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Essays about the cold war
Lifestyle during the cold war
Essays about cold war
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Uncertainties individuals face in texts from the Cold War era present views on the purpose and value of existence, thus evoking a significant questioning of humanity. These insecurities of life are influenced by the barren atmosphere of the post bomb period. Samuel Beckett’s 1953 absurdist play Waiting for Godot emerges from the anxieties and paranoia felt during this period and expresses the meaninglessness of life. Contrastingly, Grave of the Fireflies ,Akiyuki Nosaka’s 1967 semi-autobiographical short story responds to these uncertainties by reinforcing the ideology of surviving and the importance of life that similarly emerged from a climate of Cold War anxiety. Waiting for Godot and Grave of the Fireflies show their respective philosophical …show more content…
Beckett expresses this period of economically having nothing through the barren nature of the set and absence of time throughout the whole play. Vladimir and Estragon being tramps as well as a set with only a road and a tree shows the emptiness of the environment after World War Two, as well as the psychological state of having nothing. The play is introduced with the description of the setting “A country road. A tree. Evening.”, the truncated sentences creates a sense of hollowness as it emphasises that there is nothing which establishes the barren nature of the set and play. The destruction of over one million buildings which resulted from the battles and bombing of World War Two influenced Beckett’s dire presentation of the future of humanity in Waiting for Godot. Beckett conveys the message of poverty due to the food rationings in France after Germany seized majority of French food production, Estragon asks Vladimir for a carrot but gets a turnip instead “Give me a carrot…[Angrily] It’s a turnip.”. The irony in this quote emphasises the struggles of Vladimir and Estragon to obtain food due to the poverty they were in. Money was of great significance and so during the period of poverty in the post bomb era there was a loss of purpose in life causing a questioning of …show more content…
Nosaka portrays the economic difficulties of Seita and Setsuko in order to make his readers remember the difficulties Japan had been through, telling them to value life. Having no money makes Seita and Setsuko mature at a fast rate and emphasises the importance of life in a time of great poverty. “…she bit into (the apple) with sparkling eyes, but right away she said this is no apple…tears welled up in her eyes ‘even a potato is good, isn’t it?’ “, the juxtaposition of the emotive language of “sparkling eyes” and “tears” evokes sadness in the readers as they are forced to appreciate the small things in the poverty of the Cold War. Seita and Setsuku are left to fend for themselves and though very little time passes, their environment and economic position forces them to mature. The fireflies they see at night become their sense of hope and they enjoy their time together even though they do not have anything – food, house or money. Nosaka emphasises the importance of money when Setia cannot afford medicine and food which results in their deaths, “The afternoon…Seita… died of privation”, the change in narration to third-person portraying Seita’s death in an objective manner establishes the loss of Seita. Nosaka emphasises on the message that money was very important during the air raids and dropping of the bombs in Japan thus
From the moment that the curtain rises, Waiting for Godot assumes an unmistakably absurdist identity. On the surface, little about the plot of the play seems to suggest that the actions seen on stage could or would ever happen. At the very least, the process of waiting hardly seems like an ideal focus of an engaging and entertaining production. Yet it is precisely for this reason that Beckett’s tale of two men, whose only discernable goal in life is to wait for a man known simply as Godot, is able to connect with the audience’s emotions so effectivel...
In ‘Waiting for Godot’, we know little concerning the protagonists, indeed from their comments they appear to know little about themselves and seem bewildered and confused as to the extent of their existence. Their situation is obscure and Vladimir and Estragon spend the day (representative of their lives) waiting for the mysterious Godot, interacting with each other with quick and short speech.
Surfacely, the recurrent setting is absurd: Vladimir and Estragon remain in the same non-specified place and wait for Godot, who never shows, day after day. They partake in this activity, this waiting, during both Act I and Act II, and we are led to infer that if Samuel Beckett had composed an Act III, Vladimir and Estragon would still be waiting on the country road beside the tree. Of course, no humans would do such things. The characters' actions in relation to setting are unreal-distorted, absurd. However, it is through this distortion and only through this distortion that we can guess at the importance and the details of the evasive figure...
Samuel Beckett’s Endgame is a complex analysis of politics in a seemingly apolitical and empty world. As Hamm and Clov inhabit the aftermath of Marxism, they display characteristics of the bourgeoisie and proletariat respectively, but only retain them so they can define themselves as something. The work implicitly argues- through the setting, and by defining Hamm and Clov as the bourgeoisie and proletariat- that political platforms are simply human rationalizations in futile opposition to a meaningless world, pointing towards Beckett’s ideological message of existential nihilism.
abandoned the conventions of the classical play to concentrate on his important message to humanity. Using his pathetic characters, Estragon and Vladimir, Beckett illustrates the importance of human free will in a land ruled by science and technology. He understood the terrors of progress as he witnessed first hand the destruction caused by technologically-improved weapons working as a spy during WWII. In his tragicomedy, Estragon and Vladimir spend the entire time futilely waiting for Godot to arrive. They believe that this mysterious Godot will help them solve their problems and merely sit and wait for their solution to arrive. Beckett utilizes these characters to warn the reader of the dangers of depending on fate and others to improve one's existence. He supports this idea when Estragon blames his boots and not himself for the pain in his feet, and Vladimir responds, "There'...
Samuel Beckett's Waiting for Godot has been said by many people to be a long book about nothing. The two main characters, Vladimir and Estragon, spend all their time sitting by a tree waiting for someone named Godot, whose identity is never revealed to the audience. It may sound pretty dull at first but by looking closely at the book, it becomes apparent that there is more than originally meets the eye. Waiting for Godot was written to be a critical allegory of religious faith, relaying that it is a natural necessity for people to have faith, but faiths such as Catholicism are misleading and corrupt.
In Samuel Beckett Tragicomedy Waiting for Godot he begs the question of life and death. Throughout the commotion of the play Becket addresses the age old debate of the afterlife and if people willingly pass this life to enter into Gods kingdom or if God calls them. Beckett introduces characters such as Estragon, Vladimir, and Lucky to illustrate the different types of perspectives that man has taken on this debate.
Beckett, Samuel. Waiting For Godot. 3rd ed. N.p.: CPI Group, 2006. Print. Vol. 1 of Samuel Beckett: The Complete Dramatic Works. 4 vols
Waiting for Godot is Not an Absurdist Play. Samuel Beckett's stage plays are gray, both in color and in subject matter. Likewise, the answer to the question of whether or not Beckett's work is Absurdist also belongs to that realm of gray in which Beckett often works. The Absurdist label becomes problematic when applied to Beckett because his dramatic works tend to overflow the boundaries which scholars attempt to assign. When discussing Beckett, the critic inevitably becomes entangled in contradiction.
Irish-born French author Samuel Beckett was well known for his use of literary devices such as black comedy in his various literary works. Written during late 1948 and early 1949 and premiered as a play in 1953 as En attendant Godot, Beckett coupled these devices with minimalism and absurdity in order to create the tragicomedy known to English speakers as Waiting for Godot. True to its title, Waiting for Godot is the tale of a pair of best friends known as Vladimir (Didi) and Estragon (Gogo) who are waiting for the character the audience comes to know as Godot to appear. Throughout Beckett’s play Waiting for Godot, Samuel Beckett alludes to the monotheistic religion of Christianity through symbols, dialogue, and characters to reveal the heavy invisible influence of God in the daily life of man.
While Beckett’s works are often defined by their existentialist themes, Endgame seems to offer no solution to the despair and melancholia of Hamm, Clov, Nagg, and Nell. The work is replete with overdetermination that confounds the efforts of critics and philosophers to construct a single, unified theme for the play. Beckett resisted any effort to reconcile the problems of his world, offer solutions, or quench any fears overtly. However, this surface level of understanding that aligns Beckett with the pessimism of the Modernist movement is ironically different from the symbolic understanding that Beckett promotes through his characters and the scene. Beckett’s work does not suggest total hopelessness, but rather that the fears of change, self-centeredness, and despair of Hamm and Clov contribute to their miserable existence. He opposes the Modernist attitude of focus on the subjective, internal state, and reveals the soul of the Modernist to be shallow and starving.
Economic depression, rapid social change, disillusionment and pessimism became the dark social realities of the modern age. It is in the twentieth century that man’s faith in the accepted values and established institutions of life were shattered with the result that man found himself lonely. The literature of the century in general and drama in particular, became powerful expression of this sense of nihilism. It was taken up and expressed beautifully by Eugene O’Neill in his almost each expressionistic play.
Humans spend their lives searching and creating meaning to their lives, Beckett, however, takes a stand against this way of living in his novel ‘Waiting for Godot’. He questions this ideal of wasting our lives by searching for a reason for our existence when there is not one to find. In his play, he showcases this ideology through a simplistic and absence of setting and repetitious dialogue. Beckett’s ability to use these key features are imperative to his ability of conveying his message of human entrapment and existence.
Although Samuel Beckett's tragicomedy, Waiting for Godot, has no definite meaning or interpretation, the play acts as a statement of hopelessness regarding human existence. Debate surrounds the play because, due to its simplicity, almost any interpretation is valid. The main characters, Vladimir and Estragon, are aging men who must wait for a person, being, or object named Godot, but this entity never appears to grace the men with this presence. Both characters essentially demonstrate how one must go through life when hope is nonexistent as they pointlessly attempt to entertain themselves with glum conversation in front of a solitary tree. The Theater of the Absurd, a prevalent movement associated with Waiting for Godot, serves as the basis for the message of hopelessness in his main characters. Samuel Beckett's iconic Waiting for Godot and his perception of the characteristics and influence of the Theater of the Absurd illustrate the pointlessness and hopelessness regarding existence. In the play, boredom is mistaken for hopelessness because the men have nothing to do, as they attempt to occupy themselves as, for some reason, they need to wait for Godot. No hope is present throughout the two-act play with little for Estragon and Vladimir to occupy their time while they, as the title indicates, wait for Godot.
Time can feel as an illusion, something untouchable. Time can also fly by when attention is not being paid. On the contrary, waiting in life can make time feel as if it is slowly stopping. So do not waste time waiting, but act instead. Time is one of the most precious things in life and every second counts. No one can control the time, but time can control people.