2012+Class+notes+on1984

Anna A:
__Setting__ __Character__ __Narrative Voice__ __Tone__ __Themes__ __Syntax__ __Imagery__ __Irony__ __Structure__
 * Scene with the prole woman**
 * //"Pale, cloudless sky."//
 * //"A **yellow** beam from the **sinking sun** slanted in through the window."//
 * Romantic feeling
 * Everything starts to get cold creating a sense of foreboding—//"it seems to have got colder."//
 * //"The sun must have gone **down** behind the houses, it was **not shining** into the yard **any longer**."//
 * Winston's hope in the Proles—naïve, optimistic
 * Winston is often wrong about about people and situations
 * Philosophical development
 * Winston starting to understand motherhood
 * Newfound confidence
 * //"strong, sleepy, confident feeling."//
 * Mixture of the heroic + average, makes a lot of mistakes
 * Julia—not at all political, more superficial and cynical (links to Pechorin?), contrasts with Winston's naïveté
 * Is that the smarter way to behave?
 * Winston's voice coming through—naïve optimism
 * Winston as an unreliable narrator
 * //"It had outlived the Hate Song."//–Winston? Orwellian narrator/
 * Sense of foreboding—characters not aware of it, but we are
 * Eager, excited (epiphany?)—much more engaging than at the beginning
 * Optimistic (misguided?)
 * Hopeful
 * //"If there was hope, it lay in the Proles."// —childlike excitement
 * Emphasis on the accent in the song—individuality
 * Relaxed, comfortable
 * //"Stretched herself luxuriously."//
 * Misguided hope
 * Freedom leading to more creative and effective thoughts
 * Use of familial relationships for control
 * Nature of individuality
 * Satirical—inequality masked as equality
 * Unnatural aspect of the lives of the Outer Party—//"our of their bodies no child would ever come."//
 * What is power? Why do people want it?—we understand **how**, now **why.**
 * Freedom, romantic
 * Litany—rushed gerunds, overlong syntax showing excitement (epiphany?)
 * Beginning—olfactory imagery (cabbage, etc.)
 * //"Winston became aware of silence as one becomes aware of a new sound."//
 * Liberated, calm (no telescreens)
 * Strength, and naturalness of the Prole woman as a motherly figure
 * Prole woman's song—reflects Winston's feelings? Yet just a popular song, means nothing to her
 * Feels safe and free, yet has never been watched more closely
 * Waited until the moment when they (Winston + Julia) were at their happiest + most normal—let them build up their relationship only to crush it
 * Increased impact on the reader
 * Heightened sense of betrayal later on
 * Prole song—does it reflect Winston's feelings?
 * 2nd verse—Winston's dreams

__Winston Smith__ __Julia__ __O'Brien__ __Themes__ __Style__ __Narrative structure__ __Foreshadowing__ = = =Mukundwa Katulliba:= **__ A Hero of Our Time and 1984 comparison __**
 * General Notes:**
 * Name—heroic (Winston Churchill) or average (Smith)?
 * Third person narrator yet, at times, it is though Winston is interjecting—free indirect discourse, Winston's fledgling individuality and intellectual growth
 * Personality grows alongside his freedom of thought, memories from the past and feelings for is lost mother
 * Eventually comes to a brutal end and his growing personality is replaced by conformism
 * Desires to behave with decency, environment continually stops him
 * Initially inarticulate—naïve in his belief in the proles, fatalist
 * No autonomy even as a rebel
 * Oily hands—highly practical peson, skillfully organizing love affairs and obtaining luxury goods from her admirers
 * Contrast to Winston—more physical and realistic, less idealistic
 * Lives life for pleasure, not for the belief of defiance like Winston
 * Introduced to help Winston create his alternate life and to listen to his ideas
 * Stages of his rebellion are matched by his reaction to her
 * Briefly in Part 1
 * Extensively in Part 2
 * Crushed in Part 3
 * Winston immediately attracted to him for mysterious reasons
 * Underlying sense of danger and threat—foreshadows the betrayal
 * Orwell showing Winston's vulnerability
 * Individual vs. society
 * Dangers of totalitarianism
 * Weakness of citizens
 * Struggle to lead an authentic life in a world of media manipulation and social expectations
 * Ambiguous and secret nature of control vs. unambiguous and concrete within totalitarian regimes
 * Sense of optimism in the restrictions which tot. regimes enforce
 * How tot. regimes maintain and enforce childlike traits and actions
 * The use of children to propagate the beliefs of the tot. regime
 * Impossibility of suppressing natural human emotions and habits
 * Irony of the insignificance of the individual within a tot. regime
 * Plain vocabulary
 * Figurative language restrained—simple, commonplace similes (connotations)
 * Metaphors used when Winston's emotions are particularly intense
 * Voice belongs to narrator but echoes Winston's thoughts through the use of free indirect discourse
 * Emphasis on body language
 * 3 parts—beginning, middle and end
 * Narrated in 3rd person yet we occupy Winston's point of view through free indirect discourse
 * Exploration of his single consciousness
 * Sensory world = solid, dilapidated buildings, bad smells, disgusting food
 * Consciousness frequently undergoes cinematic dissolves from persent to past and from waking to dreaming
 * Chronological structure of the novel emphasizes the importance of the plot—Orwell's purpose in propounding the dangers of tot. society as a whole, not simply Winston's life
 * //"We shall meet in the place where there is no darkness."//
 * Appearance and reappearance of motifs creates a sense that there are inevitable forces running beneath the events of the book


 * A Hero of Our Time **


 * Notes on the introduction (other version)**


 * He scorns emotions and prides himself on his intellectual ability over his feelings “the turmoil of life has let me with a few ideas but no feelings”
 * Pechorin enjoys persecuting them “there are times when I can understand the vampire”
 * We see his vulnerability in his moments of self-pity, when he sees his effects on people’s lives.


 * Novel type:** A Superfluous Man novel - 19th century Russian literary concept.
 * relates to an individual, possibly of talent and capability, who does not fit into the state-centered pattern of employment. Often the individual is born into the upper class and is rich and affluent. He may pursue a military career and can often be seen as a nihilist or fatalist
 * This is supported by the fact that superfluous men participate in duels and risk-seeking behavior, such as gambling. Their actions can be attributed to their self-destructive nature and their disregard for the social values and standards of the time.
 * The consequence is a character bored with life, cynical and withdrawn, often causing distress to whatever occupies his attention, which is often women.
 * Romanticism: admires nature, rebels against social confines


 * Characters**
 * **Pechorin** || **Byronic hero**
 * Arrogant, Capricious, Cynical
 * Having a distaste for social institutions and norms
 * Intelligent and perspicacious
 * Seductive, sexually attractive and Socially dominant
 * Sophisticated and educated


 * Antihero**
 * Antithesis of what an archetypal hero should be like
 * Pechorin is unsympathetic, manipulative and aimless


 * Character type**
 * Bored – his only remedy is traveling, constant change, non-committal – wanderlust.
 * Ephemeral
 * Proud
 * Impulsive
 * Emotionally distant
 * Manipulative
 * Audacious
 * Perspicacious

P echorin leaves destruction in his wake, but he’s not only destructive, he’s also contaminating. He kidnaps a Circassian girl on a whim, and the ripple out effect of this act results in murder. He thoughtlessly rides his horse to death, scatters an ad-hoc family of smugglers into destitution or worse, and his delight in manipulating human behaviour ends in the pointless, meaningless death of another man.

è I have already surpassed that period in a soul’s life when it seeks only happiness, when the heart feels a necessity to love someone strongly and ardently. è I must admit that I absolutely do not like women of character: it is not their business!


 * __Pechorin has an emotional sensitivity__**
 * “when he left a terrible sadness squeezed my heart. Had fate led us to the Caucuses, or had she purposefully come here, knowing she would find me?”
 * “there isn’t a person in the world over whom the past gains such power as it does over me.”
 * “Every memory of a past sorrow or joy hits my soul painfully and elicits from it the same sound it once did” ||
 * **Maxim Maximytch** || * Passive in the face of Pechorin’s misdemeanors – pushover? Spineless? ||


 * Plot summary**

PS: Pechorin steals Kazbich’s horse and gives it to Azmat in exchange for Princess Bella. He has difficulty making her love him. She eventually does, but she is later fatally wounded and dies. This scars Pechorin forever. Blind boy story takes place in this section of the novel. Point: PS: Pechorin and Maximytch meet. Pechorin leaves his diaries with the latter who gives them disheartened to the narrator. From hereafter the novel is a recount of the stories in Pechorins diaries || PS: seeks lodging in an eerie fishing town in a house with a blind houseboy. He finds out that a girl, the blind boy and a seaman have a smuggling business. He nearly gets drowned by the girl but narrowly escapes. || PS: to spite Grushnitsky and to entertain himself he perturbs and then courts Princess Mary. In parallel time he rekindles a relationship with Vera, an old love, now ill. He loses interest in Mary, and duels Grushnitsky and wins Point: PS: Russian roulette is played. Pechorin marks a man’s fate. The man gets killed by a drunkard, Pechorin audaciously captures this man. This chapter is a discussion of fate. ||
 * || **Notes** ||
 * **Part 1: Bella** || Narrator: Maxim Maximytch
 * Reveals Maximytch as a sympathizer
 * Establishes Pechorin’s vanity, audacity, aimlessness ||
 * **Part 2: Maxim Maximytch** || Narrator: external
 * **Part 3: Taman** || Narrator: Pechorin
 * **Part 4: Princess Mary** || Narrator: Pechorin
 * Reveals Pechorin’s pride, spitefulness, ephemeral disposition, heartlessness ||
 * **Part 5: the fatalist** || Narrator: Pechorin

** Themes **


 * ** Fatalism, pessimism, nihilism, defeatism ** || * "What of it? If I die, I die. It will be no great loss to the world, and I am thoroughly bored with life. I am like a man yawning at a ball
 * "My whole life has been merely a succession of miserable and unsuccessful denials of feelings or reason."
 * Defeatist: What do I expect from the future? In fact, nothing at all."
 * “I saw how futile and senseless it was to pursue lost happiness. ||
 * ** Pride ** || * "To cause another person suffering or joy, having no right to so—isn't that the sweetest food of our pride? What is happiness but gratified pride?" ||
 * ** Presentation of women ** || * Pechorin treats women as pawns in his aimless conquests, save Vera.
 * “I often wonder why I’m trying so hard to win the love of a girl I have no desire to seduce and whom I’d never marry.”
 * Women! Women! Who will understand them? Their smiles contradict their glances, their words promise and lure, while the sound of their voices drives us away.
 * "It is difficult to convince women of something; one must lead them to believe that they have convinced themselves." ||


 * Narrative structure**
 * Due to narrative structure we have an image of Pechorin before we meet him
 * Due to structure we are drawn into his character, fascinated and then repulsed. Therefore our perception of him is affected by the narrative structure. This happens to other characters, too, in fact most.
 * We get a full and coherent picture of Pechorin due to narrative structure: other people’s opinions of him and his own opinion of himself are coherent
 * Narrative structure shifts our focus from the entire story to a character study of Pechorin.
 * N.S causes us to see
 * Actions first and then psyche. This is how the novel is structured. It makes the most sense this way.


 * 1984 – George Orwell **


 * Novel type: Published in 1949**
 * Dystopian novel: an imagined place or state in which everything is unpleasant or bad, typically a totalitarian or environmentally degraded one. The opposite of Utopia.
 * Set in Oceania a society ruled by an oligarchic (power held by the wealthy elite) dictatorship. The province Airstrip One is in perpetual war
 * Proles ruled by inner party and their political system, euphemistically English Socialism (Ingsoc). Inner party is in turn ruled by the cult personality of big Brother the deified party personality. The people of Oceania are subordinated under the pretext of the greater good.


 * Characters**


 * Winston Smith || Member of outer party – job is historical revisionism – to rewrite newspaper articles so that the records are congruent with the current, albeit ephemeral party ideologies


 * Character**
 * Phlegmatic everyman
 * Optimistic ||
 * Julia || Fanatical member of the junior Anti-sex league


 * Character**
 * Indifferent
 * Seeks hedonistic type of freedom (sexual freedom) ||


 * Plot Summary**


 * 1) Winston remembers snippets of how life was and believes indeed that there was life before Oceania. He has an intuitive feeling that peoples’ daily sufferings are not normal nor necessary
 * 2) He commits intellectual rebellion by thinking these ideas and by secretly wanting to overthrow Big Brother. Also by eliciting a romance with Julia
 * 3) Seeks the truth by frequenting Airstrip One, interviewing a prole, and inhabiting a room in an old souvenir shop with Julia. He also experiences sexual release
 * 4) Meets O’Brien and commits to overthrowing the government with the Brotherhood
 * 5) He is caught and re-educated by the ThinkPol in the Miniluv by O’Brien


 * Themes**


 * **Levels of control, the insignificance**
 * of the individual** || “The horrible thing about the Two Minute Hate was not that one was obliged to act a part, but that it was impossible to avoid joining in. Within thirty seconds any pretence was always unnecessary. A hideous ecstasy of fear and vindictiveness seemed to flow through the whole group of people like an electric current”
 * of the individual** || “The horrible thing about the Two Minute Hate was not that one was obliged to act a part, but that it was impossible to avoid joining in. Within thirty seconds any pretence was always unnecessary. A hideous ecstasy of fear and vindictiveness seemed to flow through the whole group of people like an electric current”

“It was almost normal for people over thirty to be frightened of their own children”

“On coins, on stamps, on the covers of books, on banners, on posters, and on the wrappings of a cigarette Packet — everywhere. Always the eyes watching you and the voice enveloping you. Asleep or awake, working or eating, indoors or out of doors, in the bath or in bed — no escape”

“If there is hope... it lies in the proles.” ||
 * **Nationalism** ||  ||
 * **Sexual repression** ||  ||
 * **Futurology** ||  ||
 * **Censorship and surveillance** ||  ||


 * Motifs:** Orwell borrowed themes from life in the Soviet Union and wartime life in Great Britain as a source of motifs

Part of Communist party slogan from the second ‘five-year plan’ which encouraged the fulfillment of this in 4 years. ||
 * **2+2 = 5** || Used to torment Smith during his interrogation
 * **Big Brother** || His omnipresence evokes the cult personality of Joseph Stalin ||
 * **Big Brother** || His omnipresence evokes the cult personality of Joseph Stalin ||
 * **Big Brother** || His omnipresence evokes the cult personality of Joseph Stalin ||

i. Linear structure ii. Mixed narrative iii. Foreshadowing, foreboding iv. A few flashbacks through dream sequences
 * Points of comparison between A Hero of Our Time and 1984 (all tentative) **
 * 1) Character comparisons
 * 2) Winstons naivity and optimism – winston is controlled
 * 3) Pechorin cynicism – Pechorin controls
 * 4) Setting reflects character
 * 5) Symbolism
 * 6) Byronic hero vs. un-heroic hero
 * 7) Narrative style
 * 8) 1984

i. Mixed narrative: We have to see Pechorin at his worst to want to understand why he behaves the way he does - motive
 * 1) A Hero of Our Time
 * 1) Grammatical, syntactical elements
 * 2) Role of women
 * 3) Fights
 * 4) Pechorin fights against niceties and formalities of Russian middle-upper class (promenading, relaxing, dancing).
 * 5) Winston fights against dictatorship
 * 6) Ending
 * 7) 1984: Pathos, sadness, death, inevitability
 * 8) A.H.O.O.T: Explanation to why the character is the way he is


 * General exam questions**
 * Thematic questions
 * Characterization
 * Both crave freedom and control
 * Setting
 * Narrative


 * Class notes - Hope in 1984**


 * Ministry of Love || Shows that it is not only Winston who has tried to rebel ||
 * Relationship with Julia || Relationships in themselves are positive ||
 * His increasingly good health and memory recovery ||  ||
 * The appendix || Written in the past tense – implies that Oceania is ||
 * Book ends in the spring || Re-birth? ||
 * “We are the dead” ||  ||

Does the inner party need the outer party?
 * 1) Yes, the i.p needs the o.p to exist in order to be able to control something => there’s only a higher class if there’s a lower class
 * 2) i.p needs children, the masses, and spies to control one another. They are all seeing because of snitches.

** In Class: differences and similarities between 1984 and a A Hero Of Our Time **
 * **A Hero of Our Time** || **1984** ||
 * # unnamed young travel writer who has received Pechorin’s diaries after he bequeaths them to Maxim Maximytch
 * 1) Maximytch who served with Pechorin during the Caucasian war
 * 2) Pechorin himself through his diaries
 * Reason**
 * Effect** || # Told through Winston
 * 1) Told through unanimous narrator who provides structure. ||


 * **Crosses** ||  **1984**  ||  **A Hero of Our Time**  ||
 * || Not necessarily about Winston but rather broader themes, happenings || A character portrait ||
 * **Feelings of isolation in the main characters as they are in some respect different to the masses** || One of the ways this is brought about is through control – he is not allowed to form human connection

In some sections Winston is more isolated than at other times. Eg. at the very beginning of the novel and at the end. || Pechorin’s isolation is self-imposed He does however have self doubt and wonder why he is hated in one section. || –  ||   –  ||
 * He does not like the general way of living and is generally destructive
 * **Narrative structure: both have narrative voices outside of the main characters** ||
 * **Narrative purpose** || Fill in information about the storyline || Reveal different facets about Pechorin ||
 * **Have a purpose** || For the greater good || Hedonistic ||
 * **Character** || Winston is a fatalist but does not let it consume him || Pechorin is fatalistic and therefore has no moral compass ||
 * || Winston is straightforward – holds one opinion || Dichotomous, polar opposite character traits, complex
 * || Winston is straightforward – holds one opinion || Dichotomous, polar opposite character traits, complex

Positive sides to Pechorin’s character are dependent on setting ||
 * **Both fighting against social norms** || Refuses to accept dictatorship || Rejects redundant lifestyle ||
 * **The treatment of women** || Many are treated with reverence || Women are disposable objects ||
 * **Love** || The point of love is to introduce hope || He uses it to control people and it is also used as a destructive character device. ||
 * **Control** || Control of the individual || This novel more about excessive freedom. While he has it Pechorin uses his wiles to control those around him: women and Grushnitsky ||
 * **Setting: character reflects environment…** || Institutional, urban, derelict, decrepit–> reflects the state of the people, the destruction of their mental states

Urbane, decrepit physical state of Oceania reflects Winstons’ physical state:

“vile”, “gritty wind”, “old rag mats”, “torn papers” = è Winston…had a varicose ulcer. è A smallish frail figure, the meagerness of his body merely emphasized by the blue overalls which were uniform of the Party. || The sublime natural environment lightens and softens Pechorin, becomes less dark and more romantic.

–>“What joy to live in such country! A kind of joyful feeling has spread to all my veins. The air is clean and fresh, like the kiss of a baby; the sun is bright, the sky blue – what more could one wish? What place do passions, desires and regrets have here?”

Positive sides to Pechorin’s character are dependent on setting. Here semantic fields are mixed “fear, power, evil, suffer, torture” against “inspire, love, devotion, triumph, happy” ||
 * **Foreshadowing** || * All beautiful as Oceania is a dark, decrepit place.
 * O’Brien
 * Paperweight
 * Julia to some extent


 * The fact that Winston is introspective, reflective and observant (albeit not articulate) shows that there will definitely be some character development.


 * All foreshadowing of Winston’s trajectory is through externalities vs. ­––––––> || * Bela’s death = brought about death Pechorin, foreshadowed that nothing good was to come of him.
 * Contradictions of mountainous settings foretell Pechorin’s character.


 * All foreshadowing of Pechorin is about him ||
 * **Protagonists sense of character** || Winston is a poor judge of character

Pg. 13 || Pechorin is a good judge of character – he is perspicacious è Bela è Mary: “I directed my lorgnette toward her and noticed that she smiled at is look, and that she was not at all amused but vexed by my impertinent lorgnette. Hoe indeed could a Caucasian soldier have dared to point his piece of glass at a princess from Moscow…” è Several times her gaze, falling on me, expressed contempt whle trying to express indifference…

è Grushnitsky || Contradiction of character. He is attracted to Bela who is resistant, Vera and the Taman girl - shows that we should question the reliability of his narration. || è Grushnitstky fur coat è Constant wearing of war apparel è “Grushnitsky is a cadet. After just a year in service, he wears a heavy soldier’s coat” – need to mention his status è “you will cease to love me! At least I want to guard my reputation” ||
 * **View of women** || Not attracted to weak women like Mrs. Parson’s but loves Julia, strong willed. || I must admit that I absolutely do not like women of character: it is not their business!
 * **Status** || People want to blend in, be inconspicuous || People want to stand out
 * **Fate** || Winston knows that his death is irrevocable after writing in the diary. He uses this opportunity to rebel against the party – if he is going to die he might as well die for a cause || Pechorin believes in the inevitability of events if they are fated. Unlike Winston, instead of taking ownership of his actions he reaps havoc and declares it fate. Because of fate he does not bother to check his actions. ||
 * **Optimism** || There is optimism in “1984” as at the end of the novel after Winston has been mentally transformed; the party does not fully kill the positive, innate emotions in Winston. Rather they redirect his emotions – his excitement, zealousness and passions are directed towards the winning of wars. ||  ||
 * **Imperfections in characters and setting gives the novels a didacticism** || Winston is flawed through his lack of good judgment. He is also unattractive: not valiant or good looking – he is slightly cowardly. Furthermore, the physical setting of 1984 is flawed. || Pechorin’s character is flawed ||
 * **symbols** ||  || __Bela__
 * horses: symbolize male desire for domination, possession
 * Bela: antithesis of Pechorin. Symbolizes a purity and lack of cynicism.
 * Described as horse-like “and indeed she was fine with black eyes like a hill chamois”
 * hunting: escapism – escapes banality

__Maxim Maximych__
 * the fact that Pechorin cannot stand to see Maximych symbolizes the fact that Pechorin cannot fully reflect on his own actions (Bela)
 * mistreatment of Maximych by Pechorin symbolizes the lack of respect for elders
 * the fact that Maximych doesn’t drink symbolizes the integrity of the older class as he makes an oath after one bad experience.

__Taman__ ||


 * Class notes**

8. The struggle against autocracy
 * Winston fights against the party
 * Pechorin refuses to conform (bourgeoisie middle class society can be considered to have autocratic rule within the middle class)

Superfluous
 * Pechorin is superfluous as he has no role in society. Winston is replaceable yet has a role in society – he rewrites history.

**__Thesis statement homework__** Mukundwa Katuliiba

As humans there are undoubtedly many aspects of life that we love and similarly hate. Pechorin is a character that mostly bears antipathy for people and rather than expresses a love for anything, he has a great need for certain things; like adventure and women. It can be argued that his lack of earnest love makes it difficult for a reader to relate to him. Hence, to make his character more believable Lermontov made him deeply connected to natural setting. His urgent sense wanderlust and profound appreciation of nature is the one true, unselfish bond Pechorin has. Without it, this character that is more an amalgamation of traits than an independent person, would be largely unbelievable and unsympathetic. Conversely, setting in “1984” plays a completely different role as Winston already has that which he detests (the Party) and that which he loves (Julia). While it is used in Lermontov’s novel to vivify his protagonist, Orwell uses it as a persuasive tool. If the setting of Oceania was not as derelict and decrepit as Orwell has presented it, the Party’s aggressive and ironic rule would not be believable. The Party’s rule and setting go hand in hand. Ingsoc is synonymous with contradiction as it instills in its followers incorrect information: “war is peace, freedom is slavery, ignorance is strength”. Hence, like all the party teachings, and like the vile victory gin and victory cigarettes, the setting of Oceania does not reflect a society that is in constant ‘overproduction’. Therefore, like most other elements influenced by the party, Orwell creates a decrepit setting in order to reflect the irony of the party. Hence, setting in both novels both aim to create a believability; one aims to humanize the protagonist and the other to reinforce the irony of the totalitarian party.
 * Setting**

//1984// follows the life of Winston Smith, a man stifled by the ubiquitous presence of the oligarchic Ingsoc. Conversely, //A Hero Of Our Time// depicts a man awarded absolute freedom of which the consequence is ennui and resulting destructive behavior. Despite these two characters being the product of complete freedom and lack thereof, they ultimately have the same goal; they desire total freedom. Hence, while these two novels differ greatly in subject matter they both address a similar theme: the innate desire for independence and self-governance.
 * Theme**

Both Winston and Pechorin live in societies where human interaction is calculated. The former must remain guarded and wary of forming friendships as it could cost him his life, whereas the latter chooses to be calculative and manipulative in order to make his relationships feed his ego and abate his ennui. These two characters differ in that, ironically, Winston’s treacherous environment he is a terrible judge of character whereas Pechorin, who need not be suspicious of people is acutely perspicacious.
 * Character**

//1984// features a profuse amount of decrepit imagery due to the decaying physical state of Oceania, while //A Hero of Our Time// has painterly descriptions of the Russian plains and tundra.
 * Imagery**


 * All three novels Paper 2**

H: Setting is the only thing that Pechorin is attached to. Brings out the appreciation in his character (sublime). 19: decrepit setting reflects the degenerate mental state of the people in Oceania. F: water provides a sense of comfort. Symbolic of escape. Keeps the narrative moving as they must travel downstream, constantly moving. || ** Friendship ** H: Pechorin is misanthropic and attracts then repels people. 19: Friendship is an allusion that leads to Winston’s demise. F: Friendship provides consolidation for Huck and Jim. The core friendship becomes a surrogate paternal relationship. || ** Character due to narrative ** H: very haughty and judgmental = comes across as cynical and self-deceived 19: Winston seem incapable due to double narrative. F: Straightforward and honest = sense of ethos. Makes Huck charming || H: Pechorin does not change. 19: Winston becomes enlightened and galvanized and then sedated. F: becomes more compassionate and mature. || ** Control and oppression ** H: Pechorin controls and manipulates others. 19: Winston is controlled by the oligarchic party. F: Huck controlled by father, Miss Watson. Jim oppressed, people want to control him. || ** Character sense of purpose ** H: desire for ever more freedom - hedonism 19: Collective freedom F: his and Jim’s freedom || H: the dangers of the superfluous man 19: the irrevocable power of totalitarianism/ thus, its dangers F: the humanity in people || ** Narrative ** H: non-linear to show lack of character development/change. 19: linear F: linear, episodic || ** Novel type ** H: a superfluous man 19: dystopian F: bildungsroman, picaresque ||
 * ** Hero, 1984, Huckleberry Fin ** ||
 * ** Setting **
 * ** Character development **
 * ** Microcosm **


 * Quotes for paper 2**


 * __A Hero Of Our Time__**


 * Pechorin **


 * 1) There are times when I can understand the vampire.


 * 1) I have already surpassed that period in a soul’s life when it seeks only happiness, when the heart feels a necessity to love someone strongly and ardently.


 * 1) Now I only want to be loved, and at that, only by very few. It seems to me, even that one constant attachment would be enough for me.


 * 1) I must admit that I absolutely do not like women of character: it is not their business!


 * 1) When he left a terrible sadness squeezed my heart. Had fate led us to the Caucuses, or had she purposefully come here, knowing she would find me?


 * 1) There isn’t a person in the world over whom the past gains such power as it does over me.


 * 1) Every memory of a past sorrow or joy hits my soul painfully and elicits from it the same sound it once did.


 * 1) Grushnitsky is a cadet. After just a year in service he wears a heavy soldier’s greatcoat – a particular kind of dandyism.


 * 1) How indeed could a soldier have dared to point his piece of glass at a princess from Moscow.


 * 1) Several times her haze, falling on me, expressed contempt while trying to express indifference.


 * 1) So why am I going to such pains? Out of envy for Grushnitsky?


 * 1) My ambition is stifled by circumstance but it has manifested itself in… nothing other than a thirst for power, and my best pleasure is to subject everyone around me to my will.


 * 1) And what is happiness? Sated pride.


 * 1) The first experience of torture gives an understanding of the pleasure of tormenting others.


 * 1) My colourless youth elapsed with a struggle with myself and the world. Fearing mockery, I buried my most worthy feelings in the depths of my heart: and they died there.


 * 1) What joy to live in such country! A kind of joyful feeling has spread to all my veins. The air is clean and fresh, like the kiss of a baby…what more could one wish? What place do passions, desires and regrets have here?


 * 1) Any bitterness that weighs on the heart, any agitation that tortures the thoughts – it is all dispersed within a minute. The soul becomes lighter…there isn’t one female gaze that I wouldn’t forget upon looking at leafy mountains…


 * 1) “love”, “torments”, “suffering”, “joy”


 * Maxim Maximych **


 * 1) How insignificant happenings sometimes have cruel consequences!


 * 1) It seems, in fact, that there is a type of person who is destined from birth to be subjected to various unusual things!


 * 1) His name was… Grigory Alexandrovich Pechorin. A wonderful fellow, I dare say. Only a little strange too


 * 1) He became as white as a sheet, grabbed a glass, poured water into it and gave it to her.


 * 1) His face expressed nothing in particular and I became vexed


 * 1) I wanted to comfort him and started to say something, mostly out of a sense of decency, you know. And he raised his head and burst out laughing… a chill ran along my skin with that laughter…I went off to order a coffin.


 * 1) Pechorin was unwell for a long while, he wasted away, poor fellow, but we never spoke of Bela again.


 * 1) “And do you remember our days at the fortress?.. And Bela?” Pechorin went slightly pale and turned away. “Yes” he said, forcing a yawn almost immediately.


 * Lermontov - Women **


 * 1) Bela – “He is like a poplar among them” Maximych - And indeed, she was fine: tall, slim, with black eyes like a hill chamois.


 * 1) If we return the savage’s daughter to him, he will murder her or sell her


 * 1) Bit by bit she became accustomed to looking at him, at first furtively.


 * 1) What eyes! They sparkled as though they were two pieces of coal.


 * 1) There was a look of breeding in her… breeding in a women, as in horses, is of great matter.


 * 1) I read something wild and suspicious in her oblique gaze.


 * Orwell – Animalism **


 * 1) It was a noise that set one’s teeth on edge and bristled the hair at the back of one’s neck.


 * 1) Goldstein was delivering his usual venomous attack upon the doctrines of the Party.


 * 1) Hisses here and there in the audience.


 * 1) The little sandy-haired woman gave a squeak of mingled fear and disgust.


 * 1) It (Goldstein) resembled the face of a sheep, and the voice, too, had a sheeplike quality.


 * 1) Goldstein’s bleating voice.


 * 1) The Hate rose to its climax. The voice of Goldstein had become an actual sheep’s bleat, and for an instant the face changed into that of a sheep.


 * 1) The little sandy-haired woman had turned bright pink and her mouth was opening and shutting like that of a landed fish.


 * 1) “Swine! Swine! Swine!”


 * 1) The horrible thing about the Two Minute Hate was not that one was obliged to act as a part, but that it was impossible to avoid joining them.


 * 1) Within thirty seconds… a hideous ecstasy of fear and vindictiveness, a desire to kill, torture, to smash faces with a sledge-hammer seemed to flow through the whole group of people like an electric current, turning one even against one’s will into a grimacing, screaming lunatic.


 * __1984__**


 * Ubiquitious, totalitarian rule – derelict state of Oceania and control pervade. **


 * It was a bright cold day in April and the clocks were striking thirteen


 * It was no use trying the lift. Even at the best times it was seldom working, and at present the electric current was cut off during daylight hours


 * The hallway (of Victory Mansion) smelt of boiled cabbage.


 * Whirling dust and torn papers into spirals.


 * On each landing, opposite the lift shaft the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move.


 * There was of course no way of knowing whether you were being watched at any given moment.


 * The telescreens could be dimmed but there was no way of shutting it off completely.


 * Characterization of Winston **


 * The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way


 * A smallish frail figure, the meagerness of his body merely emphasized by the blue overalls which were uniform of the Party


 * He dislike nearly all women, and especially the young and pretty ones.


 * A tremor had gone through his bowels. To mark the paper was a decisive act.


 * He sat back. A sense of complete helplessness had descended upon him.


 * Winston kept his back to the telescreen. It was safer: though, as he well knew, even a back can be revealing.


 * Heralds, false hope **


 * O’Brien was a large, burly man with a thick neck and a coarse, humorous, brutal face. He had a trick of re-settling his spectacles on his nose which was curiously disarming – in some indefinable way, curiously civilized.


 * He felt deeply drawn to him, and not solely because he was intrigued by the contrast between O’Brien’s urbane manner and his prizefighters physique. Much more it was because of a secretly held belief – or perhaps not even a belief, merely a hop – that O’Brien’s political orthodoxy was not perfect.


 * He (O’Brien) had the appearance of being a person that you could talk to.


 * Huckleberry Fin **


 * Huck characterization **


 * Beautiful, splendid, nice, sweet face, pretty, lovely,


 * Pap said take a chicken when you get a chance, because if you don’t want him yourself you can easily find somebody that does, and a good did aint never forgotten. I never see pap when he didn’t want the chicken himself, but that is what he used to say, anyway.


 * Mornings, before daylight, I slipped into corn fields and borrowed a watermelon, or a mushmelon… Pap always said it warn’t no harm to borrow things, if you was meaning to pay them back, sometime; but the widow said it warn’t anything but a soft name for stealing, and no decent body would do it.


 * I felt a little bit heavy-hearted about the gang.


 * I begun to think how dreadful it was, even for murderers, to be in such a fix. I says to myself, there ain’t no telling but I might come to be a murderer myself, yet, and then how would I like it?


 * But take it all around, I was feeling ruther comfortable on accounts of making all this trouble for that gang, for not many would a done it.


 * Huck and Jim – Huck characterization, relationship development **


 * We catched fish, and talked, and we took a swim now and then to keep off sleepiness.


 * Well, he was right; he was most always right; he had an uncommon level head, for a nigger.


 * Then we lit our pipes, and dangled our legs in the water and talked about all kinds of things – we was always naked, day and night.


 * Sometimes we’d have that whole river all to ourselves for the longest time.


 * We had the sky, up there, all speckled with stars, and we used to lay on our backs and look up at them, and discuss about whether they was made, or only just happened.


 * It was fifteen minutes before I could work myself up to go humble myself to a nigger – but I done it, and I warn’t ever sorry for it afterwards, neither. I didn’t do him no more mean tricks, and I wouldn’t done that one if I’d knowed it would make him feel that way.


 * Then I thought a minute, and says to myself, hold on -s’pose you’d a done right and give Jim up: would you felt better than what you do now? No, says I, I’d feel bad.


 * …I reckoned I was to blame somehow…I ought to told her father about that paper… then maybe he would a locked her up and this awful mess wouldn’t ever happened.


 * I run along the bank a piece and got aboard, and Jim he grabbed me and hugged me, he was so glad to see me.


 * Jim **


 * Come in, Huck, but doan’ look at his face – its too gashly

Add ons
 * Give a nigger an inch and he’ll take an ell


 * Vocabulary for Paper 2 texts**

Capricious/mercurial/ficke/whimsical = given to sudden and unnacountable changes of mood or behavior

Decadent = state of moral decline Disingenuous = not candid or sincere (pretending one knows less than they do) Duplicitous = deceitful

Ephemeral = lastinga very short time

Fiendish = extremely cruel or unpleasant

Hedonistic = self-indulgent

Ingénue = an innocent and unsophisticated woman (Bela) Imprudent = not showing care for the consequences of an action Injudicious = showing poor judgement Immure = to confine against ones will

Mendacious = not telling the truth

Perspicacious

Ruminate

Sanguine Sadistic = derive pleasure from inflicting pain Self-aware Sybaritic = fond of sensuous luxury or pleasure

Transitory/transient = not permanent, lasting a short time Taciturn/reticent/ = reserved or uncomminucative


 * General vocabulary **

Akin – similar to Acquit – free someone from a criminal charge Assuage – make less intense (//she assuaged his fears)// Audacity – showing a willingness to take surprisingly bold risks Ambivalent – having mixed/contradictory feelings about something Analogous – comparable in certain respects in a way that makes the nature of the things clearly //(the relationship between ruler and subject was analogous to that of father and child)// Aspersion – an attack on the reputation/integrity of someone or something //(Grushnitsky spreads aspersions about Pechorin)// Ameliorate – to make something better
 * A **

Bellicose – demonstrating aggression and willingness to fight //(the bellicose man)// Bemoans - express discontent or sorrow over (something)
 * B **

Conciliatory – intended/likely to placate or pacify Clandestine – kept secret or done secretively esp. because illegal (//their clandestine meetings)// Cajole – persuade someone through flattery or coaxing
 * C **

Dilettante – a person who cultivates an area of interest without real commitment or knowledge //(Grushnitsky is a dilettante in the arts)// Despoil – steal or violently remove valuable possessions Decadent – state of moral decline Depravity - morally corrupt Derelict – in poor condition as a result of disuse and neglect Deference – humble submission and respect Dismal – depressing, dreary
 * D **

Embroiled – deeply involved in conflict Exacerbate – make a problem/situation worse (Pechorin exacerbated the situation) Ephemeral – lasting a very short time (Pechorin ‘s ephemeral feelings for Mary upset her mother) Expound – present or explain in detail //(he expounded his argument with an example. He refused to expound on his decision)// Elegiac – in a mournful manner (Hamlet’s soliloquy elicits an elegiac tone)
 * E **

Fortitude - courage in pain or adversity (//he endured the illness with fortitude)//
 * F **

Hallow – honor as holy //(the hallowed horse Pechorin stole)// Histrionic - overly theatrical or melodramatic in character or style Hell-bent - //(Hamlet is hell-bent on seeking revenge for his father)//
 * H **

Immure – enclose/confine against ones will //(she was immured by Pechorin)// Impugned – dispute/call into question the truth/validity/honesty of a statement Iconoclastic – a person who attacks cherished beliefs/institutions //(Pechorin’s iconoclastic statement upset her)// Incongruous – not in harmony with another aspect Intransigence – unwilling or refusing to change ones views Interminable – endless (hyperbolic) Impetuous – acting or done quickly without thinking Insidious Incontrovertible Impervious – not allowing anything to pass through Incriminate – make someone appear guilty of a crime/strongly imply the guilt Invidious – likely to arouse resentment/ anger in others (//Pechorin is invidious)// Irreverent – showing a lack of respect for things generally taken seriously //(Grushnitsky is offended by Pechorins irreverent behavior)// Indigent – poor, needy/needy person //(Grushnitsky is indigent in that he needs the attention of Mary)//
 * I **

Jingoism – extreme patriotism
 * J **

In lieu of - instead of Loquacious - talkative Licentious – promiscuous and unprincipled in sexual matters //(Pechorin is…)// Lascivious – feeling or revealing an overt and often offensive sexual desire Laconic – using very few words (his laconic reply) Laudatory – expressing praise or commendation Lugubrious – mournful in an exaggerated or unrelieved manner //(Hamlet was lugubrious state for months over his fathers death)//
 * L **

Modicum Mollified – appease the anger/anxiety in someone Macabre – depiction of death and injury Morbid – concerned with death and disease
 * M **

Oscillate/vacillate Officious – assertive of authority in an annoyingly domineering way esp. with regard to petty/trivial matters (Grushnitsky’s officious air annoyed Pechorin)
 * O **

Perfidious – deceitful and untrustworthy Preeminent – surpassing all others Paradigm – typical example Proclivity – prone to doing something Predisposition Predilection – a preference or specific liking for something Penchant – a strong habitual liking or tendency Pandemonium – wild and noisy disorder Preordain – decide or determine beforehand Prevaricate – act in an elusive way Preternatural – beyond what is natural Punctilious Prestissimo tempo – in a very quick tempo Phlegmatic – having an unemotional disposition Pugnacious – eager or quick to argue Placate – make less angry or hostile //(his second tried to placate// //Grushnitsky////)// Pundit – expert in a particular field //(Shakespeare is a pundit of lexis)// Punitive – inflicting or intended as punishment //(Pecohrin takes well-planned measures against Grushnitsky)//
 * P **

Sanguine – cheerfully optimistic (he was not sanguine about the prospect) Scrupulous – diligent and thorough, and extremely attentive to details //(Pechorin is scrupulous with his plans for// //Grushnitsky)// Succinct – spoken/written clearly and briefly expressed Scathing – scornful, severely critical (Marlow’s scathing observations)
 * S **

Tenacity – not readily letting go of/giving up on Tautology – same thing said twice but in different words
 * T **

Veracious – speaking or representing the truth Vendetta – a prolongued bitter quarrel/campaign against someone (//Grushnitsky ‘s vendetta against Pechorin could not be mollifued//)
 * V **

Reticent – not readily revealing ones thoughts or feelings Rancorous – bitterness/resentfulness esp. when long standing //(Grushnitsky had become visibly rancorous towards Pechorin)//
 * R **

Wanton – deliberate and unprovoked (//sheer wanton vandalism// )
 * W **

Quintessence – most perfect, typical example
 * Q **
 * Exemplar
 * epitome

Zenith – the time at which something is most powerful/succesful
 * Z **