LORD OF THE FLIES - PowerPoint Presentation

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LORD OF THE FLIES

BY WILLIAM GOLDINGSlide2

ABOUT THE AUTHOR

WILLIAM GOLDING WAS BORN IN CORNWALL, ENGLAND IN 1911.

HE LIVED A SHELTERED, ISOLATED LIFE AS A CHILD.

HE KNEW HE WANTED TO WRITE BY AGE TWELVE.Slide3

ABOUT THE AUTHORGOLDING STUDIED SCIENCE FOR TWO YEARS AT OXFORD UNIVERSITYSlide4

ABOUT THE AUTHORBUT HE STOPPED STUDYING SCIENCE AND BEGAN TO POUR HIS ENERGIES INTO ENGLISH LITERATURE.Slide5

ABOUT THE AUTHORWWII BROKE OUT AND HE JOINED THE BRITISH NAVY IN 1940.Slide6

ABOUT THE AUTHORHE PARTICIPATED IN MANY VIOLENT BATTLES INCLUDING THE INVASION AT NORMANDY AND BY THE END OF THE WAR HE WAS A LIEUTENANT IN COMMAND OF A ROCKET WARSHIP.Slide7

ABOUT THE AUTHORHIS WAR EXPERIENCES CHANGED HIS VIEWS ABOUT MANKIND’S NATURE. HE CAME TO BELIEVE THERE WAS A VERY DARK AND EVIL SIDE TO MAN.Slide8

ABOUT THE AUTHORTHIS VIEW IS NOT UNIQUE TO MODERN ARTISTS WHO REACTED IN THE SAME WAY AFTER WORLD WAR I AND CHOSE ART AS THE SALVE WHICH WOULD HEAL MANKIND’S WOUNDS.

ARTISTS AFTER WORLD WAR II WERE MORE VAGUE ABOUT WHAT WOULD SAVE MANKIND OR IF IT WAS SALVAGEABLE AT ALL.Slide9

ABOUT THE AUTHOR

GOLDING SAID, “THE WAR WAS UNLIKE ANY OTHER FOUGHT IN EUROPE. IT TAUGHT US NO FIGHTING, POLITICS, OR THE FOLLIES OF NATIONALISM,BUT ABOUT THE GIVEN NATURE OF MAN.”Slide10

ABOUT THE AUTHOR

HE ALSO REFLECTED, “WHEN I WAS YOUNG. . .I HAD SOME AIRY-FAIRY VIEWS ABOUT MAN, BUT I WENT THROUGH THE WAR AND THAT CHANGED ME.”Slide11

ABOUT THE AUTHORGOLDING ONCE SAID,”I THINK OF MYSELF AS A RELIGIOUS MAN.”Slide12

ABOUT THE AUTHORIN 1983 GOLDING WAS AWARDED THE NOBEL PRIZE FOR LITERATURE.

HE DIED IN 1993 AT THE AGE OF 81.Slide13

ABOUT THE NOVELTHE NOVEL WAS PUBLISHED IN 1954 AFTER HAVING BEEN REJECTED BY MORE THAN TWENTY PUBLISHERS.Slide14

ABOUT THE NOVELIT WAS NOT SUCCESSFUL UNTIL THE 1960’S AND EVEN NOW THE BOOK IS CRITICIZED FOR BEING DIDACTIC AND INFLEXIBLE.Slide15

ABOUT THE NOVEL

THEMES IN THE NOVEL: THE NEED FOR CIVILIZATION; INNOCENCE AND THE LOSS OF IT; THE LOSS OF IDENTITY; POWER; FEAR OF THE UNKNOWN; BLINDNESS AND VISION. IF YOU WRITE ON THEME, BE SURE TO CREATE A STATEMENT FOR THE THEME.Slide16

INTERPRETATIONSFREUDIAN: ID, EGO, AND SUPEREGO AS DIVERGENT, CO-EXISTING FORCES WITHIN A HUMAN BEING; FOCUS IS ON THE INDIVIDUAL AND THE CONFLICT WITHIN.Slide17

INTERPRETATION SFREUD DEVELOPED A THEORY TO EXPLAIN COMPETING FORCES WITHIN THE HUMAN MIND OR PSYCHE.Slide18

INTERPRETATIONS FREUD CALLED THESE COMPETING FORCES THE ID, EGO, AND SUPEREGO. HE FELT THAT A MENTALLY HEALTHY PERSON WOULD HAVE ALL THREE FORCES BALANCED.Slide19

INTERPRETATIONSACCORDING TO FREUD THE ID WAS A PRIMAL FORCE WITHIN US ALL. THE ID IS ENERGY, PASSION, SEXUAL DRIVE, VIOLENCE, EMOTION, AND AGGRESSION.Slide20

INTERPRETATION IF ONE INTERPRETS LORD OF THE FLIES FROM A FREUDIAN PERSPECTIVE, THE CHARACTER WHO BEST EMBODIES THE ID PRINCIPLE IS JACK.Slide21

INTERPRETATIONJACK REPRESENTS THE RESTLESS ID WHO SEEKS PLEASURE, HUNTING,

FORCEFUL SPEECH AND PHYSICAL EXPRESSION. HE IS HARD TO CONTROL AND ACTS IMPULSIVELY.Slide22

INTERPRETATIONTHE SECOND FORCE IS CALLED THE EGO. THE EGO IS THE CONSCIOUS VOICE OF REASON. THE EGO SEEKS INTERACTION WITH OTHERS WITHIN SOCIALLY ACCEPTABLE ROLES.Slide23

INTERPRETATIONTHE EGO SEEKS THE APPROVAL OF OTHERS AND IS SENSITIVE TO PRAISE AND CRITICISM. RALPH BEST FUNCTIONS AS THE EGO FORCE IN LORD OF THE FLIES.Slide24

INTERPRETATION

THE FINAL FORCE IS THE SUPEREGO. IT IS RESPONSIBLE FOR MAINTAINING THE SOCIETAL, POLITICAL, AND RELIGIOUS RULES AND NORMS IN AN INDIVIDUAL. IT IS NOT INFLUENCED BY IMPULSE OR OTHERS.Slide25

INTERPRETATIONIN THE NOVEL TWO CHARACTERS, WHO ARE BOTH KILLED, FULFILL THIS FORCE. THEY ARE SIMON AND PIGGY. PIGGY BEST EXPRESSES THE SOCIETAL VALUES OF THE BOYS’ HOME.Slide26

INTERPRETATIONSIMON REPRESENTS RELIGIOUS ACTION AND VALUES. HE DEMONSTRATES QUALITIES WHICH THE SUPEREGO WOULD UTILIZE AS GUIDANCE DURING DIFFICULT TIMES.Slide27

INTERPRETATIONOF COURSE, THE MOST FASCINATING ASPECT OF DOING A FREUDIAN INTERPRETATION OF THE NOVEL IS THAT IT HELPS TO EXPLAIN THE CONFLICTS BETWEEN THE BOYS.Slide28

INTERPRETATION

RALPH, AS EGO, IS IN THE MIDDLE OF THE TWO EXTREMES: HE MUST MEDIATE BETWEEN THE AGGRESSIVE, IMPULSIVE JACK AS ID AND THE MORE PASSIVE, PRINCIPLED PIGGY AS SUPEREGO.

BECAUSE THE RULES AND VALUES WE LEARN CAN GET IN THE WAY OF THE “FUN” WE WOULD LIKE TO DO, THE ID DOES NOT LIKE THE SUPEREGO.Slide29

INTERPRETATION

CONVERSELY, THE SUPEREGO CANNOT EASILY TOLERATE THE ID SINCE THE ID IS INTENT ON SHATTERING ALL THE RULES THE SUPEREGO VALUES.

RALPH IS VIRTUALLY IN A CATCH-22, A NO-WIN SITUATION BECAUSE HE CANNOT CONVINCE THE BOYS TO ABANDON THEIR GROWING ID IMPULSES. HIS VALUE AS A EGO-DRIVEN LEADER LESSENS.Slide30

INTERPRETATIONLORD OF THE FLIES DEMONSTRATES JUST HOW DIFFICULT FINDING A BALANCE BETWEEN THESE FORCES CAN BE. WITHOUT CIVIL RESTRAINTS, WHO ARE WE REALLY? Slide31

INTERPRETATIONSSCIENTIFIC HUMANISM:

GOLDING EXPLODES THE BELIEF THAT MODERN SCIENCE WILL SAVE MODERN MAN FROM HIMSELF.Slide32

INTERPRETATIONTHIS CLAIM OF GOLDING IS BEST COMMUNICATED BY THE CHARACTERS OF PIGGY AND SIMON.Slide33

INTERPRETATIONPIGGY SAYS, “LIFE IS SCIENTIFIC, THAT’S WHAT IT IS.”

HE CAN ONLY FATHOM WHAT HE CAN OBSERVE AND HE DOESN’T UNDERSTAND PEOPLE.Slide34

INTERPRETATIONMORE IMPORTANTLY, HE CANNOT IDENTIFY THE BEAST FOR WHAT IT IS, EVEN REFUSING TO ADMIT SIMON’S DEATH AS A MURDER.Slide35

INTERPRETATIONPIGGY DENIES THE MORAL IMPLICATIONS OF THE COLLECTIVE GUILT. ONE CAN DERIVE THIS FROM THE SAME MORAL DEVASTION THRUST UPON THE WORLD AFTER THE ATOMIC BOMB.Slide36

INTERPRETATION“WE NEVER DONE NOTHING, WE NEVER SEEN NOTHING.”--PIGGYSlide37

INTERPRETATIONONE VIEW IS THAT SCIENTIFIC HUMANISM HAS GIVEN MAN A FALSE SENSE OF CONFIDENCE IN HIMSELF AND HAS STRIPPED AWAY HIS NEED FOR RELIGION.Slide38

INTERPRETATIONTHEREFORE, SIMON’S FULFILLS AN ALLEGORICAL ROLE OF SPIRITUAL SHAMAN ON THE ISLAND. HE IS THE MYSTIC WHO UNDERSTANDS THE BEAST AND THE FALLEN NATURE OF MAN.Slide39

INTERPRETATIONTHE TRUTH COMES TO SIMON AS A REVELATION, BUT HE DOES NOT HAVE THE WORDS TO COMMUNICATE THE HORROR.

SIMON REPRESENTS A FOIL TO PIGGY: HE SEES WHAT PIGGY’S OBJECTIVE, EMPIRICAL EYE CANNOT.

TOGETHER, THEY ARE A POWERFUL FORCE.Slide40

INTERPRETATIONTHE IDEA IS THAT IF WESTERN MAN CAN FUSE THE TWO--THE SCIENTIFIC AND THE SPIRITUAL; THE RATIONAL AND THE INTUTIVE-- HE CAN SAVE HIMSELF.

IN OTHER WORDS, THE PRIEST AND THE SCIENTIST MUST WORK TOGETHER.Slide41

INTERPRETATIONTHE PRIEST PROVIDES THE SCIENTIST A MORAL COMPASS.

SCIENCE AND MORALITY SEPARATED WILL NOT SAVE US FROM OURSELVES.

GOLDING WAS CLEARLY DISILLUSIONED WITH MANKIND’S BLIND RUSH TOWARDS TECHNOLOGICAL PROGRESS.Slide42

INTERPRETATIONANOTHER VIEW OF THE NOVEL INVOLVES A CLASSICAL APPROACH, HEARKENING BACK TO ANCIENT GREECE AND ROME.Slide43

INTERPRETATIONONE OF THE FOREMOST CLASSICAL ALLUSIONS IN THE NOVEL OCCURS IN THE PAGAN RITUALS AND SACRIFICES. ONE ONLY HAS TO THINK OF JACK SURROUNDED BY GIFTS OF FRUIT AND THE MOCK PIG-HUNT AND CHANTING TO EVOKE THE PAGAN ASPECTS OF THE BOOK.Slide44

INTERPRETATION

ANOTHER DEBT THE NOVEL OWES TO THE CLASSICAL TRADITION STEMS FROM THE PLAYWRIGHT EURIPIDES. IN HIS TRAGEDIES HE OFTEN PORTRAYED THE DISINTEGRATION OF SOCIETY DUE TO A TRAGIC FLAW IN HUMAN NATURE. IN THIS WAY, MAN FAILS TO RECOGNIZE AND THEREBY APPEASE THE IRRATIONAL PART OF HIS SOULSlide45

INTERPRETATIONMY PERSONAL FAVORITE “CLASSICAL CONNECTION” IS THE BOOK’S DEBT TO THE PRINCIPLES OF DIONYSIAN AND APOLLONIAN PERSPECTIVESSlide46

INTERPRETATIONAS YOU SHOULD KNOW, THE GOD DIONYSUS WAS THE GOD OF FERTILITY, REVELRY, AND THE GREEKS CELEBRATED WILDLY AT FESTIVALS HELD IN HIS HONOR.Slide47

INTERPRETATIONIN THE LATE 1800’S THE GERMAN PHILOSOPHER FREDERICK NIETZSCHE DETERMINED THAT THE DIONYSIAN FORCE WAS A MOVEMENT TOWARD CHAOS AND VIOLENCE. Slide48

INTERPRETATIONRATHER THAN CONDEMNING THE VIOLENT SIDE OF MAN, NIETZSCHE DETERMINED THAT ALL OF LIFE IS VIOLENCE AND THAT IT CANNOT BE REJECTED OR WE WOULD REJECT LIFE ITSELF.Slide49

INTERPRETATIONDIONYSIAN ELEMENTS INCLUDE DARKNESS, FLUIDS, DISORDER, DEATH, DIRTINESS, AND SEXUALITY. JACK FUNCTIONS ALONG THE LINE OF DIONYSIAN PRINCIPLES.Slide50

INTERPRETATIONTHE OTHER PART OF THIS STRUGGLE IS REPRESENTED BY THE GOD APOLLO. REMEMBER THAT APOLLO WAS THE GOD OF THE SUN AND AS SUCH REPRESENTS THE CLEAR, RATIONAL ASPECT OF MAN.Slide51

INTERPRETATIONAPOLLONIAN ELEMENTS INCLUDE THE SKY, CLEANLINESS, REASON, A LACK OF EMOTION, ORDER, AND LIFE, AMONG OTHERS. RALPH AND PIGGY REPRESENT THIS CLASSICAL FORCE.Slide52

INTERPRETATIONTHE NOVEL MAY ALSO BE DISCUSSED IN RELATION TO ITS THEOLOGICAL OR RELIGIOUS ELEMENTS. ONE, OF COURSE, IS THE ALLEGORICAL RENDERING OF SIMON AS CHRIST.Slide53

INTERPRETATIONTHE NOVEL ALSO EXPRESSES A RELATIONSHIP WITH ORIGINAL SIN AND DEPICTS A FALL OF MAN ORIGINATING FROM THE SIN OF PRIDE. NOTICE JACK’S FREQUENT BLUSHING.Slide54

INTERPRETATIONTHE ELEMENTS OF A CORRUPTION OF EDEN, SERPENT AND SNAKE IMAGERY, AND FIRE AND HELL IMAGERY ARE AVAILABLE TO YOU TO MAKE YOUR CASE FOR THIS INTERPRETATION.Slide55

INTERPRETATIONANOTHER MAJOR INTERPRETATION OF THE NOVEL REVOLVES AROUND GOLDING’S INTEREST IN EGYPTIAN MYTHOLOGY. JOHN FITZGERALD AND JOHN KAYSER ARGUE THE NOVEL IS BASED ON THE EGYPTIAN MYTH OF OSIRIS.Slide56

INTERPRETATION

WHAT YOU ARE ABOUT TO HEAR IS THE TELLING OF THE OSIRIS MYTH BY ONE SCHOLAR FOR WHOM I HAVE THE DEEPEST RESPECT, JOSEPH CAMPBELL. LISTEN CAREFULLY FOR CLUES THAT GOLDING USED THE MYTH IN THE NOVEL.Slide57

INTERPRETATIONHERE ARE SOME SPELLINGS FOR SOME OF THE WORDS IN THE TAPE:

ISIS AND OSIRIS

NEFTUS

ENUBUSSET-TYPHONSARCOPHAGUSSYRIASlide58

INTERPRETATIONJUST AS THERE IS A BEASTIE SOMETIMES REFERRED TO IN

LOF

AS A “SNAKE-THING,” IN THE OSIRIS MYTH THE EGYPTIAN DAEMON SET-TYPHON IS ALSO REPRESENTED BY SNAKES AND WITH THE ASCENT OF CHRISTIANITY HE WAS TRANSFIGURED INTO BAAL OR BEELZEBUB.Slide59

INTERPRETATIONSET-TYPHON IS ALSO ASSOCIATED WITH THE SEA. THE BEAST FROM THE AIR COMES FROM “A SUDDEN BRIGHT EXPLOSION” CARRIED FROM THE CHANGING WINDS. TYPHON, WHO IS ALSO REGARDED AS FIRE, LATER BECOMES THE GOD OF THE WINDS.Slide60

INTERPRETATIONINTERESTINGLY, THE NARRATOR IN THE NOVEL INFORMS THE READER THAT THE BOY ARRIVED ON THE ISLAND BY SOME “ENCHANTMENT. SOME ACT OF GOD--A TYPHOON PERHAPS.” ARE NOT TYPHOON AND TYPHON TOO SIMILAR IN SPELLING FOR THIS TO BE OVERLOOKED?Slide61

INTERPRETATIONTHE OSIRIS MYTH ACCOUNTS FOR THE EMERGENCE OF DISCORD AND WAR. IT DEMONSTRATES THE PRECARIOUSNESS OF CIVILIZATION.

ACCORDING TO THE HISTORIAN PLUTARCH, WHILE REIGNING AS KING ON EARTH THE GOD OSIRIS GAVE THE EGYPTIANS CIVILIZATION BY INTRODUCING LAWS, WORSHIP OF Slide62

INTERPRETATIONTHE GODS, MARRIAGE, AND AGRICULTURE. BEFORE THESE WERE GIVEN THE EGYPTIANS HAD BEEN SAVAGES AND CANNIBALS. OSIRIS’ BROTHER, THE DAEMON SET-TYPHON, OUT OF ENVY, SOUGHT TO USURP HIS BROTHER’S THRONE. HE TRICKED OSIRIS AND DROWNED HIM. AS CAMPBELL SAID, ISIS FOUND THESlide63

INTERPRETATIONBODY AND HID IT IN THE WOODS. TYPHON,

WHILE HUNTING PIG DURING A FULL MOON,

DISCOVERED IT AND MUTILATED IT.

OSIRIS REPRESENTS GOOD IN THE UNIVERSE AND TYPHON EVIL, AND PRIDE LEADS TO DISCORD.Slide64

INTERPRETATIONTHE RITUAL SLAUGHTER OF ANIMALS IS ALSO IDENTIFIED WITH TYPHON THROUGH THIS MYTH.

RALPH IS A BETTER THAN AVERAGE HUMAN BUT HE IS NOT SYMBOLIC OF OSIRIS BECAUSE HE IS TOO FLAWED (RECALL RALPH’S FASCINATION WITH KILLING A PIG).Slide65

INTERPRETATION

OSIRIS IS EMBODIED BY PIGGY AND SIMON, WHO ARE BOTH KILLED, LIKE OSIRIS. JUST AS THE SEA CLAIMS THEIR TWO BODIES, SO WAS OSIRIS DROWNED IN WATER.

OSIRIS WAS SAID TO POSSESS CREATIVITY AND REASON; HENCE SIMON’S INTUITION AND PIGGY’S REASON COINCIDE WITH THIS DESCRIPTION OF THE GOD.Slide66

INTERPRETATIONUNLIKE OUR MODERN SENSIBILITIES, THE ANCIENT EGYPTIANS DID NOT SEPARATE REASON AND CREATIVITY FROM EACH OTHER. GOLDING, IT WOULD APPEAR, INSISTS THAT ART AND REASON OUGHT TO BE CONSIDERED AS MUTUALLY DEPENDENT UPON EACH OTHER.Slide67

INTERPRETATIONLASTLY, THE MYTH-NOVEL THEORY CONCLUDES WITH A STARTLING COMPARISON BETWEEN JACK AND SET-TYPOHN: JACK IS RED-HAIRED, FRECKLED, AND PRONE TO BLUSH RED WHEN ANGRY OR FRUSTRATED; TYPHON IS DESCRIBED AS RED AND RUDDY. IN FACT, RED-HAIRED MEN WERE BURNED AND BEATEN IN ANCIENT EGYPT BECAUSE THEYSlide68

INTERPRETATIONLOOKED TOO MUCH LIKE THE DESPISED SET-TYPHON.Slide69

PARODY

1.

a. A literary or artistic work that imitates the characteristic style of an author or a work for comic effect or ridicule. See synonyms at caricature. Slide70

LOF AND THE CORAL ISLANDIT IS NO ACCIDENT THAT THE CORAL ISLAND SHOULD BE EXPLICITLY REFERRED TO NEAR THE BEGINNING AND AT THE END OF

LOF

SINCE WILLIAM GOLDING BY INTENTION SET HIMSELF TO WRITE AN ISLAND STORY THAT DELIBERATELY CHALLENGES BALLANTYNE’S.Slide71

LOF AND THE CORAL ISLAND

SINCE IT SO PERFECTLY MIRRORS THE ASSUMPTIONS AND VALUES OF ITS PERIOD, VICTORIANS MAY WELL HAVE CONSIDERED THE CORAL ISLAND REALISTIC, NOT LEAST IN ITS PORTRAYAL OF THE BOYS.

WITHOUT SOME GRASP OF BALLANTYNE’S STORY WE CANNOT REALLY APPRECIATE HOW EXTENSIVELY GOLDING PARODIESSlide72

LOF AND THE CORAL ISLANDAND SATIRIZES HIS MODEL. HIS BOYS HAVE NOTHING IN COMMON WITH THE IDEALISED BOYS OF THE CORAL ISLAND, EXCEPT THEIR INITIAL JOY IN FINDING THEMSELVES FREE OF ADULTS ON A TROPICAL ISLAND.Slide73

LOF AND THE CORAL ISLAND

I WANT US TO THINK ABOUT THE FOLLOWING AREAS OF COMPARISON/CONTRAST FOR THESE TWO WORKS:

EVIL

RELIGIONBOYS’ RESOURCEFULNESSSCIENCE

HUMAN RELATIONSHIPSSlide74

DISCUSSION QUESTIONS--1SPECULATE WHO WAS THE “MAN WITH THE MEGAPHONE.” WHY IS HE AN IMPORTANT SYMBOL FOR THIS NOVEL?

WHY DOES RALPH TELL PIGGY’S NICKNAME? WHAT DO WE LEARN ABOUT RALPH AS A RESULT?

WHY MIGHT GOLDING HAVE DESCRIBED DEAD TREES LYING ABOUT? WHAT IS SUGGESTED?Slide75

DISCUSSION QUESTIONS--1WHY DOES RALPH REFER TO HIS FATHER? DOES HE CONVINCE HIMSELF OR PIGGY MORE?

DESCRIBE THE SHELL. HOW DOES ITS PHYSICAL APPEARANCE CORRELATE WITH ITS SYMBOLIC VALUE? WHAT DOES MAKING A FARTING NOISE WITH IT SUGGEST?Slide76

DISCUSSION QUESTIONS--1

ON P. 18 PIGGY HAS A DIFFICULT TIME KEEPING NAMES STRAIGHT AND

THE BOYS LAUGH AT HIM.

WHAT IS GOLDING SUGGESTING HERE?WHEN WE FIRST MEET SIMON HE HAS LOST CONSCIOUSNESS. WHAT IS CONSCIOUSNESS AND WHY IS THIS APPROPRIATE FOR SIMON?

WHY MIGHT IT HAVE BEEN BETTER IF JACK HAD STABBED THE PIG?Slide77

DISCUSSION QUESTIONS--2WHY “WACCO,” “BONG,” “DOINK?”

WHY DOES RALPH BRING UP INDIA AND AFRICA?

BY HAVING THE BOYS VIOLENTLY REMOVE PIGGY’S GLASSES, WHAT IS GOLDING SAYING?

WHY DOES JACK WANT RULES?WHAT IS THE STRUCTURAL EFFECT OF HAVING THESE EVENTS SO SOON?Slide78

DISCUSSION QUESTIONS--3

HOW DOES GOLDING CHARACTERIZE JACK’S PHYSICAL PRESENCE? WHAT IS HE SUGGESTING?

WHAT IDEAS DO “PRIMITIVE NEST OF STICKS,” ABYSS OF AGES,”AND “APE-LIKE” CREATE? HOW DO THESE SETTING DETAILS HELP DEVELOP THEME?

WHAT DOES “VICISSITUDES” MEAN IN GENERAL? WHAT DOES IT MEAN IN RELATION TO JACK? HOW IS THE SOUND OF THE WORD APPROPRIATE FOR JACK?Slide79

DISCUSSION QUESTIONS--3

REFER TO TWO CD’S THAT INDICATE RALPH IS LOSING FAITH AND BECOMING DESPAIRING.

LOCATE A LATER PLOT EVENT AT THE BEGINNING OF CHAPTER FIVE WHICH IS QUITE SIMILAR IN THEME TO JACK’S DIFFICULTY ARTICULATING HIS “COMPULSION TO TRACK DOWN AND KILL” IN THIS CHAPTER. WHAT IS GOLDING SUGGESTING ABOUT LANGUAGE AND CIVILIZATION?Slide80

DISCUSSION QUESTIONS--3GOLDING WRITES THAT JACK HAD TO THINK A MOMENT BEFORE HE COULD REMEMBER WHAT RESCUE WAS. WHAT DOES THIS SCENE SUGGEST REGARDING JACK’S FUTURE ACTIONS?Slide81

DISCUSSION QUESTIONS--3RALPH REVEALS SOMETHING ABOUT HIMSELF WHEN HE SAYS, “BUT YOU LIKE IT….” WHAT IS MOST ALARMING ABOUT THIS ADMISSION?

WHY DO I CONSIDER GOLDING’S USE OF “CANDLEBUDS” IN CH. 1 AND CH. 3 A BRILLIANT USE OF SETTING TO CHARACTERIZE SIMON?Slide82

DISCUSSION QUESTIONS-4

WHY DO THE LITTLEUNS BUILD SAND-CASTLES?

WHY DOES GOLDING DEAL WITH MIRAGES AND ILLUSIONS?

WHAT IS SIGNIFICANT ABOUT HENRY AND THE LITTLE ANIMALS?

JACK’S PAINTED FACE ALLOWS WHAT TO HAPPEN? WHAT IS SYMBOLIC ABOUT THE COLORS HE CHOOSES?

INTERPRET “THE FIRE WAS DEAD.”Slide83

DISCUSSION QUESTIONS--5EXPLAIN RALPH’S AWARENESS AT THE BEGINNING OF THE CHAPTER. WHAT IS HE BEGINNING TO REALIZE?

WE KNOW THAT RALPH HAS DIFFICULTY WITH WORDS WHEN TRYING TO EXPRESS HIS FEARS. EXTRAPOLATE AND DISCUSS THE ASSERTION THAT LANGUAGE IS A RATIONAL SYSTEM.Slide84

DISCUSSION QUESTIONS--5WHAT ARE RALPH’S SELF-ACKNOWLEDGED LIMITATIONS?

HOW DOES THE TIME OF DAY “FIT” THE ASSEMBLY?

INTERPRET THE CONVERSATION ABOUT WHAT A BEAST WOULD EAT.

WHAT THINGS CONTRIBUTE TO THE BREAKING UP OF THE ASSEMBLY?Slide85

DISCUSSION QUESTIONS--5WHAT IS PIGGY’S REACTION TO SIMON’S STATEMENT ABOUT THE BEAST? IS THIS AN APPROPRIATE REACTION FOR HIS CHARACTER?

WHY WON’T VOTING OR RULES WORK IN CONVINCING THE BOYS NOT TO FEAR?

ANALYZE THE CONVERSATION ABOUT GHOSTS AND TV.Slide86

DISCUSSION QUESTIONS--5THE TRIO WISHES FOR A SIGN OR A MESSAGE, “SOMETHING GROWN-UP.” WHAT IS IRONIC ABOUT THIS?

WHAT POINT IS GOLDING MAKING ABOUT PERCIVAL’S INCANTATION OF HIS ADDRESS? HOW DOES THIS HELP GOLDING STRUCTURALLY UNIFY THIS CHAPTER?Slide87

DISCUSSION QUESTIONS-6

WHAT DOES RALPH’S DREAM ABOUT PONIES, SUGAR, AND TEA TELL US ABOUT HIM?

INTERPRET JACK’S WORDS, “IT’S TIME SOME PEOPLE…”

ALTHOUGH RALPH AND JACK ARE UNITED, DO THEY SHARE THE SAME MOTIVE FOR HUNTING THE BEAST?Slide88

DISCUSSION QUESTIONS-7WHAT DOES RALPH MEAN BY “BE SUCKING MY THUMB NEXT”?

TRANSLATE “THE ENCHANTMENTS OF MIRAGE.”

DESCRIBE GOLDING’S PHYSICAL DESCRIPTION OF SIMON IN RELATION TO RALPH’S POSITION AS THEY TALK TOGETHER. WHAT IS SYMBOLIC?

HOW IS PRIDE ADDING TO CONFLICT?Slide89

DISCUSSION QUESTIONS-8

WHAT EVENT LIBERATES PIGGY AND THEN DISCUSS HOW HE SPECIFICALLY ACTS UPON THIS NEW FREEDOM.

WHAT IS THE STRUCTURE OF THE CHAPTER? HOW IS IT PUT TOGETHER? WHY DOES GOLDING DO THIS?

PIGGY SAYS “WHEN I SAW JACK I WAS SURE HE’D GO FOR THE CONCH.” WHAT DOES THIS REVEAL ABOUT BOTH OF THEM?Slide90

DISCUSSION QUESTIONS-9HOW DOES SETTING RELATE TO PLOT AT THE BEGINNING OF THIS CHAPTER?

GOLDING DESCRIBES JACK SITTING ON A LOG IN HIS CAMP. TO WHAT IS JACK COMPARED AND TO WHAT APPROACH TO THE NOVEL DOES IT REFER?

GOLDING CLEARLY CREATES A LINK BETWEEN THE BOYS AND THESlide91

DISCUSSION QUESTIONS-9

BEAST AS HE DESCRIBES THE BOYS KILLING SIMON. FIND THIS AND DISCUSS HOW THIS PASSAGE ACCOMPLISHES THIS CONNECTION.

EVALUATE THE APPROPRIATENESS OF GOLDING’S DESCRIPTION OF SIMON’S DEAD BODY GOING OUT TO SEA.

DISCUSS HOW SIMON’S AND THE PARACHUTIST’S DEATHS ARE RELATED. Slide92

DISCUSSION QUESTIONS-10CITE EXAMPLES OF THE RUTHLESS NATURE OF JACK’S TRIBE

JACK AND PIGGY BOTH DENY THE KILLING ON THE BEACH. DISCUSS THEIR MOTIVES FOR DOING SO.

HOW IS JACK LIKE HITLER? THINK CRITICALLY ABOUT THIS WITH REGARD TO THE BEAST AND THE JEWS.Slide93

DISCUSSION ?’S-11 AND 12

WHY IS THE DESCRIPTION OF PIGGY’S DEATH APPROPRIATE TO HIS CHARACTER? (11)

WHY DOES ROGER SEE RALPH AND PIGGY AS “A SHOCK OF HAIR…A BAG OF FAT?”

DISCUSS THE DESCRIPTION OF THE SKULL “AS WHITE AS EVER THE CONCH.” WHAT IS GOLDING DOING?

ARE THE BOYS RESCUED?

WHY DO SAMNERIC HOLD OUT SO LONG?

WHY IS JACK REFERRED TO AS A LITTLE BOY?Slide94

Group Skits—10 pts. per person,performed Monday—each skit must be 5-10

minutes in length

A ship’s psychologist on the return home interviews Jack and Ralph.

Jack on trial for murder

Roger 10-15 years later

Jack and Ralph meet 20 years later

Jack explains the events to his 12-year-old son

Ralph talks to Piggy’s aunt

The boys’ teachers discuss them

The naval officer does not arrive