İngilizce Tez Örneği, İngilizce Tez Yazım&= #305;,MuratHoca.Com, İngilizce Özel Ders, İngilizce Ders</t= itle> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"place"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"City"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"country-region"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"PlaceName"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"PlaceType"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"State"/>  <style>  </style>  </head> <body lang=3DTR link=3Dblue vlink=3Dpurple style=3D'tab-interval:36.0pt'> <div class=3DSection1> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <st1:place= w:st=3D"on"><st1:PlaceName w:st=3D"on">FATİH</st1:PlaceName> <st1:P= laceType w:st=3D"on">UNIVERSITY</st1:PlaceType></st1:place> <o:p></o:p></= p> THE <st1:place w:st= =3D"on"><st1:PlaceType w:st=3D"on">INSTITUTE</st1:PlaceType> OF <st1:PlaceName w:st=3D"on">SOCIAL SCIENCES</st1:PlaceName></st1:place><o:p></o:p> DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> MASTER’S THESIS= <o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> THE LUST FOR ABSOLUTE= POWER IN DARK UTOPIAS: <o:p></o:p> <o:p> </o:p></sp= an> NINETEEN EIGHTY-FOUR, BRAVE NEW WORLD, AND= WE<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> THESIS ADVISOR:<o:p><= /o:p> <o:p> </o:p></sp= an> PROF. DR MUHAMMED BAK= ARI<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> MUSTAFA MURAT KASAR<o= :p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <st1:City = w:st=3D"on"><st1:place w:st=3D"on">ISTANBUL</st1:place></st1:City>, 2000<o= :p></o:p> <o:p> </o:p> PAGE OF APPROVAL<o:p></o:p></spa= n> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> THE LUST FOR ABSOLUTE POWER IN DARK UTOPIAS: <o:p></o:p> <o:p> </o:p></sp= an> 1984, BRAVE NEW WORLD= , AND WE<o:p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p></sp= an> MUSTAFA MURAT KASAR<o= :p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> APPROVED BY:<o:p></o:p> <o:p> </o:p> 1. PROF. DR. MUHAMMET BAKARI:.....................................= ......................................<o:p></o:p> ( Thesis Supervisor)<o:p></o:p> <o:p> </o:p> <o:p> </o:p> 2. Asst. Prof. Dr. Belgin Bellisan:............................................................<o:p>= </o:p> <o:p> </o:p> <o:p> </o:p> 3. Asst. Prof. Dr. Bülent Aras: ................................................................<o:p></o:p= > <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> DATE OF APPROVAL: Se= ptember 22, 2000<o:p></o:p></= p> <span lang=3DEN-US style=3D'font-size:16.0pt;mso-bidi-font-size:10.0pt;fon= t-family: "Times New Roman";mso-fareast-font-family:"Times New Roman";mso-ansi-langu= age: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA'> <o:p> </o:p> = ; &= nbsp; &nb= sp; TABLE OF CONTENTS = ; PAGE NUMBER<o:p></o:p> <o:p> </o:p> Page of Approval = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = ii<o:p></o:p> Page of Dedication = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = v<o:p></o:p> Acknowledgment = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = = vi <o:p></o:p> Abstract = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = &n= bsp; </s= pan> </spa= n>vii-viii<o:p></o:p> Abstract (in Turkish)<s= pan style=3D'mso-tab-count:8'> = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = ix-x<o:p></o:p> <o:p> </o:p> I. Introduction: Utopian and Dystopian Literature in General<o:p></o:p> &nb= sp; <o:p></o:p> </= span><o:p></o:p> &nb= sp; I.1. Scope and Limitation &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; 1<o:p></o:p> <o:p> </o:p> &nb= sp; I.2. Definition of Ut= opia = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 2<o:p></o:p> </= span><o:p></o:p> &nb= sp; I.3. Definition of Dy= stopia = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; 3<o:p></o:p> <o:p> </o:p> II. Nineteen Eighty- Four &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; <o:p></o:p> </= span><o:p></o:p> II.1. Social Segregation = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; 6<o:p></o:p> </= span><o:p></o:p> II.2. Surveillance of Citizens = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; 8<o:p></o:p></spa= n> </= span><o:p></o:p> II.3. Alteration of Reality &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = &n= bsp; 12<o:p></o:p> </= span><o:p></o:p> II.4. Manipulation of Language = ; &= nbsp; &nb= sp; = ; &= nbsp; = &n= bsp; 16<o:p></o:p> </= span><o:p></o:p> II.5. Love Under Control = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; </span= >21<o:p></o:p> </= span><o:p></o:p> II.6. Methods of Totalitarianism&nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; 25<o:p></o:p> </= span><o:p></o:p> II.7. Goldstein’s Book and Arguments = ; &= nbsp; &nb= sp; = ; &= nbsp; 29<o:p></o:p> <o:p> </o:p> III. Brave New World<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.1. Social Stability = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = &n= bsp; 33<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.2. Sexuality Under Control = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; 39<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.3. Destruction of Family &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; 42<o:p></o:p></span= > &nb= sp; <o:p></o:p> &nb= sp; III.4. The Use of Propaganda &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; 44<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.5. Abuse of Scien= ce = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 47<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.6. The Cost of a Planned Society &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; 49<o:p></o:p><= /p> <o:p></o:p></spa= n> &nb= sp; III.7. Economy &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; </span= >53<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.8. Oppression of Individual Differences = ; &= nbsp; &nb= sp; </sp= an>56<o:p></o:p> <o:p> </o:p> IV. We <o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; IV.1. Exploitation of Science = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 58<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; IV.2. Sex Life under Supervision = &n= bsp; &nbs= p; = &n= bsp; 60<o:p></o:p><= /span> &nb= sp; <o:p></o:p> &nb= sp; IV.3. Vigilance of Citizens &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 62 </spa= n><o:p></o:p> </sp= an><o:p></o:p> &nb= sp; IV.4. Language- Literature- Music&n= bsp; &nbs= p; = &n= bsp; &nbs= p; 64<o= :p></o:p> </sp= an><o:p></o:p> &nb= sp; IV.5. Individual vs. = State = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; 66<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; IV.6 Past, Revolution= , and Change = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; 68<o:p></o:p> <o:p> </o:p> V. Conclusion &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 70<o:p></o:p></spa= n> <o:p> </o:p> VI. Works Cited &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; 73<o:p></o:p> <o:p> </o:p> VII. Bibliography = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; 77<o:p></o:p> <span lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt;fon= t-family: "Times New Roman";mso-fareast-font-family:"Times New Roman";mso-ansi-langu= age: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA'> <o:p> </o:p> <o:p> </o:p> &nbs= p; <o:p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p>= </o:p> <o:p>= </o:p> Dedicated to my family, former teachers at <st= 1:place w:st=3D"on"><st1:PlaceName w:st=3D"on">Middle East</st1:PlaceName> <st1:Pl= aceName w:st=3D"on">Technical</st1:PlaceName> <st1:PlaceType w:st=3D"on">Universi= ty</st1:PlaceType></st1:place> <o:p></o:p> <o:p> </o:p></sp= an> = ; and present ones at <st1:place w:st=3D"on"><st1= :PlaceName w:st=3D"on">Fatih</st1:PlaceName> <st1:PlaceType w:st=3D"on">University</= st1:PlaceType></st1:place>.<o:p></o:p> <span lang=3DEN-US style=3D'font-size:13.0pt;mso-bidi-font-size:10.0pt;fon= t-family: "Times New Roman";mso-fareast-font-family:"Times New Roman";mso-ansi-langu= age: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA'> ACKNOWLEDGEMENT<o:p></o:p> <o:p> </o:p> I would like to express my deepest gratitude to my thesis supervisor Prof. Dr. Muhammed Bakari for his patience, invaluable suggestions, and encouragement throughout the MA studies wi= thout whose aid I could not have finished the project on time. I owe also much to Dr. Metin Bo&#= 351;nak opening for me new horizons = on academic disciplines such as language, literature and cinema. = I am further thankful to my lecturers, colleagues, and students at <st1:place w:st=3D"on"><st1:PlaceName w= :st=3D"on">Fatih</st1:PlaceName> <st1:PlaceType w:st=3D"on">University</st1:PlaceType></st1:place>. Special thanks also go to Alper Yilmaz Dede for his life-inspiring aid from <st1:p= lace w:st=3D"on"><st1:country-region w:st=3D"on">USA</st1:country-region></st1:= place>. Finally, I would like to acknowle= dge my sincere appreciation to Dr. Durrin Alpakin Martinez Cauro, Filiz Saritaş and Mehmet Emin Özüyılmaz for their co-operation in finding the book WE in Ankara and postmarking a copy of it to me. <o:p></o:p> <span lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt;lin= e-height: 200%;font-family:"Times New Roman";mso-fareast-font-family:"Times New Roma= n"; mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA= '> </s= pan>ABSTRACT<o:p></o:p>= = Human beings have longed for better life conditions and bliss throughout their l= ive spans. Some writers have reflected these positive aspirations in their wor= ks which form ‘utopian ge= nre ’. Some however have written about dark and nightmarish books which belong to ‘dystopian genre ’.<o:p></o:p> = The Western World has contributed = to both genres with numerous works. This thesis will try to juxtapose three dystop= ian books- Nineteen Eighty- Four( = by George Orwell), Brave New World( by Aldous Huxley) and = We( by Yevgeny Zamyatin) respecti= vely- with the criteria of how rulers try to control power and manipulate large masses= . <o:p></o:p> = In the first part, a general information on utopias and dystopias is presented with a comprehensive outlook to past and present. In addition, there were ideals in the past whi= ch become reality in our times. These will be evaluated within the framework of today’s conditions.<o:p></o:p> = The second part will examine one= of the perfect examples of dystopian literature, Nineteen Eighty- Four, in respect to following themes: social segregation, surveillance, manipulation, alteration of reality, totalitarian methods, a= nd Goldstein’s arguments. It will also benefit from other scholars interested in Orwell’s fiction.<o:p></o:p> = The third part will deal with Al= dous Huxley’s brilliant book, Bra= ve New World, which is a satire of “ pleasure society”. It will also assess the validity of Huxley’s arguments = about an impending social order by looking at social life, sexuality, family, propaganda, science, planned society, economy and individual differences.<o:p></o:p> = The last part will elaborate on Yevgeny Zamyatin’s We which was a warning to humanity about revolutions seen in world countries, and stagnation of human administratio= ns. This part further analyses We = in the light of science, sex life, vigilance, language, literature, music, individuality, past, revolution a= nd change. Moreover, it will pr= esent a thorough assessment of the predicaments of our contem= porary world as well as predictions about the destiny of humanity. <o:p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <h1 style=3D'margin-left:18.0pt'>= I.1. Scope and Limitation<o:p></o:p></= span></h1> <o:p> </o:p> Human history is a witness of all = types of administrations- from leftwing to right-wing and from democracy to dictatorship- which have promised better life conditions to the layers of any society. This thesis will try to analyze h= uman governments with the themes of segregation, surveillance, propaganda, totalitarianism, and manipulation of large masses. Moreover, it will try to find similarities between what the fictional works say and how they are in actu= al life. However the project does not intend to deal with the details of poli= tics like a Political Science study. There are only some overlapping themes; it= may benefit from some eminent scholars working in the field, at a superficial level, for the sake of diversity. In addition, the thesis restricts itself= with the lives of people in Nineteen Eighty- Four, Brave New W= orld and We because people may lead diffe= rent lives in different countries though the three masterpieces have universal qualities.<o:p></o:p> <o:p> </o:p> <span lang=3DEN-US style=3D'font-= size:14.0pt; mso-bidi-font-size:10.0pt;font-family:"Times New Roman";mso-fareast-font-f= amily: "Times New Roman";mso-ansi-language:EN-US;mso-fareast-language:EN-US; mso-bidi-language:AR-SA'> <h2>I.2. Definition of Utopia<= /span></h2> <o:p> </o:p> <o:p> </o:p> = Human imagination since genesis has not ceased to create novel, ideal societies = in which the inhabitants lead happy and content lives. These writings about fictional co= untries constitute a genre, ‘ utopian literature ’, and take the name of ‘ utopia’. Utopia can be defined as the class of fiction which represents a political state( in ter= ms of justice, power of defence, education policy, the moral of citizens and the= way of life. . . etc.). A great example is Plato’s Republic. Beginn= ing with Thomas More, utopias &#= 8220; represent their ideal place under fiction of a distant country reached by = some venture some travellers”( Abrams 177). In an influential study, Karl Malheim however considers utopia precisely as a “ complex of energies that work for change in society, as opposed to ideology which considers (following the Marxist tradition of ideology as false consciousness) as the complex of energies acting to preserve and support the existing order of thingsR= 21;( Cited in Booker 3). Moreover= , Nell Eurich, the author of a brilliant work (Sc= ience in Utopia), sees utopia as man’s dreams of a better world( Cited= in <st1:place w:st=3D"on"><st1:City w:st=3D"on">Davis</st1:City></st1:place> 12).<o:p></= o:p> <o:p> </o:p> = After his significant work Utopia, </span= >Thomas More became the father of ut= opian literature. He studied penology, religious pluralism, family practices, divorce, euthanasia, women’s rights, government- controlled educatio= n, a natural life of joy/pleasure, healthy physical environment, politics as well-being and happiness, curtailment of&= nbsp; private property, correlation of classical and Christian virtue wit= hin a single moral perspective, and numerous other topics( Cousins and Grace 122). Meanwhile there were other authors, after Thomas = More, who penned utopian works. Fr= ancis Bacon( New Atlantis), James Harrington( The Commonwealth of Oceana)(1656), Tommaso Companella( The City of Sun)( 1643), William Harris( News from Nowhere), and Edward B= ellamy( Looking Backward)( 1888) are some of them which have hitherto received= increasing appreciation. <o:p></o= :p> <o:p> </o:p></sp= an> I.3. Definition of Dystopia<o:p></o:p>= <o:p> </o:p> = Dystopias are negations of utopias in which people lead dehumanized lives in hypothetical nightmarish countries. The term dystopia emerged in the beginning of the 20th century- especially after World War I which devastat= ed all positive beliefs about t= he ‘machine age’, which disillusioned people about the hope of a happy society, and which encouraged some authors= to write warnings to humanity. These opuses comprise a new genre- ‘ dystopian literature’. Apart from World War I, socialist utopia in <st1:country-region w:st=3D"on= ">Russia</st1:country-region> and fascist ones in <st1:cou= ntry-region w:st=3D"on">Italy</st1:country-region> and in <st1:place w:st=3D"on"><st1:= country-region w:st=3D"on">Germany</st1:country-region></st1:place> turned out to be fraternal faces of the same coin.= The citizens of these totalitarian countries experienced human rights abuses, = mass imprisonment, mass deportati= on, oppression and sheer agony. According to the distinguished cr= itic Abrams, dystopia represents “ a very unpleasant world in which certain ominous tendencies of our present so= cial, political and technological order are projected in some future culmination(118).<= span style=3D'mso-spacerun:yes'> Moreover, the Websters’s Collegiate Dictionary( Tenth Edition) defines dystopia as “ an imagi= nary place where people lead dehumanized and often fearful lives”( 361). <o:p></o:p> = Dystopias pose some common points one of wh= ich is the theme of ‘scapegoat ’. For example, the bourgeouis people in Europe and <st1:place w:st= =3D"on"><st1:country-region w:st=3D"on">United States</st1:country-region></st1:place> for Stalinist = Russia; the Jews in Nazi Germany; the unorthodox people in Fascist Italy were the scapegoats= to whom all the hatred of socie= ty was geared. These monolithic States claimed t= hese people to be responsible for treason, sabotages of public places, espionag= e of military secrets, racketeering and so on.= Therefore, they safeguarded themselves from the demands of their society and from the delinq= uent topics such as shortages of basic commodities, inflation, poverty, economi= c inequality. . . and so forth. Freud, the acclaimed psychologist, argues that one can a= lways “ bind together a considerable number of people in love, so long as there are other peopl= e left over to receive the manifestations of their aggressiveness”( Cited in Booker 11). Freud further finds reminiscen= ce between the practices of early Christianity and that of the modern totalit= arian regimes in Nazi Germany, in Stalinist Soviet Union, and in Mussolini’s Fascist Italy: “ When once = the Apostle Paul had posited uni= versal love between men as the foun= dation of his Christian community, = extreme intolerance on the part of Christendom towards those who remained outside it become the inevitable consequence( 69)”( 11). <o:p></o:p> <o:p> </o:p> = Furthermore, dystopian writers owe much to Tho= mas More. The works of such writers as William Morris, Samuel Butler, H.G Well= s, Aldous Huxley, Eugene( or Yevgeny) Zamyatin, George Orwell and others exhibit = a clear indebtedness to More who was, says Richard Gerber( 1973), “ the first significant writer to transform the non-existent ideal country from an object of naive mythical belief into the instrument of sophisticated rationalistic hypothesis( 9)”( Cited in Booker 124).<o:p></o:= p> <o:p> </o:p> = Among dystopian genre, three of them- </s= pan>Nineteen Eighty- Four( George Orw= ell), Brave New World( Aldous Huxley), = We( Yevgeny Zamyatin)- are milestones which this thesis= will try to analyze, interpret and comment. They have obvious similarities such as= the abuse of science, the suppre= ssion of individuality, regimentat= ion of society and life, propaganda, manipulation of language. Perhaps the three writers see these problems i= n their societies and want to spread their solutions to= them. Dragan Klaic, the noted critic on utopia-dystopian genre, the writer of an eloquent book The Plot of the Futu= re: Utopia and Dystopia in Modern = Drama, analyses the three books as follows:<o:p></o:p></spa= n> <o:p>&nb= sp;</o:p> Among negative utopias, anti-utopias, counterutopias, or cacotopias, works such as Zamiatin’s We, Huxley’s Brave New World= and Orwell’s 1984 stand out = as markers of prevailing dystopian temper,&n= bsp; as creations that established a new paradigm. Their expectation of the future is uneasy, gloomy, = and fearful. They are satires of the present, predictive satires of the pitfalls of so-called progress, and, more generally, satires of u= topian ambition itself. Much of the literature probes the issues of the future conclud= es with a negative report, phrased<s= pan style=3D'mso-spacerun:yes'> as a warning or postscript to a civilization soon to come to its end.( 69) <o:p></o:p> <o:p> </o:p> <o:p> </o:p> THANKS FOR YOUR INTEREST IN MY MA THESIS. THIS = IS AN EXERPT FROM THE ORIGINAL THESIS. FOR MORE INFORMATION, PLEASE VISIT <a href=3D"http://www.murathoca.com/">WWW.MURATHOCA.COM</a> OR EMAIL ME AT<sp= an style=3D'mso-spacerun:yes'> <a href=3D"mailto:mukasar@y= ahoo.com">mukasar@yahoo.com</a> .<o:p></o:p> GOOD LUCK IN YOUR RESEARCH! VII. BIBLIOGRAPHY <o:p> </o:p></sp= an> <![if !supportLists]><sp= an lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt'>1.&= nbsp; <![endif]>Abrams, M. H. A Glossary of Literary Terms. = <st1:City w:st=3D"on"><st1:place w:st=3D"on">London</st1:place></st1:City>: Rinehart Co. 1990. <o:p></o:p></s= pan> <o:p> </o:p></sp= an> <![if !supportLists]><sp= an lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt'>2.&= nbsp; <![endif]>Alridge, Alexandra. The Scientific World View in Dystopia. <st1:City w:st=3D"on"><= st1:place w:st=3D"on">Ann Arbor</st1:place></st1:City>: UMI <o:p></o:p> <o:p> </o:p></sp= an> Research= Press, 1984.<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <![if !supportLists]><sp= an lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt'>3.&= nbsp; <![endif]>Astrachan, Anthony. Aldous Huxley's Brave New World. <st1:State w:st=3D"on"><st1:p= lace w:st=3D"on">New York</st1:place></st1:State>: World <o:p></o:p></sp= an> Library<= span style=3D'mso-spacerun:yes'> Inc., 1993. <o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 4. Barron's Book Note= s on George Orwell's 1984.<o:p></o:p><= /span> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 5. Beehler, Michael. = The Essential, The Superfluous, and T= extual Noise. <o:p></o:p> <o:p> </o:p></sp= an> </sp= an>http://www.substance.org/50/50-bee~1.Rhtml </u= >. ( N. Date)<o:p></o:p> <o:p></o:p> <o:p> </o:p></sp= an> 6. Bhat, Yashoda. 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Keith.<= span style=3D'mso-spacerun:yes'> The Dystopian Impulse in Modern Literature: Fiction as Social <o:p></o:p><= /span> <o:p> </o:p></sp= an> </sp= an>Criticism. <st1:City w:st=3D"on">= London</st1:City>: <st1:City w:st=3D"on"><st1:place w:st=3D"on">Greenwood</st1:place></st1:Ci= ty> Press, 1994.<o:p></o:p> <o:p> </o:p></sp= an> </sp= an>- - -. Dystopian Literature: A Theory and<sp= an style=3D'mso-spacerun:yes'> Research Guide. <st1:City w:s= t=3D"on">London</st1:City>: <st1:City w:st=3D"on"><st1:place w:st=3D"on">Greenwood</st1:place></st1:Ci= ty> = Press, 1994.<o:p></o:p> <o:p> </o:p></sp= an> </sp= an>- - -. “ Huxley’s Brave New Wor= ld: The Early Bourgeois Dystopia ” . <st1:place w:st=3D"on"><st1:City w:st= =3D"on">Greenwood</st1:City></st1:place> Press, 1994.<o:p= ></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p> 9.Brave New World : A Defence of <st1:place w:st=3D"on">Paradise</st1:place> Engin= eering. http://www.huxley.net/. 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Sisk, David. Transformations of Language in Modern Dystopias. <st1:City w:st=3D"on"><st1:place w:st=3D"on">London</st1:pl= ace></st1:City>: <o:p></o:p> <o:p> </o:p></sp= an> <st1:= place w:st=3D"on"><st1:City w:st=3D"on">Greenwood</st1:City></st1:place> Press,1997. <o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 47. Wiener, Philip(ed= ). Dictionary of the Literary of Ideas<= /i>. <st1:State w:st=3D"on"><st1:place w:st=3D"on">New York</st1:place></st1:State>. 1973.= <o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 48. <st1:City w:st=3D= "on"><st1:place w:st=3D"on">York</st1:place></st1:City> Editorial Board. <st1:place w:st=3D"on"><st1:City w:st=3D"on">York</st1:City></st1= :place> Notes on 1984. <st1:City w:st=3D"on">Beirut</st1:City>: <st1:City w:st= =3D"on"><st1:place w:st=3D"on">York</st1:place></st1:City> Press. 1983.<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 49. Zamyatin, Yevgeny= . We. <st1:State w:st=3D"on"><st1:p= lace w:st=3D"on">New York</st1:place></st1:State>: Penguin, 1993.<o:p></o:p></= span> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 50. Zwerdling, A.&n= bsp; Rethinking the Modernist Legacy in 1984. <st1:place w:st=3D"on"><st1:State= w:st=3D"on">New York</st1:State></st1:place> : The <o:p></o:p> <o:p> </o:p></sp= an> <st1:place w:st=3D"on"><= st1:PlaceType w:st=3D"on">University</st1:PlaceType> of <st= 1:PlaceName w:st=3D"on">Arkansas</st1:PlaceName></st1:place>,1989. <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> </div> </body> </html> ------=_NextPart_01C854EF.7D127E20 content-location: file:///C:/2EB45993/MAthesis_files/header.htm content-transfer-encoding: quoted-printable content-type: text/html; charset="us-ascii" <html xmlns:v=3D"urn:schemas-microsoft-com:vml" xmlns:o=3D"urn:schemas-microsoft-com:office:office" xmlns:w=3D"urn:schemas-microsoft-com:office:word" xmlns:st1=3D"urn:schemas-microsoft-com:office:smarttags" xmlns=3D"http://www.w3.org/TR/REC-html40"> <head> <meta http-equiv=3DContent-Type content=3D"text/html; charset=3Dus-ascii"> <meta name=3DProgId content=3DWord.Document> <meta name=3DGenerator content=3D"Microsoft Word 11"> <meta name=3DOriginator content=3D"Microsoft Word 11"> <link id=3DMain-File rel=3DMain-File href=3D"../MAthesis.htm"> <![if IE]> <base href=3D"file:///C:\2EB45993\MAthesis_files\header.htm" id=3D"webarch_temp_base_tag"> <![endif]><o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"place= "/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"City"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"country-region"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"PlaceName"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"PlaceType"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"State"/> <title>İngilizce Tez Örneği, İngilizce Tez Yazım&= #305;,MuratHoca.Com, İngilizce Özel Ders, İngilizce Ders</t= itle></head> <body lang=3DTR link=3Dblue vlink=3Dpurple> <div style=3D'mso-element:footnote-separator' id=3Dfs> <![if !supportFootnotes]> <hr align=3Dleft size=3D1 width=3D"33%"> <![endif]> </div> <div style=3D'mso-element:footnote-continuation-separator' id=3Dfcs> <![if !supportFootnotes]> <hr align=3Dleft size=3D1> <![endif]> </div> <div style=3D'mso-element:endnote-separator' id=3Des> <![if !supportFootnotes]> <hr align=3Dleft size=3D1 width=3D"33%"> <![endif]> </div> <div style=3D'mso-element:endnote-continuation-separator' id=3Decs> <![if !supportFootnotes]> <hr align=3Dleft size=3D1> <![endif]> </div> <div style=3D'mso-element:footer' id=3Def1> <div style=3D'mso-element:frame;mso-element-wrap:around;mso-element-anchor= -vertical: paragraph;mso-element-anchor-horizontal:margin;mso-element-left:right; mso-element-top:.05pt;mso-height-rule:exactly'> <table cellspacing=3D0 cellpadding=3D0 hspace=3D0 vspace=3D0 align=3Dright> <tr> <td valign=3Dtop align=3Dleft style=3D'padding-top:0cm;padding-right:0cm; padding-bottom:0cm;padding-left:0cm'> <p class=3DMsoFooter style=3D'mso-element:frame;mso-element-wrap:around; mso-element-anchor-vertical:paragraph;mso-element-anchor-horizontal:marg= in; mso-element-left:right;mso-element-top:.05pt;mso-height-rule:exactly'><!= --[if supportFields]>PAGE <![endif]--><o:p></o:p> </td> </tr> </table> </div> <o:p= > </o:p> </div> <div style=3D'mso-element:footer' id=3Df1> <div style=3D'mso-element:frame;mso-element-wrap:around;mso-element-anchor= -vertical: paragraph;mso-element-anchor-horizontal:margin;mso-element-left:right; mso-element-top:.05pt;mso-height-rule:exactly'> <table cellspacing=3D0 cellpadding=3D0 hspace=3D0 vspace=3D0 align=3Dright> <tr> <td valign=3Dtop align=3Dleft style=3D'padding-top:0cm;padding-right:0cm; padding-bottom:0cm;padding-left:0cm'> <p class=3DMsoFooter style=3D'mso-element:frame;mso-element-wrap:around; mso-element-anchor-vertical:paragraph;mso-element-anchor-horizontal:marg= in; mso-element-left:right;mso-element-top:.05pt;mso-height-rule:exactly'><!= --[if supportFields]>PAGE <![endif]-->11<o:p></o:p> </td> </tr> </table> </div> <o:p= > </o:p> </div> </body> </html> ------=_NextPart_01C854EF.7D127E20 content-location: file:///C:/2EB45993/MAthesis_files/filelist.xml content-transfer-encoding: quoted-printable content-type: text/xml; charset="utf-8" <xml xmlns:o=3D"urn:schemas-microsoft-com:office:office"> <o:MainFile HRef=3D"../MAthesis.htm"/> <o:File HRef=3D"header.htm"/> <o:File HRef=3D"filelist.xml"/> </xml> ------=_NextPart

content-type: multipart/related; boundary="----=_NextPart_01C854EF.7D127E20" mime-version: 1.0 This document is a Single File Web Page, also known as a Web Archive file. If you are seeing this message, your browser or editor doesn't support Web Archive files. Please download a browser that supports Web Archive, such as Microsoft Internet Explorer. ------=_NextPart_01C854EF.7D127E20 content-location: file:///C:/2EB45993/MAthesis.htm content-transfer-encoding: quoted-printable content-type: text/html; charset="us-ascii" İngilizce Tez Örneği, İngilizce Tez Yazım&= #305;,MuratHoca.Com, İngilizce Özel Ders, İngilizce Ders</t= itle> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"place"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"City"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"country-region"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"PlaceName"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"PlaceType"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"State"/>  <style>  </style>  </head> <body lang=3DTR link=3Dblue vlink=3Dpurple style=3D'tab-interval:36.0pt'> <div class=3DSection1> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <st1:place= w:st=3D"on"><st1:PlaceName w:st=3D"on">FATİH</st1:PlaceName> <st1:P= laceType w:st=3D"on">UNIVERSITY</st1:PlaceType></st1:place> <o:p></o:p></= p> THE <st1:place w:st= =3D"on"><st1:PlaceType w:st=3D"on">INSTITUTE</st1:PlaceType> OF <st1:PlaceName w:st=3D"on">SOCIAL SCIENCES</st1:PlaceName></st1:place><o:p></o:p> DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> MASTER’S THESIS= <o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> THE LUST FOR ABSOLUTE= POWER IN DARK UTOPIAS: <o:p></o:p> <o:p> </o:p></sp= an> NINETEEN EIGHTY-FOUR, BRAVE NEW WORLD, AND= WE<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> THESIS ADVISOR:<o:p><= /o:p> <o:p> </o:p></sp= an> PROF. DR MUHAMMED BAK= ARI<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> MUSTAFA MURAT KASAR<o= :p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <st1:City = w:st=3D"on"><st1:place w:st=3D"on">ISTANBUL</st1:place></st1:City>, 2000<o= :p></o:p> <o:p> </o:p> PAGE OF APPROVAL<o:p></o:p></spa= n> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> THE LUST FOR ABSOLUTE POWER IN DARK UTOPIAS: <o:p></o:p> <o:p> </o:p></sp= an> 1984, BRAVE NEW WORLD= , AND WE<o:p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p></sp= an> MUSTAFA MURAT KASAR<o= :p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> APPROVED BY:<o:p></o:p> <o:p> </o:p> 1. PROF. DR. MUHAMMET BAKARI:.....................................= ......................................<o:p></o:p> ( Thesis Supervisor)<o:p></o:p> <o:p> </o:p> <o:p> </o:p> 2. Asst. Prof. Dr. Belgin Bellisan:............................................................<o:p>= </o:p> <o:p> </o:p> <o:p> </o:p> 3. Asst. Prof. Dr. Bülent Aras: ................................................................<o:p></o:p= > <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> DATE OF APPROVAL: Se= ptember 22, 2000<o:p></o:p></= p> <span lang=3DEN-US style=3D'font-size:16.0pt;mso-bidi-font-size:10.0pt;fon= t-family: "Times New Roman";mso-fareast-font-family:"Times New Roman";mso-ansi-langu= age: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA'> <o:p> </o:p> = ; &= nbsp; &nb= sp; TABLE OF CONTENTS = ; PAGE NUMBER<o:p></o:p> <o:p> </o:p> Page of Approval = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = ii<o:p></o:p> Page of Dedication = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = v<o:p></o:p> Acknowledgment = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = = vi <o:p></o:p> Abstract = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = &n= bsp; </s= pan> </spa= n>vii-viii<o:p></o:p> Abstract (in Turkish)<s= pan style=3D'mso-tab-count:8'> = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = ix-x<o:p></o:p> <o:p> </o:p> I. Introduction: Utopian and Dystopian Literature in General<o:p></o:p> &nb= sp; <o:p></o:p> </= span><o:p></o:p> &nb= sp; I.1. Scope and Limitation &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; 1<o:p></o:p> <o:p> </o:p> &nb= sp; I.2. Definition of Ut= opia = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 2<o:p></o:p> </= span><o:p></o:p> &nb= sp; I.3. Definition of Dy= stopia = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; 3<o:p></o:p> <o:p> </o:p> II. Nineteen Eighty- Four &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; <o:p></o:p> </= span><o:p></o:p> II.1. Social Segregation = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; 6<o:p></o:p> </= span><o:p></o:p> II.2. Surveillance of Citizens = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; 8<o:p></o:p></spa= n> </= span><o:p></o:p> II.3. Alteration of Reality &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = &n= bsp; 12<o:p></o:p> </= span><o:p></o:p> II.4. Manipulation of Language = ; &= nbsp; &nb= sp; = ; &= nbsp; = &n= bsp; 16<o:p></o:p> </= span><o:p></o:p> II.5. Love Under Control = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; </span= >21<o:p></o:p> </= span><o:p></o:p> II.6. Methods of Totalitarianism&nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; 25<o:p></o:p> </= span><o:p></o:p> II.7. Goldstein’s Book and Arguments = ; &= nbsp; &nb= sp; = ; &= nbsp; 29<o:p></o:p> <o:p> </o:p> III. Brave New World<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.1. Social Stability = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = &n= bsp; 33<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.2. Sexuality Under Control = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; 39<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.3. Destruction of Family &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; 42<o:p></o:p></span= > &nb= sp; <o:p></o:p> &nb= sp; III.4. The Use of Propaganda &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; 44<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.5. Abuse of Scien= ce = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 47<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.6. The Cost of a Planned Society &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; 49<o:p></o:p><= /p> <o:p></o:p></spa= n> &nb= sp; III.7. Economy &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; </span= >53<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; III.8. Oppression of Individual Differences = ; &= nbsp; &nb= sp; </sp= an>56<o:p></o:p> <o:p> </o:p> IV. We <o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; IV.1. Exploitation of Science = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 58<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; IV.2. Sex Life under Supervision = &n= bsp; &nbs= p; = &n= bsp; 60<o:p></o:p><= /span> &nb= sp; <o:p></o:p> &nb= sp; IV.3. Vigilance of Citizens &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 62 </spa= n><o:p></o:p> </sp= an><o:p></o:p> &nb= sp; IV.4. Language- Literature- Music&n= bsp; &nbs= p; = &n= bsp; &nbs= p; 64<o= :p></o:p> </sp= an><o:p></o:p> &nb= sp; IV.5. Individual vs. = State = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; 66<o:p></o:p> &nb= sp; <o:p></o:p> &nb= sp; IV.6 Past, Revolution= , and Change = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; 68<o:p></o:p> <o:p> </o:p> V. Conclusion &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = &n= bsp; &nbs= p; = 70<o:p></o:p></spa= n> <o:p> </o:p> VI. Works Cited &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; 73<o:p></o:p> <o:p> </o:p> VII. Bibliography = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; = ; &= nbsp; &nb= sp; 77<o:p></o:p> <span lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt;fon= t-family: "Times New Roman";mso-fareast-font-family:"Times New Roman";mso-ansi-langu= age: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA'> <o:p> </o:p> <o:p> </o:p> &nbs= p; <o:p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p>= </o:p> <o:p>= </o:p> Dedicated to my family, former teachers at <st= 1:place w:st=3D"on"><st1:PlaceName w:st=3D"on">Middle East</st1:PlaceName> <st1:Pl= aceName w:st=3D"on">Technical</st1:PlaceName> <st1:PlaceType w:st=3D"on">Universi= ty</st1:PlaceType></st1:place> <o:p></o:p> <o:p> </o:p></sp= an> = ; and present ones at <st1:place w:st=3D"on"><st1= :PlaceName w:st=3D"on">Fatih</st1:PlaceName> <st1:PlaceType w:st=3D"on">University</= st1:PlaceType></st1:place>.<o:p></o:p> <span lang=3DEN-US style=3D'font-size:13.0pt;mso-bidi-font-size:10.0pt;fon= t-family: "Times New Roman";mso-fareast-font-family:"Times New Roman";mso-ansi-langu= age: EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA'> ACKNOWLEDGEMENT<o:p></o:p> <o:p> </o:p> I would like to express my deepest gratitude to my thesis supervisor Prof. Dr. Muhammed Bakari for his patience, invaluable suggestions, and encouragement throughout the MA studies wi= thout whose aid I could not have finished the project on time. I owe also much to Dr. Metin Bo&#= 351;nak opening for me new horizons = on academic disciplines such as language, literature and cinema. = I am further thankful to my lecturers, colleagues, and students at <st1:place w:st=3D"on"><st1:PlaceName w= :st=3D"on">Fatih</st1:PlaceName> <st1:PlaceType w:st=3D"on">University</st1:PlaceType></st1:place>. Special thanks also go to Alper Yilmaz Dede for his life-inspiring aid from <st1:p= lace w:st=3D"on"><st1:country-region w:st=3D"on">USA</st1:country-region></st1:= place>. Finally, I would like to acknowle= dge my sincere appreciation to Dr. Durrin Alpakin Martinez Cauro, Filiz Saritaş and Mehmet Emin Özüyılmaz for their co-operation in finding the book WE in Ankara and postmarking a copy of it to me. <o:p></o:p> <span lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt;lin= e-height: 200%;font-family:"Times New Roman";mso-fareast-font-family:"Times New Roma= n"; mso-ansi-language:EN-US;mso-fareast-language:EN-US;mso-bidi-language:AR-SA= '> </s= pan>ABSTRACT<o:p></o:p>= = Human beings have longed for better life conditions and bliss throughout their l= ive spans. Some writers have reflected these positive aspirations in their wor= ks which form ‘utopian ge= nre ’. Some however have written about dark and nightmarish books which belong to ‘dystopian genre ’.<o:p></o:p> = The Western World has contributed = to both genres with numerous works. This thesis will try to juxtapose three dystop= ian books- Nineteen Eighty- Four( = by George Orwell), Brave New World( by Aldous Huxley) and = We( by Yevgeny Zamyatin) respecti= vely- with the criteria of how rulers try to control power and manipulate large masses= . <o:p></o:p> = In the first part, a general information on utopias and dystopias is presented with a comprehensive outlook to past and present. In addition, there were ideals in the past whi= ch become reality in our times. These will be evaluated within the framework of today’s conditions.<o:p></o:p> = The second part will examine one= of the perfect examples of dystopian literature, Nineteen Eighty- Four, in respect to following themes: social segregation, surveillance, manipulation, alteration of reality, totalitarian methods, a= nd Goldstein’s arguments. It will also benefit from other scholars interested in Orwell’s fiction.<o:p></o:p> = The third part will deal with Al= dous Huxley’s brilliant book, Bra= ve New World, which is a satire of “ pleasure society”. It will also assess the validity of Huxley’s arguments = about an impending social order by looking at social life, sexuality, family, propaganda, science, planned society, economy and individual differences.<o:p></o:p> = The last part will elaborate on Yevgeny Zamyatin’s We which was a warning to humanity about revolutions seen in world countries, and stagnation of human administratio= ns. This part further analyses We = in the light of science, sex life, vigilance, language, literature, music, individuality, past, revolution a= nd change. Moreover, it will pr= esent a thorough assessment of the predicaments of our contem= porary world as well as predictions about the destiny of humanity. <o:p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <h1 style=3D'margin-left:18.0pt'>= I.1. Scope and Limitation<o:p></o:p></= span></h1> <o:p> </o:p> Human history is a witness of all = types of administrations- from leftwing to right-wing and from democracy to dictatorship- which have promised better life conditions to the layers of any society. This thesis will try to analyze h= uman governments with the themes of segregation, surveillance, propaganda, totalitarianism, and manipulation of large masses. Moreover, it will try to find similarities between what the fictional works say and how they are in actu= al life. However the project does not intend to deal with the details of poli= tics like a Political Science study. There are only some overlapping themes; it= may benefit from some eminent scholars working in the field, at a superficial level, for the sake of diversity. In addition, the thesis restricts itself= with the lives of people in Nineteen Eighty- Four, Brave New W= orld and We because people may lead diffe= rent lives in different countries though the three masterpieces have universal qualities.<o:p></o:p> <o:p> </o:p> <span lang=3DEN-US style=3D'font-= size:14.0pt; mso-bidi-font-size:10.0pt;font-family:"Times New Roman";mso-fareast-font-f= amily: "Times New Roman";mso-ansi-language:EN-US;mso-fareast-language:EN-US; mso-bidi-language:AR-SA'> <h2>I.2. Definition of Utopia<= /span></h2> <o:p> </o:p> <o:p> </o:p> = Human imagination since genesis has not ceased to create novel, ideal societies = in which the inhabitants lead happy and content lives. These writings about fictional co= untries constitute a genre, ‘ utopian literature ’, and take the name of ‘ utopia’. Utopia can be defined as the class of fiction which represents a political state( in ter= ms of justice, power of defence, education policy, the moral of citizens and the= way of life. . . etc.). A great example is Plato’s Republic. Beginn= ing with Thomas More, utopias &#= 8220; represent their ideal place under fiction of a distant country reached by = some venture some travellers”( Abrams 177). In an influential study, Karl Malheim however considers utopia precisely as a “ complex of energies that work for change in society, as opposed to ideology which considers (following the Marxist tradition of ideology as false consciousness) as the complex of energies acting to preserve and support the existing order of thingsR= 21;( Cited in Booker 3). Moreover= , Nell Eurich, the author of a brilliant work (Sc= ience in Utopia), sees utopia as man’s dreams of a better world( Cited= in <st1:place w:st=3D"on"><st1:City w:st=3D"on">Davis</st1:City></st1:place> 12).<o:p></= o:p> <o:p> </o:p> = After his significant work Utopia, </span= >Thomas More became the father of ut= opian literature. He studied penology, religious pluralism, family practices, divorce, euthanasia, women’s rights, government- controlled educatio= n, a natural life of joy/pleasure, healthy physical environment, politics as well-being and happiness, curtailment of&= nbsp; private property, correlation of classical and Christian virtue wit= hin a single moral perspective, and numerous other topics( Cousins and Grace 122). Meanwhile there were other authors, after Thomas = More, who penned utopian works. Fr= ancis Bacon( New Atlantis), James Harrington( The Commonwealth of Oceana)(1656), Tommaso Companella( The City of Sun)( 1643), William Harris( News from Nowhere), and Edward B= ellamy( Looking Backward)( 1888) are some of them which have hitherto received= increasing appreciation. <o:p></o= :p> <o:p> </o:p></sp= an> I.3. Definition of Dystopia<o:p></o:p>= <o:p> </o:p> = Dystopias are negations of utopias in which people lead dehumanized lives in hypothetical nightmarish countries. The term dystopia emerged in the beginning of the 20th century- especially after World War I which devastat= ed all positive beliefs about t= he ‘machine age’, which disillusioned people about the hope of a happy society, and which encouraged some authors= to write warnings to humanity. These opuses comprise a new genre- ‘ dystopian literature’. Apart from World War I, socialist utopia in <st1:country-region w:st=3D"on= ">Russia</st1:country-region> and fascist ones in <st1:cou= ntry-region w:st=3D"on">Italy</st1:country-region> and in <st1:place w:st=3D"on"><st1:= country-region w:st=3D"on">Germany</st1:country-region></st1:place> turned out to be fraternal faces of the same coin.= The citizens of these totalitarian countries experienced human rights abuses, = mass imprisonment, mass deportati= on, oppression and sheer agony. According to the distinguished cr= itic Abrams, dystopia represents “ a very unpleasant world in which certain ominous tendencies of our present so= cial, political and technological order are projected in some future culmination(118).<= span style=3D'mso-spacerun:yes'> Moreover, the Websters’s Collegiate Dictionary( Tenth Edition) defines dystopia as “ an imagi= nary place where people lead dehumanized and often fearful lives”( 361). <o:p></o:p> = Dystopias pose some common points one of wh= ich is the theme of ‘scapegoat ’. For example, the bourgeouis people in Europe and <st1:place w:st= =3D"on"><st1:country-region w:st=3D"on">United States</st1:country-region></st1:place> for Stalinist = Russia; the Jews in Nazi Germany; the unorthodox people in Fascist Italy were the scapegoats= to whom all the hatred of socie= ty was geared. These monolithic States claimed t= hese people to be responsible for treason, sabotages of public places, espionag= e of military secrets, racketeering and so on.= Therefore, they safeguarded themselves from the demands of their society and from the delinq= uent topics such as shortages of basic commodities, inflation, poverty, economi= c inequality. . . and so forth. Freud, the acclaimed psychologist, argues that one can a= lways “ bind together a considerable number of people in love, so long as there are other peopl= e left over to receive the manifestations of their aggressiveness”( Cited in Booker 11). Freud further finds reminiscen= ce between the practices of early Christianity and that of the modern totalit= arian regimes in Nazi Germany, in Stalinist Soviet Union, and in Mussolini’s Fascist Italy: “ When once = the Apostle Paul had posited uni= versal love between men as the foun= dation of his Christian community, = extreme intolerance on the part of Christendom towards those who remained outside it become the inevitable consequence( 69)”( 11). <o:p></o:p> <o:p> </o:p> = Furthermore, dystopian writers owe much to Tho= mas More. The works of such writers as William Morris, Samuel Butler, H.G Well= s, Aldous Huxley, Eugene( or Yevgeny) Zamyatin, George Orwell and others exhibit = a clear indebtedness to More who was, says Richard Gerber( 1973), “ the first significant writer to transform the non-existent ideal country from an object of naive mythical belief into the instrument of sophisticated rationalistic hypothesis( 9)”( Cited in Booker 124).<o:p></o:= p> <o:p> </o:p> = Among dystopian genre, three of them- </s= pan>Nineteen Eighty- Four( George Orw= ell), Brave New World( Aldous Huxley), = We( Yevgeny Zamyatin)- are milestones which this thesis= will try to analyze, interpret and comment. They have obvious similarities such as= the abuse of science, the suppre= ssion of individuality, regimentat= ion of society and life, propaganda, manipulation of language. Perhaps the three writers see these problems i= n their societies and want to spread their solutions to= them. Dragan Klaic, the noted critic on utopia-dystopian genre, the writer of an eloquent book The Plot of the Futu= re: Utopia and Dystopia in Modern = Drama, analyses the three books as follows:<o:p></o:p></spa= n> <o:p>&nb= sp;</o:p> Among negative utopias, anti-utopias, counterutopias, or cacotopias, works such as Zamiatin’s We, Huxley’s Brave New World= and Orwell’s 1984 stand out = as markers of prevailing dystopian temper,&n= bsp; as creations that established a new paradigm. Their expectation of the future is uneasy, gloomy, = and fearful. They are satires of the present, predictive satires of the pitfalls of so-called progress, and, more generally, satires of u= topian ambition itself. Much of the literature probes the issues of the future conclud= es with a negative report, phrased<s= pan style=3D'mso-spacerun:yes'> as a warning or postscript to a civilization soon to come to its end.( 69) <o:p></o:p> <o:p> </o:p> <o:p> </o:p> THANKS FOR YOUR INTEREST IN MY MA THESIS. THIS = IS AN EXERPT FROM THE ORIGINAL THESIS. FOR MORE INFORMATION, PLEASE VISIT <a href=3D"http://www.murathoca.com/">WWW.MURATHOCA.COM</a> OR EMAIL ME AT<sp= an style=3D'mso-spacerun:yes'> <a href=3D"mailto:mukasar@y= ahoo.com">mukasar@yahoo.com</a> .<o:p></o:p> GOOD LUCK IN YOUR RESEARCH! VII. BIBLIOGRAPHY <o:p> </o:p></sp= an> <![if !supportLists]><sp= an lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt'>1.&= nbsp; <![endif]>Abrams, M. H. A Glossary of Literary Terms. = <st1:City w:st=3D"on"><st1:place w:st=3D"on">London</st1:place></st1:City>: Rinehart Co. 1990. <o:p></o:p></s= pan> <o:p> </o:p></sp= an> <![if !supportLists]><sp= an lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt'>2.&= nbsp; <![endif]>Alridge, Alexandra. The Scientific World View in Dystopia. <st1:City w:st=3D"on"><= st1:place w:st=3D"on">Ann Arbor</st1:place></st1:City>: UMI <o:p></o:p> <o:p> </o:p></sp= an> Research= Press, 1984.<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <![if !supportLists]><sp= an lang=3DEN-US style=3D'font-size:12.0pt;mso-bidi-font-size:10.0pt'>3.&= nbsp; <![endif]>Astrachan, Anthony. Aldous Huxley's Brave New World. <st1:State w:st=3D"on"><st1:p= lace w:st=3D"on">New York</st1:place></st1:State>: World <o:p></o:p></sp= an> Library<= span style=3D'mso-spacerun:yes'> Inc., 1993. <o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 4. Barron's Book Note= s on George Orwell's 1984.<o:p></o:p><= /span> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 5. Beehler, Michael. = The Essential, The Superfluous, and T= extual Noise. <o:p></o:p> <o:p> </o:p></sp= an> </sp= an>http://www.substance.org/50/50-bee~1.Rhtml </u= >. ( N. Date)<o:p></o:p> <o:p></o:p> <o:p> </o:p></sp= an> 6. Bhat, Yashoda. Aldous Huxley and George Orwell: A Comparative Study of Satire in <o:p></o:p> <o:p> </o:p> Their = Novels. <st1:City w:st=3D"on">New= Delhi</st1:City>: <st1:place w:st=3D"on">Sterling</st1:place> Publishers, 1991.<o:p></o:p></= span> <o:p> </o:p></sp= an> </sp= an>- - -. "Anti Utopias" . <st1:City w:st=3D"on">New Delhi</st1:City>= : <st1:place w:st=3D"on">Sterling</st1:place> Publishers, 1991.<o:p></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 7. Bloom, Harold( ed)= . George Orwell’s 1984. <st1:= place w:st=3D"on"><st1:State w:st=3D"on">New York</st1:State></st1:place>: Chels= ea House, 1987.<o:p></o:p></spa= n> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> 8. Booker, M. Keith.<= span style=3D'mso-spacerun:yes'> The Dystopian Impulse in Modern Literature: Fiction as Social <o:p></o:p><= /span> <o:p> </o:p></sp= an> </sp= an>Criticism. <st1:City w:st=3D"on">= London</st1:City>: <st1:City w:st=3D"on"><st1:place w:st=3D"on">Greenwood</st1:place></st1:Ci= ty> Press, 1994.<o:p></o:p> <o:p> </o:p></sp= an> </sp= an>- - -. Dystopian Literature: A Theory and<sp= an style=3D'mso-spacerun:yes'> Research Guide. <st1:City w:s= t=3D"on">London</st1:City>: <st1:City w:st=3D"on"><st1:place w:st=3D"on">Greenwood</st1:place></st1:Ci= ty> = Press, 1994.<o:p></o:p> <o:p> </o:p></sp= an> </sp= an>- - -. “ Huxley’s Brave New Wor= ld: The Early Bourgeois Dystopia ” . <st1:place w:st=3D"on"><st1:City w:st= =3D"on">Greenwood</st1:City></st1:place> Press, 1994.<o:p= ></o:p> <o:p> </o:p></sp= an> <o:p> </o:p></sp= an> <o:p> </o:p> 9.Brave New World : A Defence of <st1:place w:st=3D"on">Paradise</st1:place> Engin= eering. http://www.huxley.net/. 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Zwerdling, A.&n= bsp; Rethinking the Modernist Legacy in 1984. <st1:place w:st=3D"on"><st1:State= w:st=3D"on">New York</st1:State></st1:place> : The <o:p></o:p> <o:p> </o:p></sp= an> <st1:place w:st=3D"on"><= st1:PlaceType w:st=3D"on">University</st1:PlaceType> of <st= 1:PlaceName w:st=3D"on">Arkansas</st1:PlaceName></st1:place>,1989. <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> </div> </body> </html> ------=_NextPart_01C854EF.7D127E20 content-location: file:///C:/2EB45993/MAthesis_files/header.htm content-transfer-encoding: quoted-printable content-type: text/html; charset="us-ascii" <html xmlns:v=3D"urn:schemas-microsoft-com:vml" xmlns:o=3D"urn:schemas-microsoft-com:office:office" xmlns:w=3D"urn:schemas-microsoft-com:office:word" xmlns:st1=3D"urn:schemas-microsoft-com:office:smarttags" xmlns=3D"http://www.w3.org/TR/REC-html40"> <head> <meta http-equiv=3DContent-Type content=3D"text/html; charset=3Dus-ascii"> <meta name=3DProgId content=3DWord.Document> <meta name=3DGenerator content=3D"Microsoft Word 11"> <meta name=3DOriginator content=3D"Microsoft Word 11"> <link id=3DMain-File rel=3DMain-File href=3D"../MAthesis.htm"> <![if IE]> <base href=3D"file:///C:\2EB45993\MAthesis_files\header.htm" id=3D"webarch_temp_base_tag"> <![endif]><o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"place= "/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"City"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"country-region"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"PlaceName"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"PlaceType"/> <o:SmartTagType namespaceuri=3D"urn:schemas-microsoft-com:office:smarttags" name=3D"State"/> <title>İngilizce Tez Örneği, İngilizce Tez Yazım&= #305;,MuratHoca.Com, İngilizce Özel Ders, İngilizce Ders</t= itle></head> <body lang=3DTR link=3Dblue vlink=3Dpurple> <div style=3D'mso-element:footnote-separator' id=3Dfs> <![if !supportFootnotes]> <hr align=3Dleft size=3D1 width=3D"33%"> <![endif]> </div> <div style=3D'mso-element:footnote-continuation-separator' id=3Dfcs> <![if !supportFootnotes]> <hr align=3Dleft size=3D1> <![endif]> </div> <div style=3D'mso-element:endnote-separator' id=3Des> <![if !supportFootnotes]> <hr align=3Dleft size=3D1 width=3D"33%"> <![endif]> </div> <div style=3D'mso-element:endnote-continuation-separator' id=3Decs> <![if !supportFootnotes]> <hr align=3Dleft size=3D1> <![endif]> </div> <div style=3D'mso-element:footer' id=3Def1> <div style=3D'mso-element:frame;mso-element-wrap:around;mso-element-anchor= -vertical: paragraph;mso-element-anchor-horizontal:margin;mso-element-left:right; mso-element-top:.05pt;mso-height-rule:exactly'> <table cellspacing=3D0 cellpadding=3D0 hspace=3D0 vspace=3D0 align=3Dright> <tr> <td valign=3Dtop align=3Dleft style=3D'padding-top:0cm;padding-right:0cm; padding-bottom:0cm;padding-left:0cm'> <p class=3DMsoFooter style=3D'mso-element:frame;mso-element-wrap:around; mso-element-anchor-vertical:paragraph;mso-element-anchor-horizontal:marg= in; mso-element-left:right;mso-element-top:.05pt;mso-height-rule:exactly'><!= --[if supportFields]>PAGE <![endif]--><o:p></o:p> </td> </tr> </table> </div> <o:p= > </o:p> </div> <div style=3D'mso-element:footer' id=3Df1> <div style=3D'mso-element:frame;mso-element-wrap:around;mso-element-anchor= -vertical: paragraph;mso-element-anchor-horizontal:margin;mso-element-left:right; mso-element-top:.05pt;mso-height-rule:exactly'> <table cellspacing=3D0 cellpadding=3D0 hspace=3D0 vspace=3D0 align=3Dright> <tr> <td valign=3Dtop align=3Dleft style=3D'padding-top:0cm;padding-right:0cm; padding-bottom:0cm;padding-left:0cm'> <p class=3DMsoFooter style=3D'mso-element:frame;mso-element-wrap:around; mso-element-anchor-vertical:paragraph;mso-element-anchor-horizontal:marg= in; mso-element-left:right;mso-element-top:.05pt;mso-height-rule:exactly'><!= --[if supportFields]>PAGE <![endif]-->11<o:p></o:p> </td> </tr> </table> </div> <o:p= > </o:p> </div> </body> </html> ------=_NextPart_01C854EF.7D127E20 content-location: file:///C:/2EB45993/MAthesis_files/filelist.xml content-transfer-encoding: quoted-printable content-type: text/xml; charset="utf-8" <xml xmlns:o=3D"urn:schemas-microsoft-com:office:office"> <o:MainFile HRef=3D"../MAthesis.htm"/> <o:File HRef=3D"header.htm"/> <o:File HRef=3D"filelist.xml"/> </xml> ------=_NextPart_01C854EF.7D127E20--