A short powerpoint designed to whet the appetite… and to engage discussion prior to reading.
A short powerpoint designed to whet the appetite… and to engage discussion prior to reading.
Next year, Year 12 begin the first straight-through teaching of English Literature at A level. The unnecessary hiatus of AS has been lifted and we may have a bit more time to explore the subject.
My intention is to try to engage with ‘Literature’ per se and to lose the sense of set-book-focus which I feel has made A level hitherto so much the poor relation of IBDP studies. Our students are not in the Upper Sixth as an end in itself – they are preparing for University. Some will opt to study Literature – let’s prepare them.
Anyway, here is the first version of my ‘welcome to Literature’ lessons. The project will be filled out but the outline is here. I welcome comment and am grateful for the stimulus provided by Andrew Green of Brunel University, who pointed me to Daniel Pannac.
As I begin to prepare for teaching American Literature for OCR A level next year, I want to explore the music which parallels our study. Art is holistic. To study literature without an awareness of music and fine art, for example, would be unhelpful.
I’m not sure how best to arrange this. I will write a summary of what i see as useful and post a link to a Spotify playlist where examples can be found. I hope this will be interesting and useful.
Beginnings and Puritans.
Before the arrival of Europeans on the East coast, there was music. Much has become extinct, but the Native Americans had a music, largely based on rhythmic drumming which was repressed as they were systematically chased away from the new ‘civilised’ inhabitants of the New World.
These were the religious escapees from Europe and the Empire builders. Their music and their literature was largely religious and reflected the stern puritan outlook of many. In the 17th Century, music was given to the Lord and not intended for relaxation and revel – unless one was not of the Chosen People. Sure, on board ship there were shanties and popular songs; soldiers marched to rhythmic folk ditties, but these were generally not regarded as men of class or men who had any form of soul worth redeeming. Each European group brought its own version of the music of North or South Europe and church music, as exemplified by the Bay Psalm Book of the First New England School grew up. Composers were often self-taught and their music gradually deviated from the European norm as a result. Composers such as the splendidly named, Supply Belcher, were the first authentic voices of American music.
As the 18th century saw northern Europe dominate the development of New England and East Coast culture, so the voice of Catholic South was domination development of music in states to the West of the continent. The one an austere church music based often on Scottish Presbyterian models with ‘lining’ of simple melody a feature, the other, the rich polyphony of Spanish renaissance music.
And then there were the slaves. Drawn from the vast array of races and cultures of West Africa, they brought no single influence, though once settled, there grew up a culture based again on the religious influence – the spiritual. As the influence of Christianity became rooted in the slave society, so the expression of sorrow, pain and patience under suffering began to pour out in musical form. A form which would eventually mutate into the blues and thence to rock and roll. In essence a true American art form.
19th Century – civil war and emancipation.
The great change to society came in the 1860s. Until,this point American society was disparate. The war forced societies to merge. The great armies brought together soldiers from the whole of the continent and the boundaries between communities developing much along the lines of the historical ethnic forebears was changed for ever. This cultural shift was helped by the emancipated slaves, whose music could now become an influence beyond the South and also to a startling rise in urbanisation following the victory of the industrial North over the Agrarian economies of the South. In or around 1890, fewer than 1 in 4 citizens lived in urban areas. By the 1920s, more than half the population lived in the great cities.
The elite in the cities of the East coast had long established themselves as facsimiles of their European cousins – Philharmonic societies and Opera companies were founded and music performed – almost entirely European music. The closest thing to an Amercian symphony at this period was Antonin Dvorak’s New World Symphony written in 1893. It is so called because it was written in America. The only evident Americanism is his use of ‘negro’ melodies. There wanted yet an American voice. The musical directors of these companies were Europeans – Mahler or Toscanini for example in New York. Students of literature might compare this idea in a writer such as Kate Chopin. In her novel The Awakening, there is competition between the creole folk song – simple and alluring, the trite Europeanism of French Operetta and the emotionally explosive high Romanticism of Chopin and Wagner. Her novel is sert in the melting pot of New Orleans. The salons of Boston, where Henry James’ heroines reside was appalled and disgusted by the impression created. Class was European, not American. Music and Literature agreed.
So what of the non-elite?
The war brought an upsurge in Military music and in the ballad form of popular song. The music of the ‘blackface’ popular song, of composers such as Stephen Foster became subsumed into the musical lexicon of the warring factions – as did the hymns of the European tradition. The ‘Battle Hymn of the Republic’ the anthem of the Union being based on the hymn John Brown’s body…’. Whilst the rousing tunes and military tread of John Philip Sousa engaged the minds of the victorious North European society of the great East Coast Urban elites., the south – the land of Dixie continued to reflect music more redolent of a mixture of cultures -Creole, Slave, and French in particular and also that of another authentic voice – the hillbilly – the lowest stratum of society, the rural poor, carving out a living in the Appalachians and other areas of the Southern States. These areas were still dominated by country music – the folk song tradition of the settlers.
At this point there is a necessary divergence:
Post war: Urban
In cities like New York, music flourished. By the early 20th century the growth of an audience for the Musical launched many a career, at the same time as the explosion in recording technology and simple publication of sheet music. Apart form the great European music widely available in the concert hall, the 3 minute song became the currency of popular music. As the ‘Jazz Age’ approached, access to music had never been simpler. The arrival of emancipation had allowed black culture to spread rapidly. The blues, derived from spirituals had evolved into Jazz in cities like New Orleans, in the South. This in turn became blended with popular culture and hit songs like ‘Ol’ Man River’ from the musical; Show Boat blended the former slave culture with the new popular music of the North. Among the librettists on Show Boat was none other than P’G’ Wodehouse who joined composer Jerome Kern in the great hit number ‘Bill’. Boundaries were falling. The composer who best encapsulates this era is George Gershwin. He travelled from popular song, via works for full symphony orchestra to his opera Porgy and Bess (1934). This is a true landmark of American culture – An opera in the vernacular, written about life in the poor black community, with a heart-lifting message, which does not shy away from issues such as drugs and racist bullying and which requires a black cast. It has not been universally popular -many black actors have refused to play roles which they feel perpetuate negative stereotypes – drug peddlers, prostitutes and so on, but it is a vital step in the development of an American Classical Music canon – the mixture of ragtime, keening, blues, and great romantic arias is a first fusion of the rich tapestry of music available in the America at this time.
Rural South and the birth of Jazz.
In new Orleans at the end of the 19th century the melting pot, as suggested earlier, was beginning to develop another authentic voice of American music: Jazz. This is a form associated with the black community and originates in processional and marching music based on the songs and spirituals which has typified the community hitherto. The new feature of Jazz, over the dance-oriented forms of ragtime which represented ‘black’ music to this time, was improvisation – the free voice taking a theme and owning it – a true sense of self-expression. Ragtime, typified by composers such as Scot Joplin, the first musician from the black community to become a household name, was ubiquitous in the dance halls and bars of the country. Jazz would become the voice of the South and the voice of a race.
I’m sure every student reading Gatsby will have been asked to research the Jazz Age. What a time. Just as Gatsby’s mansion is filled with the flotsam and jetsam of an immigrant society, so music was beginning to fill its various voices. Ragtime develops into dance crazes such as the Charleston and Jazz is tamed to develop into the phenomenon which will mark the 1940s – Swing. Improvisation is still a part of the process, but the whole is tightened and organised to best fill the three minute needs of a 78RPM disc and to provide comfort food for the masses and in time to spread the American image overseas. Jazz would need to wait for the next artistic explosion – the be-bop experimentation of the 1950s and 60s – the erosion of rules and rejection of form that can be seen in poetry of the time and the beginnings of utterly abstract art movements. In Gatsby, the music is ‘there’, not central, yet it is such a clear symbol of a shift in society. It is now post world war 1, the societal boundaries are breaking, a musical form which encompasses all is developing, yet it is a sanitised form of the genre – not the scream of freedom and self expression of New Orleans, but the tamer ‘danced Jazz’ of the northern cities.
In parallel change had come upon the European Classical tradition in the form of Charles Ives (1874-1954). No composer can be as worthy of consideration as the authentic voice of American Classical music even if his experimentation renders much of his music ‘difficult’ even today. He takes the sound effects of composers such as Mahler or Richard Strauss – particularly the use of ‘noises off’ and offers a specifically American take. Mahler may embed the cowbells of his Austrian heritage in his symphonies, Ives runs recognisably American marching bands straight into each other whilst establishing a musical narrative in the forefront of the hall – about as wild a rule breaking as Whitman or Eliot or other voices of modernism found in literature. The effect is disconcerting to say the least.
After Ives, Aaron Copland is probably the next voice to create a distinctively American sound. His ballet Appalachian Spring taps into an artistic movement which was seeking to link back to tradition and the ‘old ways’ in the aftermath of the War, much as the Georgian movement in Edwardian England had done. He makes dance heroes of figures of the American West in the ballets Rodeo and Billy the Kid and creates an instantly recognisably ‘American sound’ with spacious chords, slow moving often recalling the huge spaces of the country, mixed with popular folk song and religious melody recalling a more innocent time.
The European tradition continued to flourish – though not widely performed in Europe, composers such as Walter Piston and Howard Hanson followed the lead of the late 19th century 2nd New England School, writing in a highly Romantic language. There was also the influence, again, of immigrants. It is hard to decide whether composers like Stravinsky, Rachmaninov or Schoenberg can be said to be ‘American’. They are great composers resident in America, but it is hard to point to direct American influence on their music. Kurt Weill, on the other hand underwent a complete change of voice. Rejecting the Brechtian sparseness of his Berlin Years in favour of a directly American popular song sound exemplified in works like his opera Street Scene.
Post World War 2.
Now it gets complicated!
As the soldiers returned and American society tasted prosperity like never before, a new segregation developed in addition to the segregation of the blacks in the Jim Crow South. In turn the state turned on possible Communists, those opposed to the increasingly belligerent actions of the state in the Far East, those who seemed to be misfits due to their sexuality or their choice of relaxing stimulants and so forth. Each time this manifested itself, art responded accordingly. The blues developed into the teenage phenomenon of Rock and Roll (complete with lewd hip swivelling), and that in turn into the huge range of sub genres that we see today. Society was fragmenting and each fragment carried its own bubble of musical stimulus. The urban jazz world explored be-bop as an antidote to swing in the same way as the Beat poets rebelled against the strict notion of form applied to earlier poems. Writers like Bob Dylan recalled the folk music of earlier times in his largely acoustic writing of protest songs around the time of the Korean and Vietnam Wars, only joining mainstream music in 1966 with the use of electronic instruments and amplification. In the late 60s the psychedelic drug culture reached its apogee at the great Woodstock festival – free love and drugs were on the bill in New England, as well as in San Francisco – long seen as a somewhat louche city. In the classical sphere, minimalism, led by Steve Reich and Philip Glass reflected the minimalist movement in art, and a new type of Classical music was born after the war: the Film Score.
In this field, there had always been music – pianos accompanied the silent movies of the early 20th century and artists such as Charlie Chaplin not only acted but also composed his own soundtracks. After the war, filmmakers like Alfred Hitchcock altered the medium forever. In a Hitchcock film, the music is a character – the shrieking violins in psycho or the pounding orchestral pursuit in North by North West. Pre-war composers such as Eric Korngold and newer voices such as Bernard Herman rose to prominence. By the 1980s composers were stars in their own right: John Williams is probably the finest example of the group, though Elmer Bernstein and Ron Goodwin or James Horner also stand out.
Unlike in the UK where serious composers such as Ralph Vaughan Williams, William Walton and Malcolm Arnold were heard both on screen and in the concert hall, few Americans seem to have done the same. The notable exception is the remarkable Leonard Bernstein. Composer, conductor, educator…
The post war American city was a divided place- increasingly a divided society was withdrawing into small sections of closely guarded territory. Bernstein caught this shift like no other. His musical West Side Story merges Shakespeare with the Upper West Side of Manhattan – the gangs are now American boys and their Puerto Rican neighbours. This musical exploded onto Broadway in 1957 and caused a wave of shock and adulation. Gone was the safe ‘American musical’ in which love was chased in the strange worlds of South Pacific or sanitised Nazis. Bernstein probably has marked American Classical Music forever in this work – part Jazz, part twee glee song (the satirical Officer Krupke), part full blown Romantic Opera, this work encapsulates the divisions of the society it portrays whilst merging the Latin sounds of the Puerto Ricans with the European and ‘American’ musical language of the Jets. A true American masterpiece for the masses.
Enough. This has strayed form my original idea – there is not enough direct Literary linking – I may have to come back to it.
The Spotify soundtrack can be found USA playlist
In the absence of past papers and having exhausted my imagination and the titles I can cull from OCR training material, I offer these for the Pre 1900 poetry and drama paper:
1 ‘Seduction is most effectively accomplished through flattery.’
In the light of this view, consider ways in which writers represent seduction. In your answer,
compare one drama text and one poetry text from the above lists. 
2 ‘It is rarely good for us to get what we want.’
In the light of this view, consider ways in which writers portray appetites and desires, and theirconsequences. In your answer, compare one drama text and one poetry text from the above lists.
3 ‘Marriage can be a prison, marriage can be a paradise’
In the light of this view, consider ways in which writers portray marriage. In your answer, compare one drama text and one poetry text from the above lists.
4 ‘Literature rarely shows power being used well’.
In the light of this view, consider ways in which writers portray marriage. In your answer, compare one drama text and one poetry text from the above lists.
5 ‘Verbal wit is women’s strongest weapon’
In the light of this view, consider ways in which writers portray women’s use of language. In your answer, compare one drama text and one poetry text from the above lists.
6 ‘Life goes on but literary texts must end’
In the light of this view, consider ways in which writers end their texts. In your answer, compare one drama text and one poetry text from the above lists.
7 ‘Pride goes before a fall: the greater the pride, the greater the fall’.
In the light of this view, consider ways in which writers portray pride. In your answer, compare one drama text and one poetry text from the above lists.
8 ‘Writers, readers and audiences delight in the spectacle of sinfulness’.
In the light of this view, consider ways in which writers portray sinfulness. In your answer, compare one drama text and one poetry text from the above lists.
And this was posted recently by Anton Viesel – a teacher in Northampton:
Interesting stimulus for a much under-resourced play. Yr12 – read this.
Do we believe that Johnny “Rooster” Byron is having sex with Phaedra, the 15-year-old girl he’s sheltering from the stepfather who has apparently been sexually abusing her? And, if we do, how come we don’t think Johnny’s abusing her, too? Or do we?
These questions go to the heart of what makes this play so interesting and disturbing—and the answer is only partly that Mark Rylance embodies Johnny as such a vivid life force that we might almost forgive him anything.
The tenderness of Johnny’s third-act scene with Phaedra certainly suggests a relationship. She brings down the curtain on the second act when she suddenly emerges from his trailer in the woods and calls his name. When she emerges again in Act 3 to find Johnny alone among the dilapidated furniture scattered in the yard out front, she recounts the thrill of being crowned queen of the annual fair on…
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The June 2016 paper included a passage from Ayn Rand’s Anthem as a source for the question: Discuss ways in which Orwell explores the threat to individuality in 1984. I have encouraged students to focus on contexts -AO3 is the dominant AO – and not to stray from Orwell himself and the period around his creation of the novel with no reference to other writers. Since we are teaching with the eventual A level in mind, this is confusing for the students – it almost feels as though they have to go backwards a little. Still, I think it is preferable to having to engage with wider reading and exploration in Year 13 alone.
Here goes: timer on…. 15 mins reading and notes for a 45 minute (maximum) writing period.
Respond to the question without the source:
Names – identity lost as unperson, 6079Smith
Identity lost in uniforms and 2 mins hate, also in common living and shared activities
totalitarian regimes scared of individuals – all reflect ideas of the Party – Katherine and anti-sex league vs Julia
writing as source of identity – thought police
Stalin/Hitler regimes and control
Orwell against fascism in 1930s Spain
Orwell aware of poor living conditions and proles lives from earlier writings.,
Orwell at BBC propaganda unit controlling thought and therefore reducing individual responses
Ideas explored in Animal Farm
Home of the street sweepers – collective living
need to write for ‘no ears but our own’ – thoughts forbidden (curse)
Unable to resist the urge to rebel…
Orwell’s 1948 novel, 1984, is a warning to humanity about the dangers of a totalitarian state. Written after the defeat of Hitler and in the time of the emerging Cold War, the focus seems to be clearly Stalin’s Russia, though Orwell, who had fought against Franco in the 1930s and who had worked for the BBC propaganda unit in the Second World War is able to reflect the shift from Nazism to Communism as a focus with the ever-shifting background of alliances observed in his novel.
At a human level, such regimes seek to destroy individuality and this is explored in this pair of novels. Rand’s protagonist, Equality 7-2521 seems to have lost all individuality and become absorbed into a kind of ‘hive mind’, even to the extent of thinking of himself in the first person plural – ‘We’. Winston Smith has not yet descended to this level at the start of 1984 though he keeps jis name solely because of his status at work, where he is known as 6079Smith. Orwell has given him the blandest and most common English surname of the time as a step towards the loss of his identity and the replacement of his proud forename Winston again suggests a wish to remove his personality. Winston, recalling Churchill, suggests determination to fight on against impossible odds. The regime will not wish to engage with this idea. Individuality is further lost at the end of the novel when Winston becomes becomes an ‘unperson’. The negative prefix of this Newsspeak construct reinforces the idea of a removed identity – the fate of all who fall foul of the Party and its way of life – much ion the same way as Stalin’s victims sent to the Gulags lost all identity and rights as citizens, living out their lives in a hidden half-world at the Arctic Circle.
Identity is also seen in the way one dresses. In Rand’s text we learn that all men wear an ‘Iron Bracelet’ as an identity marker. In Orwell’s text the work force -the ‘Outer Party’ workers are required to wear blue overalls and to lose all sense of individuality in their clothing. This sense of commonality can then be seen in their behaviours – all required ot take part in the 2 minute hate and all chanting ‘B-B’ in homage of Big Brother regardless of any personal feeling. It is only in the highest echelons of the Party and in the ‘Golden Country’ that people can dress as individuals. The hypocrisy of the senior party members seen here is reminiscent of the enormous freedoms to accumulate wealth and material goods seen in Soviet Russia while the ordinary people starved. In both texts there is an evident hand-to-mouth existence for the ordinary workers – Equity steals candles and Winston soap – everyday necessities.
In Rand’s text, the protagonist is aware of the need ot write -to explore his thoughts for ‘no ears but our own’. He is writing in his customary 1st person plural and referring solely to himself, just as Winston, when writing in his diary is driven to explore the thoughts which can never be spoken aloud: @I hate Big Brother’. For both there is a clear fear of reprisal for ‘thoughts which are forbidden’. In 1984 the constant awareness of the telescreen and the activities of the Thought Police result in those thought to be harbouring thoughts which do not suit the Party being taken away to the Ministry of Love. The euphemistic name, just as in Rand’s Palace of Corrective Detention – suggests a location in which people are helped rather than tortured. In this Orwell departs from his Soviet model. Though clearly modelled on the Lubianka, no one in Soviet Russia would view the headquarters of the KGB in any way other than its grim reality. Orwell is using his experience in the BBC propaganda department to show the power of controlling public expectation.
The final paragraph of Rand’s extract hints at the idea that in all men there is an urge to rebel – to recognise the moral issues in a situation and to stand up for the ‘right’. This ties in with Winston. He is not an heroic stereotype – downtrodden and frightened, hampered by his varicose leg he finds it in himself to rebel first as a lover as he is able to reject the attitude of his wife Katherine and the anti-sex league to find his own individuality in love with Julia (who ‘adores sex’) although this will eventually be his undoing, and then in his ill-fated attempts to subvert the Party system.
He has been spotted as a rebel without needing to be ‘six feet tall’. He has been played by O’Brien and will pay for his individuality in Room 101 and in his subsequent reincarnation as an unperson. He has lost his individuality since the Party cannot allow independent thought – it must have control of the Past, the Present and the Future.
43 minutes. I’d love some feedback if anyone reads this – where would you mark it in OCR AS marks schemes – and why?
A while ago I wrote a brief post including 3 19th century depictions of women as stimuli for A Doll’s House. In this post I revisit them and add material from Medieval England for my students reading The Merchant’s Tale.
Since both texts present a highly Patriarchal society in which women are still tainted by the ideas of the Fall of Man and Eve’s innate untrustworthiness, I thought that a little more specific material would be helpful.
In Holman Hunt’s The Awakening conscience, a young girl seems to be terror-struck as she stares at the onlooker both seeming to beg for help and to challenge our preconceptions. The male is relaxed and arrogant in the picture – his wife is his plaything and he is oblivious to her anguish. A better visual metaphor for Act 3 Nora would be hard to find. It would be wrong to assume that society in the mid to late 19th century was utterly accepting of the position of women, It is far too easy to generalise. In addition to Woolstonecraft and Ibsen’s own writings on the subject, students can consider whether ADH is a proto-feminist text or an exploration of the individual. What this picture gives us is a clear image of social awareness of the position of women at the time.
Likewise, in this picture:
Here we see the fate which awaits Nora or which was suffered by Christine. Neither are widows, true, but both have lived the life of the single female in a harsh and unforgiving society. I will let the passage next to the portrait do the talking for me. What is certain is that Nora, with no belongings and tainted with disgrace is going to fall prey to all sorts of charlatans and predators with very little way of raising cash to aid her subsistence. I see this as another interesting piece of context to be placed alongside contemporary writings. Remember, if the art is being created, then there must be sympathy for the plight of the women in the pictures.
In The Merchants Tale we can place May in similar context.
It is too easy to talk of women as second class or property… once again, art can help us here. Whilst there is no doubt that the issues of Eve are valid in a text which is so clearly a parody of the Fall of Man, I am always interested by the apparent compromise or truce offered by the end of the tale. If Januarie’s hand on May’s ‘wombe’ suggests a pregnancy, there is a need to consider whether this might be Damyan’s child. Januarie’s action seems to signal a wish to continue as married despite any adultery – a sense that there is parity in some way between the two characters at this point of the tale.
Certainly May, pre-marriage, had a poor future to look out on. She would have little chance of a ‘job’ beyond service and be viewed as tainted with Eve’s untrustworthiness, yet images from Medieval works such as the Lutterell Salter show such women as she brandishing their distaffs (the mark of manual labour – the punishment meted out to Eve- and using it to beat their husbands:
Whilst this may well be a satirical picture, satire must be rooted in fact to be effective. Women of all degrees ran the household. This puts them in control of their husbands to an extent and also, when wealthy, of servants. Wealthier wives were ladies of leisure for whom hunting and games were diversions widely practised. They gave orders to the servants of the household and developed lives of their own.
Not only that, but certain women, without being Royalty, had enormous power. IN the religious world Abbesses and Mothers Superior would rule over their religious houses and much of the surrounding countryside, dispensing Church Law and establishing women as anything but the subservient gender. There was not always harmony – Nunneries such as the Abbey at Amesbury in Wiltshire became notorious for licentious behaviour, but it would be wrong to imagine that women were not able to rise to great power (and wealth) in this way.
In Chaucer’s England there may well have been memory of the most powerful LAdy to have ruled the Kingdom, Queen Isabella, who together with her lover Roger Mortimore, had deposed her husband, King Edward II, some hundred years earlier. The route tot he throne was not barred to women, even though the adulterous couple would give scope for Eve-based criticism. The point is that there was not a guaranteed opposition to the concept of the storng woman, especially if their husband was ill-perceived.
May is elevated from her poor background and given a wedding with much pomp and glamour, albeit rather hurried and would have been seen as a powerful woman. She is sufficiently powerful and of high status that she can become a focus of courtly desire and although this is a satire – a Fabliau – the relationship must be seen in this light – she calls the tune: She organises the clicket, arranges the assignation and controls Damyan’s ascent of the tree. The humour of the lack of romance in his ensuing action does not detract from her position – she is the Lady of the house and remains so after the Tale comes to an end.
This is a work in progress table to help OCR A level students prepare for the Unseen in Dystopian Literature. The texts cited have either been used in part as unseen practice or have been read by the students.
Typicality and textual reference in unseens
|Narrative voice||1st person: Handmaid, Delirium (Oliver), Divergent, Maze Runner
|3rd person: 1984, Station 11, The Road|
|Narrative tone||Factual: We (Zamyatin), NLMG|
|figurative: time machine,|
|Brave New World, we, Ender’s Game|
|Future degraded||The Road, (anarchic, post-apocalyptic), I am legend, Station 11, Riddley Walker, The time machine, Delirium, F451|
1984, Fahrenheit 451, Handmaid, Delirium (?)
Hunger games, the dispossessed
|Location elsewhere||Ready Player 1,|
|Location town (protection)||1984, Handmaid, We, Hunger Games|
|Location country (to be feared or a sanctuary)||
1984, Station 11, The Road, I am legend, Logan’s Run (sanctuary)
|Time of day|
|names||Ofred (offered and belonging, (Regal), Winston Smith, anonymous so universal – The Road, F451 Guy Montag – new beginnings, August (Station 11) -power|
|jobs||1984/F451 – destruction of (written) language, mundane employment: 1984, We, Handmaid, F451(?), War of Worlds, Wyndham novels, Children of men: Lippiatt has a high status role, Station 11 – ‘the prophet’|
|skills||In YA skills can be more evident- Castniss|
|Action Active||Winston Smith|
|Past was better||1984 – Winston perceives past as better, official documents disagree. Handmaid. Delirium, Brave New World – reservations The Road, Riddley Walker, NLMG|
|Capitalist or Communist takeover||F451, There will come soft rains, Body Snatchers – USA 1950s/60s, Animal Farm, 1984|
|Destroyed individuality||NLMG,1984, We, Hrarison Bergeron, Cloud Atlas (Sonmi 451)|
|Control by state||NLMG, 1984, BNW|
|Mankind corrupted||The Road, Chaos Walking trilogy, F451, Handmaid, Time Machine, Maze Runner|
|Individual against corrupt society||The Road- Man and child seek redemption|
|Class ‘warfare’||Hunger games, Time Machine, 1984, brave new world|
In my endeavour to focus Y12 on AO2, I recorded this today in a lesson. Please take a lesson – it was not pre-prepped and I make no apologies for the rough edges…
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