Matter Of Fact Despite Orwell's Claims example essay topic

Shooting elephants, pigs and other animals: Orwell's struggle for political emancipation Ant " on io Lopes, Universidade do Algarve Abstract One might say that Orwell has almost become a persona non grat a amongst left-wing intellectuals: Williams refers to him as an 'exiled? and a 'vagrant? Jameson deems him a 'counterrevolutionary? As a matter of fact, despite Orwell's claims to being a leftist, he remained refractory within the left-wing discourse, in some degree thanks to his bitter criticism of all forms of institutionalized repression and to his disillusionment with the outcome of revolutions, which led him to relentless attacks on the British intelligentsia and to his ever growing suspicion of the intentions of the Soviet regime. In this paper we will analyze one of Orwell's narrative and figurative devices to expose the beastlike cruelty fostered by certain political systems, without relapsing into an orthodox stand, which was typical of many of his contemporaries. By creating a bestiary of his own, Orwell managed to pull away from an ideologically centered point- of view, thus succeeding in revealing the perversity of given forms of power. Lady, three white leopards sat under a juniper-tree In the cool of the day, having fed to satiety On my legs my heart my liver and that which had been contained In the hollow round of my skull [... ] T.S. Eliot, Ash Wednesday Some young men of the village carried off the carcass in order to eat the heart and various other organs, the eating of which they believed would make them strong and swift like the leopard. G. Orwell, Burmese Days An Indian Imperial Police officer in Burma was almost certain to undergo many a strange situation in the mid-twenties. a time when the Far East still kindled our imagination and when the thrill of adventure, exoticism and the (un) discovery of the Other were constituent parts of an Empire idealized in the Boys?

Weeklies. We can but imagine how full of stories his memory was and how some of them would challenge our commonsensical reading of reality. But to experienced the uncanny, the comic or the tragic is one thing and to be able to discern that which is worth telling is yet another; mainly because, on the one hand, there are moments in one's life which are best left untold and, on the other, given experiences simply cannot find their way through words. And as one sets out to transform impressions, flashes of memory and loose words into an act of narration one may be led to avert the aleatory, the accidental, in order to knit a succession of events readable / understandable by his audience.

This may not be true of some story-tellers committed to the revels of imagination or to exposing the arbitrariness of human existence; but for others, driven by a sense of urgency, bringing some kind of order to the world becomes the cornerstone of their literary undertaking. Autobiographic writing may serve such a purpose, but one cannot expect the writer's hand to reenact the same movements of the body and of the soul without displacement and distance, i. e., without creating a gap between story and narration. a separation which entails the re dimensioning of the narrator's perceptions, the reassessment of his attitudes and their subjection to the mechanics and the dynamics of the textual ization process. And it becomes all the more interesting if he is willing to derive from the narrative a lesson about either his own moral nature or that of those around him. In that case, he is called on his ability to detect in the anecdotal centre of the story the presence of those values and principles which buttress his very ethos and which render the text an exemplary episode. The author needs to be, at the same time, inside and outside the story: he must still build his own textual existence through the act of narrating despite his illusory claim that.