7. Part II chapter I, II

• Engels
• Upper Secondary (Key Stage 4)
• GCSE

Goals for today 

Consider paragraph responses 

Considering central topics in part 1 

Consider an extract from Part II

Add to the characterisation of Winston 

Orwell's intentions in Part II, chapter II 

Each group will be given a topic.

Develop Orwell's message on this topic in part 1 

Sex​

Love​

Politics​

Control​

Rebellion​

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Why is the girl from the Fiction Department not given a name?​

On the topic your group have been given, combine your reactions to how that theme is evidenced in Part I ​

​Represent your ideas as a mind map

You need to make notes on…​

Key quotations​

Key events​

Winston's reaction and opinions on this topic 

Writers Intentions​

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What points of similarity does it have with Part One Chapter One?​

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What differences does it have?​

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How realistic (within the world of 1984) do you find the events?

Consider part II chapter I and answer these questions in your exercise book

• Beginning of the end for Winston and Julia​
  
• A decisive moment in the narrative when events become the driving force rather than reflections​
  
• It does not begin with the diary – rather than reflection and remembrance, the novel now picks up pace and is about action​
  
• Part One is there to set the scene, Part Two is there to move the story on​.
  

What is the importance of part II chapter I:

Listen and read along to this extract from Part II chapter I 

Answer these questions in your exercise book 

1. What is the purpose of this extract?​
   
2. What techniques are used to convey the purpose(s)?
3. ​How does Winston react?​
   
4. ​What problems or concerns does this extract give the reader?​

Free indirect discourse

AWL

Goals for today 

Silent reading - HLE proposal due in on Monday 

Changes in  characterisation of Winston in part II 

Orwell's intentions in Part II, chapter II - take notes 

A personal experience in a totalitarian state 

Rate the word 1 to 4

1. I do not know the word, and I have never seen it before. 

2. I've heard or seen the word before, but I'm not sure what it means. 

3. I know the word and can recognise and understand it while reading, but I probably wouldn't feel comfortable using it in writing or speech. 

4. I know the word well and can use it correctly in writing or speech. 

Cryptic

Word of the day

Cryptic (adj) - secret, mysterious 

Unscramble the following letters to discover a synonym for cryptic. 

       SAIBOMUGU

 

The cryptic message was read and reread by the detective trying to find the missing child. 

Winston - add information Part II

Inside: Winston’s physical characteristics and personality traits   

Outside: significant points relating to his physical surroundings or environment, as well as any relationships he has formed​

and his attitudes to significant aspects of his world​.

short quotes and page numbers from the extracts presented. 

"'Rats! murmured Winston ... that's all." p. 151 

"   'Don't go on!'  said Winston, with his eyes tightly shut. 

    'Dearest! You've gone quite pale. What's the matter? Do they make you feel sick?' 

    'Of all the horrors in the world – a rat!'" p. 151

Write a response:

How is direct speech used in this extract to reflect the mood? 

Syme had vanished ... were wild rumours.  p. 154-155

"It was enough. 

Syme had ceased to exist: he had never existed" 

"The weather was baking hot."

"In the labyrinthine Ministry the windowless, air-conditioned rooms kept their normal temperature, but outside the pavements scorched one's feet and the stench of the Tubes at the rush hours was a horror" 

Write a response:

How does Orwell employ sentence length and sentence construction to enhance his message?

"Four, five six ...worn-out musical box." p.157 - 158

"He seemed to have lost the need for it. 

He had grown fatter, his varicose ulcer had subsided, leaving only a brown stain on the skin above his ankle, his fits of coughing in the early morning had stopped." p. 157 

Write a response:

How does Orwell employ sentence length and sentence construction to enhance his message?

"The new tune, ... of acrid-smelling sweat." p. 155 -156 

"He was everywhere at one, pushing, pulling, sawing, hammering, improvising, jollying everyone along with comradely exhortations and giving out from every world of his body what seemed an inexhaustible supply of acrid-smelling sweat." p. 155-156

Write a response:

How is the sentence construction used to aid characterisation of Parsons? 

What reactions do we have to Winston and Julia’s emerging relationship?​

What does Orwell want us to think or feel about this turn of events?​

Consider the distinctions between love and sex. Fill out a form like this in your exercise book.

Love is ...	Sex is ...
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Linguistic investigation. Looking closely at diction. 

Find in your text these linguistic techniques and examples which link to the following headings…​

• ​Sexual language​
  
• ​Emotional language​
  
• ​Natural language​
  
• ​Jarring or unexpected language​
  

Sexual language 

Purpose Winston and Julia in Part II, chapter II

• Allowed to understand Winston’s feelings through free indirect discourse once more​.
  
• Natural imagery becomes a symbol for his own feelings and emotional state. 
  
• Normally description relies on simile but in the presence of Julia Winston’s feelings are intensified and Orwell employs metaphor with increasing regularity – ‘pools of gold’ and ‘misty with bluebells’​
  
• Significant contrast with the previous chapter and links to the ‘Golden Country’ of Winston’s dreams​
  
• Realism is injected with Winston’s temporary impotence. Could this  imply distrust in the relationship?​
  
• Julia is only able to explain her attraction as reading his face and knowing his rebellion. Is it as easy for the Thought Police too? Desire is unexplained, and her access to real chocolate begins to be questioned by the reader. Do we trust Julia? 
  

What are Orwell's intentions?

• Julia is more important to show us Winston’s development as a character than as a figure in her own right​. 
  
• Links to the proles, only seen through Winston’s eyes and not allowed to be a developed idea or a possible overthrow of the system. 
  
• Act of tearing off her sash reduces Julia to a symbolic figure, reflecting Winston’s view of life – his rebellion is not actually to do with love but with seeing sex as a political act and a means of undermining the party​
  
• Irony – by using sex as rebellion and not actually for love, Winston is in fact following party doctrine – Orwell questions nature and function of love​
  

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Concepts HL language and literature 

Concepts we generated: 

Control, Rebellion, love, politics, sex 

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Stasi 

Read the article in MB files about experiences in the GDR. 

Write a letter from Peter Keup's brother to Peter explaining why you made the choices that you did during the existence of the GDR. 

www.newyorker.com