nature of the world and of human potential.
However is also:
Mystery, detective, drama, thriller and a romance
Why have all of these genres together? -Because it drives the story. A good science fiction idea has little or no narrative energy in its own right.
Motifs:
· Vincent cleaning himself, shaves, or sloughs of skin
· Repeated shots of blood and urine samples
· Hair
These motifs all underline the theme of the body as the identifier and the betrayer in this society.
· Water scenes
These represent moments of struggle and triumph over nature (represented at a subliminal level by the sea).
Doubles:
· Vincent and Eugene
· Vincent and Anton
Despite apparent differences, they are equally ‘valid’ as human beings.
Style:
The film has a ‘retro’ look which draws on the Cold War iconography of the 50s. There are images of totalitarianism and allusions to Nazi war images. The sets also carry impressions of sterility (coldly scientific). The large spaces are uncluttered and well-lit. It is cavernous and devoid of much colour.
Lighting and colour:
The palette of the film is primarily green and blue/grey. Often the film appropriates sepia. It is visually a ‘cold’ film. This reflects the director’s desire to establish the idea of a society that, in its desire to be ‘perfect’, has squeezed all humanity out. It has become as sterile as a laboratory.
Green filters: There are floods of green in the film (filters were used throughout the film). The green is largely naturalistic, but on occasions has a more symbolic function, coding moments of threat and tension. Murky colours of brown and green contribute mood to the ‘noir’ sequences.
Gold filters: In contrast to this dark lighting there are several scenes bathed in golden light. (Vincent’s ambition of going to the stars, the mirror farm scene, the nightclub scene, etc) These scenes show warmth, excitement and for this film, visual richness. Read more...
The dangers of genetic engineering and scientific experimentation:
“I would hate for anyone to look at my film and think it is advocating that you never tamper with genes, because there have been and will be many positive things to come out of this kind of science in terms of curing diseases. But the problem is that blurred line between health and enhancement. How far do you go? Do you consider short-sightedness a disease? Premature balding? Crooked teeth? Where do you draw the line?” -Andrew Niccol
Science fiction is not so much about current state technology as about what might be. It often works too by exaggerating a trend to the point where it is obviously intolerable, as with the film’s depiction of a society ruled by ‘genoism’, and thereby inviting debate about what are real contemporary issues potential problems.
Contextual links:
· 1962 discovery of DNA
· 1969 onwards- identification of which genes define the characteristics of all organisms
· 1970 the synthesis of genes
· 1976 the beginning of true genetic engineering
· 1984 genetic fingerprinting
· 1988 genetic modification of animals
· 1994 development of genetically modified food
· 1997 Dolly the sheep
· 1998 stem cell research and other types of gene research
The name GATTACA comes from the four different nitrogen elements- guanine, adenine, thymine and cystosine. The society is a society which is based on genetic perfection. In the title sequence these letters are bolded- a subtle clue to this idea.
Gattaca is really pointing us towards what is both a new and old controversy:
· The Human Genome Project which looked at finding the genetic profiles of common diseases (Parkinson’s, Alzheimer’s etc.) and the cloning of Dolly the sheep in 1997.
What fears did this awaken in people?
The understanding of how fast technology can take us into unchartered territory. What would happen if we took things too far?
It’s important to note that these were not new fears:
· Hitler’s Aryan race
· Multiple warnings in literature ie) Frankenstein, Brave New World
What do we make of this then?
It seems that people worry about ‘interfering with nature’ as Vincent’s parents significantly do in Scene 10 of the film.
‘ Humans are discovering a God-like power to alter the world but may not have the moral understanding or prescience to see where such tinkering might take us.’
-The producers of Gattaca
Genres
Science fiction: speculative fiction pushes an important and disturbing idea (such as genetic engineering) to its logical conclusion. This genre can be used to make quite insightful and moving comments on the nature of the world and of human potential.
However is also:
Mystery, detective, drama, thriller and a romance
Why have all of these genres together? -Because it drives the story. A good science fiction idea has little or no narrative energy in its own right.
Motifs:
· Vincent cleaning himself, shaves, or sloughs of skin
· Repeated shots of blood and urine samples
· Hair
These motifs all underline the theme of the body as the identifier and the betrayer in this society.
· Water scenes
These represent moments of struggle and triumph over nature (represented at a subliminal level by the sea).
Doubles:
· Vincent and Eugene
· Vincent and Anton
Despite apparent differences, they are equally ‘valid’ as human beings.
Style:
The film has a ‘retro’ look which draws on the Cold War iconography of the 50s. There are images of totalitarianism and allusions to Nazi war images. The sets also carry impressions of sterility (coldly scientific). The large spaces are uncluttered and well-lit. It is cavernous and devoid of much colour.
Lighting and colour:
The palette of the film is primarily green and blue/grey. Often the film appropriates sepia. It is visually a ‘cold’ film. This reflects the director’s desire to establish the idea of a society that, in its desire to be ‘perfect’, has squeezed all humanity out. It has become as sterile as a laboratory.
Green filters: There are floods of green in the film (filters were used throughout the film). The green is largely naturalistic, but on occasions has a more symbolic function, coding moments of threat and tension. Murky colours of brown and green contribute mood to the ‘noir’ sequences.
Gold filters: In contrast to this dark lighting there are several scenes bathed in golden light. (Vincent’s ambition of going to the stars, the mirror farm scene, the nightclub scene, etc) These scenes show warmth, excitement and for this film, visual richness. Read more...
Sunday, August 30, 2009
howdy doooooo .
hello hello .
i hope everyone's enjoying their weekend filled with core+polynomials+biology for some of us !
Miss i was just wondering what your email is?
Thanks
take care
ciao
<3 =] Read more...
i hope everyone's enjoying their weekend filled with core+polynomials+biology for some of us !
Miss i was just wondering what your email is?
Thanks
take care
ciao
<3 =] Read more...
Syllabus
Read through this and ensure you use the language of it in your responses.
Elective II: Texts in Time
In this elective students compare how the treatment of similar content in a pair of texts composed in different times and contexts may reflect changing values and perspectives. By considering the texts in their contexts and comparing values, ideas and language forms and features, students come to a heightened understanding of the meaning and significance of each text.
These are some practise questions for year 12, think about how they could be adapted for year 11. Obviously some things would change.
Adaptations of Past HSC Questions
1) Analyse the ways in which a comparative study of Frankenstein and Blade Runner invites consideration of humanity’s connection with the natural world.
2) Texts in Time involves portrayals, in varying contexts, of the individual and the natural world.Analyse TWO differences between Shelley’s and Scott’s portrayals, making detailed reference to your prescribed texts.
3) How does a comparative study of Frankenstein and Blade Runner bring to the fore ideas about the consequences of the desire for control?In your response, make detailed reference to your TWO prescribed texts.
4) When they are considered together, how do Shelley’s and Scott’s representations sustain interest in humanity’s relationship with nature?
5) How has your perception of Texts in Time been illuminated by your comparative study of the prescribed texts?
6) You have studied two texts composed at different times. When you compared these texts and their contexts, how was your understanding of each text developed and reshaped.
7) In comparing your TWO texts you will have to become aware of how the contexts of the texts have shaped their form and meaning. Of more interest, perhaps is the comparison of the values associated with each text.To what extent has this point of view been your experience to your study of Texts in Time?
8) Compare how TWO prescribed texts you have studied explore the tension between humanity and the natural world.
Questions used by school etc: 1. The creators of Frankenstein and Blade Runner have anchored their visions in the social and cultural realities of their time. Despite contextual differences, however, at the heart of both texts is a fear that we may not be able to control what we create. Is this your view of these texts?
2. Frankenstein, by Mary Shelley, and Blade Runner, directed by Ridley Scott, share many common attributes, most notably, that time has demonstrated both texts’ significance to society. Explore this statement.
3. To what extent do the two texts present similar or different criticisms of society?
4. Similar issues, explored in different contexts, may reflect changes in values and perspectives. How is this demonstrated in the comparison of Mary Shelley’s Frankenstein and Ridley Scott’s Blade Runner?
5. In spite of different contexts and values, both Shelley and Scott are concerned with the question of what constitutes true humanity. Explore this statement.
6. “What does it mean to be human?” Explore this statement in relation to Blade Runner and Frankenstein.
7. Both Frankenstein and Blade Runner share a common premise. If humanity, through scientific advancement, is able to create life artificially, then ethical quandary will arise. How are the relationships between the creator and created used by Scott and Shelley to illustrate a common premise. In your response also explore how they reflect societal concerns of the time in which they were composed. Read more...
Elective II: Texts in Time
In this elective students compare how the treatment of similar content in a pair of texts composed in different times and contexts may reflect changing values and perspectives. By considering the texts in their contexts and comparing values, ideas and language forms and features, students come to a heightened understanding of the meaning and significance of each text.
These are some practise questions for year 12, think about how they could be adapted for year 11. Obviously some things would change.
Adaptations of Past HSC Questions
1) Analyse the ways in which a comparative study of Frankenstein and Blade Runner invites consideration of humanity’s connection with the natural world.
2) Texts in Time involves portrayals, in varying contexts, of the individual and the natural world.Analyse TWO differences between Shelley’s and Scott’s portrayals, making detailed reference to your prescribed texts.
3) How does a comparative study of Frankenstein and Blade Runner bring to the fore ideas about the consequences of the desire for control?In your response, make detailed reference to your TWO prescribed texts.
4) When they are considered together, how do Shelley’s and Scott’s representations sustain interest in humanity’s relationship with nature?
5) How has your perception of Texts in Time been illuminated by your comparative study of the prescribed texts?
6) You have studied two texts composed at different times. When you compared these texts and their contexts, how was your understanding of each text developed and reshaped.
7) In comparing your TWO texts you will have to become aware of how the contexts of the texts have shaped their form and meaning. Of more interest, perhaps is the comparison of the values associated with each text.To what extent has this point of view been your experience to your study of Texts in Time?
8) Compare how TWO prescribed texts you have studied explore the tension between humanity and the natural world.
Questions used by school etc: 1. The creators of Frankenstein and Blade Runner have anchored their visions in the social and cultural realities of their time. Despite contextual differences, however, at the heart of both texts is a fear that we may not be able to control what we create. Is this your view of these texts?
2. Frankenstein, by Mary Shelley, and Blade Runner, directed by Ridley Scott, share many common attributes, most notably, that time has demonstrated both texts’ significance to society. Explore this statement.
3. To what extent do the two texts present similar or different criticisms of society?
4. Similar issues, explored in different contexts, may reflect changes in values and perspectives. How is this demonstrated in the comparison of Mary Shelley’s Frankenstein and Ridley Scott’s Blade Runner?
5. In spite of different contexts and values, both Shelley and Scott are concerned with the question of what constitutes true humanity. Explore this statement.
6. “What does it mean to be human?” Explore this statement in relation to Blade Runner and Frankenstein.
7. Both Frankenstein and Blade Runner share a common premise. If humanity, through scientific advancement, is able to create life artificially, then ethical quandary will arise. How are the relationships between the creator and created used by Scott and Shelley to illustrate a common premise. In your response also explore how they reflect societal concerns of the time in which they were composed. Read more...
Model Essay Module A
This is one of my student's essays on Module A, what you'll be doing next year. Have a look at her structure and the way she sets out her ideas. Sorry, there's also some of my comments through this. There were areas she improved on later.
A text embodies and reflects key issues and concerns of the composer’s context, whether it be social, cultural or historical. Mary Shelley’s Frankenstein (1818) and Ridley Scott’s Blade Runner (1982) are two prime examples of how similar concerns may differ in representation due to varying times and contexts. Both Shelley and Scott strongly explore the essence of humanity alongside science and development, cautioning the audience about the concerns of these explorations as a possible path of severance with the natural order and the seemingly inexistent future of mankind due to their concerns and issues present in their time. (I love this intro! But you need to keep making clear that though they deal with similar themes, a change in context means they are represented or dealt with in very different ways.)
Frankenstein and Blade Runner explore elements of the human nature in a way that attempts to identify the characteristics that would be considered uniquely human. These characteristics that should enable us to identify the differences between the metaphysical and the natural are blurred within the two texts, reflecting the composers’ fears of the loss of humanity. Shelley and Scott strongly advocate the notion that there are inherent dangers to the human psyche in an environment in which the advance of science and technology goes unchecked. Shelley clearly warns in her novel the lack of refrain which men display in their temptations in search of knowledge, curiosity and glory. This maybe reflected by her own personal context in which her husband Percy Shelley was often absent due to his work. In terms of Frankenstein, it is the monster that is portrayed as the one possessing the characteristics of being human instead of his creator, Victor Frankenstein. Victor denies his humanity in order to pursue his unscrupulous ambitions in creating life, destroying the distinction between man and “God”. “Whence, I often asked myself, did the principle of life proceed?” (this is a good point but how is it related to your argument in this paragraph?) (the context missing here is beyond just the personal context. It’s perhaps a slight critique of the modernist notion of worshiping the imagination. Even though Shelley espouses the romantic ideals in her writing, she perhaps sees that it must remain in check.) (You also need at least one technique)
In Blade Runner, the replicants are described as “more human than human.” The intelligence (is it their intelligence or is it more than this?) that is embodied in the replicants calls into the question of what it means to be human. Deckard as well as the other humans, do not have a firm ground in which distinctly defines them as human – including emotions. This is represented well in Blade Runner in the ambiguity of Deckard’s character, which is questioned by Rachel during her Voigt-Kampff test; ‘did you ever take that test yourself?’. Pris uses a Cartesian epigram, ‘I think, therefore I am’, that alludes to her self-awareness; a key philosophical element that defines sentient Nature and the human existence on a metaphysical plane, is now being mirrored by artificial intelligence. Scott’s concern of this loss of humanity stems from many contextual links of his time that concerned the development of genetics and bioengineering, including the growing curiosity of artificial intelligence. Whilst Shelley is unclear on the creation of the monster, existing in only her imagination (exemplifying the influence of Romanticism), Scott is able to clearly outline the creation of his replicants due to the availability of the technology of his time. As William Blake once said, “What is now proved was only once imagined.” (how is this linked to your argument) (very well written and interesting though!)
Contrastingly between the two texts, Nature serves as a connection between the depths of fear of technological development, as well as the ‘home’ for humanity. Mary Shelley lived among the practitioners of the Romantic concepts and used many of these principles in her novel Frankenstein. Romanticism was concerned with Nature, human feelings, compassion for mankind, as well as the fear of rapid advancement. Her context in technological advancement was not as developed as Scott’s context. Nature is very prominent and significant in Frankenstein, reflecting the lesser industrialisation present in Shelley’s time as well as articulating the Romantic style that evokes Nature. Victor finds great consolation and connection in the Nature stating that the “sublime and magnificent scenes afforded me the greatest consolation that I was capable receiving.” Collectively, it is only shown in Frankenstein that Victor is the sole person who has lost his humanity, juxtaposed amongst the vastness of the Nature that serves as a symbol of humanity’s degradation. (technique)
In the opening scenes of Blade Runner, the degradation of the metropolis Los Angeles is revealed. Riddled and darkened with pollution and over-population, smoke stacks are seen heaving enormous fireballs into the atmosphere which in turn responds with violent and unstable strikes of lightning. Nature on earth, the traditional home of humanity, has turned into a hostile place and does not hold any comfort for human population. The world has completely transformed into a commodified Nature, produced through scientific endeavours, highlighting the growing fear of Scott’s context – overpopulation and unscrupulous pursuit of industrialisation at the expense of Nature. Pollution and Global Warming are becoming real concerns in the 1980s, as well as the sustainability for human’s to continue to populate and live on Earth. Earth can no longer be identified as a spiritual home for humanity, thereby humanity losing belonging to a home and becoming an alien presence in an increasingly unnatural world. Effectively shown by frequent high angle panning shots looking down on urban decay, the cinematic style is of pervading darkness, creating a dreary and repelling atmosphere.
Retribution and atonement are two significant factors in humanity meddling with science. As cautionary texts, Frankenstein and Blade Runner highlight the consequences that the composers were concerned with. Having witnessed the animation of a corpse via Galvanism, Shelley’s character Victor creates and subsequently abandons his creation, accentuating her concern of unsupervised advancements of science and the possibility of horrific results and abandonment whereby the ensuing consequences leads to retribution. Many scientists of Shelley’s time were starting projects and often abandoning them without thought of outcomes. (can you be more specific?)The monster’s retribution in Victor’s family and friends serves as the atonement of Victor’s sins of science. Shelley greatly emphasises the ultimate sacrifices as a deep warning of her concerns of science.
Similarly in Blade Runner, the replicants seek revenge on Tyrell as well as humanity, atoning for developing at unsustainable rates. Unlike Frankenstein where the idea of development was in initial stages, the replicants seek retribution on all of humanity for meddling with science as well as corrupted growth and development. This reflects the growing concern of Scott’s time of unsustainable rates of growth and development. Society and humanity has just started to actively take part in demoting fast rates of development and growth at the knowledge of the subsequent consequences.
Mary Shelley’s Frankenstein and Ridley Scott’s Blade Runner present possible realities from the composer’s observations in their own worlds and times. Their social, cultural and historical contexts influence their portrayals of similar concerns of humanity alongside science and development, acting as cautionary texts of the possible path of severance with the natural order as well as consequences of unchecked explorations of rapid development.
This is very well expressed and engaging! What’s needed is a bit of work on structure to make your argument clearer and consistent use of techniques. I think you also need to be more specific in your context. Read more...
A text embodies and reflects key issues and concerns of the composer’s context, whether it be social, cultural or historical. Mary Shelley’s Frankenstein (1818) and Ridley Scott’s Blade Runner (1982) are two prime examples of how similar concerns may differ in representation due to varying times and contexts. Both Shelley and Scott strongly explore the essence of humanity alongside science and development, cautioning the audience about the concerns of these explorations as a possible path of severance with the natural order and the seemingly inexistent future of mankind due to their concerns and issues present in their time. (I love this intro! But you need to keep making clear that though they deal with similar themes, a change in context means they are represented or dealt with in very different ways.)
Frankenstein and Blade Runner explore elements of the human nature in a way that attempts to identify the characteristics that would be considered uniquely human. These characteristics that should enable us to identify the differences between the metaphysical and the natural are blurred within the two texts, reflecting the composers’ fears of the loss of humanity. Shelley and Scott strongly advocate the notion that there are inherent dangers to the human psyche in an environment in which the advance of science and technology goes unchecked. Shelley clearly warns in her novel the lack of refrain which men display in their temptations in search of knowledge, curiosity and glory. This maybe reflected by her own personal context in which her husband Percy Shelley was often absent due to his work. In terms of Frankenstein, it is the monster that is portrayed as the one possessing the characteristics of being human instead of his creator, Victor Frankenstein. Victor denies his humanity in order to pursue his unscrupulous ambitions in creating life, destroying the distinction between man and “God”. “Whence, I often asked myself, did the principle of life proceed?” (this is a good point but how is it related to your argument in this paragraph?) (the context missing here is beyond just the personal context. It’s perhaps a slight critique of the modernist notion of worshiping the imagination. Even though Shelley espouses the romantic ideals in her writing, she perhaps sees that it must remain in check.) (You also need at least one technique)
In Blade Runner, the replicants are described as “more human than human.” The intelligence (is it their intelligence or is it more than this?) that is embodied in the replicants calls into the question of what it means to be human. Deckard as well as the other humans, do not have a firm ground in which distinctly defines them as human – including emotions. This is represented well in Blade Runner in the ambiguity of Deckard’s character, which is questioned by Rachel during her Voigt-Kampff test; ‘did you ever take that test yourself?’. Pris uses a Cartesian epigram, ‘I think, therefore I am’, that alludes to her self-awareness; a key philosophical element that defines sentient Nature and the human existence on a metaphysical plane, is now being mirrored by artificial intelligence. Scott’s concern of this loss of humanity stems from many contextual links of his time that concerned the development of genetics and bioengineering, including the growing curiosity of artificial intelligence. Whilst Shelley is unclear on the creation of the monster, existing in only her imagination (exemplifying the influence of Romanticism), Scott is able to clearly outline the creation of his replicants due to the availability of the technology of his time. As William Blake once said, “What is now proved was only once imagined.” (how is this linked to your argument) (very well written and interesting though!)
Contrastingly between the two texts, Nature serves as a connection between the depths of fear of technological development, as well as the ‘home’ for humanity. Mary Shelley lived among the practitioners of the Romantic concepts and used many of these principles in her novel Frankenstein. Romanticism was concerned with Nature, human feelings, compassion for mankind, as well as the fear of rapid advancement. Her context in technological advancement was not as developed as Scott’s context. Nature is very prominent and significant in Frankenstein, reflecting the lesser industrialisation present in Shelley’s time as well as articulating the Romantic style that evokes Nature. Victor finds great consolation and connection in the Nature stating that the “sublime and magnificent scenes afforded me the greatest consolation that I was capable receiving.” Collectively, it is only shown in Frankenstein that Victor is the sole person who has lost his humanity, juxtaposed amongst the vastness of the Nature that serves as a symbol of humanity’s degradation. (technique)
In the opening scenes of Blade Runner, the degradation of the metropolis Los Angeles is revealed. Riddled and darkened with pollution and over-population, smoke stacks are seen heaving enormous fireballs into the atmosphere which in turn responds with violent and unstable strikes of lightning. Nature on earth, the traditional home of humanity, has turned into a hostile place and does not hold any comfort for human population. The world has completely transformed into a commodified Nature, produced through scientific endeavours, highlighting the growing fear of Scott’s context – overpopulation and unscrupulous pursuit of industrialisation at the expense of Nature. Pollution and Global Warming are becoming real concerns in the 1980s, as well as the sustainability for human’s to continue to populate and live on Earth. Earth can no longer be identified as a spiritual home for humanity, thereby humanity losing belonging to a home and becoming an alien presence in an increasingly unnatural world. Effectively shown by frequent high angle panning shots looking down on urban decay, the cinematic style is of pervading darkness, creating a dreary and repelling atmosphere.
Retribution and atonement are two significant factors in humanity meddling with science. As cautionary texts, Frankenstein and Blade Runner highlight the consequences that the composers were concerned with. Having witnessed the animation of a corpse via Galvanism, Shelley’s character Victor creates and subsequently abandons his creation, accentuating her concern of unsupervised advancements of science and the possibility of horrific results and abandonment whereby the ensuing consequences leads to retribution. Many scientists of Shelley’s time were starting projects and often abandoning them without thought of outcomes. (can you be more specific?)The monster’s retribution in Victor’s family and friends serves as the atonement of Victor’s sins of science. Shelley greatly emphasises the ultimate sacrifices as a deep warning of her concerns of science.
Similarly in Blade Runner, the replicants seek revenge on Tyrell as well as humanity, atoning for developing at unsustainable rates. Unlike Frankenstein where the idea of development was in initial stages, the replicants seek retribution on all of humanity for meddling with science as well as corrupted growth and development. This reflects the growing concern of Scott’s time of unsustainable rates of growth and development. Society and humanity has just started to actively take part in demoting fast rates of development and growth at the knowledge of the subsequent consequences.
Mary Shelley’s Frankenstein and Ridley Scott’s Blade Runner present possible realities from the composer’s observations in their own worlds and times. Their social, cultural and historical contexts influence their portrayals of similar concerns of humanity alongside science and development, acting as cautionary texts of the possible path of severance with the natural order as well as consequences of unchecked explorations of rapid development.
This is very well expressed and engaging! What’s needed is a bit of work on structure to make your argument clearer and consistent use of techniques. I think you also need to be more specific in your context. Read more...
Notes from Class
Sorry guys,
I've saved the overheads I made up on the school's computers so can't post them today. Will post them tomorrow for sure.
I will post some other stuff for you though. Read more...
I've saved the overheads I made up on the school's computers so can't post them today. Will post them tomorrow for sure.
I will post some other stuff for you though. Read more...
Friday, August 28, 2009
Raam's Chapter Summary
Part II- Chapter V
- As Winston expected, Syme ceases to exist with his records completely vanished.
- As preparation for Hate Week continues the theme-song “Hate Song” is repeatedly played through the telescreens. The decorations including banners, streamers, paintings and a new poster of a typical Eurasian soldier posted around all of London.
- The Proles surprisingly despised the war as bombs were continuously killing vast amount of people.
- Winston constantly thinks about the room above Mr Charrington’s shop where he meets Julia many times in that one month and discusses with her their future plans together.
- Winston continues to tell Julia of his odd affection for O’Brien and the brotherhood, however she believes that the Brotherhood was created by the Party to give the people something to believe in. She neglects many of the primary ideas that Winston stands for against the party and argues that she only cares for the present time and not the future generations.
Quotes
- “Your only a rebel from the waist downwards”- referring to Julia that her sexual acts are the only acts that make her rebellious against the party.
- “Do you realise that the past, starting from yesterday, has been abolished?”- Emphasises the Party’s power to alter and erase parts of history to make it flawless and perfect.
Thursday, August 27, 2009
Nicky's Chapter Summary
The chapter starts off with Winston looking around the little room above Mr. Charrington’s shop, which he has rented for his affair with Julia. Although he knows that renting the room is a rash and dangerous move, his desire to meet Julia and to have time away from telescreens overwhelms him. Winston and Julia have been busy with the city’s preparations for Hate Week, and Winston has been frustrated by their inability to meet. Winston and Julia re-unite in the rented apartment. Julia brings real sugar, coffee, and tea that she had purchased on the Black Market. For the first time, the lovers feel secure and spend a blissful afternoon together. In this chapter we hear for the first time of Winstons fear of rats. Julia first spots it and when Winston sees it he reacts very violently, "Of all the horrors in the world-a rat!". Julia calms Winston's nerves and promises to plaster the hole where the rat had emerged. Later Julia looks through the room, and notices the paperweight. Winston tells her that the paperweight is a link to the past and when Julia leaves, Winston sits gazing into the crystal paperweight, imagining living inside it with Julia in an eternal stasis, "The paperweight was the room he was in, and the coral was Julia's life and his own, fixed in a sort of eternity at the heart of the crystal".
In the chapter we see julia and winston having a physical relations and this is not seen as good as the party ( breaking the rules) as haveing sexual affairs/realationships is frowned upon unless they have children ( to keep an eye out on the parents) as it involves energy and emotions which then would be sacrificed to the loyalty of the party.
Read more...Hey, Asian in need of help!
I do not completely understand three literary devices used in 1948 that are significant (relevant to values and attitudes) within the text.
What does it mean relevant to values and attitudes? Read more...
What does it mean relevant to values and attitudes? Read more...
Wednesday, August 26, 2009
Part Two - Chap. 6 and 7
Chapter VI - Summary
Winston has a dream where he meets O' Brien and discusses about something he had written and that Winston should go pick up a new edition dictionary from O' Brien's place. From this, Winston thinks there will be a secret message that O' Brien will pass him with the dictionary as a medium.
Quotes -- "It had happened at last." pg. 164
"They were standing in front of a telescreen." pg. 165
Chapter VII - Summary
Winston opens up to Julia about his hidden guilt -- the supposed murder of his mother and sister -- and shares his pov of the values of people. They both discuss what they think the party can and can not do -- they can get anything out of you, but they can't change what is in your heart.
Quote -- "The dream .... blew them to pieces." pg. 171
PS. Sorry... I've been busy lately with lots of things hence not a great job.
Read more...
Winston has a dream where he meets O' Brien and discusses about something he had written and that Winston should go pick up a new edition dictionary from O' Brien's place. From this, Winston thinks there will be a secret message that O' Brien will pass him with the dictionary as a medium.
Quotes -- "It had happened at last." pg. 164
"They were standing in front of a telescreen." pg. 165
Chapter VII - Summary
Winston opens up to Julia about his hidden guilt -- the supposed murder of his mother and sister -- and shares his pov of the values of people. They both discuss what they think the party can and can not do -- they can get anything out of you, but they can't change what is in your heart.
Quote -- "The dream .... blew them to pieces." pg. 171
PS. Sorry... I've been busy lately with lots of things hence not a great job.
Read more...
Tuesday, August 25, 2009
Chapter 6 Summary
- Winston writes about his memory with a prole prostitute in his diary
- He says that the prostitute was ugly and repulsive but carries on anyway displaying his desire for a pleasant sexual experience, “When I saw her in the light she was quite an old woman, fifty years old at least. But I went ahead and did it just the same.”
- Winston talks about how the Party’s “undeclared purpose” to “remove all pleasure from the sexual act”
- He also mentions his wife, Katharine. They separated when they realised that they would not have children, as the Party enforced that sex was only meant for reproduction and not pleasure.
Quotes:
- "Sexual intercourse was to be looked on as a slightly disgusting minor operation, like having an enema." – Simile is use to show how the Party has managed to condition people into sexual acts lacking love and pleasure, and making it a ‘duty’ whereby the aim is not only just to reproduce but rather to produce new members for the Party.
- "Your worst enemy, he reflected, was your nervous system. At any moment the tension inside you was liable to translate itself into some visible symptom." – highlights the severity of the Party’s ‘enforcements’ (?) and depicts the strict environment the Party has developed.
Concerns:
- Winston’s repressed sexuality is one of the main reasons to rebel against the Party
- Sex can be portrayed as the ultimate act of individualism and symbolism of physical/emotional pleasure. As the Party turns sex into a ‘duty’, it symbolises them removing individuality from the society. Read more...
- He says that the prostitute was ugly and repulsive but carries on anyway displaying his desire for a pleasant sexual experience, “When I saw her in the light she was quite an old woman, fifty years old at least. But I went ahead and did it just the same.”
- Winston talks about how the Party’s “undeclared purpose” to “remove all pleasure from the sexual act”
- He also mentions his wife, Katharine. They separated when they realised that they would not have children, as the Party enforced that sex was only meant for reproduction and not pleasure.
Quotes:
- "Sexual intercourse was to be looked on as a slightly disgusting minor operation, like having an enema." – Simile is use to show how the Party has managed to condition people into sexual acts lacking love and pleasure, and making it a ‘duty’ whereby the aim is not only just to reproduce but rather to produce new members for the Party.
- "Your worst enemy, he reflected, was your nervous system. At any moment the tension inside you was liable to translate itself into some visible symptom." – highlights the severity of the Party’s ‘enforcements’ (?) and depicts the strict environment the Party has developed.
Concerns:
- Winston’s repressed sexuality is one of the main reasons to rebel against the Party
- Sex can be portrayed as the ultimate act of individualism and symbolism of physical/emotional pleasure. As the Party turns sex into a ‘duty’, it symbolises them removing individuality from the society. Read more...
Helen's Chapter Summary.
Winston is still in the Ministry of Truth, but the torture has lessened, and his physical condition is improving. He discovers that the Party had been watching him very closely for seven years and that they even have soundtracks and photographs of him and Julia. He realizes the futility of his decision to set himself up against the Party.
During one of his dreams, he wakes up shouting Julia's name and realizes that he will have to start the torture process all over. After a moment, O'Brien comes in and orders him to Room 101, where the third stage of Winston's lessons will take place.
“For the first time he perceived that if you want to keep a secret you must also hide it from yourself”
“stupidity was a necessary as intelligence, and as difficult to attain”
Concerns: In a society where you can’t even trust your basic instincts to govern yourself
“How many years had he added to his servitude by that moment of weakness?”
Concerns: totalitarian government, goes as far as to control your emotions. One slip and you are severely punished. The notion is supposed to be frightening
PS: THANK YOU MIKEY FOR POSTING ALL THIS STUFF FOR YOU CAUSE YOU LAZY PEOPLE CANNOT CREATE YOUR OWN ACCOUNT!!. Read more...
During one of his dreams, he wakes up shouting Julia's name and realizes that he will have to start the torture process all over. After a moment, O'Brien comes in and orders him to Room 101, where the third stage of Winston's lessons will take place.
“For the first time he perceived that if you want to keep a secret you must also hide it from yourself”
“stupidity was a necessary as intelligence, and as difficult to attain”
Concerns: In a society where you can’t even trust your basic instincts to govern yourself
“How many years had he added to his servitude by that moment of weakness?”
Concerns: totalitarian government, goes as far as to control your emotions. One slip and you are severely punished. The notion is supposed to be frightening
PS: THANK YOU MIKEY FOR POSTING ALL THIS STUFF FOR YOU CAUSE YOU LAZY PEOPLE CANNOT CREATE YOUR OWN ACCOUNT!!. Read more...
Jono's Chapter Summary
Chapter VII Summary
After three consecutive chapters describing the work life of the ‘lesser’ Party members, he shifts his focus towards the ‘proles’ of the novel: the poor working class of Oceania.
What happens basically? (No techniques here, just simplifying plot for people)
During Chapter 7, Winston contemplates in his diary as to whether or not the proles have the ability to ‘release’ Oceania from the Party’s dictatorship. He strongly believes that under the correct leadership, they will be able to do overthrow the Party, mainly because of the fact that they make up 85% of Oceania’s population. Winston also believes that as capable as the proles are of overthrowing the Party, they lack the willpower and intelligence to do so, and that they are even too ignorant to know why they are being so oppressed by the Thought Police.
Winston then pulls out a children’s ‘history’ book, which is essentially a form of propaganda against Capitalism: the primary ideology against Totalitarian values. It describes how pre-Party London was a ‘dark, dirty and miserable’ place where children worked twelve-hour days and were treated like slaves of the money-loving Capitalists. It also claims that if anybody disobeyed them, they would be imprisoned, starved or made jobless. Winston questions the validity of this book, seeing that it was written by the Party.
After reading part of the book, Winston recalls a disturbing memory that exposed the lies of the Party. The story is of three men who were charged by the Party of being traitors to Oceania with various crimes such as passing on intelligence and murder. These three rebels then were forced to ‘confess’ to their crimes, and were then released. News of their treachery was then spread throughout Oceania. However at the time that these men were supposedly committing their crimes in Eurasia, they were in fact in New York. This was confirmed by a ‘Times’ newspaper clipping that Winston accidentally came across, showing an image of all three rebels in New York from ten years earlier on the same period of time that they were supposed to have ‘committed their crimes’ in Eurasia.
Winston questions his own lunacy, deciding to himself whether he is the only person who sees the ideology of the Party to be a sham. He then suddenly remembers O’Brien and how he is potentially a logical thinker like Winston himself.
The novel ends with Winston writing in the novel as if he were writing to O’Brien, briefly describing that freedom is the right to say that 2+2=4, contrary to popular belief that 2+2=5.
Significant lines and why (S&W):
1. “Until they become conscious, they will never rebel, and until they rebel, they will never become conscious” -Page 74
S&W: This line refers to the proles who have the power, but not the will or intelligence to overthrow the Party. It describes a ‘chicken and egg’ type of problem where there will be no ‘spark’ for the revolt against the Party. Essentially, it describes how if such a force as the prole cannot overcome the Party, nothing can. The themes, ‘loss of individuality’ and ‘psychological manipulation’ is addressed in this quote.
2. “I understand HOW: I do not understand WHY” -Page 83
S&W: This line acts as a contrast to all the values of the Party. So far within the novel, it appears that Oceanians are spoon-fed information without any form of reasoning, and the fact that Winston can muster up the intelligence to query this sets him apart from society. This pertains to the theme of ‘alienation’ and ‘manipulation of history’.
3. “Freedom is the freedom to say that two plus two make four. If that is granted, all else follows” -Page 84
S&W: This quote underlines how ‘unstable’ the values of the Party are. It essentially illuminates that if the smallest shred of doubt, such as the confirmation that 2+2=4, is planted into the minds of people, it will have a snowballing effect against the Party, ultimately overthrowing them. The themes, ‘reasoning’ and ‘psychological manipulation’ are addressed in this quote. Read more...
After three consecutive chapters describing the work life of the ‘lesser’ Party members, he shifts his focus towards the ‘proles’ of the novel: the poor working class of Oceania.
What happens basically? (No techniques here, just simplifying plot for people)
During Chapter 7, Winston contemplates in his diary as to whether or not the proles have the ability to ‘release’ Oceania from the Party’s dictatorship. He strongly believes that under the correct leadership, they will be able to do overthrow the Party, mainly because of the fact that they make up 85% of Oceania’s population. Winston also believes that as capable as the proles are of overthrowing the Party, they lack the willpower and intelligence to do so, and that they are even too ignorant to know why they are being so oppressed by the Thought Police.
Winston then pulls out a children’s ‘history’ book, which is essentially a form of propaganda against Capitalism: the primary ideology against Totalitarian values. It describes how pre-Party London was a ‘dark, dirty and miserable’ place where children worked twelve-hour days and were treated like slaves of the money-loving Capitalists. It also claims that if anybody disobeyed them, they would be imprisoned, starved or made jobless. Winston questions the validity of this book, seeing that it was written by the Party.
After reading part of the book, Winston recalls a disturbing memory that exposed the lies of the Party. The story is of three men who were charged by the Party of being traitors to Oceania with various crimes such as passing on intelligence and murder. These three rebels then were forced to ‘confess’ to their crimes, and were then released. News of their treachery was then spread throughout Oceania. However at the time that these men were supposedly committing their crimes in Eurasia, they were in fact in New York. This was confirmed by a ‘Times’ newspaper clipping that Winston accidentally came across, showing an image of all three rebels in New York from ten years earlier on the same period of time that they were supposed to have ‘committed their crimes’ in Eurasia.
Winston questions his own lunacy, deciding to himself whether he is the only person who sees the ideology of the Party to be a sham. He then suddenly remembers O’Brien and how he is potentially a logical thinker like Winston himself.
The novel ends with Winston writing in the novel as if he were writing to O’Brien, briefly describing that freedom is the right to say that 2+2=4, contrary to popular belief that 2+2=5.
Significant lines and why (S&W):
1. “Until they become conscious, they will never rebel, and until they rebel, they will never become conscious” -Page 74
S&W: This line refers to the proles who have the power, but not the will or intelligence to overthrow the Party. It describes a ‘chicken and egg’ type of problem where there will be no ‘spark’ for the revolt against the Party. Essentially, it describes how if such a force as the prole cannot overcome the Party, nothing can. The themes, ‘loss of individuality’ and ‘psychological manipulation’ is addressed in this quote.
2. “I understand HOW: I do not understand WHY” -Page 83
S&W: This line acts as a contrast to all the values of the Party. So far within the novel, it appears that Oceanians are spoon-fed information without any form of reasoning, and the fact that Winston can muster up the intelligence to query this sets him apart from society. This pertains to the theme of ‘alienation’ and ‘manipulation of history’.
3. “Freedom is the freedom to say that two plus two make four. If that is granted, all else follows” -Page 84
S&W: This quote underlines how ‘unstable’ the values of the Party are. It essentially illuminates that if the smallest shred of doubt, such as the confirmation that 2+2=4, is planted into the minds of people, it will have a snowballing effect against the Party, ultimately overthrowing them. The themes, ‘reasoning’ and ‘psychological manipulation’ are addressed in this quote. Read more...
Part II Chapter X
Winston awakes to singing with Julie who decideds to make coffee but the tove strangely is out of oil. They dress and Winston observes the singing wsherwoman from the window. He describes her as beautiful despite of her size. As he goes on abou how many children she may have had, he realises that he and Julia can never have aild. However, he decides that any hope for 'the future lies in the proles'. He decide that is Goldstein's final message, even without reading the book. The future belongs to the proles who will stay alive passing on the vitality which the Party does not share but cannot kill.
Winston asks if Julia remembers the thrush singing to them. She replies that it was singing to please itself.-then not even that, just singing. Winston decides the birds sing, the proles sing, the Party does NOT sing.
He says 'We are the dead' Julia repeats this. Suddenly an iron voice from behind re-iterates 'You are the dead' and comesfrom behind the picture. They are ordered not to move and do nto dare disobey. The picture falls and reveals the telescreen. The house is surrounded someone climbs in, others rush up the stairs all in black uniform, wearing ironshod boots and brandinsh trucheons. Winston is kicked, Julia punched,falls and carried away.
Charrington enters, appears changed, others obey him, dropped his cockney accent and Winston realises he is the voice from the telescreen and a member of the thought police.
uhhh, I'll get back to you on techniques..
Read more...
Winston asks if Julia remembers the thrush singing to them. She replies that it was singing to please itself.-then not even that, just singing. Winston decides the birds sing, the proles sing, the Party does NOT sing.
He says 'We are the dead' Julia repeats this. Suddenly an iron voice from behind re-iterates 'You are the dead' and comesfrom behind the picture. They are ordered not to move and do nto dare disobey. The picture falls and reveals the telescreen. The house is surrounded someone climbs in, others rush up the stairs all in black uniform, wearing ironshod boots and brandinsh trucheons. Winston is kicked, Julia punched,falls and carried away.
Charrington enters, appears changed, others obey him, dropped his cockney accent and Winston realises he is the voice from the telescreen and a member of the thought police.
uhhh, I'll get back to you on techniques..
Read more...
Shannon's chapter summary
Section 3 Part 2
In this chapter Winston is seen to be in the Ministry of Love where he is continuously beaten up by 5 or 6 men in black, and subjected to a ‘routine interrogation to which nearly all prisoners were subjected to’. As the beatings continued, resulting in unconciousness, also with short recovery time in betwee, Winston lost track of time (how long he was there and how long the sessions of beatings were). He was forced to confess even to things he never committed to please his interrogators. He also admitted to every crime possible in order to avoid being beaten up (crimes such as; ‘murdered his wife although he knew, and his questioners must have known, that she was still alive’ and ‘personally in touch with Goldstein’). O’Brien personally questioned Winston. He said that Winstons is insane and that he would make Winston succumb to The Party and learn to love Big Brother so much that he would beg to be shot for the guilt would overwhelm him. Winston was flat on his back and strapped down by ‘every inch’of his body and was electricuted everytime he ‘lied’or ‘fall below usual level of intellegence’. Winston had some of his memory erased for a short period and had O’Brien ‘piece together ’ the missing facts to him of which were the ‘truth’as of the present. Winston also refered to O’Brien as ‘a person he could talk to’- it did not matter if he was a friend or enemy. He was also allowed to ask some questions by O’Brien only to be replied by statements which did not answer his queries but raise more doubt.
Relevant techniques/example/effect:
• The quote: “You would not make the act of submission which is the price of sanity” highlights that disrimination is based highly on people conformation levels. Through not confroming he was considered crazy. It also highlights the inability to have individuality on this society.
• “Whatever the Party holds to be truth, is truth”- exemplifies the control, dictatorship, in this society. The power the Party holds and its ability to manipulate for own benefit. The italics of Ãs’emphasises the finality in that statement- that there is no way to overcome/fight against this power-the party.
• “we do not merely destroy our enemies, we change them”. Here “we”signifies the Party ans its followers which seeks to have all conform to them even if the object of talk is to be eliminated. It highlights the total absence of one’s identity to be able to prevail.
• “All the confessions that were made here. We make them true.” This quote emphasises the manipulation though the usage of ‘make’. It also brings the reader to see that no matter what the originally is, its would be made to how the Party sees fit though brainwashing.
Concerns:
• Loss of one’s identity/individuality
• Dictatorship
• Manipulation
Contextual links:
There are links to to “the German Nazis and the Russian Communists”. It outlines the ways of persecution and how The Party has learnt the mistakes of the procedures taken in the past in convicting the criminal. –as seen on page 266 and 267. Read more...
In this chapter Winston is seen to be in the Ministry of Love where he is continuously beaten up by 5 or 6 men in black, and subjected to a ‘routine interrogation to which nearly all prisoners were subjected to’. As the beatings continued, resulting in unconciousness, also with short recovery time in betwee, Winston lost track of time (how long he was there and how long the sessions of beatings were). He was forced to confess even to things he never committed to please his interrogators. He also admitted to every crime possible in order to avoid being beaten up (crimes such as; ‘murdered his wife although he knew, and his questioners must have known, that she was still alive’ and ‘personally in touch with Goldstein’). O’Brien personally questioned Winston. He said that Winstons is insane and that he would make Winston succumb to The Party and learn to love Big Brother so much that he would beg to be shot for the guilt would overwhelm him. Winston was flat on his back and strapped down by ‘every inch’of his body and was electricuted everytime he ‘lied’or ‘fall below usual level of intellegence’. Winston had some of his memory erased for a short period and had O’Brien ‘piece together ’ the missing facts to him of which were the ‘truth’as of the present. Winston also refered to O’Brien as ‘a person he could talk to’- it did not matter if he was a friend or enemy. He was also allowed to ask some questions by O’Brien only to be replied by statements which did not answer his queries but raise more doubt.
Relevant techniques/example/effect:
• The quote: “You would not make the act of submission which is the price of sanity” highlights that disrimination is based highly on people conformation levels. Through not confroming he was considered crazy. It also highlights the inability to have individuality on this society.
• “Whatever the Party holds to be truth, is truth”- exemplifies the control, dictatorship, in this society. The power the Party holds and its ability to manipulate for own benefit. The italics of Ãs’emphasises the finality in that statement- that there is no way to overcome/fight against this power-the party.
• “we do not merely destroy our enemies, we change them”. Here “we”signifies the Party ans its followers which seeks to have all conform to them even if the object of talk is to be eliminated. It highlights the total absence of one’s identity to be able to prevail.
• “All the confessions that were made here. We make them true.” This quote emphasises the manipulation though the usage of ‘make’. It also brings the reader to see that no matter what the originally is, its would be made to how the Party sees fit though brainwashing.
Concerns:
• Loss of one’s identity/individuality
• Dictatorship
• Manipulation
Contextual links:
There are links to to “the German Nazis and the Russian Communists”. It outlines the ways of persecution and how The Party has learnt the mistakes of the procedures taken in the past in convicting the criminal. –as seen on page 266 and 267. Read more...
Chapter IV
Summary
Winston is in his office doing his job in the Ministry of Truth, which is “rectifying” party errors. The correction of mistakes largely involves destroying any evidence of errors and reprinting of the rectified media. Through Winston’s thoughts it is revealed that most of what the Party says is false to begin with (chocolate rations), and the hostility and tension in the work environment (Tillotson). It goes into greater detail the extent of which the party covers its mistakes. Winston is given the job of denouncing a traitor, and hence Comrade Ogilvy is fabricated.
Relevant techniques/examples/effects
Cumulative listing(?) - pg.48 Winston ponders over possible reasons for Wither’s disgrace, starting each sentence off with perhaps for each possible reason. This is to group all the weaker reasons Winston thought of, isolating the one which he believes to be most correct.
Descriptive words – pg. 44 & 47 Winston talks about the job processes in the Ministry of Truth in a very plain manner, however when he describes physical aspects of his work environment and colleagues the descriptions have an air of tension and continuity e.g. “He raised his head for a moment: again the hostile spectacle flash.” “long, windowless hall” “endless rustle of papers” This displays the constant tension felt by Winston and the bore that is his work. These are signs of his intentions to rebel.
Possible concerns demonstrated
Demonstrates the power of totalitarian authority, in this case, to the extent of erasing a person from existence both physically and historically (Withers).
Need more….
Contextual links
“Ninth Three- Year Plan”- Stalin’s five year plan.
Propaganda- WW2, Russia etc etc
Government coverups- Stalins 5 year plans goals were announced to have had been achieved
The use of the word comrade- The Bolsheviks used comrade when referring to people supporting their cause. Comrade became widely used by all political spectrums in Russia. Read more...
Summary
Winston is in his office doing his job in the Ministry of Truth, which is “rectifying” party errors. The correction of mistakes largely involves destroying any evidence of errors and reprinting of the rectified media. Through Winston’s thoughts it is revealed that most of what the Party says is false to begin with (chocolate rations), and the hostility and tension in the work environment (Tillotson). It goes into greater detail the extent of which the party covers its mistakes. Winston is given the job of denouncing a traitor, and hence Comrade Ogilvy is fabricated.
Relevant techniques/examples/effects
Cumulative listing(?) - pg.48 Winston ponders over possible reasons for Wither’s disgrace, starting each sentence off with perhaps for each possible reason. This is to group all the weaker reasons Winston thought of, isolating the one which he believes to be most correct.
Descriptive words – pg. 44 & 47 Winston talks about the job processes in the Ministry of Truth in a very plain manner, however when he describes physical aspects of his work environment and colleagues the descriptions have an air of tension and continuity e.g. “He raised his head for a moment: again the hostile spectacle flash.” “long, windowless hall” “endless rustle of papers” This displays the constant tension felt by Winston and the bore that is his work. These are signs of his intentions to rebel.
Possible concerns demonstrated
Demonstrates the power of totalitarian authority, in this case, to the extent of erasing a person from existence both physically and historically (Withers).
Need more….
Contextual links
“Ninth Three- Year Plan”- Stalin’s five year plan.
Propaganda- WW2, Russia etc etc
Government coverups- Stalins 5 year plans goals were announced to have had been achieved
The use of the word comrade- The Bolsheviks used comrade when referring to people supporting their cause. Comrade became widely used by all political spectrums in Russia. Read more...
Chapter 3 Part 2
Read more...
- Basically, this chapter is further establishes the development of Julia and Winston's relationship
- Julia reveals more about her past- like the fact that she works for the Anti-Sex League, in the Fiction Dept.
- She makes herself seem rebellious in Winston's eyes
- She says she'll oppose the Party just for the sake of breaking rules but won't actually join a rebellion (Brotherhood). This makes her seem a bit childish
- Julia and Winston go on to discuss about Winston's wife which leads on to Julia's view of how chastity and political orthodoxy are connected.
- Chapter marks the deepening of their relationship and an exchange in their political view
Q: "It was not merely that the sex instinct created a world of its own...which therefore had to be destroyed if possible"
T: Dialogue
E: shows the brutality of the totalitarianism society they live in. While other dictatorships merely subdued people's voices, this dictatorship attempts to destroy something that makes people human beings in order to induce hysteria for leader worship. In other words, they are trying to break into you and take away your identity.
Q: "We are the dead"
T: morose tone
E: again shows the sheer power and control that the Party has over the people, which has created such a mentality in people that they believe that rebelling against the party is instantaneous death.
(sorry for lack of QTE's. more to come soon as soon as Super Awesome Sachin finds time in his Super Unorganised Timetable)
Monday, August 24, 2009
1984 -
Part 2 Chapter 8 (pg 174)
●Winston and Julia meet up at O’Brien’s place to announce that they are traitors of the party.
●O’Brien surprises them by turning off his tele-screen. Note: The scenery is described in much detail – the divisions of social class privileges and lifestyle.
●Once confirmed that they are alone and that no one can hear nor seen them, Winston confesses to O’Brien that both he and Julia are traitors of the party.
●O’Brien states that they will complete belong to the Brotherhood after they have read Goldstein’s book, the manifesto of the revolution.
●It is important to know that no one knows how many members there are exactly in the Brotherhood and that if they get caught they must confess and they will receive no help.
●O’Brien tells Winston that they will meet again in a place where there is no darkness.
Things to take note:
●O’Brien is able to finish the long-forgotten verse, “‘When I grow rich,’ said the bells of Shoreditch.” This shows that he is interested in the past.
●“To the past” Spoken by Winston; followed by O’Brien. “The past is more important”
History is important, however in 1984 they are trying to play ‘god’ by distorting the past, destroying figures and such. The technique here could be the repetition of them both speaking of the past – thus emphasizing the past is important.
Concerns:
●Social Class Division Read more...
●Winston and Julia meet up at O’Brien’s place to announce that they are traitors of the party.
●O’Brien surprises them by turning off his tele-screen. Note: The scenery is described in much detail – the divisions of social class privileges and lifestyle.
●Once confirmed that they are alone and that no one can hear nor seen them, Winston confesses to O’Brien that both he and Julia are traitors of the party.
●O’Brien states that they will complete belong to the Brotherhood after they have read Goldstein’s book, the manifesto of the revolution.
●It is important to know that no one knows how many members there are exactly in the Brotherhood and that if they get caught they must confess and they will receive no help.
●O’Brien tells Winston that they will meet again in a place where there is no darkness.
Things to take note:
●O’Brien is able to finish the long-forgotten verse, “‘When I grow rich,’ said the bells of Shoreditch.” This shows that he is interested in the past.
●“To the past” Spoken by Winston; followed by O’Brien. “The past is more important”
History is important, however in 1984 they are trying to play ‘god’ by distorting the past, destroying figures and such. The technique here could be the repetition of them both speaking of the past – thus emphasizing the past is important.
Concerns:
●Social Class Division Read more...
Part I: Chapter VIII (pg 85-pg 107: last section of part 1)
Chapter summary:
This chapter shows the way the government achieves absolute power by erasing the past and controlling the ‘truth’. It also shows the segregation of the classes, as he is instantly ostracised by the proles due to his blue overalls. Winstons alienation from his own society is also apparent with his constant paranoia and the irritation conveyed in relation to the Party.
Contextual links:
The description of the Thought police, torture before death, and the constant paranoia that Winston has of being exposed, can be compared to the Authoritarian/Totalitarian regimes in Orwell’s time. The unshakable class system can be compared to those which Orwell experienced. Read more...
- Winston ventures into a prole neighbourhood
- Then after witnessing a rocket bomb landing in a group of houses, wanders into a pub and asks an old man questions about the past. However, he is drunk and doesn’t remember anything of importance
- Winston leaves and finds himself at the antique shop where he bought the diary
- After talking to Mr Charrington [the shop owner], he buys a coral paper weight, and is offered the room upstairs to rent – which he refuses.
- Then when he leaves for home he notices the girl who he saw at work following him and suspects that she is a spy. Horrified, he briefly debates killing her before rushing back home.
- Humorous irony is used to criticise and demonstrate the hypocritical government, as shown in the quotes: ‘There was a word for it in Newspeak: ownlife, it was called, meaning individualism and eccentricity.’ [pg 85] and ‘The Lottery, which was managed by the Ministry of Plenty, but he was aware that the prizes were largely imaginary.’ [pg 89]
- Cumulative listing is used to emphasize the uselessness Winston feels when he asks the old man for truth about the past: ‘They remembered a million useless things, a quarrel with a work-mate, a hunt for a last bicycle pump, the expression on a long dead sister’s face, the swirls of dust on a windy morning seventy years ago: but all the relevant facts were outside the range of their vision.’ [Pg 96] This displays the absolute control the government has over history and the truth.
- Repetition is used in: ‘...utterly alone, utterly secure, with nobody watching you, no voice pursuing you, no sound except the singing of the kettle and the friendly ticking of the clock’ [pg 100] to convey Winston’s yearning for the freedom to relax without having to worry about persecution from the government.
- ‘Her voice seemed to stick into his brain like jagged splinters of glass’ [pg 106] utilises a simile to show how fed up Winston is with the telescreen and how it’s used to control the minds of all the ministry workers. Another simile is used in: ‘Like a leaden knell the words came back to him: WAR IS PEACE | FREEDOM IS SLAVERY | IGNORANCE IS STRENGTH.’ This conveys Winston’s feelings of dread and despair by comparing the mottos to a knell.
This chapter shows the way the government achieves absolute power by erasing the past and controlling the ‘truth’. It also shows the segregation of the classes, as he is instantly ostracised by the proles due to his blue overalls. Winstons alienation from his own society is also apparent with his constant paranoia and the irritation conveyed in relation to the Party.
Contextual links:
The description of the Thought police, torture before death, and the constant paranoia that Winston has of being exposed, can be compared to the Authoritarian/Totalitarian regimes in Orwell’s time. The unshakable class system can be compared to those which Orwell experienced. Read more...
Chapter summary, Part 3 Chapter 3
Summary:
In this chapter, O'Brien and Winston are talking, discussing about facts of life, the world and how everything is controlled by the Party. O'Brien tries to explain his ideologies to Winston in a way that Winston will accept and truly believe them. Winston reasons that the''SPirit of Man'' will stop the party and O'Brien shows Winston a mirror in which Winston sees himself as a rotten living corpse, frail body and sunken cheeks. O'Brien shoots at Winston ''You are the last man, you are the guardian of the human spirit. You shall see yourself as you truly are''. The chapter ends with O'Brien declaring victory over the discussion and Winston marvelling at his intelligence to understand his feelings with a few simple words.
Techniques:
- The direct answer of O'Brien stating that the Party seeks power solely for its own sake is a taunt to Winston and how helpless he is as a single individual because he cannot do anything, he tried but failed and this statement emphasises that failure.
-The continuous stream of lies and statements from O'Brien interferes and befuddles Winston's way of thinking and this confuses his own sense of belief and thus his individuality to think for himself.
-The repeated use of goruping words such as 'We' and 'You' with O'Brien separates Winston as a single helpless entity compared to the bigger group (The Party). ''WE have beaten YOU'', ''YOU are the last man'', WE have broken YOU up''. It also has an accusatory tone to it.
-The powerful words such as forever, lasting, omnipotent and degrading words such as helpless, weak and fragile set a large contrast between them and this creates the impression on the reader that the Party is unbeatable and the system is flawless.
- The loss of sense of time adds to the illusion that there is nothing existing outside your own mind and what the Party creates, this makes Winston doubtful of his own senses and beliefs.
Concerns:
-Loss of identity and Beliefs(Winston losing the arguement makes him doubt his ownself)
-Absolute power and dominance(O'Brien humiliating and degrading Winston)
-Sense of Justice(The two different conflicting sense of justices from Winston and O'Brien)
Contextual Links:
A reference to WW1 or WW2 is made in relation to the war with EastAsia. The german Nazis are also mentioned so this could be a link to WW2 which happened around 1940's. Read more...
In this chapter, O'Brien and Winston are talking, discussing about facts of life, the world and how everything is controlled by the Party. O'Brien tries to explain his ideologies to Winston in a way that Winston will accept and truly believe them. Winston reasons that the''SPirit of Man'' will stop the party and O'Brien shows Winston a mirror in which Winston sees himself as a rotten living corpse, frail body and sunken cheeks. O'Brien shoots at Winston ''You are the last man, you are the guardian of the human spirit. You shall see yourself as you truly are''. The chapter ends with O'Brien declaring victory over the discussion and Winston marvelling at his intelligence to understand his feelings with a few simple words.
Techniques:
- The direct answer of O'Brien stating that the Party seeks power solely for its own sake is a taunt to Winston and how helpless he is as a single individual because he cannot do anything, he tried but failed and this statement emphasises that failure.
-The continuous stream of lies and statements from O'Brien interferes and befuddles Winston's way of thinking and this confuses his own sense of belief and thus his individuality to think for himself.
-The repeated use of goruping words such as 'We' and 'You' with O'Brien separates Winston as a single helpless entity compared to the bigger group (The Party). ''WE have beaten YOU'', ''YOU are the last man'', WE have broken YOU up''. It also has an accusatory tone to it.
-The powerful words such as forever, lasting, omnipotent and degrading words such as helpless, weak and fragile set a large contrast between them and this creates the impression on the reader that the Party is unbeatable and the system is flawless.
- The loss of sense of time adds to the illusion that there is nothing existing outside your own mind and what the Party creates, this makes Winston doubtful of his own senses and beliefs.
Concerns:
-Loss of identity and Beliefs(Winston losing the arguement makes him doubt his ownself)
-Absolute power and dominance(O'Brien humiliating and degrading Winston)
-Sense of Justice(The two different conflicting sense of justices from Winston and O'Brien)
Contextual Links:
A reference to WW1 or WW2 is made in relation to the war with EastAsia. The german Nazis are also mentioned so this could be a link to WW2 which happened around 1940's. Read more...
Chapter Summary
Chapter IX Part II
Pages 186 – 227
Summary
· Oceania is no longer at war with Eastasia but with Eurasia.
· Winston is given the Goldstein book during the confusion of Hate Week.
· The Ministry of Truth has to rewrite 5 years of history due to change over in war. Members work 18 hours with two 3 hour naps. This rewrite of history takes 6 whole days of solid work by the Ministry of Truth.
· Winston begins reading the Goldstein book after six days of having it in his possession. Explanation of the Party’s policy is laid out.
· Ignorance is Strength – Class division has always existed as three classes. High, Middle and Low class. The High generally have power in society. The Middle seek to switch places with the High, and the Low are generally too depressed to worry about anything. Through history, the Middle have enlisted the Low to help them overthrow the High and then thrust the Low back to where they were. Ingsoc has effectively frozen history at a certain point ensuring that the High stay in power permanently. In this instance the Inner party will forever have power within society. Newspeak was invented to stop people from truly expressing themselves. This in turn stops them from thinking as individuals and questioning authoritative positions in the society. Also through the use o the Though Police, people who even think about opposing the Inner Party can be dealt with quickly and removed before having a further influence on others within society.
· War is Peace – The nature of war is completely changed. By utilising the principle of continual war, all three super-states can “use up the products of the machine without raising the general standard of living”. A continual general increase in wealth would threaten the existence of a hierarchical society. So excess goods of consumption are used for the purpose of this continual war in which such goods can be destroyed, while keeping enough goods to maintain the basics needs of the population.
Free indirect discourse is used, 3rd person narration, of the Goldstein book especially, gives the effect that it is of unbiased opinion due to distancing effect. Makes it seem more ideological than opinionated doctrine.
Non-linear time sequence, i.e. flashbacks, gives the feeling that much time has passed. Makes time seem more drawn out. Helps us to empathise with Winston and understand how long his week has been.
A serious tone is adopted when Winston begins reading the Goldstein book. This is a contrasting tone to the more fearful one used in the rest of the book. This helps place importance upon the Goldstein book.
Concerns in Text
Abuse of power, control of individuality – by removing the individuality of those in the lower classes the Inner Party remains in power and control.
Truth and Propaganda – the Ministry of Truth is not concerned with the “Truth” at all, rather it changes the facts of history to suit its own purposes and the purposes of the Party.
Rigid class system – Maintenance of the hierarchical system by the Inner Party, to remain in power, and preventing others from moving up the hierarchy.
Suppression of Rebellion, freedom of speech – By controlling language, through the use of Newspeak, the individual’s ability to express opinions is restricted. Also thought police are used to swiftly remove anyone who is thinking or in the act of rebelling against the higher classes especially the Inner Party.
Contextual Links
The Stalin Regime/Stalinism – maintaining power through restricting freedom and suppressing rebellion. Murder of the masses, people going missing during the night. The control over historical information, and rewriting such to create “truths” which agree with certain points of view.
English Socialism – Ingsoc is a perverted version of such, with conflicting views of socialism. Where socialism is meant to bring equality, Ingsoc creates greater barriers between classes, magnifying class division. Using doublethink to reject socialism in the name of socialism.
Entrenched class system within Great Britain – most people were unable to break free from the class divisions within the society due to the great depression.
Miscellaneous
The nature of war as changed to be continuous – the war on terror today has become a continual war, in a sense is also used for the consumption of excess goods.
The recent economic crisis has made the rich richer and the poor poorer, further entrenching our social class divisions, making it harder for people to move up the socio-economic hierarchy. Read more...
Pages 186 – 227
Summary
· Oceania is no longer at war with Eastasia but with Eurasia.
· Winston is given the Goldstein book during the confusion of Hate Week.
· The Ministry of Truth has to rewrite 5 years of history due to change over in war. Members work 18 hours with two 3 hour naps. This rewrite of history takes 6 whole days of solid work by the Ministry of Truth.
· Winston begins reading the Goldstein book after six days of having it in his possession. Explanation of the Party’s policy is laid out.
· Ignorance is Strength – Class division has always existed as three classes. High, Middle and Low class. The High generally have power in society. The Middle seek to switch places with the High, and the Low are generally too depressed to worry about anything. Through history, the Middle have enlisted the Low to help them overthrow the High and then thrust the Low back to where they were. Ingsoc has effectively frozen history at a certain point ensuring that the High stay in power permanently. In this instance the Inner party will forever have power within society. Newspeak was invented to stop people from truly expressing themselves. This in turn stops them from thinking as individuals and questioning authoritative positions in the society. Also through the use o the Though Police, people who even think about opposing the Inner Party can be dealt with quickly and removed before having a further influence on others within society.
· War is Peace – The nature of war is completely changed. By utilising the principle of continual war, all three super-states can “use up the products of the machine without raising the general standard of living”. A continual general increase in wealth would threaten the existence of a hierarchical society. So excess goods of consumption are used for the purpose of this continual war in which such goods can be destroyed, while keeping enough goods to maintain the basics needs of the population.
Free indirect discourse is used, 3rd person narration, of the Goldstein book especially, gives the effect that it is of unbiased opinion due to distancing effect. Makes it seem more ideological than opinionated doctrine.
Non-linear time sequence, i.e. flashbacks, gives the feeling that much time has passed. Makes time seem more drawn out. Helps us to empathise with Winston and understand how long his week has been.
A serious tone is adopted when Winston begins reading the Goldstein book. This is a contrasting tone to the more fearful one used in the rest of the book. This helps place importance upon the Goldstein book.
Concerns in Text
Abuse of power, control of individuality – by removing the individuality of those in the lower classes the Inner Party remains in power and control.
Truth and Propaganda – the Ministry of Truth is not concerned with the “Truth” at all, rather it changes the facts of history to suit its own purposes and the purposes of the Party.
Rigid class system – Maintenance of the hierarchical system by the Inner Party, to remain in power, and preventing others from moving up the hierarchy.
Suppression of Rebellion, freedom of speech – By controlling language, through the use of Newspeak, the individual’s ability to express opinions is restricted. Also thought police are used to swiftly remove anyone who is thinking or in the act of rebelling against the higher classes especially the Inner Party.
Contextual Links
The Stalin Regime/Stalinism – maintaining power through restricting freedom and suppressing rebellion. Murder of the masses, people going missing during the night. The control over historical information, and rewriting such to create “truths” which agree with certain points of view.
English Socialism – Ingsoc is a perverted version of such, with conflicting views of socialism. Where socialism is meant to bring equality, Ingsoc creates greater barriers between classes, magnifying class division. Using doublethink to reject socialism in the name of socialism.
Entrenched class system within Great Britain – most people were unable to break free from the class divisions within the society due to the great depression.
Miscellaneous
The nature of war as changed to be continuous – the war on terror today has become a continual war, in a sense is also used for the consumption of excess goods.
The recent economic crisis has made the rich richer and the poor poorer, further entrenching our social class divisions, making it harder for people to move up the socio-economic hierarchy. Read more...
Sunday, August 23, 2009
1984 chapter summary:
Part 3, Chapter VI (Last Chapter).
Summary:
This chapter starts with Winston sitting in the Chestnut Tree Café, watching the telescreen and being served Victory Gin by waiters. He attempts the chess puzzle from the newspaper, and is left alone by other people. He recalls a recent meeting with Julia, where they admitted they betrayed each other in the Ministry of Love and no longer care about each other. The telescreen describes a military victory against Eurasia which occurred in Africa. Winston’s mind drifts away. He is shot, and dies, but he loves Big Brother.
Techniques:
The chess puzzle Winston does is symbolic of the war, and he compares it to the triumph of good over evil (as the puzzle is always set up so that white wins). This has the effect of trivialising the war, and highlighting the idea of it just being a game rather than something important.
Repetition of dialogue between Winston and Julia (eg. “I betrayed you,” she said baldly.
“I betrayed you,” he said.) underlines the loss of identity they are faced with after having faced room 101.
The use of truncated sentences relating the telescreen’s message (something like “perfect co-ordination – utter rout -… victory – greatest victory in human history”) and also the repetition of “victory” evoke a sense of excitement in the reader, shared with Winston as he imagines running outside and cheering. This highlights the control over emotions held by the inner party members.
Concerns:
Possible concerns demonstrated are:
- utopia
- truth (2 + 2 = 5)
- mind control (he loved Big Brother)
- (destruction of) love
Contextual Links:
The War is mentioned, which could be linked to World War II, or various other wars that occurred around Orwell’s time (such as World War I and the start of the cold war). Read more...
Part 3, Chapter VI (Last Chapter).
Summary:
This chapter starts with Winston sitting in the Chestnut Tree Café, watching the telescreen and being served Victory Gin by waiters. He attempts the chess puzzle from the newspaper, and is left alone by other people. He recalls a recent meeting with Julia, where they admitted they betrayed each other in the Ministry of Love and no longer care about each other. The telescreen describes a military victory against Eurasia which occurred in Africa. Winston’s mind drifts away. He is shot, and dies, but he loves Big Brother.
Techniques:
The chess puzzle Winston does is symbolic of the war, and he compares it to the triumph of good over evil (as the puzzle is always set up so that white wins). This has the effect of trivialising the war, and highlighting the idea of it just being a game rather than something important.
Repetition of dialogue between Winston and Julia (eg. “I betrayed you,” she said baldly.
“I betrayed you,” he said.) underlines the loss of identity they are faced with after having faced room 101.
The use of truncated sentences relating the telescreen’s message (something like “perfect co-ordination – utter rout -… victory – greatest victory in human history”) and also the repetition of “victory” evoke a sense of excitement in the reader, shared with Winston as he imagines running outside and cheering. This highlights the control over emotions held by the inner party members.
Concerns:
Possible concerns demonstrated are:
- utopia
- truth (2 + 2 = 5)
- mind control (he loved Big Brother)
- (destruction of) love
Contextual Links:
The War is mentioned, which could be linked to World War II, or various other wars that occurred around Orwell’s time (such as World War I and the start of the cold war). Read more...
Thursday, August 20, 2009
Gattaca/1984
Oh my god, we haven't posted anything in ages! Get on to it guys, I'll also do a post for chapter one.
Read more...
Wednesday, June 3, 2009
Stanzaaa Threeeeeeeeeeee
III
What impression does TS Eliot give us of his two personas in the poem?
In the 3rd stanza, the impression of the male character - is that he has no emotion, or he lacks in emotion - or that he has none at all. “Well! And what if she should die some afternoon …Not knowing what to feel or if I understand …”
We are confused here, because he either should feel good - that she passed away and he doesnt have to put up with her anymore or bad (in sympathy) Therefore, this supports my belief that the male has lacks in emotion.
On the other hand, the women is seem to be questioning the male about their unformed relationship, and thus making the male feel unsure about his feelings towards her. In the end she leaves their friendship to fate - "We must leave it now to fate. You will write, at any rate..." The impression I get from her, is that she is letting go of the male and letting him explore the world and maybe he will then realise that maybe their relationship was something to be cherished.
How might this reflect his ideas about his own society?
This could reflect how T.S Eliot believes that the people in his society lack in emotions, and are all putting on fake masks in front of others, because they are scared of how they will be judged. (For example, in the poem they "correct our watches by the public clock")
Sorry that its not long - doing core (:
MELLLLLLL Read more...
What impression does TS Eliot give us of his two personas in the poem?
In the 3rd stanza, the impression of the male character - is that he has no emotion, or he lacks in emotion - or that he has none at all. “Well! And what if she should die some afternoon …Not knowing what to feel or if I understand …”
We are confused here, because he either should feel good - that she passed away and he doesnt have to put up with her anymore or bad (in sympathy) Therefore, this supports my belief that the male has lacks in emotion.
On the other hand, the women is seem to be questioning the male about their unformed relationship, and thus making the male feel unsure about his feelings towards her. In the end she leaves their friendship to fate - "We must leave it now to fate. You will write, at any rate..." The impression I get from her, is that she is letting go of the male and letting him explore the world and maybe he will then realise that maybe their relationship was something to be cherished.
How might this reflect his ideas about his own society?
This could reflect how T.S Eliot believes that the people in his society lack in emotions, and are all putting on fake masks in front of others, because they are scared of how they will be judged. (For example, in the poem they "correct our watches by the public clock")
Sorry that its not long - doing core (:
MELLLLLLL Read more...
Monday, June 1, 2009
im actually gonna do it miss
Within the second section of the poem Eliot gives an impression that the man is very cynical of the way that the woman goes about her life. She talks about life, and how although she is coming to the end of hers, he is only beginning his. She mentions that she is at peace with a world that he believes is turmultuous (spelling ???). This is portrayed through comments such as "I feel immeasurably at peace, and find the world to be wonderful and youthful, after all". Yet he tries to run from this talk as he seems to have no answer in a conversation that she is dominating, "i take my hat: how can i make a cowardly amends for what she has said to me?". This seems to represent the insecurity of the modern man and his will to run from his problems, and also seems to portray the superficial society of the upper class with the statement "i shall sit here, serving tea to friends...."
Read more...
Sunday, May 31, 2009
Section II : kim
Eliot gives the impression that there are two people meeting for tea – an older presumptuous ‘lady’ who, according to the first section, has invited a younger man to tea. She controls the conversation and relentlessly talks about life in relation to age: “What life is”, “youth”, one about to reach her journeys end”. Throughout this the reader is given the impression that the man is not interested in what she is talking about since a simple action: “(slowly twisting the lilac stalks)”, is enough to distract him from her words, and “I smile, of course | And go on drinking tea,” implies that he’s simply obliging her wishes by being there and ironically reiterates the line before “and smile’s at situations which it cannot see”. He describing her as “the voice” insinuates that the man isn’t interested in her as a person and is not looking at her given that ‘the voice’ is disembodied and by describing her as “the insistent out-of-tune of a broken violin” Eliot relates the man’s feelings of annoyance.
This reflects Eliot’s belief that his own society isn’t romantic or perfect, by containing personas that are plain and ordinary.
Read more...Saturday, May 30, 2009
prep for assessment
You guys need to do some serious reading up on Modernism, particularly in reference to TS Eliot's poetry. The essay will ask you to discuss what you feel his poetry is about, therefore a solid understanding of his life, context and influences will assist you form a personal understanding. Here are some links.
http://www.kirjasto.sci.fi/tseliot.htm
http://www.poets.org/viewmedia.php/prmMID/5664
http://www.poets.org/poet.php/prmPID/18
http://www.gradesaver.com/author/t-eliot/
http://www.wsu.edu:8080/~wldciv/world_civ_reader/world_civ_reader_2/eliot.html
http://en.wikipedia.org/wiki/T._S._Eliot
http://en.wikipedia.org/wiki/Modernist_literature
http://au.encarta.msn.com/encyclopedia_781528555/Modernism_(literature).html
http://www.poetrymagic.co.uk/modernist.html
Good luck! Read more...
http://www.kirjasto.sci.fi/tseliot.htm
http://www.poets.org/viewmedia.php/prmMID/5664
http://www.poets.org/poet.php/prmPID/18
http://www.gradesaver.com/author/t-eliot/
http://www.wsu.edu:8080/~wldciv/world_civ_reader/world_civ_reader_2/eliot.html
http://en.wikipedia.org/wiki/T._S._Eliot
http://en.wikipedia.org/wiki/Modernist_literature
http://au.encarta.msn.com/encyclopedia_781528555/Modernism_(literature).html
http://www.poetrymagic.co.uk/modernist.html
Good luck! Read more...
Thursday, May 28, 2009
Katie's Post (Stanza 2)
I wrote something, it's a bit long but you did say "approx"..
T.S Eliot gives the impression that there is a male and a female persona. It can be seen that the female persona is female as she is referred to by ‘she’, but as the poem is written in first person identifying the male persona is more subtle. We naturally assume the persona is male because T.S. Eliot is, but there is further evidence such as lines like “I take my hat” and “reading the comics and the sporting page” – things that women would be unlikely to do at the time.
Beyond this, we are given the impression that the woman is pretentious through her repetition of phrases, as in “ah, my fried, you do not know, you do not know”, and that she is old, as suggested when she refers to herself as “one about to reach her journey’s end”. She is also shown to be dominant, in the high modality of the language she uses and the frequent use of the second person pronoun, such as in “I am always sure you understand/ My feelings, always sure that you feel”.
The male persona, on the other hand, is portrayed as being disrespectful when he appears to be focusing on what the women is doing rather than saying – “(slowing twisting the lilac stalks)”, and through similie likens her voice to unpleasant music: “like the insistent out-of- tune/ of a broken violin”. Eliot also gives the impression that the male person in introverted as he frequently uses “I”: “I take my hat: how can I make cowardly amends”, while is also somewhat pretentious, as suggested in the line “I keep my countenance”.
The impressions given of these personas suggest that Eliot has negative opinions of his own society and believes that everyone is flawed. Read more...
T.S Eliot gives the impression that there is a male and a female persona. It can be seen that the female persona is female as she is referred to by ‘she’, but as the poem is written in first person identifying the male persona is more subtle. We naturally assume the persona is male because T.S. Eliot is, but there is further evidence such as lines like “I take my hat” and “reading the comics and the sporting page” – things that women would be unlikely to do at the time.
Beyond this, we are given the impression that the woman is pretentious through her repetition of phrases, as in “ah, my fried, you do not know, you do not know”, and that she is old, as suggested when she refers to herself as “one about to reach her journey’s end”. She is also shown to be dominant, in the high modality of the language she uses and the frequent use of the second person pronoun, such as in “I am always sure you understand/ My feelings, always sure that you feel”.
The male persona, on the other hand, is portrayed as being disrespectful when he appears to be focusing on what the women is doing rather than saying – “(slowing twisting the lilac stalks)”, and through similie likens her voice to unpleasant music: “like the insistent out-of- tune/ of a broken violin”. Eliot also gives the impression that the male person in introverted as he frequently uses “I”: “I take my hat: how can I make cowardly amends”, while is also somewhat pretentious, as suggested in the line “I keep my countenance”.
The impressions given of these personas suggest that Eliot has negative opinions of his own society and believes that everyone is flawed. Read more...
Wednesday, May 27, 2009
I've decided to get you guys answering some questions on here in preparation for your essays. I'm going to assign you a topic and you'll all post on it, and build on what each other has said. You'll be divided into three groups to mirror the three sections of the poem. Each section builds on the previous one so you'll have different things to say.
What impression does TS Eliot give us of his two personas in the poem? How does he achieve these impressions? How might this reflect his ideas about his own society?
Group 1 will post on the first section, Group 2 the second etc.
I'll assign you a group tomorrow in class and this will before Monday (150-200 wds approx) Read more...
What impression does TS Eliot give us of his two personas in the poem? How does he achieve these impressions? How might this reflect his ideas about his own society?
Group 1 will post on the first section, Group 2 the second etc.
I'll assign you a group tomorrow in class and this will before Monday (150-200 wds approx) Read more...
Tuesday, May 26, 2009
Just in case people didn't hear today...
When your core hw mentions the prescribed list of poems, we mean the ones you've been given:
Prufrock,
Portrait,
Rhapsody,
Preludes and
Journey of the Magi.
Just so you know we're unlikely to get to Magi before the end of term.
Thanks
Ms Race Read more...
When your core hw mentions the prescribed list of poems, we mean the ones you've been given:
Prufrock,
Portrait,
Rhapsody,
Preludes and
Journey of the Magi.
Just so you know we're unlikely to get to Magi before the end of term.
Thanks
Ms Race Read more...
Monday, May 25, 2009
Prescribed List???
Hey Miss,
Is there a chance of us getting that prescribed list that we're meant to chose our poems for core HW from? Cause its a bit hard when u dont know what u can choose from...
Thanks,
Taylor
Read more...
Friday, April 10, 2009
Sorry, hadn't checked the blog in awhile. Basically, if the stimulus given to you in the HSC says use this as a stimulus or a basis for a narrative, then you only have to have the idea in your own story. There have been years where they've specifically asked people to start their stories with the stimulus but people who didn't did not lose marks.
Hope you guys have a great holiday, be sure to get some relaxation time in!
See you in week three! Read more...
Hope you guys have a great holiday, be sure to get some relaxation time in!
See you in week three! Read more...
Monday, April 6, 2009
core hw
HI MSSS
for core hw, the third option it says
"This place no longer feels like him," she said.
Am i allowed to changed it slightly to ..
whispered to herself quietly. “This place no longer feels like home.” ?
thanks (:
mel Read more...
for core hw, the third option it says
"This place no longer feels like him," she said.
Am i allowed to changed it slightly to ..
whispered to herself quietly. “This place no longer feels like home.” ?
thanks (:
mel Read more...
Friday, April 3, 2009
Regarding Core HW 2
hey miss,
i was just about to start core 2, but do we actually have to put our chosen stimulus sentences in our actual story? because in the instructions it just says "use one of the following as the inspiration for a piece of Creative Writing"..
Steph. Read more...
i was just about to start core 2, but do we actually have to put our chosen stimulus sentences in our actual story? because in the instructions it just says "use one of the following as the inspiration for a piece of Creative Writing"..
Steph. Read more...
Tuesday, March 24, 2009
Good luck tomorrow!
Hey guys,
Just wanted to wish everyone luck in getting their stuff done for tomorrow. I'm really looking forward to hearing what you have to say on the topic. Remember, we want to hear more than just a definition, we want an explanation of the concept. Make sure you back up your ideas with techniques and don't forget to make some insightful conclusions about the most effective text. You guys will be great.
Ms Race Read more...
Just wanted to wish everyone luck in getting their stuff done for tomorrow. I'm really looking forward to hearing what you have to say on the topic. Remember, we want to hear more than just a definition, we want an explanation of the concept. Make sure you back up your ideas with techniques and don't forget to make some insightful conclusions about the most effective text. You guys will be great.
Ms Race Read more...
Saturday, March 21, 2009
Procrastination
Heres a site that randomly generates words/phrases/paragraphs, and things like that. I'm tempted just to use it to write my speech.. but other than that, it might help in getting inspiration for the visual rep.
http://watchout4snakes.com/creativitytools/RandomParagraph/RandomParagraph.aspx
"Inside Othello flowers Alienation. Within Alienation exercises Othello. Alienation pitches the farthest wild. Does Alienation demand Othello? How does Alienation beat Othello? Below Othello despairs the mixture.
Alienation distances Othello. Alienation weds the stereo boundary. The impersonal vessel manipulates Othello around the disabled axis. The residence standardizes a paying socket. Othello reflects past Alienation. How can the gun antique Othello?"
Try not to get too distracted though..
The brainstorming tool is more useful. http://watchout4snakes.com/creativitytools/Brainstorm/BrainstormWord.aspx Read more...
http://watchout4snakes.com/creativitytools/RandomParagraph/RandomParagraph.aspx
"Inside Othello flowers Alienation. Within Alienation exercises Othello. Alienation pitches the farthest wild. Does Alienation demand Othello? How does Alienation beat Othello? Below Othello despairs the mixture.
Alienation distances Othello. Alienation weds the stereo boundary. The impersonal vessel manipulates Othello around the disabled axis. The residence standardizes a paying socket. Othello reflects past Alienation. How can the gun antique Othello?"
Try not to get too distracted though..
The brainstorming tool is more useful. http://watchout4snakes.com/creativitytools/Brainstorm/BrainstormWord.aspx Read more...
Friday, March 20, 2009
Mikey's Thesis.
In Othello, not only is Othello alienated but shows that Iago and the other characters alienated as well. This shows that everyone in the world is alienated in a certain way. Alienation is also what makes us unique as we are judged by our characteristics, physical features etc etc. This shows that Alienation can be defined on the extent on how you treat other people based on their features. This creates a personal opinion dillema in which everyones opinions might differ from others but may also be similar creating groups, and alienating the one person, who in this case is Othello because hes black.
comments? -.-. Il kick your ass if you steal my idea. Read more...
comments? -.-. Il kick your ass if you steal my idea. Read more...
Katie's thesis (and a question)
An individual can be made to feel alienated because they have different values from a group, as shown in the poem The Inversion of Simonides' Line about the Sun. Being alienated can have bad implications for the individual, evident in the short story Metamorphosis. Othello shows that a feeling of alienation can also have bad implications for others.
Do the techniques have to be part of the thesis? I'm not sure where to stick them in.
But that wasn't the question I was planning to ask..
Where the question says "explaining the significant langauge forms, features and structures used by each composer..", does that just mean talk about techniques? Read more...
Do the techniques have to be part of the thesis? I'm not sure where to stick them in.
But that wasn't the question I was planning to ask..
Where the question says "explaining the significant langauge forms, features and structures used by each composer..", does that just mean talk about techniques? Read more...
Thursday, March 19, 2009
kim's thesis.
In my three texts, alienation is the effect of discrimination through stereotypes, that ultimately leads to harmful consequences.
...
is this ok? Read more...
...
is this ok? Read more...
Jono's Thesis:
cut from speech introduction (steal = die): Othello, even though written in the 17th Century, also addresses the theme of prejudice and alienation, thus illuminating the fact that alienation is a universal concept, and a constant challenge that humanity faces.
Read more...
Saturday, March 14, 2009
Visual literacy techniques
This is a resource for people doing visual texts. And for your visual assessment task.
VOCABULARY FOR VISUAL LITERACY
1. GAZE
• can indicate communication between a character and the viewer (demand)
• no communication with viewer (information)
• can show relationships, attitudes, emotions within text
2. PROPORTION/SCALE/SIZE
• can create the illusion of depth, 2D
• can create relationships of strength/weakness
• can create a sense of vastness
• are useful in factual/scientific type diagrams
3. THEME/GIVEN POSITION
• is usually on the left
• the given is what is known already / the new is new information, the message
4. COLOUR SATURATION
• the more grey = less saturated
• no/little grey = highly saturated
• can manipulate emotions, attitudes etc.
• can indicate the past/future
5. COLOUR HUE – creates moods
• red — active, passion, masculine, emotion, danger
• orange — excitement, desire
• yellow — warm colours, cheerful, joy, enlightenment, light hearted
• blue and associated colours — cool, calm, wisdom
• pink — sensuous, emotion, feminine, romantic
• sepia — the past or age
• green — knowledge, hope, promise
• black — evil, mysterious, powerful, fear
• white — purity, innocence, timeless, mystical
• purple — passionate, smouldering, caring
• grey — neutral, uncommitted, non-involvement
6. LIGHT AND SHADE — light sources can affect how something is represented
7. TONE – ranges from lighter to darker
8. CAMERA SHOTS – used for a variety of purposes
• Close Up – shows detail (engagement)
• Mid – further back, will show relationship to something else
• Long Distance - shows entire scene
9. ANGLES
• frontal — involvement
• side-on — detachment
• verticals/low angles (looking up) — power, dominance
• verticals/high angles (looking down) — weakness, submission i.e. they show attitude
• horizontal shots tend to give balance
10. VECTOR – a line between the doer and the done-to
When complemented by facial expression creates attitude, mood, emotion etc.
11. REPRESENTING SOMETHING BY CLASSIFYING INTO DIFFERENT TYPES
(i.e. different types of one product/thing e.g.
• a range of microphones, mouses
• set of subordinates
• superordinate + subordinates
• metonyms and icons need to be discussed
12. SYMBOLS – used to represent and idea, concept etc.
e.g. the Statue of Liberty, a Cross
13. FOREGROUND / MIDDLEGROUND / BACKGROUND
– used to indicate relationships
14. CENTRALITY – placing of the central figure, object, main idea
— focuses attention
15. SALIENCE – the importance of a figure, in relation to other objects in the picture,
— focuses attention
16. CROPPING – the picture is shortened/made smaller
17. LINE – horizontals and verticals can suggest stability
- diagonals, dots, broken lines can suggest motion
- cross-hatching can suggest solidity, calm
18. BLUR – can imply motion
19. MIST – can imply memory, gives prominence to a figure, idea
20. MOTION – normally from left to right
- slowed or still motion can be created amidst intense activity
21. TIME – is indicated by left to right progression
22. SHAPES/CONTOURS
• squarish shapes can suggest rigidity, harshness
• curves suggest flow, softness
23. PERSPECTIVE
• isometrics can be impersonal
• frontal provides a sense of depth
• side-on, looking from above etc.
• point of view
• relate to camera shots and angles Read more...
VOCABULARY FOR VISUAL LITERACY
1. GAZE
• can indicate communication between a character and the viewer (demand)
• no communication with viewer (information)
• can show relationships, attitudes, emotions within text
2. PROPORTION/SCALE/SIZE
• can create the illusion of depth, 2D
• can create relationships of strength/weakness
• can create a sense of vastness
• are useful in factual/scientific type diagrams
3. THEME/GIVEN POSITION
• is usually on the left
• the given is what is known already / the new is new information, the message
4. COLOUR SATURATION
• the more grey = less saturated
• no/little grey = highly saturated
• can manipulate emotions, attitudes etc.
• can indicate the past/future
5. COLOUR HUE – creates moods
• red — active, passion, masculine, emotion, danger
• orange — excitement, desire
• yellow — warm colours, cheerful, joy, enlightenment, light hearted
• blue and associated colours — cool, calm, wisdom
• pink — sensuous, emotion, feminine, romantic
• sepia — the past or age
• green — knowledge, hope, promise
• black — evil, mysterious, powerful, fear
• white — purity, innocence, timeless, mystical
• purple — passionate, smouldering, caring
• grey — neutral, uncommitted, non-involvement
6. LIGHT AND SHADE — light sources can affect how something is represented
7. TONE – ranges from lighter to darker
8. CAMERA SHOTS – used for a variety of purposes
• Close Up – shows detail (engagement)
• Mid – further back, will show relationship to something else
• Long Distance - shows entire scene
9. ANGLES
• frontal — involvement
• side-on — detachment
• verticals/low angles (looking up) — power, dominance
• verticals/high angles (looking down) — weakness, submission i.e. they show attitude
• horizontal shots tend to give balance
10. VECTOR – a line between the doer and the done-to
When complemented by facial expression creates attitude, mood, emotion etc.
11. REPRESENTING SOMETHING BY CLASSIFYING INTO DIFFERENT TYPES
(i.e. different types of one product/thing e.g.
• a range of microphones, mouses
• set of subordinates
• superordinate + subordinates
• metonyms and icons need to be discussed
12. SYMBOLS – used to represent and idea, concept etc.
e.g. the Statue of Liberty, a Cross
13. FOREGROUND / MIDDLEGROUND / BACKGROUND
– used to indicate relationships
14. CENTRALITY – placing of the central figure, object, main idea
— focuses attention
15. SALIENCE – the importance of a figure, in relation to other objects in the picture,
— focuses attention
16. CROPPING – the picture is shortened/made smaller
17. LINE – horizontals and verticals can suggest stability
- diagonals, dots, broken lines can suggest motion
- cross-hatching can suggest solidity, calm
18. BLUR – can imply motion
19. MIST – can imply memory, gives prominence to a figure, idea
20. MOTION – normally from left to right
- slowed or still motion can be created amidst intense activity
21. TIME – is indicated by left to right progression
22. SHAPES/CONTOURS
• squarish shapes can suggest rigidity, harshness
• curves suggest flow, softness
23. PERSPECTIVE
• isometrics can be impersonal
• frontal provides a sense of depth
• side-on, looking from above etc.
• point of view
• relate to camera shots and angles Read more...
Tuesday, March 10, 2009
Class Wednesday
I'm going to be away tomorrow so the casual should finish the film with you and get you to do the quotes activity from the handouts that I gave you ages ago. I also need a new group of 5 to do the questions for Act 2 and present. The group that did act one did a great job and I expect the next ones to be even better. I'll let you know what group on Thursday. Congratulations on getting your first core homework done!
Read more...
Saturday, March 7, 2009
Core Homework
Hi guys,
I'm sure you're working hard on your core and I just wanted to mention a couple of things to help guide you.
1. Make sure you're clear on how your chosen text explores the concept of alienation. Imagine your text could speak, what would it say about the concept generally?
2. Use techiques to support your ideas on the concept.
You really want to develop a thesis/line of argument about Alienation and what you've learnt about it from the texts you've studied.
Remember CTEEQ!
Good luck and don't stress, just do your best. Read more...
I'm sure you're working hard on your core and I just wanted to mention a couple of things to help guide you.
1. Make sure you're clear on how your chosen text explores the concept of alienation. Imagine your text could speak, what would it say about the concept generally?
2. Use techiques to support your ideas on the concept.
You really want to develop a thesis/line of argument about Alienation and what you've learnt about it from the texts you've studied.
Remember CTEEQ!
Good luck and don't stress, just do your best. Read more...
Wednesday, March 4, 2009
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