Rebellion In George Orwell's Nineteen Eighty Four

George Orwell’s dystopian novel, Nineteen Eighty Four (1949) didactically explores the condemning of individual autonomy when faced with oppressive collective experiences, effectively crafting rebellion due to the insatiable desire for individual autonomy and self-agency. Through his portrayal of a totalitarian regime, Orwell examines the assertion of control over individuals via the significance of storytelling and truth, how dominant authoritative states sadistically eradicate freedom and rebellion, and the innate human desire for meaningful relationships. Orwell’s three-part stylistic perspective thus inspires contemporary audiences to appreciate democracy and reclaim individuality and freedom, from the appraisal of cognitive and emotional

Inspired by Stalin’s Show Trials, Big Brother's use of oligarchical collectivism (Crimestop) seeked public confession of crimes, sadistically replicating this as it eliminates all feats of rebellion, quashing hope. The third person limited narration of the ‘Brotherhood’s’ enigmatic and illusive party leader O’Brien in, “We shall meet in a place where there is no darkness,” establishes a vigilante’s desire for resistance, even if these are false connections. This profound hope is reinforced in the subversion of Goldstein’s treatise, “The best books are those that tell you what you know already,” using an empowered tone to reveal Winston’s thoughtcrime, as the individual is prompted to believe that their rebellion will be effective. However, the Party’s inhumane purpose to gain collective blind loyalty and affirmation is reflected in the sinister connotations in the cumulative listing, ‘Convert him, capture his inner mind, reshape him,’ as the betrayal evokes a condemning of Winston’s rebellion, extending to our current society’s blatant feeding of media and single-sided politics. The anticipation of imprisonment describes how Winston’s “heart was thumping like a drum” although his “face, from long habit, was expressionless,” where the simile and juxtaposition heightens the inconsistency between our inner emotions and external expressions. This explores the ability of oppressive schemes to control the human experience of self-expression, as Winston recognises that rebellion is maliciously schemed in O’Brien’s dramatic pause and emotive language, ‘The Party…persuaded you that you were mere impulses… robbing you of power,’ as oppression is catered through false hope. Hence, Orwell describes how oppression will exploit individual hope and capacity for rebellion,