julia body article 1984 summary
Julia is Winston Smith's Juliet. Is the name a coincidence? Probably not. A duplicitous and whimsical creature, her sexual allure inspires Winston to start the rebellious writings (because he fantasizes about her). She then acts as Winston’s ally in active rebellion, although her idea of revolt is more in-your-arms than up-in-arms. Julia is a dark-haired, twenty-six-year-old employed as a machine operator in the Fiction Department at the Ministry of Truth. Looking like a zealous Party member, she wears an (ironic) Anti-Sex sash around her waist, and always participates passionately during the Two Minutes Hate.
Julia’s other side is much more interesting. She is a woman with raging hormones and a cunning spirit. A highly sexual being, she sleeps with Party members regularly to satisfy her own desires. Does she really mean it as rebellion, or does she just want to get it on? You could argue either way. Winston would sure like it to be the former, and Julia does suggest that her acts are her own small rebellion. But still, she is generally uninterested in fighting the good fight. In fact, the reason she approached Winston with the "I love you" note was probably to start yet another illicit affair. She busies herself with community service and other orthodox activities so that she can escape the Party’s thoughtcrime radar. Clever gal.
When Julia and Winston fall in love, they commit the biggest possible offense against the Party because of the newly constructed, shared, private loyalty to one another. Supposedly, if you love a person, you have less love left to give to the Party. We’re thinking the Beatles would come in handy about now, but the Thought Police would have our heads for that.
Book 2, Chapter 3 Sean Richardson P/4. Character Analysis Julia
The moment Winston and Julia are captured signifies the importance of their bond. So what does it mean that the two betray each other? Perhaps that love is weak and feeble in the face of, um, rats. Or that, ultimately, people value themselves and their own safety more highly than their loved one. Or…you come up with one.As is typical of the entire novel, Winston is the protagonist in these two chapters. There were many examples of indirect characterization concerning Winston in these two chapters; some of which being: “He knew that sooner or later he would obey O’Brien’s summons. Perhaps tomorrow, perhaps after a long delay – he was not certain.” This is the author’s way of allowing us a glimpse into Winston’s inner thoughts and feelings. This shows us that Winston has already made his decision, and that he had made the decision to follow O’Brien’s summons, if they ever came, a long time ago. “Winston had woken up with his eyes full of tears.” I think Orwell meant for this to show the reader Winston’s vulnerability to his emotions through his actions. Also, I believe that he wanted us to see how Winston reacts to some of the more traumatic events of his past. We see that Winston not only fears and respects the past, but he is also heavily susceptible to its influences toward his life. Winston is a dynamic character in the novel because in the end, after all the torture he endured after being caught by the Thought Police, he finally learns to love Big Brother and see everything through the Party’s point of view.
Because of the point of view in which the book is written, all of the information we have on Julia is indirect characterization. Some examples are: “I expect you were a beastly little swine in those days, ” she said indistinctly. “All children are swine.” Orwell lets us hear the character speak. Through this phrase Julia reveals some of her personal opinions and feelings toward a subject, letting the reader understand her a little bit better. “From her breathing it was evident that she was going off to sleep again.” This statement lets us see, from her actions that Julia doesn’t really care about the story Winston was trying to tell her. This is only reinforcing the idea that she doesn’t care about the past. Julia seems to be a more static character throughout the story than Winston is. However, we don’t really know for sure since Orwell’s style of writing only gives us insight into Winston’s mind. We can only gather the things we know about her through her actions and the things she says.
At this point, the reader isn’t quite sure whether O’Brien is a part of the rebellion and therefore on Winston’s side, or whether he’s a member of the Thought Police and is only trying to trap him. O’Brien, in this chapter, is also mostly described through indirect characterization. “But you write it very elegantly, ” said O’Brien. “That is not only my own opinion. I was talking recently to a friend of yours who is certainly an expert. Has name has slipped my memory for the moment.” Here O’Brien speaks about Syme, who is an unperson. This, to Winston, is a very clear sign that O’Brien is on his side. He is rebelling against Big Brother by referencing someone who, by Party standards, does not exist and has never existed. Because of the way Winston perceives O’Brien’s signal, the reader is led to lean toward O’Brien being a part of the rebellion. “Somewhat absent-mindedly O’Brien felt two of his pockets and then produced a small leather-covered notebook and a gold ink pencil. Immediately beneath the telescreen, in such a position that anyone who was watching at the other end of the instrument could read what he was writing, he scribbled an address, tore out the page, and handed it to Winston.” The author of the novel is showing, through his actions that O’Brien is clearly trying to communicate something to Winston. Orwell is showing something that is completely out of the norm for Party members. He is showing O’Brien’s deviation from what is socially acceptable at the time.
Glass Paperweight In 1984 By George Orwell
Because of the dream Winston had, his mother plays a big role in this part of the story. She is described entirely as how Winston perceived her, and so everything we know about her is, again, through indirect characterization. “When his father disappeared, his mother did not show any surprise or any violent grief, but a sudden change came over her. … Her large shapely body seemed to relapse naturally into stillness.” The reader sees, through Winston’s eyes, how his mother if affected by the leaving of his father. Through his mother’s actions we see that she is devoid of spirit and hope. It is also stated that she is waiting for something that is inevitable in coming. Winston’s Sister- Information about Winston’s sister is scattered throughout his recollection of the dream he had. We learn that she is very young, probably two or three, and starving. Winston describes her to look like a monkey because of how thin she is. We also know that she is very sickly.
A member of the Party who had been vaporized. An unperson is someone who, by Party standards, did not exist and had never existed as every trace of their existence was erased from history. “But Syme was not only dead, he was abolished, an unperson.” Telescreen- A telescreen is an instrument that was used to keep watch over the people of Oceania. They are two-way screens that are stationed around the city. “They were standing in front of a telescreen.” Thoughtcrime- The principle of the government of Oceania that states, “if you have thought about the crime, you have already committed it.” “By sharing a small act of thoughtcrime he had turned the two of them into accomplices.”
(n.) a low metal guard before an open fireplace, to keep back falling coals. “There was a gas ring in the fender, and a shelf where food was kept, and on the landing outside there was a brown earthenware sink, common to several rooms.” Sordid- (adj.) meanly selfish, self-seeking, or mercenary “Above all he remembered the continuous hunger, and the fierce sordid battles at mealtimes.” Pathos – (n.) the quality or power in an actual life experience or in literature, music, speech, or other forms of expression, of evoking a feeling of pity or compassion. “…or he would attempt a sniveling note of pathos in his efforts to get more than his share.”
By George Orwell (quote/analysis Table)
(v.) to say or plead in protest, objection, or disapproval. [remonstrance (n.)] “There was a long, nagging argument that went round and round, with shouts, whines, tears, remonstrances, bargainings.
George Orwell writes this novel in a third-person limited point of view. Therefore the narrator is an outsider who sees into the mind of only one of the characters. Conflict Man versus Society In a man versus society conflict, the customs and values by which everyone is living are being challenged. Winston is living in a society in which everyone is scared of their own shadows. The government and Big Brother seem to be all-powerful and practically omniscient. This is taken so far as to believe in the principle of thoughtcrime.
(v.) to say or plead in protest, objection, or disapproval. [remonstrance (n.)] “There was a long, nagging argument that went round and round, with shouts, whines, tears, remonstrances, bargainings.
George Orwell writes this novel in a third-person limited point of view. Therefore the narrator is an outsider who sees into the mind of only one of the characters. Conflict Man versus Society In a man versus society conflict, the customs and values by which everyone is living are being challenged. Winston is living in a society in which everyone is scared of their own shadows. The government and Big Brother seem to be all-powerful and practically omniscient. This is taken so far as to believe in the principle of thoughtcrime.
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Going into its 21th year, The World Bodypainting Festival (WBF) held in the South of Austria has become the melting pot and gathering of artists from 50 nations. The massive growth of this festival has also been the platform for the development and awareness of an art form that twenty years ago was not known. It has also given birth to many projects around the globe in the name of bodypainting.
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Email us the type of gers you want to reach out for your marketing campaign at anuj@feedspot.com. We'll share ger's data in an Excel or CSV format.I f one thing has become obvious in the summer heat and the inevitable baring of flesh, it’s the degree to which body art is now the norm. At the pool, the park, or the pub beer garden, you’ll find an enormous variety of designs inked on the skin representing the breadth of human creativity.
About 20% of adults in the UK now have at least one tattoo, and that proportion is likely to grow. Cynics might argue that the increased uptake is a superficial fad, based purely on the aesthetic appeal of tattoos. In this view, they might be the result of a momentary impulse to follow a passing trend followed by years of regret, rather than something that holds deep meaning.
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Prof Viren Swami, a psychologist at Anglia Ruskin University who studies body image, thinks that these superficial explanations are highly unlikely. “Given their permanence, and the pain that’s involved, and the planning that often goes into getting a tattoo, it’s very difficult to conceptualise tattooing as a fashion accessory, ” he says.
In his opinion, it is far more interesting to examine the ways that people use body art for self-realisation, as artistic endeavours that are expressions of identity, body ownership, and personal growth. Many are now finding that tattoos are a particularly apt way of marking a bereavement – a means of holding the loved one close after death.
Like any art form, tattooing should be understood in its historical and cultural context. Our ancestors seem to have recognised the skin as a canvas since time immemorial. The oldest definitive proof of body art comes from Ötzi, the 5, 300-year-old body of a man who remained frozen in a glacier near Bolzano, Italy, until it was discovered by two hikers in 1991. He bore 61 tattoos of geometric designs across his left wrist, lower legs, lower back, and his torso. Ancient body art – dating from at least 3, 000 years ago – has also been found in human remains from Egypt, Russia, China and Chile.
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Given how widespread tattooing is – and apparently always has been – some psychologists have suggested it may have an evolutionary purpose. According to one theory, you would have needed to have a robust immune system to survive the danger of infection after getting your skin inked; if you survived, it could show that you had good genes to pass on to your children. In this way, it acted as a fitness signal, making you more sexually attractive to prospective partners. Swami, however, is unconvinced by the theory. “I think it’s much easier to understand tattooing from a social and cultural perspective than it is from an evolutionary perspective, ” he says. In other words, it is the way we use body art to express ourselves, within a particular context, that really matters.
The history of body art in Britain has been rather chequered. There are records of tattoos on indigenous Britons at time of Caesar’s invasion. Indeed, the practice was so widespread that the name Britain is likely to be derived from the Celtic word
Swami explains that tattoos gained renewed popularity after Captain Cook’s exploration of the Pacific, as sailors returned with designs inked by the people they encountered. “The twist in this tale, though, is that in the late 19th century, once the first electric tattooing machine had been invented, tattooing suddenly flipped and became very popular among the upper classes in England, ” he adds. “And for the upper classes, it was much more about expressing their worldliness.” (King George V even had a tattoo of a red and blue dragon.) Over the 20th century, however, the art form lost some of its cachet, and tattooing came to be linked to aggression and rebellion, thanks, in part to its visibility in the punk movement and gang culture, before its current return to the mainstream.
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It is tempting, Swami says, to link this movement to celebrities such as David Beckham or Angelina Jolie in the late 90s and early 00s, but he thinks the trend can tell us something more profound about our changing attitudes to the human body. Modern culture, he argues, has been very prescriptive about what we can do with our bodies – from societal attitudes to weight and fitness, to our expressions of gender or sexuality. Tattoos, he believes, have offered a way for people to exercise ownership and mark out their control over their flesh. “Tattooing can mean different things for different people, ” he says. “But I think this idea of agency is really important – the ability to mark our bodies and say ‘This is meaningful to me’.”
Over the past decade, Swami has performed a series of studies comparing the personalities of people with and without tattoos. Overall, he did find some signs that seemed to confirm the older stereotypes; people with body art were slightly angrier and more impulsive than the average person with unmarked skin, but the differences were tiny. “In statistical terms, they are negligible, ” he says. “Tattooed individuals today are essentially identical to people who have no tattoos.”
In one of his most intriguing studies, Swami examined people’s body image before and after they received their tattoos. He found that anxieties about their appearance, and general feelings of bodily dissatisfaction, immediately dropped after the participants’ skin had been inked. Importantly, the boost to their self-esteem was still evident in a follow-up three weeks later, suggesting that the effects were not simply a reflection of their excitement on the day itself – but may have represented a permanent change. “You can see the trajectory here, ” Swami says. “Once you get your tattoo, you feel much closer to your body.”
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Dr Joseph Pierre, a clinical professor in health care sciences at the University of California, Los Angeles, believes that the growing popularity of tattoos can also be traced to waning “puritanism” in the west. “Showing more skin in public – whether in terms of bare chests for men or sports bras in women – is increasingly accepted, ” he says. “With that much more skin exposed, adorning the skin with tattoos is just another way of presenting to the world that which previously remained hidden.”
Like Swami, Pierre believes that the personal appeal of tattoos often goes far beyond their aesthetic value. (He describes them as “windows to the psyche”.) “Tattoos are often telling an important story through art that isn’t expressed in words, ” he says. As a psychotherapist, he advises his colleagues to discuss body art as a way of opening up conversations “about other important issues or life events”.
Such assertions would seem to chime with the experiences of Mowgli, a tattoo artist and the owner of the Through My Third Eye studio in north London, who
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Reenactors dress up for the Festival of Slavs and Vikings in Wolin, Poland. Only one Viking-age helmet has ever been found, and its design is remarkably simple—in contrast to the horned styles of legend.
Tall, blonde, with merciless blue eyes. Barbarians crowned with terrifying horned helmets, indulging in pillaging and bloody rituals. Were these accurate portrayals of the people whose expansion shaped Europe’s northern reaches and beyond—or hyperbole?
Myths and misconceptions shroud the Vikings. Legends were born after their first incursions in the British Isles in the late eighth century, and they’ve captivated our imagination ever since, inspiring operas, movies, novels, comics, even video games, which makes untangling fact from fiction a daunting task. Researchers are still at work today unearthing artifacts and probing their origins.
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Recent finds credit the Vikings as the first Europeans to set foot in the Americas, at least 400 years before Columbus, and the first DNA studies of their remains suggest they were a diverse group. Excavations turn up buried treasure, such as a jewelry trove discovered outside Stockholm this year, continuing to feed our fascination for the ancient raiders. As archaeologists fill in the details, we look at some of the enduring myths the Vikings have inspired.
The Vikings are often thought of as a single nation, but they were more accurately small groups ruled by elected chieftains. Some of these tribes—who lived in what is now Scandinavia—cooperated with each other in organizing raids on foreign countries.
“Viking” does not refer to a people but rather to an activity. In the two centuries spanning the Viking age, most inhabitants of northern Europe were engaged in fishing, farming, trade, and crafts. “To ‘go viking’ was something a man might do in his youth to accrue honor and the spoils of war, but it was rare for any man to take part in foreign raids continuously throughout his life, ” wrote Oxford Brookes University scholar Brian McMahon in The Viking: Myth and Misconceptions.
Who Were The Vikings?
The origin of the name “viking” itself is all but certain. The Old Norse word usually meant “pirate” or “raider.” For McMahon, the term refers to those “who adventured overseas to raid and plunder, ” he says. “’Vik’ means ‘bay’ or ‘creek’—as in Reykjavik in Iceland, where Scandinavian emigrants first settled around the year 870 A.D.”
Swedish historian Fritz Askeberg offers another take. The verb vikja means to break, twist, or deviate, and the Vikings, explains Askeberg in his book on ancient Nordic culture, were people who broke away from typical societal norms, abandoning their homes for the sea in search of fame and spoils.
"Never before has there been a terror in Britain as it is now by the heathen race … These barbarians poured the blood of saints around the altar and trampled the bodies of the saints in the temple of God like dung in the streets.”
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The horror-struck description of an attack on the Lindisfarne Priory, on an island off the coast of northeast England, was penned in 793 A.D. by the scholar Alcuin of York—an event that marked the beginning of the Viking age in Europe, which lasted for more than 250 years.
Though the Vikings indeed instilled fear, experts say violence was endemic. “Viking cruelty does not differ from what was happening in those times, ” said Joanne Shortt Butler from the University of Cambridge. “They were no more brutal than the representatives of other nations or tribes. Murders, arson, and looting was the order of the day.”
“Look at the actions of Charlemagne, King of the Franks during the Viking age, ” she writes. “The patron of the revival of ancient culture ordered the beheading of 4, 500 Saxons in Verden.”
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Tales of the cruelty of the Scandinavian raiders made it plausible to credit the Vikings with some despicable habits—like a penchant for drinking from the skulls of their enemies. The popular misconception originated with an inaccurate translation.
Ole Worm, court physician to the king of Denmark in the 17th century, was also a linguist with a passion for runestones, boulders inscribed with runes (the Germanic and Norse alphabet). In 1636, Worm published research on runes, citing a Nordic poem whose protagonist claims he will drink ale in Valhalla—heaven to the mythic slain Norse warriors— from the curved branches of skulls.
The poet was referring to the branches growing out of the skulls of animals—that is, the horns. But the court doctor translated the phrase into Latin as ex craniis eorumquos ceciderunt—from the skulls of those they killed. It added another notch in the Vikings’ bad reputation. That said, other ethnic groups have reportedly drunk from the skulls of their enemies, but it tends to be associated with the Vikings.
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The Nordic raiders are credited with another deplorable habit: leaving the mark of the “blood eagle” on living victims. In the ritual, the ribs were exposed and cut from the spine, then outstretched. The lungs were extracted and placed in a way that resembled wings, some believe so that the body could fly to Odin, the main god in Norse mythology. Since the first reference was in a skaldic verse, it could be another case of poetic license that was interpreted by others too literally, explains Eleanor Rosamund Barraclough, a medieval history professor at Durham University, in Beyond the Northlands: Viking Voyages and the Old Norse Sagas.
Yale University’s Roberta Frank has long questioned the ritual’s veracity, believing that it likely originated with early Christian Scandinavian writers who sought to stigmatize their pagan ancestors. “The blood eagle procedure varies from text to text, becoming more lurid, pagan, and time-consuming with each passing century, ” she wrote in the English Historical Review.
Recently, scientists from the University of Iceland and England’s Keele University analyzed whether performing a “bloody eagle” on a live victim was even possible. In a paper published in Speculum: A Journal of Medieval Studies, they concluded that while it was anatomically possible to perform this practice with the tools available at the time, the victim would have died from blood loss or asphyxiation in the early stages of the torture. A complete execution of a bloody eagle could only be performed on a corpse. Until archaeologists find a corpse bearing clear evidence this ever happened, we’ll likely never know.
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The Gjermundbu helmet was found in 1943 broken in fragments. It has since been restored and on display at the University of Oslo’s Historical Museum.
Some myths can be chalked up to lore, including the lauded horned helmet. The only Viking age helmet ever found, the Gjermundbu helmet unearthed in Ringerike, Norway, bears a resemblance to a Batman mask—sans pointed ears. Also, no horns, points out Barraclough.
In Viking-era representations, warriors appear either bareheaded or dressed in simple helmets possibly made of iron or leather. Although some horned characters do make an appearance in Nordic art, such as in the Oseberg tapestry, they usually represent gods or monsters rather than mortal warriors, writes McMahon.
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One originating source for the horned helmets has been pegged: they were used by Carl Emil Doepler, the costume designer for the premiere of Wagner’s opera Ring of the Nibelung at the Bayreuth Festival in 1876. Another 19th-century propagator was Swedish painter Johan August Malmström, who used them in his illustrations for the Nordic sagas.
Doepler, Malmström, and others may have been inspired by the contemporary discoveries of ancient helmets with horns, which—as it later turned out—were dated earlier than the Viking age. Perhaps artists were inspired by the distant echoes of ancient Greek and Roman historians, who had described northern Europeans as wearing helmets decorated with horns. The headdress was not only out of fashion at least a century before the advent of the Vikings, but was also probably worn only for ceremonial purposes by Norse and Germanic priests.
“Viking” conjures an image of a strapping, fair-haired, blue-eyed man. In other words, Chris Hemsworth in the Thor saga. But Lise Lock Harvig of the University of Copenhagen concluded from DNA studies of skeletons in medieval tombs that the era would’ve seen a healthy mix of blondes, redheads, and brunettes, just like today. Viking society was not exclusively of Scandinavian descent. “We were already dealing with a cultural and ethnic mix, ” says Harvig. As with hair color, irises were also diverse.
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Even the idea of the Vikings’ unusual height is a myth, according to McMahon. The average male from those northern reaches was then about 1.73 meters (about 5 feet 6 inches) tall, the same as the average European man. Nutrition may have been a factor; short summers and harsh winters in Scandinavia meant limited food resources, so raids could have been a vehicle for nourishment.
Their towering reputation is likely the result of the nationalism that arose rising in the 19th and 20th century, which promoted Vikings as the Nordic and Aryan archetype.
Even the idea that Vikings were poorly-washed men seems debunked by archaeological evidence: their graves and other excavated sites are full of combs, tweezers, and razors lying next to both male and female remains. They also could have used soap with a high lye content for deterring lice, which also had the
