Paper no. 106 assignment

Paper no.106 Twentieth century Literature from:1900 to World War 2

Topic: Symbolism in Orlando

Name:Pandya Mayuri

Roll no.14

Enroll no.4069206420210023

Email id: pandyamayuri0610@gmail.com

Batch:2021 to 2023

Submitted to: S.B.Gardi Department of English MKBU.

 

 

“Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.”

 

Virginia Woolf

 BORN: 1882, London, England

DIED: 1941, Lewes, Sussex, England

NATIONALITY: British

GENRE: Fiction, nonfiction

MAJOR WORKS:

Mrs. Dalloway (1925)

To the Lighthouse (1927)

Orlando (1928)

A Room of One's Own (1929)

One of the most prominent literary figures of the twentieth century, Virginia Woolf is chiefly renowned as an innovative novelist. She also wrote book reviews, biographical and autobiographical sketches, social and literary criticism, personal essays, and commemorative articles treating a wide range of topics. Concerned primarily with depicting the life of the mind, Woolf revolted against traditional narrative structures and developed her own highly individualized style of writing.

Works In Biographical And Historical Context

Early Life in an Unconventional and Literary Atmosphere Born in London, Virginia Woolf was the third child of Julia and Leslie Stephen. Although her brothers, Thoby and Adrian, were sent to school, Virginia and her sister, Vanessa, were taught at home by their parents and by tutors. Theirs was a highly literary family. Woolf received no formal education, but she was raised in a cultured atmosphere, learning from her father's extensive library and from conversing with his friends, many of whom were prominent writers of the era.

Formation of the Bloomsbury Group Following the death of her father in 1904, Woolf settled in the Bloomsbury district of London with her sister and brothers. Their house became a gathering place where such friends as J. M. Keynes, Lytton Strachey, Roger Fry, and E. M. Forster congregated for lively discussions about philosophy, art, music, and literature. A complex network of friendships and love affairs developed, serving to increase the solidarity of what became known as the Bloomsbury Group. Here she met Leonard Woolf, the author, politician, and economist whom she married in 1912. Woolf flourished in the unconventional atmosphere that she and her siblings had cultivated.

Financial Need Catalyzes Literary Output The need to earn money led her to begin submitting book reviews and essays to various publications. Her first published works—mainly literary reviews—began appearing anonymously in 1904 in the Guardian, a weekly newspaper for Anglo-Catholic clergy. Woolf's letters and diaries reveal that journalism occupied much of her time and thought between 1904 and 1909. By the latter year, however, she was becoming absorbed in work on her first novel, eventually published in 1915 as The Voyage Out.

The Hogarth Press In 1914, World War I began, a devastating conflict that involved carnage on an unprecedented scale. It involved nearly every European country and, eventually, the United States. About twenty million people were killed as a direct result of the war. Nearly a million British soldiers died (similar losses were experienced by all the other warring nations). In 1917, while England was in the midst of fighting World War I, Woolf and her husband cofounded the Hogarth Press. They bought a small handpress, with a booklet of instructions, and set up shop on the dining room table in Hogarth House, their lodgings in Richmond. They planned to print only some of their own writings and that of their talented friends. Leonard hoped the manual work would provide Virginia a relaxing diversion from the stress of writing.

It is a tribute to their combined business acumen and critical judgment that this small independent venture became, as Mary Gaither recounts, “a self-supporting business and a significant publishing voice in England between the wars.” Certainly being her own publisher made it much easier for Virginia Woolf to pursue her experimental bent but also enabled her to gain greater financial independence from what was at that time a male-dominated industry. Like Woolf, many British women joined the professional work force in an increased capacity during World War I, capitalizing on England's need for heavy industry to support its armed forces.

Successful Experiments This philosophy of daring and experimental writing is shown in her self-published works. While the novel Night and Day (1919) is not astylistic experiment, it deals with the controversial issue of women's suffrage, or right to vote—a right championed by Woolf. At the time of its publication, English women over the age of thirty had just finally received voting rights; it would still be another decade before women held the exact same voting rights as men. Where Woolf might have had difficulty finding another publisher for a book dealing with such a subject, access to Hogarth Press left her free to deal with whatever subject matter she saw fit.

This freedom expressed itself more in stylistic terms in her following works. The novel Jacob's Room (1922), for example, tells the story of a character who is never directly introduced to the reader, but only revealed through the recollections of others. Mrs. Dalloway (1925) takes place over the course of a single day and presents the thoughts of characters in a free-flowing way meant to mimic actual consciousness. This description of her characters's “inner life” continued with To the Lighthouse (1927), and both novels earned Woolf the esteem of critics and readers. These novels, despite being experimental in style, directly reflect the author's own literate and well-heeled upbringing in their characters and settings.

Successful Experiments This philosophy of daring and experimental writing is shown in her self-published works. While the novel Night and Day (1919) is not astylistic experiment, it deals with the controversial issue of women's suffrage, or right to vote—a right championed by Woolf. At the time of its publication, English women over the age of thirty had just finally received voting rights; it would still be another decade before women held the exact same voting rights as men. Where Woolf might have had difficulty finding another publisher for a book dealing with such a subject, access to Hogarth Press left her free to deal with whatever subject matter she saw fit.

This freedom expressed itself more in stylistic terms in her following works. The novel Jacob's Room (1922), for example, tells the story of a character who is never directly introduced to the reader, but only revealed through the recollections of others. Mrs. Dalloway (1925) takes place over the course of a single day and presents the thoughts of characters in a free-flowing way meant to mimic actual consciousness. This description of her characters's “inner life” continued with To the Lighthouse (1927), and both novels earned Woolf the esteem of critics and readers. These novels, despite being experimental in style, directly reflect the author's own literate and well-heeled upbringing in their characters and settings.

Circumventing Censorship in Orlando Woolf drew upon her own relationships in Orlando (1928) a book characterized by Woolf as a biography but by most readers as a novel. The main character, who does not grow old and changes genders, is directly inspired by the female author Vita Sackville-West, a bisexual member of the Bloomsbury Group with whom Woolf had an intimate relationship. Many scholars and critics have viewed the main character's gender-switching as a clever device meant to suggest—but not directly depict—a lesbian relationship, since such topics were the subject of censorship at the time.

Depression and Suicide Woolf fought an ongoing battle against depression for most of her life. After her mother's death in 1895, she had a nervous breakdown, the first of four periods of depression and emotional trauma. Woolf had a second breakdown nine years later when her father died. A third episode of mental illness began early in 1912, became acute in September of 1913 (when she attempted suicide), and lasted into 1916.

Circumventing Censorship in Orlando Woolf drew upon her own relationships in Orlando (1928) a book characterized by Woolf as a biography but by most readers as a novel. The main character, who does not grow old and changes genders, is directly inspired by the female author Vita Sackville-West, a bisexual member of the Bloomsbury Group with whom Woolf had an intimate relationship. Many scholars and critics have viewed the main character's gender-switching as a clever device meant to suggest—but not directly depict—a lesbian relationship, since such topics were the subject of censorship at the time.

Depression and Suicide Woolf fought an ongoing battle against depression for most of her life. After her mother's death in 1895, she had a nervous breakdown, the first of four periods of depression and emotional trauma. Woolf had a second breakdown nine years later when her father died. A third episode of mental illness began early in 1912, became acute in September of 1913 (when she attempted suicide), and lasted into 1916.

Symbolism in Orlando:

Symbolic systems, being indispensable elements of any culture, are found in painting, architecture, music, politics, ideology, and many other areas of human activity. In literature, symbolism is a special rhetoric technique that helps the writer to 'present' a concept too abstract or obscure for direct sensory representation, that can be expressed only ―by analogy and by the transference of reflection‖ (Kant, 1951: 198). A literary symbol may be a material thing, a natural element, a person, or an action that is loaded with meaning much deeper than springs to the eye, and interpretation of symbols calls for a broad cultural outlook and the aptitude to see below the surface. Symbol formation is a process of cultural conceptualizations of the physical world through the lens of a society's contemporary world view. Symbolic meaning is a combination of knowledge, intuition, and imagination, a fusion of purely denotative and expressive functions of language, which makes it worthy of an in-depth research. The choice of the author is not accidental. V. Woolf's prose is full of symbols suggestive of hidden messages. This aesthetic device has attracted many researchers, but the most comprehensive analysis of V. Woolf's symbolism is presented by N.C. Thakur in his seminal work where he treats symbols as a technique, worked out ―for projecting the psychological conditions and inner workings of the mind of literary characters under particular circumstances‖ (Thakur, 1965: 197). However, few critics appear to have been interested in studying symbolic imagery in literary texts in relation to cognitive mechanisms that led to the emergence of these symbols and preconditioned their figurative usage. I can cite only the work by Dennis Young (1986), who exposes mythical, religious and philosophical roots, with the emphasis on the Eastern thought, of the androgynous character (Bernard) as a symbol of perfection and wholeness of the eternal in Nature.

 Oak Tree Symbolism 

The oak tree, in addition to general tree symbolism, has developed a rich symbolic paradigm of its own. Like all other trees, it represents the axis mundi, but also stands for something very strong, steadfast and unbending. In the pre-Christian era, the oak was associated with the supreme god in the pantheons of mythological deities of different countries: Zeus (Hellenic Greece), Jupiter (Ancient Rome), Dagda (Celts), Perun (ancient Slavs), and Thor (early Germanic peoples). The tree was described as the 'lightning tree' because it attracted lightning and because the highest gods were lords and masters of rain, thunder, and lightning. The oak was worshiped in many cultures, but it is most closely associated with the ancient Celts who regarded it as 'a cosmic storehouse of wisdom.' Oak groves were considered sacred places and became outdoor sanctuaries for Druids1 . Offerings from people were placed at the feet of the biggest oaks. The Proto-Celtic word for Druid is *derwo-weyd, dru-widgoing back to the Sanskrit word Duir (oak) combined with the Indo-European root *wid- (know), suggests a hypothetical meaning 'the wise ones who have knowledge of the oak.' According to Irish early religious mythology, oaks were introduced to Ireland by Trefuilngid Tre-eochair2 (the Irish god), who on the day of Christ's crucifixion brought a branch on which were acorns, apples, and nuts and sowed them. It was believed to be a branch of the original Tree of Knowledge from the Garden of Eden. The oaks that grew were so great that could oversee and protect each plane below. It was said the tree could bear both acorns and red apples three times a year. The moment the last acorn fell, the first blossom of the apple appeared, symbolizing death and rebirth, but also a source of food and fodder (Stokes, 1983: 458). The idea of oaks being suppliers of food, water, medication, housing, etc. is not confined to the Celtic culture alone. It was believed that ―back in the golden age the oaks dripped honey, and men lived in peace and comfort with no shelter but their boughs‖ (Skinner, 1911: 192). Far away from Europe, in Mission Indians'3 beliefs, Wyot, son of Night and Earth, guardian of all things, when he died poisoned by the frog jealous of his shapely legs and his soul went skyward, became the oak for the ―sustenance of all people and animals and birds‖(ibid.: 197). Oaks are known to have helped the valiant and the valorous. In Medieval France, it is recorded that Jeanne d'Arc frequented the Fairy Oak of Bourlemont and prayed to its spirit, who in return, ―gave her the charmed sword and banner with which she led her country-men to victory‖ (ibid.: 198). Oaks also offer protection to those in danger. The Norse legend has it that Thor found shelter from a violent storm under a mighty oak tree. Oak trees are thought to represent everything that is true. The oldest oracle of Ancient Greece lived in Dodona4 under the sacred oak. Through the rustling of its leaves as they ―low-whispered in the breeze,‖ (Homer) the priests interpreted the messages of Zeus to the mortals. Legends go that Achilles and Argonauts went there to seek advice, and the prow of the Argo was made from one of the sacred oaks and directed the crew. Despite its close affinity with paganism, the oak, due to its symbolic potential, became acceptable to the new faith, and was at the beginning regarded as the tree of Mary. Oak Tree symbolism is amply represented in Scripture. Throughout the Bible, saints and true believers are referred to as trees.

Clothing Symbol:

Clothing symbolizes the artificiality of gender as a social construction in Virginia Woolf’s Orlando, and it often serves to obscure one’s true gender identity, which the novel suggests naturally vacillates between both male and female. Orlando’s gender identity, both as a man and as a woman, is communicated and represented through clothing. After Orlando transforms from a man into a woman, the narrator is careful to note that nothing else much changes in Orlando’s appearance. “Their faces remained, as their portraits prove,” the narrator says, “practically the same.” When Orlando wears trousers, he is perceived by others as a man. Conversely, when Orlando wears a dress, she is perceived by others as woman. Thus, the novel suggests, it is Orlando’s clothes, not Orlando’s body, that dictates Orlando’s gender.

The same is true for other characters in the novel who find themselves pigeonholed into certain gender identities based on which gender their clothes suggest they are. For instance, when Orlando first sees Sasha skating on the ice during the Great Frost, her masculine Russian clothes make Orlando believe she is a man; and when the Archduke Harry puts on a dress and disguises himself as the Archduchess Harriet, Orlando believes he is a woman even though he is rightly a man. The narrator even points out how the popular style of dress during the 16th century, which is quite elaborate and feminine even for the men’s fashions, obscures Orlando’s then-male gender. “Clothes are but a symbol of something hidden deep beneath,” the narrator argues. The novel posits that everyone has both male and female qualities and that no one is wholly one gender or the other—after all, “often it is only the clothes that keep the male or female likeness, while underneath the sex is the very opposite of what it is above.”

Dog symbol

Virginia Woolf mentions dogs repeatedly throughout Orlando, and they are symbolic of Orlando’s deep connection to nature within the novel. Orlando’s connection to nature is central to his—later, her—identity, and this connection is reflected in his love of “beasts,” or dogs. Orlando is never without a dog for the entirety of the novel, and he judges other people based on how they treat dogs. For example, after Favilla beats a spaniel for ripping a hole in her stocking, Orlando considers her a “perverse and cruel” woman. On the other, Orlando is willing to forgive Euphrosyne’s introverted and cold personality in large part because she is “never without a whippet or spaniel at her knee” and feeds them from her dinner plate. Orlando’s connection to dogs is so strong that his Seleuchi hound never leaves his side during the week-long sleep that transforms Orlando into a woman, and when Orlando finally wakes up, the dog is “half famished with hunger.”

In Orlando’s experience, people are mostly a disappointment, and after Nicholas Greene gives one of Orlando’s original plays a bad review, Orlando sends his servant to fetch him two of the best elk hounds from Norway. “For,” Orlando says, “I have done with men.” Orlando is repeatedly disappointed by others, and there remains but two things in which he puts his trust: “dogs and nature; an elk-hound and a rose bush.” Dogs remain an integral part of Orlando’s life for hundreds of years. Even as Orlando walks down to the oak tree at the end of the novel to bury her poem, thus repaying her debt to nature, she takes her dogs with her.

These are symbol which use in Orlando novel according to my interpretation Time also i am seen as a symbol because time use as a tool by woolf she was use different  literary ages like Elizabethan Age to Modern Age.use of different type of genre which changing in every age. (3072 WORDS)

Work cite

CANNON, JOHN. “Virginia (stephen) Woolf.” Encyclopedia.com, https://www.encyclopedia.com/people/literature-and-arts/english-literature-20th-cent-present-biographies/virginia-stephen-woolf. Accessed 7 May 2022.

Davidko, Natalya. “Symbolism in V. Woolf's ―Orlando‖ (Cognitive Tools of Figurative Thought).” 2019. Accessed 23 DECEMBER 2019.

Woolf, Virginia. “Orlando Symbols.” LitCharts, 27 August 2019, https://www.litcharts.com/lit/orlando/symbols. Accessed 7 May 2022.

 

 

 

 

 

Thinking Activity on An Artist of The floating World

Thinking Activity on An artist of The floating World

Hello reader this blog is response of task given by Dr. Dilip Barad this blog post is on the novel of Japanese Writer Kazuo Ishiguro An Artists of the floating World. 

Introduction of Author

Kazuo Ishiguro, in full Sir Kazuo Ishiguro, (born November 8, 1954, Nagasaki, Japan), Japanese-born British novelist known for his lyrical tales of regret fused with subtle optimism. In 2017 he won the Nobel Prize for Literature for his works that “uncovered the abyss beneath our illusory sense of connection with the world.”

1.Lentern appears 34 times in the novel. Even on the cover page, the image of Lentern is displayed. What is the significance of Lentern in the novel? 

Lanterns play an important role in social events and religious festivities. They light the way for guests, including the souls of the ancestors. The souls of ancestors are thought to visit their family at the occasion of the New Year’s festival. They are sent off during the Lantern Festival, which concludes the celebrations welcoming the New Year.

The Lantern Festival was an occasion on which families competed for the most exquisite or exceptional lantern. Lanterns could be made in a rich variety of shapes. One type of lantern was mounted on complicated structures made of bamboo or wood so it could roll on the ground while the light stayed upright in the middle. Some of these lanterns had rotating fixtures, which were moved by the heated ascending air. Some were shaped like human beings and represent celebrities or deities of worship. Shapes of abstract symbols or animals were equally popular for lanterns.

They represent the fleeting beauty and warmth of nightlife as well as the transience of the traditional way of life in Japan, which vanishes after the war.we seen novel based short movie or if we interpret this lantern with Seiji Moriyama master of Ono he was hide nationalist  painting of Masuji Ono in this sequence use of Lentern is some were burn the painting also Lentern use as the symbol of Japanese tradition. 

2.Write in brief a review of the film based on the novel? 

This film directed by Kazuki Watanabe director as well as work as main protagonist Masuji Ono this film in Japanese and with subtitles there is the camera roll and sound are very good and in this movie sounds suggested that someone hiding something in novel narrations have some difficulties but movie gaves idea very well movie start with Ono's house how the situation going on this is given by movie. Movie also useful understand symbol like Lentern and all those things. 

There are one sequence not in novel but movie Ono burn his own painting. Movie was nice but difficult to understand watch and read subtitles is hard but this movie has more similar with novel also by watching known if you interesting in culture this movie represents rich culture of Japan. 

3.Debate on the use of Art /Artist(five perspective: 1.Art for the sake of Art- aesthetic delight 2.Art for Earning money/Business purpose 3.Art for Nationalism/Imprealism - Art for the propaganda of Government power, 4.Art for Poor / Marxism, and 5.No need of Art and artist (Masuji's father's approach) 

1. Art for the sake of art - aesthetic delight

In this novel character of Seiji Moriyama teacher of Masuji Ono he was painter of Ukiyo-e he was great example of art for art sake Ukiyo-e is art of pleasure people they make painting on pleasure house woman and that's kind of thing he was not like Ono use his art for nationalism. 

2.Art for Earning money / Business purpose

In this novel Art for Earning money is best example is The owner of a firm producing art for import to foreigners, Master Takeda pressures his employees to work around the clock to meet deadlines.Takeda firm is work art for Earning money Japanese painting on demand of foreigner there were made painting on urgent and deadline work like industry of assembly line. 

3.Art for Nationalism/Imprealism - Art for the propaganda of Government power. 

Chisu Matsuda and Masuji Ono in novel both representatives of art for Nationalism and imprealism first Matsuda is inspired Ono to make painting for poor people give the example of Mark's idea and after make painting he was also join Nations agent Ono's master or his student both are not interested in art for Nationalism they both work art for art sake. 

4.Art for Poor / Marxism. 

Art for Poor/ Marxism Matsuda give that's kind of reason to brain washing Ono ukiyo-e painting all about pleasure but Matsuda visit Poor place with Ono he was seen situation of those people and children according to me Ono start his painting for Poor people and he was then Nationalists. 

5.No need of Art and artist (Masuji's father's approach) 

Ono's one childhood memory his not like artist and creativity and painting as a career he was not agree with that idea because painting and art make man Poor business and other things is for Earning money for living happy and great life money is more important than creativity for passing time Or as a hobby painting is good but as a career become painter is not good not clearly but Ono give us hints by burning smell his father burn his painting. In over day to day life or modern life money is more important as his father approach we seen many people around us they become writers but they also work for money as employ Or Businessman person they use their art as hobby. 

4.What is the relevance of this novel in our time? 

This novel show as intergenerational theme How new generation seen old generations and conflict between them in one sentence speaks suichi son in law of Ono he told that son of Ono join war and he was died in that context suichi told that he was waste is life on the other hand Ono said he was died like other soldiers for nation not only this two generations but also we can see the conflict between teacher and student also Ono as a student and also as a teacher. After war how the new generation blame those people who are nationalist and other more relevant in this time is new generation became very influenced by wasten Ichiro grandson of Ono who like movie based on modern things. At the end of novel Ono seen some young Man with Shoot and thing about old Japanese tradition. 

These are all things I thing happened in over time also over grandparents seen as western clothes and we more like western food also they things over old tradition and the intergenerational conflict is not this contemporary time but it's happened everygeneration. 

Thinking Activity on 1984

Hello reader this is blog is response blog this task given by Dr. Dilip Barad we studied Novel 1984 (Nineteen Eighty-four). 

1) What is dystopian fiction? Is '1984' a dystopian fiction? 

Ans.

Dystopian literature is a genre of fiction set in future or near-future societies where life and social structures are in calamitous decline. Authors of dystopian literature typically use the setting to examine social and political systems and contemplate what would happen if these systems were amplified. The result is often a society in shambles, with rampant oppression, violence, poverty, and revolution.

The etymology of the word dystopia (dis-TOE-pee-uh) describes these settings succinctly but perfectly. By combining the Ancient Greek dys, meaning “bad” + topos, meaning “place,” dystopia literally means “bad place.”

Common elements of dystopian fiction include societies engaged in forever wars, and characterized by extreme social and economic class divides, mass poverty, environmental devastation, anarchy, and loss of individuality.

As the video details, social control is another major feature of dystopian fiction. Dystopian authors represent social control as wielded by any number of powerful entities, including:

Corporate

Religious/Philosophical

Technological

Bureaucratic

Reproductive

Totalitarianism — defined as total social control over a given population through techniques such as thought police and surveillance — is also a feature of dystopian fiction. It figures prominently in famous dystopian novels such as George Orwell’s 1984, which we investigate further below.

Dystopian literature is very common and has been around since at least the late 19th century. One of the first dystopian fiction novels is Erewhon (1872) by Samuel Butler, an early commentary on the dangers of artificial intelligence. Another example of early dystopian literature is The Iron Heel (1908) by Jack London, which prophecies the extreme class divides and fascist regimes of the 20th century.

Other famous dystopian novels include:

Brave New World (1932) - Aldous Huxley

Fahrenheit 451 (1953) - Ray Bradbury

Lord of the Flies (1954) - William Golding

A Clockwork Orange (1962) - Anthony Burgess

V for Vendetta (1982) - Alan Moore and David Lloyd

The Handmaid’s Tale (1985) and The Testaments (2019) - Margaret Atwood

The Children of Men (1992) - P.D. James

The Road (2006) - Cormac McCarthy

The Hunger Games series (2008-2010) - Suzanne Collins

Each of these famous dystopian novels has also been made into a movie, showing how popular the genre is with mass audiences. Elements of dystopian fiction translate well into cinema largely because the worlds are so epic and visually striking.

In this video, Margaret Atwood, author of The Handmaid’s Tale, discusses dystopian speculative fiction and her experience writing dystopian fiction:

While not all allegories are dystopias, dystopias are also almost always allegories. Allegories are stories that comment on and criticize contemporary events, people, policies, etc. The purpose of dystopian fiction as allegory is to serve as a warning about how things could go wrong if we don’t change.

Here's one of the most famous allegories — Plato's Allegory of the Cave.

George Orwell’s 1984 is a defining example of dystopian fiction in that it envisions a future where society is in decline, totalitarianism has created vast inequities, and innate weaknesses of human nature keep the characters in a state of conflict and unhappiness. Unlike utopian novels, which hold hope for the perfectibility of man and the possibility of a just society, dystopian novels like 1984 imply that the human race will only get worse if man’s lust for power and capacity for cruelty go uncorrected.

In 1984, characters live in fear of wars, government surveillance, and political oppression of free speech. The London of the novel is dirty and crumbling, with food shortages, exploding bombs, and miserable citizens. The government is an all-powerful force of oppression and control, and crushes the characters’ identities and dreams. This dystopian vision of the future, written thirty-five years before the year the novel is set, suggests that man’s inherent nature is corrupt and repressive. Orwell wrote the book in the aftermath of World War II and the rise of fascism in Germany and the Soviet Union, and paints a pessimistic picture of society’s ability to avoid further global disasters.

Dystopian fiction usually works backward from the present to find an explanation for the fictional society’s decline, and thus to provide a commentary on the reader’s society or a warning of how the future could turn out. In 1984, as Winston works to acquire objects from the past, find spaces without telescreens or microphones in them, and recover memories of the time before the Party, Orwell provides the reader with glimpses of how Winston’s society came to be. We learn about a nuclear war, a revolution, mass famines, and a period of consolidation of power by the Party.

Dystopian novels explore the effects of oppression and totalitarianism on the individual psyche as well as how the individual functions in a repressive society. Winston’s trouble retrieving and trusting his memories illustrates the way the Party has corrupted his emotional life as well as his daily existence, asking the reader to question the nature of memory and individual consciousness. By suggesting that Winston is initially complacent because he can’t remember whether or not life was better and he was happier before the Revolution, the book examines the importance of memory in creating a sense of self. 

One of the most famous dystopian fiction examples is George Orwell’s 1984 (1948). Orwell's book imagines what England would be like under extreme fascist or totalitarian rule, such as that of Nazi Germany or The Soviet Union. The video below summarizes the novel and illuminates its dystopian elements, including thought police and loss of individuality.

1984 has influenced countless dystopian authors since its publication and has become a cultural touchstone, commonly referenced to describe dystopian threats to the real world. One famous example of its influence is Ridley Scott’s famous Apple commercial, which aired during the 1984 Super Bowl.

In the ad, Apple Macintosh is portrayed as the revolutionary brand bursting through the rigid constraints of the thought police.

2) What according to you is the central theme of this novel? 

The primary theme of 1984 by George Orwell is to warn readers of the dangers of totalitarianism. The central focus of the book is to convey the extreme level of control and power possible under a truly totalitarian regime. It explores how such a governmental system would impact society and the people who live in it.

According to me, the central theme is the extreme level of Control Orwell gives us the idea of another thinking level. It seems like if that's the kind of people or party in power how they control others. Control of screen, Control on emotion, thoughts, writing, clothes, food everything control by them. 

In novel there are thought police who thing again party or break the rules the caught them and give torture them at end those people love the party, they control food gram of chocolate in Rashan, people were clothes same every place big screen and speaker is very torture one or another way they only speak about war and other things you not find Peace for one second they control others language also. 

3) What do you understand by the term Orwellian? 

Meaning of Orwellian

used to describe a political system in which the government tries to control every part of people's lives, similar to that described in the novel "Nineteen Eighty Four", by George Orwell

"Orwellian" is an adjective describing a situation, idea, or societal condition that George Orwell identified as being destructive to the welfare of a free and open society. It denotes an attitude and a brutal policy of draconian control by propaganda, surveillance, disinformation, denial of truth (doublethink), and manipulation of the past, including the "unperson"a person whose past existence is expunged from the public record and memory, practiced by modern repressive governments. Often, this includes the circumstances depicted in his novels, particularly Nineteen Eighty-Four but political doublespeak is criticized throughout his work, such as in Politics and the English Language.

The term Orwellian according to me is like Actopase. Shaping over thoughts and opinions. 

4) Write in brief about 'Newspeak' and refer to Orwell & Pinter's essay? 

Newspeak is the fictional language of Oceania, a totalitarian superstate that is the setting of the 1949 dystopian novel Nineteen Eighty-Four, by George Orwell. In the novel, the Party created Newspeak   to meet the ideological requirements of Ingsoc (English Socialism) in Oceania. Newspeak is a controlled language of simplified grammar and restricted vocabulary designed to limit the individual's ability to think and articulate "subversive" concepts such as personal identity, self-expression and free will. Such concepts are criminalized as thoughtcrime since they contradict the prevailing Ingsoc orthodoxy.

In "The Principles of Newspeak", the appendix to the novel, Orwell explains that Newspeak follows most of the rules of English grammar, yet is a language characterised by a continually diminishing vocabulary; complete thoughts are reduced to simple terms of simplistic meaning. The political contractions of Newspeak Ingsoc (English Socialism), Minitrue (Ministry of Truth), Miniplenty (Ministry of Plenty)are described by Orwell as similar to real examples of German and Russian contractions in the 20th century. Like Nazi (Nationalsozialist), Gestapo (Geheime Staatspolizei), politburo (Political Bureau of the Central Committee of the Communist Party of the Soviet Union), Comintern (Communist International), kolkhoz (collective farm), and Komsomol (Young Communists' League), the contractions in Newspeak, often syllabic abbreviations, are supposed to have a political function already in virtue of their abbreviated structure itself: nice sounding and easily pronounceable, their purpose is to mask all ideological content from the speaker.

The word "Newspeak" is sometimes used in contemporary political debate as an allegation that one tries to introduce new meanings of words to suit one's agenda.

The language used in Nineteen Eighty-Four is deceptive and manipulative how the politician hijacks language. Orwell says in the essay laziness of writers favouring capitalism. Pinter says politician voice is power or maintain power not for truth. 

. 

 Also Social media plays a vital role in the use of such language. It uses the language add friend and unfriend they don't use the word enemy. Through this they try to show how they spread love and not hatred, while we the algorithms of social media play a major role in spreading hatred.

Playing with words, back in 2012 came the idea of ‘chowkidar’-  ‘mein chowkidar’ which gives a hidden meaning that you are ‘chor’ - enemies and I will take care that you can't steal anything. Public is chor and authority is chowkidar.

Thinking Activity on Great Dictator

Thinking Activity on Great Dictator

Hello reader

This blog is response task given by my teacher after study history we are seen movie The Great Dictator and this is blog about frame study and i am trying to connect with over now days great politian. 

In 1938, the world's most famous movie star began to prepare a film about the monster of the 20th century. Charlie Chaplin looked a little like Adolf Hitler, in part because Hitler had chosen the same toothbrush moustache as the Little Tramp. Exploiting that resemblance, Chaplin devised a satire in which the dictator and a Jewish barber from the ghetto would be mistaken for each other. The result, released in 1940, was "The Great Dictator," Chaplin's first talking picture and the highest-grossing of his career, although it would cause him great difficulties and indirectly lead to his long exile from the United States.

Chaplin's film, aimed obviously and scornfully at Hitler himself, could only have been funny, he says in his autobiography, if he had not yet known the full extent of the Nazi evil. As it was, the film's mockery of Hitler got it banned in Spain, Italy and neutral Ireland. But in America and elsewhere, it played with an impact that, today, may be hard to imagine. There had never been any fictional character as universally beloved as the Little Tramp, and although Chaplin was technically not playing the Tramp in "The Great Dictator," he looked just like him, this time not in a comic fable but a political satire.

In 1940, this would have played as very highly charged, because Chaplin was launching his comic persona against Hitler in an attempt, largely successful, to ridicule him as a clown. Audiences reacted strongly to the film's humor; it won five Oscar nominations, for picture, actor, supporting actor (Oakie), screenplay and music (Meredith Willson). But audiences at the time, and ever since, have felt that the film comes to a dead end when the barber, impersonating Hynkel, delivers a monologue of more than three minutes which represents Chaplin's own views. 

Hierarchical system of society makes the communal, Racial, Powered as well as Religious descrimination. Why are some people or communities seen as minority or inferior? There is possibility of some Prejudicial Elements behind that.

So, When studying the first frame of the movie, in which there are two photos one is from back and another one is from front. Now the man who is standing at the first position if Jew Soldier. So, What this frame implies is that When it comes to taking advantage, Jew are at last in raw and When it comes to taking Risk Jew is at first. So, The officers in power orders Jew to check the defected missile on the risk of his life. So, It shows the Hierarchical structures in bureaucratic services of Germany where Jews are subaltern and do not have the right to speak. This is what Antony Gramsci wants to prove by his term 'Subaltern' which is developed by him after observing his hegemonic structure of Bureaucracies.

Now another Image is the Shop of Jew. Now this particular frame demonstrates the Predominant Prejudice towards Jews. If we look at the historical context of why there is too much hatred towards Jews then we come to know that it is not Hitler who only hates Jews, But this kind of treatment towards Jews is from the Middle ages. You can see the below picture which is of 1353 - in which Burning of Jews is portrayed. They are blamed for the spread of The Great Plague in Europe which is also known as Black Death. So, What this Frame explains is that, Tomainia is a country which is depicted in movies. In which if there is any shop of Jew then Authority overpowered that shop and can write that this is the Shop of Jew in a big 'Capital Words.' So, The movie try to condemned the very idea of Anti-Semitism.

In order to gain favors and acceptance, politicians tend to touch the soft corners of public which is children. Such political stunts are still relevant in today's time. Politicians knows the mass psychology and also know how to win people's heart. In order to collect vote majority they follow such practices. The face of Hynkel shows the hypocrisy of politics.

If we can connect this image of now days Dictator Vladimir Putin is best example how he cruel or Dictator on the Ukraine people or nowadays war. 

People in power enjoy the leisure activities and make their schedule as busy as possible so that they can create an impact on the public and make public think that our leader is doing many activities at a time and still has some time to think about us - public.

The dream sequence begins after Garbage's dialogue. Hynkel's hunger for power is highlighted in this frame. He plays with the balloon which is printed as world map. He dreams to be the great dictator of the world.

They play with earth and play with human life as a dictator they make War they think War is peace but War destroy everything. 

 This is the great speech by Charlie in this movie. That  everyone has Right of freedom. Humanity is important than power, here I'm  talking about which  power through one can harm other not do good  things. Here this speech is apply on t all human beings .

Thinking Activity on Waiting for Godot

Thinking Activity on the Waiting for Godot

Hello reader this blog is response task given by my teacher Dr. Dilip barad in this blog after seen movie I am trying to give answer. 

1.In both Acts, evening falls into night and moon rises. How would you like to interpret this 'coming of night and moon' when actually they are waiting for Godot. 

Evening falls into night and Moon rises I would like to Interpret that as a positive or Negative both ways if go into Archetypral reading Night is symbol of Darkness and sad. In this play this is also as sad and boringness waiting for Godot to another day it is also negative and useless if we seen this night interpretion as a positive way night is positive waiting for another day to come Godot.if we seen over daily life night is also symbol of Positive triedness  of whole day we come home sleep and forgel whole day's suffering, pain and disaster. 

2.The Director feels the setting with some debris. Can you read any meaning in the contour of debris in the setting of the play? 

Play setting with some debris this play setting on the after World War 2 I think that's why director uses debris in the play like war hunt everything of people and also after war people lost everything because of bomb and attack, loose of people, shelterless but capitalist or if we interpret as God or followers because of them made war everyone suffer for them but they not care people waiting for Godot or God to make situation different like Indian philosophy wait for 'Kalaki' avtaar. 

3.Do you agree: “The play (Waiting for Godot), we agreed, was a positive play, not negative, not pessimistic. As I saw it, with my blood and skin and eyes, the philosophy is: 'No matter what— atom bombs, hydrogen bombs, anything—life goes on. You can kill yourself, but you can't kill life." (E.G. Marshal who played Vladimir in original Broadway production 1950s)?

I agree this play was positive play.In over whole life we wait for over Godot. In this play end with hope to another day to come Godot. If we seen over life goes on in any situation like over nowadays life Ukraine, Russia War kill many people Bomb, shelterless, debris but over life goes on we celebrate over festival we live over life with joy in same world same time also we seen corona virus time many people died most of people lost their employment for some people is vacation and they spending time with family they play games like ludo, cards. I remember one trending song life goes on.. On.. 

4.Do you think that the obedience of Lucky is extremely irritating and nauseatic? Even when the master Pozzo is blind, he obediently hands the whip in his hand. Do you think that such a capacity of slavishness is unbelievable?

Lucky is extremely irritating and nauseatic he was slave tied with a rope, carry luggage Basket his behaviour is so irritating After his Master Pozzo blind his behavior is same he give the Rope his Master behave like animal after seen Lucky's behaviour I remember one story which I listen in My Childhood little Elephant cub hold with Iron Chain everyday. After become young Elephant hold with thin rope it thinks like this is also iron chain and it was never try to broken it like lucky is Elephant habit of Rope. 

5.Do you think that plays like this can better be ‘read’ than ‘viewed’ as it requires a lot of thinking on the part of readers, while viewing, the torrent of dialogues does not give ample time and space to ‘think’? Or is it that the audio-visuals help in better understanding of the play?

Reading and Watching both is better but viewing play as a movie is different experience we visual symbol tree with Leaf,debris,moon Rises description of Lucky and pozzo visual is better to understand but if we going to Justify dialogue read is more appropriate in watching play dialogue going to very fast not fully capture and laugh on that difficult to understand. 

6.Which of the following sequence you liked the most:

o   Vladimir – Estragon killing time in questions and conversations while waiting

o   Pozzo – Lucky episode in both acts

o   Conversation of Vladimir with the boy. 

Vladimir and Estragon killing time in question and conversation while waiting. This sequence I like most specially they are taking of Bible and Gospel Estragon not know anything or some dialogue like 

"Nothing to be done"

"No one comes no one goes it's awful "

"People are bloody ignorant apes"

Every time Estagon forgets why they are here, the answer given by Estragon is More interesting and Reality of life.

There is some cartoon image of Vladimir and Estrogan