1984 George Orwell

George Orwell wrote at least thirteen letters to Siegfried Charoux
which appear to be unknown to Orwell scholars. Twelve of these were
handwritten from beds in three different hospitals, and one typed,
at Orwell’s home on the Isle of Jura. Darcy Moore reflects on what
these letters tell us about Orwell, including the writer’s sentimental
attachment to ancestral portraits.

Am 02.September 2015 verstarb Aylan Kurdi. Aylan Kurdi war ein dreijähriger Junge syrischer Herkunft. Aylan floh mit seiner Familie vor dem syrischen Bürgerkrieg. Die lebensgefährliche und tödliche Route über das Ägäische Meer nach Griechenland kostete Aylan, seinem Bruder Galip und deren Mutter Rehan ihr Leben, Der Vater Abdullah überlebte. Aylans lebloser Körper wurde an die türkische Küste, in der Nähe von Bodrum gespült. Aylan, bekleidet mit einem roten T-Shirt, einer blauen Hose und schwarzen Schuhen lag auf dem Bauch, mit dem Kopf zum Meer gewandt am Strand. Diese Bild ging um die Welt und löste eine neue Debatte rund um Flucht, Migration und Humanität aus. Weiterhin wurden auch medienethische Forderungen laut, wie mit Bilden wie diesen umgegangen werden soll und ob es ethisch verantwortlich sei, ein Bild wie dieses von Aylan Kurdi zu veröffentlichen oder nicht. Das Bild warf auch Fragen nach einer ethischen Haltung, in einer Gesellschaft, auf. Wie muss sich in Zukunft zu Migration, Flucht und Krieg verhalten werden? Soll dieses Bild gezeigt werden? Wie gehen wir mit dem Tod eines Kindes um? Ist dieses Leid darstellbar? Das Bild wurde als Ikonographie der "Flüchtlingskriese" bezeichnet und der Tod Aylan Kurdis würde der "Krise" um Flucht und Migration ein Gesicht geben. Vor allem zeigt dieses Bild jedoch eines. Eine Vulnerabilität. Eine Vulnerabilität die uns alle betrifft. Eine Vulnerabilität, welche uns abhängig voneinander macht und zeigt, dass wir aufeinander angewiesen sind. In dieser Seminararbeit werde ich mich auf dieses Konzept der Vulnerabilität, nach Butler, beziehen. Neben dem Konzept der Vulnerabilität werde ich ebenfalls die Betrauerbarkeit eines Lebens aufführen. Diese Betrauerbarkeit hängt eng mit der Anerkennung von Leben zusammen. Butler stellt sich unter anderem auch die Frage nach einem lebbaren Leben für alle Lebewesen und stellt die These auf, dass nicht alle Lebewesen gleichermaßen betrauerbar sind. Hierfür sind diskursive Rahmen und Normen verantwortlich. Ein zentraler Aspekt Butlers ethischen und politischen Arbeit ist die Verletzbarkeit.

El objetivo del siguiente trabajo es hacer un análisis de la relación entre los conceptos de utopía y distopía para destacar que, en el contexto de la pluralidad propio de las sociedades contemporáneas, es necesaria una redefinición de la utopía en tanto que ambos conceptos comparten la pretensión de homogeneidad como requisito para la estabilidad social.

The way we think, observe and experience the world around us are either wholly or largely conditioned by the ruling party we are living under. As a rational being, it is our power to use our own consciousness to determine our existence but we are failing to use our power since it is taken over by others. We have become the puppet of the state fathers who are possessing the world as well as the people for which they are given the right to determine our existence. We can only move if they pull our strings. That is how Orwell portrayed the Big Brother in 1984 where people of Oceania are being controlled both subtly and directly. This subtle control over our psyche is not only in the novel but also visible in our everyday life; in fact in our contemporary states, where we sell our life for the vague hope of utopia. We are doing nothing but giving our consent by falling into their interpellation. Hence, this paper aims to show whether like Winston, we are responsible for our robotic life or it is the interpellation of the big brothers. It, specifically, compares between surveillance for our safety and invasion of our privacy. Further, the paper applies Antonio Gramsci and Louise Althusser's idea of state apparatus and interpellation as well as Bentham's panopticon to show how the modern life has become a modern-day-prison like panopticon. Lastly, it concludes showing how privacy has become a myth and argues between state captivity and security to give a firm concusion.

Keywords: hegemony, privacy, security, state apparatus, puppet, prison, dystopia

Every novel creates its own map, with its places of dwelling and meeting and conflict, its infrastructure of communication, its borderlands, its inaccessible or disputed spaces. Nineteen Eighty-Four has at least two, showing the topography of its personal and its geopolitical life: the relatively restricted landscape through which Winston Smith moves – basically urban, with one excursion to the countryside – and the global context shaped by the brutal political realities of Orwell’s imagined future. These geographies are virtual, in the sense that they are fictional, but in other ways too. The geopolitical map of Nineteen Eighty-Four is a story inscribed by ideological forces on the physical geography of the planet. The story, and the map, may change from one minute to the next. Only in a very qualified way could we describe it as the real world, even in the restricted terms of the novel. For Winston Smith it is certainly less real, less present to him, than the Golden Country he dreams about, waking with the word “Shakespeare” on his lips (36).  This essay investigates Nineteen Eighty-Four’s geography of interiority, social interaction and private space, expressed for the most part in novelistic discourse, and that of Oceania, Eurasia and Eastasia, created in journalistic or strategic language.

Guin's (1972) The Word for the World Is Forest was written when the social awareness against all forms of dystopian values such as rational dualistic values, patriarchal hierarchy, anthropocentric instrumentality, and all forms of oppression and exploitation was promoted by modern ecological movements and the new wave of feminism in the 1960s and 1970s. Guin's speculative novella challenges the abovementioned dystopian values and suggests an ecological ethics which include principles such as respect, care, love, mutuality, friendship, interdependency, equality, freedom, solidarity, responsibility, and the interrelationship between man and nature; it recognizes the differences and diversity of all the living and nonliving members of nature. To reach these ethical principles human beings need undergo a fundamental change and transformation in their way of thinking and their belief system all in all, which will result in a healthy society and ecosystem and a better place for life for the members of nature. This paper is a study of such a strategy in Guin's (1972) The Word for the World Is Forest by benefiting from the theories set forth by ecofeminist philosophers Warren (2000), Plumwood (1993), and Merchant (1990) to show how the writer manifests the patterns of domination and oppression of nature and what kind of ecological ethics are emphasized in order to help man save life on Earth.

The object of study in this essay is totalitarianism. This concept will be analysed and developed according to the idea which states that twentieth century literature shows the hopelessness of confronting an overpowering state structure. I will argue on this idea within the analysis of the novel Nineteen Eighty-Four by George Orwell, and for a better understanding of my analysis, I will take into consideration the film Star Wars: Episode IV – A New Hope by George Lucas since both, novel and film, have in common a totalitarian state that makes use of fascism to legitimise its power.

The object of study in this essay is totalitarianism. This concept will be analysed and developed according to the idea which states that twentieth century literature shows the hopelessness of confronting an overpowering state structure. I will argue on this idea within the analysis of the novel Nineteen Eighty-Four by George Orwell, and for a better understanding of my analysis, I will take into consideration the film Star Wars: Episode IV – A New Hope by George Lucas since both, novel and film, have in common a totalitarian state that makes use of fascism to legitimise its power.

This academic paper explores the complex web of psychological manipulation orchestrated by Big Brother in George Orwell's 1984, examining the profound impact on individuals' psychology. Drawing from a watchful analysis of the novel and of diverse scholarly articles on Orwell's 1984, the theoretical framework integrates Hannah Arendt's "The Origins of Totalitarianism" and Dr. Robert Cialdini's "Influence: The Psychology of Persuasion." The primary objectives is to unknot the complex dimensions of Big Brother's influence, exploring how totalitarianism shapes belief systems, utilizing doublethink as a manipulative tool and how they successfully persuade psychology. The research investigates the shades of psychological persuasion and analyzes Big Brother's mechanism of control, authority, and obedience. Doublethink, Newspeak, telescreens, and pervasive surveillance acted as a tool to manipulate precisely the collective mindset of the dystopian society, shaping individual and collective consciousness. Show casing the complexities of mind control in Orwell's dystopian masterpiece.

George Orwell"s "Animal Farm" along with "Nineteen Eighty Four" attempts at representing an exploration of complex propaganda, power dynamics, and corruption. In history we clearly examined that a dictator uses different strategies to control its population via direct or indirect controlling method. Through a meticulous analysis of the novel this study investigate the role propaganda, a totalitarian tool, in shaping the authority and how that leads to discernible power imbalance and entrenched inequalities among the characters. Grounded in Hannah Arendt"s "The Origins of Totalitarianism" the research draws parallels between the fictional realms of Animal Farm and Arendt"s conceptual framework. The crux of this research is to show the impermissible use of totalitarian propaganda to hold power, how the pigs used it for corruption and personal gain. The emergence of inequality among the characters is evident of it. Narrative exploration of Animal Farm is the primary source for the data collection, supporting ideas and specific lines has been quoted. Secondary data has been taken from numerous journal"s research papers, articles, and different websites making a ground base for research. This research contributes to a detailed understanding of the consequences of propaganda resonating far beyond fiction to shed light on the complex aspects of authority inside the narrative.

BEN:
BATILI ÜLKELER İÇİN "hangi demokrasi" DİYE SORMAK İSTİYORUM. ÖRNEĞİN TÜRKİYE'DE TEK ADAM REJİMİ VAR, DEMOKRASİ YARA ALMIŞ AMA DİJİTAL ÇAĞDA DEMOKRATİK OLDUKLARI İLERİ SÜRÜLEN ÜLKELERDE "HASHTAG MÜHENDİSLİĞİ / BOT HESAPLAR / TROLL ORDUSU / ALGORİTMA MANİPULASYONU" VARKEN, ONLARIN DA GERÇEK ANLAMDA VE GÜÇLÜ DEMOKRASİ KOŞULLARINDA OLDUKLARINI İLERİ SÜRMEK NE KADAR DOĞRUDUR?

Podcast listening among Indian youth has increased significantly in the post-Covid era, as has discourse on mental health. Podcasts are audio-based new media that have shown the potential to facilitate storytelling and engage listeners into effective communication. The introduction of Web 2.0 in the late 1990s resulted in an increase in access and usage of new media technologies. New media interventions in the emerging media paradigm have the potential to bring up stigmatized conversations related to mental health and foster mindfulness amongst individuals. Mindfulness requires intrapersonal communication wherein an individual seeks self-awareness to work towards their mental wellbeing. Podcasting's increasing appeal has the potential to improve listeners' mental health by providing an atmosphere for freedom of expression, learning, and motivation. The study aims to explore the affective nature of an aural medium like a podcast that serves the listeners with a sensorial experience of listening and imagining that can also act as sound therapy to facilitate mindfulness. The research will be carried out using content analysis of selected podcasts that feature content promoting mindfulness. The study will focus on the narrative text of selected podcasts. The qualitative study used focus group discussions with postgraduate media students selected through a purposive sample of participants who listen to podcasts to keep their mental health in check. The discussion consisted of conversations to understand the various genres of podcasts and shows that the listeners listen to, their motivations, interests, and attitudes behind the listeners seeking the help of an audio based new media technology for mindfulness. The findings of the research laid out potential benefits of the affective and sensorial nature of the medium and challenges of the podcast format to seek mental wellbeing in self-isolation.

Set in a society with complete governmental control, George Orwell’s Nineteen Eighty-Four is a dystopian novel that criticizes a totalitarian regime in the postcolonial world. Considered to be a universal warning to the human race. The book explores themes of surveillance and constant propaganda, as well as its psychological impact on the characters. In this paper, a totalitarian policy, the abuse of power, the denial of self and the eradication of history are focused upon. Therefore, this research
paper aims at examining the effects by analyzing the causes, employing both a Marxist and a Psychoanalytical perspective. The central characters being Winston Smith and Big Brother: The object to be watched and the watcher, will lead us to nightmarish reality.

Las obras de ciencia ficción 1984 de George Orwell y Rendición de Ray Loriga se categorizan como distopías. En ellas se refleja un mundo ficticio alejado de forma espacio temporal, pero que revela o advierte de la realidad tangible. Teniendo estas obras como base, se pretende analizar cómo influye el control del pasado (mediante la modificación del lenguaje y las nuevas prohibiciones o libertades) en las personas, sus pensamientos y su futuro.

Mi sono convinto, da solo, che con il variare del tempo varia anche il volume della massa, quindi se per l'ipotesi fantasiosa un viaggiatore del tempo, tramite una perturbazione temporale andasse a finire nel passato si troverebbe un gigante in un mondo minuto, se invece andasse a finire nel futuro si troverebbe un mondo ingigantito. Insomma, a mio avviso, la famosa equazione di Einstein bisogna interpretarla diversamente, ma la mia è solo fantasia. Con la relatività e la quantistica la realtà attorno è divenuta così aperta a ipotetiche teorie da dubitare della consistenza reale di ogni cosa. Però noi uomini possiamo essere certi solo della meschinità della nostra specie. Possiamo costatare quando l'uomo è minuto, meschino e cajordo 1 in questo terzo millennio, con i suoi droni, bombe, intelligenza artificiale. Vi è poco e niente di buono nell'uomo occidentale. In questi ultimi giorni ho ascoltato dei discorsi assurdi, forse meno ipocriti, ma assolutamente meschini. Qualcuno si sente alto più di un campanile e invece misura solo sei pollici 2 , quanto un lillipuziano, urla infervorato dalla sua arroganza, ma non si è reso ancora conto delle sue vere dimensioni.

Orwell's creativity in placing unexpired and timeless image adhered to the novels of "Animal Farm" and "Nineteen Ninety Four" that coincided with political scenarios whose occurrence dated back to approximately not more than fifty or sixty decades ago. But in such a way these images repapered, reproduced, and interconnected with similar situations, political incidents and scenarios in both 20 th and 21 st centuries. The researchers critically analyzed the characters' acts in both novels underlining the political images and its insinuations that the writer displayed not only for criticizing the political systems and regimes at that time but also for foreseeing his readers' future which will witness the repetition of the same scenarios. The article proved how the images appeared in Orwell's novels will remain as a mirror of renewable incidents as long as the dirty games in politics will never be over or removed. Finally, the article concluded with that the political ideology and scenarios in Orwell's "Animal Farm" and "Nineteen Ninety Four" akin to such scenarios and incidents in truth in addition to the timeless qualities of his works which still appeal for readers of different generations and different cultures.

This paper was basically set to uncover the veil of George Orwell's creativity in placing unexpired and timeless image adhered to the novels of "Animal Farm" and "Nineteen Ninety Four" that coincided with political scenarios whose occurrence dated back to approximately not more than fifty or sixty decades ago. But in such a way these images repapered, reproduced, and interconnected with similar situations, political incidents and scenarios in both 20 th and 21 st centuries. The researchers critically analyzed the characters' acts in both novels underlining the political images and its insinuations that the writer displayed not only for criticizing the political systems and regimes at that time but also for foreseeing his readers' future which will witness the repetition of the same scenarios. The article proved how the images appeared in Orwell's novels will remain as a mirror of renewable incidents as long as the dirty games in politics will never be over or removed. Finally, the article concluded with that the political ideology and scenarios in Orwell's "Animal Farm" and "Nineteen Ninety Four" akin to such scenarios and incidents in truth in addition to the timeless qualities of his works which still appeal for readers of different generations and different cultures.

This essay explores what kind of language we speak when war engulfs us, when we are awakened by chaos and "the noise of Russian helicopters. "[1] Personally, I have never endured such an experience; however, I have spent the past three years listening carefully to Ukrainians who have experienced and presently are experiencing this chaotic nightmare. As a hermeneutical philosopher, I believe that words can and do disclose truth and reality, including the painful, stark realities of war. I also believe that those like Oleksandr Mykhed, who have witnessed the hell of war and have provided a testimony of their experiences, deserve to be heard, and that in opening ourselves to the harsh truths that they voice, we can come to see ourselves in bonds of solidarity with them, both as fellow human beings and as those who share our democratic and humanistic values.

The changes experienced in contemporary society for the use of technology, social interactions and new market demands open doors for the insertion of mobile technology in learning environments since the notion of time and space has changed in the design of the new generations. Through the understanding of the need to extend and rethink the existing teaching and learning models, this article deals with

Imām Muḥammad Siam Hafeez Saqibi (Kanz ul Huda)

This paper explores the intersection of George Orwell’s critique of totalitarianism and Allama Iqbal’s vision for Muslim intellectual and spiritual revival, drawing parallels between Orwell’s *1984* and contemporary social and political realities. It examines how Orwell, shaped by the British imperial system, and Iqbal, a product of colonial rule, both sought to expose mechanisms of control—one through state propaganda and surveillance, the other through the internalized subjugation of the Muslim mind. 

The study highlights Orwell’s warnings about mass manipulation, where truth is dictated by authority, and relates them to Iqbal’s concerns about Muslims surrendering their intellectual agency to Western paradigms. It argues that modern digital surveillance, social media influence, and cultural hegemony function as contemporary manifestations of Orwellian control, subtly dictating beliefs, identities, and aspirations. Simultaneously, the colonial mindset among many Muslims perpetuates intellectual dependency, erasing confidence in their own heritage. 

By synthesizing Orwell’s dystopian themes with Iqbal’s call for self-reawakening, this paper presents a critical analysis of how narratives shape reality. It concludes that true liberation—whether from Orwellian control or colonial subjugation—requires reclaiming intellectual autonomy, reviving confidence in authentic principles, and resisting imposed frameworks that distort self-identity.

This article attempts to identify some of the sources from which Zamyatin's imagination draws to structure the 'One State', the 30th century society in which the action of his novel "We" takes place. The research highlights trends that characterised the historical period roughly defined as the half century from 1870 to 1920. By associating "We" with specific historical situations this study explores the relationship that binds fantasy to the historical-social context in which it is created.

Venerdì 24 gennaio 2025 il prof. Antonio Malo ha presentato nell'aula magna della LUMSA di Palermo i risultati delle sue ricerche rigorose su un fenomeno da tempo costantemente sotto i riflettori, il cosiddetto "risveglio", ricerche raccolte nel voluminoso saggio Vittime e oppressori. L'ideologia Woke (EDUSC, Roma 2024).

The twentieth century not only saw a dramatic increase in dystopian accounts of science and technology, it also saw a resurgence of utopian depictions of science and technology, even if the former are better known today than the latter. A very good example of the former is Aldous Huxley's Brave New World, while an example of the latter is Hugo Gernsback's novel Ralph 124C 41+ (1925). In this novel and the enormously popular magazine Amazing Stories Gernsback found in 1926, we find a glorification of the scientist and the role he will play in bringing about a utopian future. But these are not the only stances that are taken on science and technology in the twentieth century. George Orwell offers a third interpretation of the role of science and technology. In Nineteen Eighty-four, he portrays science as the main line of defense against totalitarianism. For Orwell this is summed up in the equation 2+2=4. Not surprisingly, all efforts of the Party are devoted to making people believe that 2+2=5; ultimately through torture. If the Party can manipulate reality and people's minds they can achieve absolute power. To be sure, Orwell describes negative uses of technology, but this is not because technology is bad in itself, but because of the uses to which the totalitarian regime puts it. Despite the pessimistic ending of the novel, with the main character Winston Smith acknowledging his love for Big Brother, Orwell holds that a totalitarian regime can not last forever, simply because 2+2 cannot equal 5. Any attempt to establish a society based on this illogical premise is bound to fail. By refusing to observe the basic laws of science the totalitarian system falls apart.

This essay investigates George Orwell's conception of totalitarianism, starting with his initial writings on the Soviet Union and Stalinism in the late 1930s, and finishing with his two most popular novels, Animal Farm and Nineteen Eighty-Four. It shows that his views on the topic were influenced by his experiences during the Spanish Civil War, his attention to events in the Soviet Union and wartime Britain, and his observations of left-wing intellectuals and the ambiguous attitude of some of them towards the question of individual freedom and independent thinking. The essay concludes that Orwell was able to provide vivid descriptions of political and social phenomena but was hindered by his inability to offer a convincing explanation of what he described, which enabled his last two novels to be used by his political enemies as propaganda weapons against the idea of socialism.

This study examines the retranslations of George Orwell's 1984 into Turkish within the framework of French sociologist Pierre Bourdieu's concept of capital. Orwell's masterpiece, first published in 1949, has been translated into at least 65 languages and read by millions of people. It was initially translated into Turkish in 1958 and has been

Մասնագիտական բազմալեզու հանդեսը խնդիր ունի նպաստելու հայագիտական կենտրոնների միջև միջազգային համագործակցության սերտացմանը, խթանելու Հայաստանի պատմության ու մշակույթի համակողմանի հետազոտությունների իրականացմանը, նոր հարցադրումներով համալրելու պատմական իրադարձությունների քննական վերլուծությունները, դիմագրավելու Հայաստանի պատմության խեղաթյուրումներին ու շահարկումներին, քննարկելու հայագիտության հետագա զարգացմանը խոչընդոտող գործոնների ու հանգամանքների հաղթահարման ուղիները, նորովի լուսաբանելու Հայաստանի պատմության հիմնահարցերը, օժանդակելու ձերբազատվել կաղապարներից և գիտական շրջանակներին ու հանրությանը ներկայացնել ճշմարտությունը:
The establishment of this multilingual journal is called upon to facilitate the enhancement of International cooperation among the centers of Armenian Studies, to stimulate the multifaceted research of Armenian History and Culture, to add new focal points to the critical analysis of historical events, to counter the distortions and manipulations of the Armenian history, to discuss the methods of refuting the factors impeding further development of Armenian Studies, so as to shed a new light on the principal issues of Armenia’s history, helping to get rid of the stagnant templates and to present the truth to the scholarly circles and the public at large.

Far from a naïve optimism a la Candide, Bloch's lesson for the age of climate change could be as follows: whatever the apologists for the bourgeois grisaille of capitalist realism may say, a new political imaginary is absolutely necessary if we are to think of an alternative to the unsustainable status quo. And a concept of daydreaming that goes beyond its bourgeois caricature is an integral part of this new imaginary.

Textul de față este un comentariu la criza Facultății de Teatru și Film din Budapesta (2020) unde, după luni de proteste, guvernul a decis schimbarea conducerii și, prin acest ”instrument” a curriculei de învățământ. Fac trimitere la România anilor 80, în care Constantin Noica propunea soluția supraviețuirii prin cultură. Din păcate, în ambele state, cultura este anexată politicului, în special prin oamenii angajați să o gestioneze și finanțeze. Ea pare, și azi, un instrument politic mai presus decât o sferă autonomă și, eventual, un refugiu

This essay considers how 'perspective' and 'choice of language' in George Orwell's novel, Nineteen Eighty-Four, position the reader and contribute to the text's representation of power, powerplay and people power. 1 The aims of this essay can be restated in the form of two key questions. What specific features of the narrative in Orwell's Nineteen Eighty-Four construct the text's representation of power, and of powerplay? How do those features position the responder to think and feel about political power and about whether there can be people power? It is important to distinguish, at the outset, between 'narrative', as a general term for story or the telling of story, and 'the novel', as a particular medium or form of narrative. Narratives are everywhere in culture. Not only are they integral to novels but they also permeate films, news reports, and even the everyday stories we use to make sense of life. Narratives always position the listener, reader, or responder in particular ways, expressing partial truths, and creating or constructing certain views of reality while minimizing or excluding others. The novel, on the other hand, is a specific textual form that developed, in the medium of print, during the last three hundred years or so in European societies. Not all cultures and societies have given rise to 'novels', though all have told stories, in visual, oral, or written forms. The European novel's popularity peaked in the nineteenth century. Though in the twentieth century film has eclipsed the novel as predominant narrative form, the novel still remains highly popular and has spread worldwide. For its readers, the novel is such an everyday brough nd similar papers at core.ac.uk

O presente artigo tem como objetivo principal analisar como as obras de George Orwell (1903-50) se apresentam tendo como foco principal a preocupação irrestrita com as liberdades individuais duramente conquistadas ao longo dos séculos; denunciando muitas das vezes, as entranhas dos mecanismos de dominação utilizados pelo totalitarismo político qualquer fosse seu viés ideológico. Imbuído, pois, de uma visão crítica privilegiada Orwell tratou de caracterizar em sua ficção a tecnologia como uma ferramenta crucial nesse sentido. Assim, pode-se constatar como as chamadas “novas tecnologias” têm contribuído para escrutinar a vida dos cidadãos em geral no tocante aos dispositivos tecnológicos somados a geração de dados; não somente governos, mas como as chamadas bigtechs vêm fazendo uso unilateralmente do banco de dados de seus usuários para fins nada convencionais. Sob a luz, portanto, de teóricos como Bauman (2013), Foucault (1987), La Boétie (1999) e Marx (1964), buscaremos analisar algumas destas questões problematizadas fortemente abordadas em “1984” especificamente quando do uso tecnológico das chamadas “teletelas”, um dos dispositivos mais eficientes de vigilância e dominação do “Grande Irmão”.

This paper analyses the narrative language, style and textual configurations in Cormac Mc Carthy's The Road in light of its satirical stance and dystopian perspective. It seeks to evince the strong correlation between the linguistic and textual configurations and the moral, aesthetic and philosophical underpinnings in the novel. Mc Carthy's style in this novel bears the seeds of a deep philosophical questioning of the postmodern way of life and its effects on our relation to the real and to the values of altruistic love (agape), sacrifice and freedom. The choice of dystopian satire as a generic frame gives echo to the pessimistic sensibility of the people in post 9/11 America. The analysis of some of the novel's linguistic and stylistic devices shows this strong correlation between the critical perspective of the novel and the language as it displays itself in defamiliarizing arrangements on its narrative fabric.

It's a sad commentary on our age that we find Dystopias a lot easier to believe in than Utopias: Utopias we can only imagine; Dystopias we've already had 1 " Dreams of a perfect society, known as utopia, and its negative counterpart, dystopia, have been enduring subjects of literature, art and cinema for ages. Utopian and dystopian narratives function as cultural artifacts that reflect collective aspirations, hopes and fears regarding future developments of humanity. Modernist discourse frequently characterizes utopias as idealized models which represent a perfect society living in harmony. According to this assumption, utopian impulses are always born from dissatisfaction of the individuals with the present. They symbolize a yearning for a better world, a hopeful vision of what could be. Therefore, the imagination of utopias is a response to reality, offering potential solutions to its societal, economic, enviromental, political and educational issues. In this sense, utopias are conceptualized as idyllic realms and associated with alternative models for constructing superior societies. Despite their aspiration towards perfection, utopias are inextricably linked to the imperfections of reality. Thus, they always end up with corruption. When we associate the concept of utopia with the tradition established by Thomas More's seminal text from 1

Totaliterlik sadece siyasal değil aynı zamanda sosyal ve kültürel alanlarda da önemli bir kavramdır. Vatandaşlar üzerinde toptan (total) iktidar uygulamayı amaçlayan totaliter rejimler genellikle distopik eserlerde resmedilmektedir. Bu türden distopyaların belki de en çok bilinen ve okunanı olan George Orwell'in yazdığı Bin Dokuz Yüz Seksen Dört mutlak siyasal otoriteye karşı güçlü eleştirisiyle birçok benzer eseri etkilemiş ve onlara ilham vermiştir. Böyle bir eser Alan Moore ve David Lloyd'un aynı isimli grafik romanından uyarlanan ve James McTeigue tarafından yönetilen V filmidir. Bin Dokuz Yüz Seksen Dört gibi bu film de benzer bir totaliter yönetimi odak noktası yaparak ve yönetim sistemleri ile ilgili soruları gündeme getirerek distopik bir geleceği tasvir etmektedir. Totaliterliğe ilişkin olarak, Bin Dokuz Yüz Seksen Dört'te Okyanusya başında Büyük Birader'in bulunduğu ve basitçe adlandırılan Parti tarafından yönetilirken V'deki yönetici parti Norsefire'ın başında ise Adam Sutler bulunmaktadır. Bu türden benzerlikleri göz önüne alarak, bu çalışma, parti, ideoloji, gözetim, gizli polis, propaganda ve direniş gibi açılardan bu iki eserdeki totaliter sistemleri ortaya koymayı amaçlamaktadır.

Cléo verbringt zwei Stunden ihres Lebens, von 5 bis 7, an einem x-beliebigen Tag, in Paris. Vielleicht, denkt sie, sind es ihre letzten Stunden. Jedenfalls die letzten, in denen das Leben für sie noch so ist, wie es war. Sie wartet auf das Ergebnis einer Krebsuntersuchung, und ihr Gefühl lässt sie nichts Gutes erwarten. Cléo ist die Hauptfigur in Agnès Vardas Film Cléo de 5 à 7 [1961] , in dem sie jedoch nicht wirklich zwei Stunden beobachtet wird, sondern nur solange der Film tatsächlich dauert, nämlich neunzig Minuten, in Kapitel aufgeteilt und sehr genau ›dokumentiert‹ von »Chapitre I, CLÉO de 17h.05 à 17h.08« bis »Chapitre XIII, CLÉO et ANTOINE de 18h.15 à 18h.30«. Der Film begleitet eine Frau, die sich-meist mit Freund/innen-durch ein Paris bewegt, das voller anderer Menschen ist, Autos, Häuser, diverser Details des urbanen Alltags. Mehrmals fährt Cléo mit dem Auto quer durch die Stadt, und die Fahrten dauern nahezu so lange, wie sie wirklich dauern. Sie trifft Personen in einem Café, geht shoppen, geht nach Hause, probt dort mit zwei Musikern, trifft ihren Geliebten, geht am Ende einmal doch alleine aus dem Haus, in den Park, und trifft dort einen Soldaten, der am selben Abend zurückmuss, er ist eingesetzt in Algerien. Mit ihm zusammen fährt sie in die Klinik, um das Ergebnis ihres Tests zu erfahren. Sie hat tatsächlich Krebs, alle diffusen Ängste, die sie vorher hatte, kommen mit einem Mal zum Stillstand: Sie fühlt sich besser. Ihr alltägliches Leben, von Krankheit bedroht, wird im Film aufgewertet, es wird kostbar. Eine Kostbarkeit, mit der der Kamerablick eine ganz selbstverständliche Allianz eingehen kann. Wenn Cléo ihren Alltag wie neu betrachtet-oder wie zum letzten Mal-, so geht es ihr ganz wie jedem/jeder Betrachter/in. Er oder sie sieht Cléos Leben tatsächlich wie neu, auch dann, wenn dieses Leben ganz gewöhnlich aussieht, eben alltäglich. Denn auch dieser Film besteht wie jeder Film, wie ein x-beliebiger Film, aus Sequenzen des (fiktiven) Alltags einer Person. Der Film ist nicht dokumentarisch, Cléo heißt im wirklichen Leben Corinne Marchand, und krank ist sie auch nicht. Eine Schlagersängerin, wie im Film, ist sie allerdings schon. Der Film hat das, was man eine Story nennt, und entsprechend sind die neunzig Minuten im Leben Cléos nicht wirklich identisch mit der gefilmten Zeit. Auch macht die Geschichte, die erzählt wird, durchaus narrativ Sinn: Der Film zeigt, wenn auch zurückhaltend, die innere Entwicklung einer Frau, die sich langsam auf ihre Ängste zu bewegt und sich dabei von den Blicken und Spiegeln ihrer Umgebung freimacht.B Daher funktioniert der Film auch auf metaphorischer Ebene als Erzählung über Ängste, menschliches Miteinander und Zeit. Das starre Korsett der Zeiteinheiten, die pseudowissenschaftliche Akkuratesse der Zeitbestimmungen fügt sich in diese erzählerische Funktion allerdings nicht wirklich ein. Die Zeitbestimmungen machen erzählerisch keinen Sinn, bleiben äußerlich. Das gilt auch für das rohe Aufzeichnen von realen Umgebungen und die Betonung der

Os números das páginas deste e-book correspondem as mesmas do livro impresso, portanto podendo as respectivas numerações serem utilizadas para fins de citação conforme as normas da ABNT. CRÉDITO_DA_CAPA:_George_Orwell_colorizado.Disponívelem:https://ufmg.br/comunicacao/no ticias/obra-de-george-orwell-entra-em-dominio-publico ARTE DA CAPA: Capista Designer Este livro foi revisado segundo o novo Acordo Ortográfico da Língua Portuguesa obrigatória a partir de 2016 conforme acordo assinado em 1990 entre membros da Comunidade de Países de Língua

It is fascinating to observe the evolution of semiotics, which was once
considered a passing trend but has now matured into a multifaceted
discipline with significant interactions across various fields. The fact
that semiotics, focusing on interpreting all types of signs and elucidating
their production processes and underlying motivations, has reached this
stage is not surprising.
Semiotics, which initially interacted with literary studies to develop
itself, test its limits, and put forward a systematic and reliable analytical
reasoning model, today interacts with various fields of science. Due to
this characteristic, semiotics is an interdisciplinary, transdisciplinary,
and even a meta-disciplinary domain or an intermediary sphere.
However, despite the passage of decades, it is evident that there is
still no clear definition of what semiotics is. Therefore, there will be
no clear idea about what semiotics is not when it is not known what
it is. This quite confusing dialectic has been in existence for a long
time. Whether this situation regarding the definition of semiotics is a
unique qualitative feature of semiotics or a blurring of ideas caused by
different types of views is debatable. This situation of semiotics has
the potential to be the subject of discussion in many more studies in
different contexts.
In the first part of this study, a discussion on the identity of semiotics
will be made. The discussion will elucidate whether semiotics is amid
an identity crisis and its reasons. In the second part, the interaction of
semiotics with other knowledge domains, the role of this interaction
in determining its boundaries will be discussed in the context of some
descriptive features used for it, and an evaluation will be made on the
general situation that emerged in the conclusion.

A relação entre distopia e ideologia é intrínseca: a primeira se alimenta da segunda, produzindo realidades ficcionais em que ideologias opostas criam um futuro devastado. Nesse cenário, o medo da tecnologia se aliar a movimentos fascistas ou totalitários é uma constante na série britânica Black mirror, como no episódio Men against fire. Se qualquer movimento fascista depende da criação de monstros, inimigos objetivos para condicionar o ódio e o terror, Men against fire leva essa proposta a um campo mais literal, e o seu movimento fascista/totalitário altera as próprias percepções da realidade para que seja possível exterminar o monstro. Dentro de um arcabouço teórico que mescla textos sobre ideologia, distopia, fascismo e narrativas de monstros, a proposta deste trabalho é discutir o processo de desumanização do inimigo objetivo no fascismo/totalitarismo no episódio. A intenção é que, no cotejo do debate sobre monstros, desumanização e fascismo, seja possível perceber a relação que o fascismo possui com a narrativa de monstros, ao passo em que, paradoxalmente, ele próprio acaba por criar os seus próprios monstros banais.

Thought his career, Orwell was dedicated to exposing political duplicity (British rule in "British India", in particular from his experiences in Burma), social injustices (especially in England and France, where he penned his fist work under the pen name "George Orwell" - Down and Out in Paris and London (1933)).
In the wake of his Spanish Civil War experiences, Homage to Catalonia, was written which details the extensive efforts of Stain's efforts to purge and gain control of the Republican Barcelona government, waring on the POUM (Worker's Party of Marxist Unification) socialist revolutionaries, and the minority of anarchists serving the Republican cause. Stalinism becomes the focus o the book, attempting to draw upon experiences to warn of the future of Stalinism. The two famous books "are the culmination of an intellectual transformation more than two decades in the making," in the view of the author. (p.41)
Orwell was a firm believer in democratic socialism throughout his life and its works. Not all accepted his efforts or his interpretations, leading to period of difficulties in getting writings published. The author also notes, that despite his critiques of social injustices etc., "Orwell really offered constructive solutions, neither did he stand silently by. Rather, he took a frequently controversial and unpopular stand against injustice." (p.161). With this went his objection to written and other censorship efforts by governments - and that applied to the Soviet Union in particular.
The author attempts to bring forward many of his famous - and not so famous - books and ideas into today's world, where authoritarian regimes are attempting to take hold in Eastern Europe, and even the United States. He believed that change must come to England in the social realm in the future, where greater equality would overthrown the caste system that existed in his 1920s thru 1940s era. Orwell passed away in January 1950 - unfortunately, not all had come about in "merry old England", as he had hoped and described in A Brief History of Equality, where redistribution of wealth would occur.
Author Beer's effort to bring his writings into today's world is commendable - and rewards the author with some interesting insights and warnings regards the growth of regimes like Putin's Russia, Orban's Hungary, China's Premier Xi, and others. He prized freedom, hated censorships, and social injustice - all very relevant topics in today's world.

The utopian novel is frequently a secular version of the allegory of paradise, rooted in works such as the medieval poem The Phoenix or Chaucer's Parlement of Fowlys. Similarly to these texts, it invariably includes the device of the dream narrative. Morris's protagonist Will Guest in News from Nowhere (1890) falls into the dream of an Edenic, medieval-style society without mass production or cityscapes (Morris 6). H. G. Wells's unnamed protagonist in A Modern Utopia (1905) finds himself, after falling asleep on a bus (246), in an alternative world which manages to integrate technology effortlessly with nature while maintaining an aesthetic quality, reflecting a greater optimism towards industrialization than professed by Morris and his ilk (72). Like the dream allegory, both these books employ paradisiacal and biblical imagery, as a pointed and self-conscious transformation of prelapsarian conditions to the secular and political. The generic origin of the British dystopian novel is somewhat harder to locate, due to its belatedness as a subgenre, the more necessary portrayal of conflict, and complex relation to the realities of its contemporary worldits absurdities frequently being, as Zamyatin noticed when writing of H. G. Wells, a hyperbolic presentation of contemporary ills as much as a futuristic warning (Zamyatin, "Wells" 270). Erika Gottlieb has argued that

The paper proposed here is based on the understanding of contemporary anti-authoritarian Russian political scientists that the Russian regime until recently proceeded from a kind of social contract, offering the population “peace and economic prosperity in exchange for obedience.” The violation of this social contract through the initiation of the aggressive war in Ukraine in 2022 is examined in the prism of Franz Neumann's doctrine of the Behemoth anti-state, a form in state theory developed in dialogue with Thomas Hobbes.
After examining these philosophical understandings of the social contract, I focus on the symptom matter of contemporary Russian “thought crimes” prosecuting acts of “discreditation the armed forces,” “disseminating fake data about the army,” “appeals to extremism,” “propaganda of extremist ideas” (from Nazism to “LGBT ideology”), and “hurting the feelings of believers.” The proposed analysis justifies the conclusion that a society in which every kind of discontent is stigmatized and there is no room for free action can no longer be explained on the basis of social contract, but is entirely subordinated. Thus, legislation is no longer a carrier of a rational network of instruments of sanction and protection (including against the state), but becomes a series of arbitrary means of repression, among which the authorities are free to choose the most convenient.
The conclusion of the article raises the question of the limits and demarcation of the “information security” tools used by NATO and EU states as well. Thus, I want to demonstrate the threats to the liberal model and its possible inapplicability in times of war as a critically dangerous reality that Europe may face in the current decade.

Le totalitarisme n’est pas le produit accidentel d’une crise sociétale impromptue. Il constitue la dernière carte d’une oligarchie capitaliste aux abois depuis des décennies. Cette crise, énergétique, économique et politique avant tout, mais aussi identitaire et égotique, sociale et culturelle, est au cœur de l’œuvre de Aldous Leonard Huxley (1894–1963) et d’Eric Arthur Blair (1903–1950), qui comptent parmi les romanciers et les essayistes les plus connus du XXe siècle. Ils ont, chacun à sa manière, annoncé la dérive nécrotechnologique et totalitaire des sociétés occidentales. Par-delà le contexte commun, les influences partagées et les recoupements théoriques, il importe de mettre en évidence les divergences de pronostic et, finalement, la complémentarité possible entre les deux dystopies. On nous fait miroiter un totalitarisme bienveillant à la Huxley — vous ne posséderez rien et vous serez heureux — alors qu’on s’achemine résistiblement vers un totalitarisme orwellien : vous serez terrorisés et malheureux de l’être.

Le totalitarisme n’est pas le produit accidentel d’une crise sociétale impromptue. Il constitue la dernière carte d’une oligarchie capitaliste aux abois depuis des décennies. Cette crise, énergétique, économique et politique avant tout, mais aussi identitaire et égotique, sociale et culturelle, est au cœur de l’œuvre de Aldous Leonard Huxley (1894–1963) et d’Eric Arthur Blair (1903–1950), qui comptent parmi les romanciers et les essayistes les plus connus du XXe siècle. Ils ont, chacun à sa manière, annoncé la dérive nécrotechnologique et totalitaire des sociétés occidentales. Par-delà le contexte commun, les influences partagées et les recoupements théoriques, il importe de mettre en évidence les divergences de pronostic et, finalement, la complémentarité possible entre les deux dystopies. On nous fait miroiter un totalitarisme bienveillant à la Huxley — vous ne posséderez rien et vous serez heureux — alors qu’on s’achemine résistiblement vers un totalitarisme orwellien : vous serez terrorisés et malheureux de l’être.

The question of what the key to happiness is has been discussed throughout the centuries in hope of finding a decisive answer: however, the human intellect differs from one to another and as a result, many theories have been coined and implemented through the history of mankind. One of those theories is the theory of Capitalism which aims at providing an adequate amount of products or services to the masses in order to satisfy the human needs in order to result in happiness. However, Capitalism has been under criticism for only providing satisfaction to the financially capable citizens of society, and the poor cannot attain that feeling of happiness. Also, the human desire cannot be tamed and limited to certain demands because humans are eager and greedy by nature. Another theory is Totalitarianism which aims at complete submission to government in hope for providing all life necessities and complements to the citizens of society, and those citizens do certain tasks or jobs in order to be eligible to gain benefits at the expense of losing their humane needs and desires. Each person is dealt with and provided to as equal as the other. Hence, while Capitalism works on harnessing and embracing the human desires for the need of satisfaction as well as creating new jobs to fulfill newly surfacing desires, Totalitarianism, on the other hand, aims thoroughly at repressing those desires. In Yevgeny Zamyatin's novel "We", Totalitarianism is used to neutralize any human features in the citizens. However, both of the systems fail to achieve their ultimate goal: happiness. The aim of this study is to compare and contrast Capitalism and Totalitarianism in Yevgeny Zamyatin's novel "We" in the light of achieving happiness, and how both of the systems fail in doing so.