English 1022E Lecture Notes - Brave New World, Perennial Philosophy, Test Tube

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Published on 12 Sep 2012
School
Western University
Department
English
Course
English 1022E
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ENGLISH 1022E October 7th, 2010
ENGLISH Lecture 6
INDUCTION
EXPOSITION
“Negation of the present”
The Perennial Philosophy (1945)
The Doors of Perception (1954)
“It the doors of perception … cleansed, everything would appear as it is, infinite.” – William Blakz
ESSAY #2, TOPIC #2
a) “When Bernard…” p. 79
b) “The Savage…” p. 215, “…undisturbed,” p. 217
BRAVE NEW WORLD…
o To create backstory, he brings us to a lecture, and we listen to what is going on, what is
happening. We become the students of the Director giving the lecture. We become, with the
narrator, privy to the study before us.
o The evil here is so ordinary, so normal, that people are used to it. Test tube children reduced to
the level of plants with the term bud”. Responds by budding. It’s also an assembly line: MASS
PRODUCTION. Causes us to adopt a judgemental perspective of what is going on. Elimination of
individuality.
o Fertilizing room: the light is cold, dead, and lifeless.
o Chapter One and Two: inducts us into this world, exposes us to the evil that lays dormant there,
the abnormality.
o Chapter Three: shifts into an entirely different narrative technique: montage. Like in the movies,
the technique by the Russian Eisenstein, where you lay two strips of film together, and switch
back and forth. In the third chapter, Huxley does four pieces, weaving them together.
“Musicalization of Fictionweaving and interweaving and juxtaposition of different snippets of
characters and storyline. Mustapha Mond: “Mond” a play on the French word for world. Lenina:
talking to her friend about the sex life that’s not there. They get shorter and shorter entries, so
that he can switch back and forth quickly between the four storylines, to keep interest and
increases number of juxtapositions. “Buy a Ford and spend the difference- Ford
o
ENGLISH 1022E October 7th, 2010
o Bernard and Lenina: fantasy aspect becomes more present. Next few chapters we’ll focus on the
two, almost mechanically. We get to know them, although they may not be fully rounded
characters because of their conditioning. Lenina is pretty content with her Brave New World,
but deviated slightly with her relationship with Henry Foster. Bernard: sad, troubled, neurotic
person. Romantic attraction to nature.
o Savage and Linda: new protagonists, new emotions, new ideas.
o Chapter seven and eight onwards, you can picture the two vastly different cultures from the
world Bernard and Lenina live in, and the world Savage and Linda live in.
o Page 211: emphasizing individuality. He wants a moral.
o HOW much do we value happiness, and how much are we prepared to do for it?
TELOS, TELEOLOGY first and final cause
o Everything needs to be related for first and final cause
o May look like a utopia, but if you were given a role in the society, would you think it’s a utopia
now? Do you think it would be all that great again?
Final Chapter
o Throws up three times, as if to rid himself to the sex, drugs, etc. He then tries to find isolation,
trying to reassert his individuality, to be alone and get away from the Brave New World.
o Lighthouse: symbol for guidance, Savage wants guidance. Staircase that leads upwards, usually
spiralling up to a higher goal. No magnetic north for the Savage in Brave New World, there’s no
way adjusting your compass, your behaviour, and there is no guidance.

Document Summary

It the doors of perception cleansed, everything would appear as it is, infinite. william blakz. Essay #2, topic #2: when bernard p. 79, the savage p. 215, undisturbed, p. 217. Brave new world : to create backstory, he brings us to a lecture, and we listen to what is going on, what is happening. We become the students of the director giving the lecture. We become, with the narrator, privy to the study before us: the evil here is so ordinary, so normal, that people are used to it. Test tube children reduced to the level of plants with the term bud . Causes us to adopt a judgemental perspective of what is going on. Like in the movies, the technique by the russian eisenstein, where you lay two strips of film together, and switch back and forth. In the third chapter, huxley does four pieces, weaving them together.