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Human experience is inextricably linked to sophistication of human emotions that arises within overcoming adversities as seen through the struggle of identity which is explored through a Totalitarian regime as Orwell correlates the richness of human experience with the sense of individualism. Supporting Helen’s quotes as Winston is seen to “overcome” the limitations of reality control set by the Party. The complexity of human experience has been illustrated throughout the context of George Orwell’s “1984” that explores an individual and collective human experience. Orwell highlights the hatred for dictatorship such as the Stalin and Nazi regime which fuels his exploration of individual entity within 1984. Orwell portrays the mean to be human throughout central themes of his work that progress throughout the novel’s central ideas. The “limitations” set by The Party involve total control over society which leads to another theme, Love and Sexuality which Orwell utilises Winston and Julia. Then seen through conflict of individuality and collective experiences, Winston longs for “overcoming” the party. It is then true to how Hellen Keller’s words reflect the collective experience of the anomaly, Winston, throughout the novel. THESIS 1: George Orwell’s 1984 portrays Totalitarianism as a limitation set within Eurasia through the suppression of individuals and the establishment of conformity towards The Big Brother. The suppression caused by the totalitaristic regime of The Party, further devalues the individual and collective experience through the limitations of self identity. Orwell’s service in the 1930s Spanish Civil War as part of the Republican militia fighting against fascist-supported rebels positions him to criticise the political landscape of his time. Orwell uses the telescreens, dramatically capitalised “BIG BROTHER IS WATCHING YOU” posters and allusions to Stalin in Big Brother’s “black-moustachio’d face” as metonymy for how governmental surveillance dominates both individual and collective experiences. The high modal of “Party is always watching your every move” similarly solidifies the shared paranoia, inferiority and dejection arising from experiences of absolute control, as Winston’s erratic diary entry “They’ll shoot me!” reinforces how rapidly human ‘freedom’ can be turned into ‘slavery’, and so Orwell again displays the power of storytelling to convey a warning about the dangers of unchecked totalitarianism on a helpless society. The narrator’s reflective lamentful tone “a time when there was...privacy, love, and friendship” implies how INGSOC systematically kills the attributes that make Oceanic citizens human, leading to a subsequent melancholic state within in a world infused with “Uneasiness…fear…and hostility”. Ultimately, implying danger to the individual human experience THESIS 2: Sexuality and Love is explored through 1984 as George Orwell represents the conflict of romantic relationships and the act of pleasure to be restricted by the Party to maintain control. Conflict arising from the suppression of human emotions and individual experiences fuel the urge to overcome the limitations set by the Party. Sexuality and Love, which is a sacred and fulfilling act between humans, is labelled as a dehumanised act within “1984”. Further understood in the quote “No emotion was pure, because everything was mixed up with fear and hatred. Their embrace had been a battle, the climax a victory. It was a blow struck against the Party. It was a political act.” The act of sex was taken as a rebellion against the Party, forbidding any sense of intimacy or pure love. Furthermore, the oppression of individual experiences through the comparison of human emotions fuels Winston’s hatred. Furthermore progressing on to Julia’s romance trope, how Winston’s gradual rejection of his political apathy empowered him to experience an authentic, intricately human relationship that subverts his totalitarian society: “the gesture with which had thrown her clothes aside…to an ancient time”. Winston woke up with the word ‘Shakespeare’ on his lips.” Orwell juxtaposes Julia’s sexuality to Shakespeare, an immediately-recognisable metonym for culture and history, to argue that human intimacy can only be restored by actively resisting the dehumanising influence of the government. In addition the use of emotive language creates an emotional human experience by displaying the lack there of. Moreover, the control of the party ‘trying to kill the sex instinct or... distort it and dirty it’ creates a collective psychological human experience by warping the societal understanding of sex. The ‘d’ alliteration within the quote also displays the individual physical human experiences by causing the absence of it. However, within 1984 Orwell also uses sex as a form of rebellion juxtaposing the control as Winston rebels through ‘the animal instinct, the simple undifferentiated desire: that was the force that would tear the party apart’. This emotive language demonstrates the individual physical and psychological human experience of rebellion that is displayed through Winston’s actions. Winston’s actions further create a juxtaposition of control and rebellion through the paradox of his experience within the ministry of love declaring ‘to die hating them that was freedom’. Additionally, demonstrating the adversities needed to overcome, which has enriched Winston’s life fighting against the Totalitarian regime and the suppression of human individuality THESIS 3: Identity within George Orwell’s “1984” has been shown through the limitations within the individual human experience. The conflict for self identity demonstrates the human tendency to overcome the limitations to provide central meaning and enrich their life. Orwell’s exposure to the widespread hysteria of Hitler’s Nazi regime, caused by the Nuremberg Rallies and Joseph Goebbels’ virulent anti-semitic propaganda, informs his representation of Oceania’s dehumanised masses. The symbolic colourlessness and propaganda-poster motif he uses to describe London reflects the loss of human identity under such leadership: “there seemed to be no colour in anything, except the posters that were plastered everywhere.” Further seen the burlesque Two Minute Hate reveals human inconsistency by representing how even introspective, intelligent characters can be stripped of their intimacy and compassion by the experience of collective hysteria: even Winston wishes to “flog Julia to death with a rubber truncheon…ravish her and cut her throat at the moment of climax”, and is only restored by compliance to the Christ-like totalitarian authority, “My-Saviour!”, Big Brother”. The lack of self identity poses a risk to the human experience, which fuels Winston’s yearn for rebellion. Further illustrated in the tone of paranoia, “Winston kept his back to the ‘telescreen'’” depicts the ‘faceless’ society that Big Brother generates, suppressing individual autonomy to elicit emotions of pure despondency. Thus, Orwell upholds textual integrity through his intricate exploration of the human experience of struggle of rebellion arising from absolute control, instructing contextually diverse audiences to “become conscious of their own strength’’ and collectively fight dictatorships. Orwell then successfully, reflects the limitations that Winston urges to overcome, resonating with the statement as it enriches their life. George Orwell has thus, successfully captured the limitations of 1984 regime and explored the adversities of love and sex and identity as major significance to the indivudal and colletive experience. Furthermore, allowed Hellen Keller’s words to resonate well with his work of “1984”