The Totalitarian Control of a Three-Year Old: a Contextual Analysis

Stamp Paid describes the gathering and cooking of the food in anticipation of the party and how the party was the cause of their ‘fall from grace’. He describes the gathering of the berries and the difficulty in retrieving them. Stamp Paid’s description of the ordeal he experiences brings to mind the snake in the Garden of Eve. His narration of the preparation for the party seems to signify the beginning of their downfall.

Many scenes take place at night on mysterious streets. In the first chapter, the reader meets Mr Utterson and Mr Enfeild; these two friends have Sunday walks that neither “say nothing”, both characters refuse to allow their more careless thought and feelings. They avoid gossip; they see gossip as a great destroyer of reputation this suggests the society is focused on their reputations and reflects on the importance of appearance in the Victorian times. This theme can be provoked throughout the novel, even the character’s name ‘Hyde’ reflects on the importance of

The section depicts terror, bleakness and emotional stress. It does not conform to any social morals or follow typical characters, but instead it conveys psychological imbalance in the characters that heightens the uneasiness and unexpected actions of the characters.

The elimination of knowledge weakens a society. Knowledge is power, when you take away knowledge the power goes with it. In the book Fahrenheit 451, written by Ray Bradbury, the government controls the society by filtering the knowledge that the people have access to. While protection is imperative, it is not justified to restrict freedoms while doing so. In fact limitations are placed on the ability for people to unique, temperamental, and makes some become depressed.

“It has been argued, and forcibly, that for all the paraphernalia of revolution contained in King's fiction--the weak discovering unlooked-for strength and the strong faltering; the constant threat (or promise) of transformation; a sense barely hidden beneath the chatty surface of the prose, that mythic elements are being juggled here--that, despite all this apocalyptic stuff, the author's worldview is at heart a conservative one. Is he perhaps a sheep in wolf's clothing, distressing us with these scenes of chaos in order to persuade us to cling closer to the values that his monsters jeopardize? (Barker,

Orwell describes one of the prisoners as “ … a puny wisp of a man, with a shaven head and vague liquid eyes” this suggests that the prisoner was a small, thin man with distant, far away eyes. His careful word choices seem to indicate a sense of sympathy for the man. “Vague liquid eyes” suggests that the prisoner has accepted the fact that he is to be hanged; he has lost all hope and has given up on life. By making the reader feel sympathy towards the prisoners Orwell encourages the reader to think about their opinions on the subject. As the reader feels sorry for the prisoner they will be forced to consider their own views. The characterisation of the prison guards also plays an important part in allowing the reader to consider their views on Capital Punishment. When describing the prison guards, Orwell writes, “lashed his arms to his sides” this suggests that the guards are being very forceful and brutal in their treatment of the prisoner. The writer also uses similes to try and sway the reader to believe Orwell’s own beliefs, that Capital Punishment is wrong. He writes, “It was like men handling a fish which is still alive and could jump back into the water.” This suggests that the prisoner has accepted his fate and isn’t putting up a fight for the time being but that he could at any given time. Through portraying the guards as forceful and brutal Orwell further encourages the reader to think about their own opinions on the main issue the essay focuses

Orwell’s disillusionment, shown through his bleak perspective in comparison to Lang’s hopeful optimism reflects on Stalin’s absolute power, by silencing dissent through purges and show trials. Winston’s omniscient narration, “a dull protest…cheated of something you had a right to” reveals the extent of the Party’s suppression of humanity. His silent protest is the antithesis of Metropolis’s outspoken hero, Freder. Winston’s sexual relationship with Julia is a metaphorical “blow struck against the Party,” which represents humanity’s endurance in the face of adversity. However, during their arrest, the paperweight, symbolic of Winston’s attempts to understand the past, is “smashed into pieces.” His exclamation “how small it always was!” signifies the Party’s domineering power which renders the individual unable to revel. The Party’s ability to eradicate Winston’s autonomy, revealed through the metaphor, “the…bullet entered his brain” reflects on 20th century Fascist ideologies rising in Europe. Whilst Lang depicts a romanticised view of industrialisation where both classes co-exist to build a positive future, Orwell’s exposes the futility of rebellion which reveals his human spirit is defeated and this shows the shift in context influenced their

Secondly, stereotypes surrounding the aggressive male and the helpless female are a predominant factor unfolding in the narrative. Thirdly, however, the counter-stereotype of the iron-willed woman defeating the violent male antagonist notably prevails within Carter’s piece. The Heroine is forced to consummate the marriage and have painful and bloody sex with her new husband. Soon after the consummation The Marquis is forced to travel away to attend a business endeavor. This is when the Heroine is left in the castle to figure out what type of murderous secrets her new husband is hiding. The narrator’s language within the text regarding her relationship with The Marquis leaks a sense of constraint. The stereotypes regarding the dominant male and the submissive female are observable. The Marquis manipulatively courts the Heroine into his den. The Marquis lures the Heroine in by giving her everything she has ever wanted. His castle is secluded far away from the village where the Heroine’s mother lives. The Heroine is conventionally defenseless and trapped in the hands of the male

Because there are several important and influential themes in this novel, instead of just one major theme, I will be explaining how several different themes are advanced by the historical and cultural context. I have focused mainly on the minor theme Nazi Ideals and Censorship. I will also demonstrate how the historical context and cultural context influence how the

7). He also witnesses the dark horrors of these workers dying of “pneumonia or from the sulphur in their lungs from the mills” (pg. 8). This is our first glimpse through Patrick’s eyes at the horrors the working class historically faced. Even in the Countryside, where there is little ‘light’ from development, there is a lot of danger as death spreads its shadow alongside the dimmer light of development and progress. Patrick’s own father, a self-taught explosives expert, is killed in a mining accident. Here both the metaphorical light, progress and industry, and the literal light, the dynamite explosions, cast the shadow of death onto Patrick’s father, to remind the reader how many lives of workers were sacrificed for development. No one remembers their contributions except for their closest family members.

The Demon Lover is full of a variety of elements meant to create an ambiguous view on the plot and its outcome. It’s symbolism aids the reader in understanding how the Blitzkrieg left immovable marks not only on London the city but on its people while the themes confuse the reader with the blending of imagination and reality. The Demon Lover

When the listener states that “you can bet no one went looking for him,” (40), the speaker says “the worst tyrants have their admirers” (41). The speaker does not view the evil man with such hatred and vengefulness as the listener does. Their bold dialogues and opinions make it is easy to experience the viewpoints of different individuals. Furthermore, the example about the tyrants also proves that each person has different perception about an individual. Tyrants made decisions which they thought were right.

If the identity ‘of being a Nazi’ is subtracted from the identity of the German occupiers, the young reader is likely to perceive ‘Germanness’ as an intrinsic predisposition towards ‘evilness’. What is more, when the responsibility for these atrocities is put on monsters and other metaphysical creatures and the author fails to point out that it was ordinary people who carried out actions of extreme violence, much like the people that the reader interacts with in their everyday life, the young reader’s understanding of the matter is put in a seriously wrong perspective.

In their cycles of insular poverty, unemployment and general helplessness, they become frustrated at lack of choices and the inability to escape. As discussed in the chapter ‘Melancholia’, life and death have become meaningless in these two derelict communities, and in turn those scapegoated tend to be representations of both neighborhoods impotence. The HIV infected junkies can be seen as being the blame for Leith’s downfall as they are both impotent and symbols of death. The fear that HIV stirred in the 1980s was not unjustified; however, the infected characters are led to their deaths through alienation and hatred. In LETB, it seems that fear is represented by homosexuality and female sexual promiscuity; both of which were demonized in the world of 1950s America.

Here, De Quincey is both the helpless onlooker and the perceived threat; he is culpable on two counts. His gentle recreation of memory has turned suddenly, irreversibly sour, as dreams often do, and in turn he becomes “another peril” that the anonymous girl flees from, only this flight of “panic” ends in her death. Yet this death is not brutal or bloody – instead, the girl is preserved from the neck up, with her “fair young head and the diadem of white roses around it” (52) still visible in the sand. The entire sequence is an uneasy elegy for a sister whose unexpected death compulsively haunts each one of his works, from the intangible presence of Ann in his Confessions of an English Opium Eater, to the young granddaughter of his ‘Postscript’,