A Quote by Graham Joyce
George Orwells 1984 frequently tops surveys of our greatest books: its not a celebration of poetic language. Its decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what 1984 shows is that language can be a dirty trick.
Related Quotes
George Orwell's '1984' frequently tops surveys of our greatest books: it's not a celebration of poetic language. It's decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what '1984' shows is that language can be a dirty trick.
The perfect opening is the word imagine, because imagine allows you to communicate in the eyes and the vision of the listener rather than yours. And the best illustration of that is "1984." Room 101 in "1984" - everyone's read it, and we all have our own imagination of what that looks like.
Twitter's designed to reduce the language, directly out of 1984! It's Ingsoc!
Who are these evil ones? In 1984, the evil one was called Goldstein. Orwell was writing a grim parody. But these people running the United States mean what they say. If I were a teacher, I would recommend that all my students very hurriedly read most of Orwell's books, especially 1984 and Animal Farm, because then they'd begin to understand the world we live in.
We've come into the world of '1984,' but it turns out to be '1984'-Lite.
Poetic language is singularly appropriate for recounting the life of the king who is traditionally accepted as the author of the poetic psalms, some of which are included in the narrative.
On the rare occasions when our dreams succeed and achieve perfection - most dreams are bungled - the are symbolic chains of scene and images in place of a narrative poetic language; they circumscribe our experiences or expectations or situations with such poetic boldness and decisiveness that in the morning we are always amazed when we remember our dreams.
I think with all my books, language has been their subject as much as anything else. Language can elide or displace or sideline whole groups of people. You can't necessarily change the way language is used, but if it becomes something you're conscious of... that gives you a certain power over it.
The ambiguity of poetic language answers to the ambiguity of human life as a whole, and therein lies its unique value. All interpretations of poetic language only interpret what the poetry has already interpreted.
The language we share is at the core of our identity as citizens, and our ticket to full participation in American political life. We can speak any language we want at the dinner table, but English is the language of public discourse, or the marketplace and of the voting booth.
Oh my research. Well, I got an English Degree. And I got that degree in a certain time/at a certain place. If you add UC Berkeley + 1984 the other side of the = is "new historian" meaning that I studied with and was influenced by those who were interested in how the personal shaped the political (and literary), how science and literature might interact, and what the body got to do with it.
Yeats was the greatest poet of our times . . . certainly the greatest in this language, and so far as I am able to judge, in any language.
The politics of language and the politics of writing really got to me. I've heard this phrase more than once now: this idea of the poetry wars, or the idea that people within the space of writing are at odds with one another or manipulating language to further one's political stance, manipulating language in ways that really felt dirty to me. All of these things worked their way into and through language for me.
Dad was a retired hedge fund manager who made enough millions to retire and focus on my game. Before that, he was on the 1984 U.S. Olympic swimming team. No medals. He was accustomed to winning at everything, but no medals in 1984.
Poetic language features an iconic rather than a predominantly conventional relationship of form and content in which all language (and cultural) elements, variant as well as invariant, may be involved in the expression of the content.", "Analysis of the Poetic Text.
We switch to another language-- not our invented language or the language we've learned from our lives. As we walk further up the mountain, we speak the language of silence. This language gives us time to think and move. We can be here and elsewhere at the same time.
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