Animal Farm , written by George Orwell , is a political fable that tells the story of a group of farm animals who rebel against their cruel human master, hoping to create a society where all animals are equal, free, and happy. Inspired by the dream of the wise old pig Old Major, the animals overthrow the farmer Mr. Jones and take control of the farm, renaming it Animal Farm. At first, the animals work together to build an egalitarian community based on the principles of Animalism, summarized in the Seven Commandments painted on the barn wall. However, over time, the pigs—led by the cunning and power-hungry Napoleon—begin to seize control. They gradually assume privileges, manipulate language and truth, and use fear and propaganda to maintain power. Eventually, they become indistinguishable from the humans they once overthrew. This allegory clearly reflects the events of the Russian Revolution of 1917 and the rise of Stalinism. The animals represent different social and political groups...
After graduating from Trinity College, he was appointed English lecturer at the École Normal Supérieure in Paris and, consequently, moved to Paris.
There he came into contact with the French and foreign avant-garde intellectuals and artists of the 1930s such as James Joyce.
He joined the French Resistance during World War II and, in order to escape the Gestapo Police, he worked undercover as a farm labourer in the Avignon area.
He worked as translator and wrote some novels like the trilogy Molloy, Malone Dies and The Unnamable.
These works were written in French and translated in English by Beckett due to achieve greater discipline and economy of expression, as dictated by his main goal: an attempt to explore and describe the human condition.
He became famous thanks to his major play Waiting for Godot and spent the rest of his life writing pays, some for the cinema, radio and television until his death in 1989.
In 1969 he was awarded the Nobel Prize for Literature.
Beckett is considered the father of theatre of the Absurd because his plays always deal with confinement, the inability to communicate and loneliss.
In Endgame (1957), for example, the protagonist Hamm and his parents are legless and their servant is only a man who can walk.
In Krapp’s last tape (1958) an old man listens to a tape recorded when he was younger, and maybe happier. The confessions of the voice on the tape seem to his those of a total stranger.
Finally, Happy days (1961), a play with only two characters, describes the human impotence and its negation: a woman is buried to the waist in Act I and, then, to the neck in Act II, and a man can only crawl on all fours.
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