1984

Themes

Nationalism

Nineteen Eighty-Four expands upon the subjects summarised in the essay "Notes on Nationalism"[35] about the lack of vocabulary needed to explain the unrecognised phenomena behind certain political forces. In Nineteen Eighty-Four, the Party's artificial, minimalist language 'Newspeak' addresses the matter.

  • Positive nationalism: Oceanians' perpetual love for Big Brother; Neo-Toryism, Celtic nationalism and British Israelism are (as Orwell argues) defined by love.
  • Negative nationalism: Oceanians' perpetual hatred for Emmanuel Goldstein; Stalinism, Anglophobia and antisemitism are (as Orwell argues) defined by hatred.
  • Transferred nationalism: In mid-sentence an orator changes the enemy of Oceania; the crowd instantly transfers their hatred to the new enemy. Transferred nationalism swiftly redirects emotions from one power unit to another (e.g., Communism, Pacifism, Colour Feeling and Class Feeling). This happened during a Party Rally against the original enemy Eurasia, when the orator suddenly switches enemy in midsentence, the crowd goes wild and destroys the posters that are now against their new friend (Eurasia) and many say that this must be the act of an agent of their new enemy (and former friend) Eastasia. Even though many of the crowd must have put up the posters before the rally, they now say that the enemy has always been Eastasia.

O'Brien concludes: "The object of persecution is persecution. The object of torture is torture. The object of power is power."

Futurology

In the book, Inner Party member O'Brien describes the Party's vision of the future:

There will be no curiosity, no enjoyment of the process of life. All competing pleasures will be destroyed. But always—do not forget this, Winston—always there will be the intoxication of power, constantly increasing and constantly growing subtler. Always, at every moment, there will be the thrill of victory, the sensation of trampling on an enemy who is helpless. If you want a picture of the future, imagine a boot stamping on a human face—forever.

—Part III, Chapter III, Nineteen Eighty-Four

Censorship

A major theme of Nineteen Eighty-Four is censorship, especially in the Ministry of Truth, where photographs are modified and public archives rewritten to rid them of "unpersons" (i.e., persons who have been arrested, whom the Party has decided to erase from history). On the telescreens figures for all types of production are grossly exaggerated (or simply invented) to indicate an ever-growing economy, when the reality is the opposite. One small example of the endless censorship is when Winston is charged with the task of eliminating a reference to an unperson in a newspaper article. He proceeds to write an article about Comrade Ogilvy, a made-up party member, who displayed great heroism by leaping into the sea from a helicopter so that the dispatches he was carrying would not fall into enemy hands.

Surveillance

The inhabitants of Oceania, particularly the Outer Party members, have no real privacy. Many of them live in apartments equipped with two-way telescreens, so that they may be watched or listened to at any time. Similar telescreens are found at workstations and in public places, along with hidden microphones. Written correspondence is routinely opened and read by the government before it is delivered. The Thought Police employ undercover agents, who pose as normal citizens and report any person with subversive tendencies. Children are encouraged to report suspicious persons to the government, and some even denounce their parents. Surveillance controls the citizenry and the smallest sign of rebellion, even something so small as a facial expression, can result in immediate arrest and imprisonment. Thus, citizens (and particularly party members) are compelled to obedience.


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