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Title: LORD%20OF%20THE%20FLIES


1
LORD OF THE FLIES
  • BY WILLIAM GOLDING

2
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.

3
ABOUT THE AUTHOR
  • GOLDING STUDIED SCIENCE FOR TWO YEARS AT OXFORD
    UNIVERSITY

4
ABOUT THE AUTHOR
  • BUT HE STOPPED STUDYING SCIENCE AND BEGAN TO POUR
    HIS ENERGIES INTO ENGLISH LITERATURE.

5
ABOUT THE AUTHOR
  • WWII BROKE OUT AND HE JOINED THE BRITISH NAVY IN
    1940.

6
ABOUT THE AUTHOR
  • HE 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.

7
ABOUT THE AUTHOR
  • HIS WAR EXPERIENCES CHANGED HIS VIEWS ABOUT
    MANKINDS NATURE. HE CAME TO BELIEVE THERE WAS A
    VERY DARK AND EVIL SIDE TO MAN.

8
ABOUT THE AUTHOR
  • THIS 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 MANKINDS
    WOUNDS.
  • ARTISTS AFTER WORLD WAR II WERE MORE VAGUE ABOUT
    WHAT WOULD SAVE MANKIND OR IF IT WAS SALVAGEABLE
    AT ALL.

9
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.

10
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.

11
ABOUT THE AUTHOR
  • GOLDING ONCE SAID,I THINK OF MYSELF AS A
    RELIGIOUS MAN.

12
ABOUT THE AUTHOR
  • IN 1983 GOLDING WAS AWARDED THE NOBEL PRIZE FOR
    LITERATURE.
  • HE DIED IN 1993 AT THE AGE OF 81.

13
ABOUT THE NOVEL
  • THE NOVEL WAS PUBLISHED IN 1954 AFTER HAVING BEEN
    REJECTED BY MORE THAN TWENTY PUBLISHERS.

14
ABOUT THE NOVEL
  • IT WAS NOT SUCCESSFUL UNTIL THE 1960S AND EVEN
    NOW THE BOOK IS CRITICIZED FOR BEING DIDACTIC AND
    INFLEXIBLE.

15
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.

16
INTERPRETATIONS
  • FREUDIAN ID, EGO, AND SUPEREGO AS DIVERGENT,
    CO-EXISTING FORCES WITHIN A HUMAN BEING FOCUS IS
    ON THE INDIVIDUAL AND THE CONFLICT WITHIN.

17
INTERPRETATION S
  • FREUD DEVELOPED A THEORY TO EXPLAIN COMPETING
    FORCES WITHIN THE HUMAN MIND OR PSYCHE.

18
INTERPRETATIONS
  • FREUD CALLED THESE COMPETING FORCES THE ID, EGO,
    AND SUPEREGO. HE FELT THAT A MENTALLY HEALTHY
    PERSON WOULD HAVE ALL THREE FORCES BALANCED.

19
INTERPRETATIONS
  • ACCORDING TO FREUD THE ID WAS A PRIMAL FORCE
    WITHIN US ALL. THE ID IS ENERGY, PASSION, SEXUAL
    DRIVE, VIOLENCE, EMOTION, AND AGGRESSION.

20
INTERPRETATION
  • IF ONE INTERPRETS LORD OF THE FLIES FROM A
    FREUDIAN PERSPECTIVE, THE CHARACTER WHO BEST
    EMBODIES THE ID PRINCIPLE IS JACK.

21
INTERPRETATION
  • JACK REPRESENTS THE RESTLESS ID WHO SEEKS
    PLEASURE, HUNTING,
  • FORCEFUL SPEECH AND PHYSICAL EXPRESSION. HE IS
    HARD TO CONTROL AND ACTS IMPULSIVELY.

22
INTERPRETATION
  • THE SECOND FORCE IS CALLED THE EGO. THE EGO IS
    THE CONSCIOUS VOICE OF REASON. THE EGO SEEKS
    INTERACTION WITH OTHERS WITHIN SOCIALLY
    ACCEPTABLE ROLES.

23
INTERPRETATION
  • THE 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.

24
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.

25
INTERPRETATION
  • IN 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.

26
INTERPRETATION
  • SIMON REPRESENTS RELIGIOUS ACTION AND VALUES. HE
    DEMONSTRATES QUALITIES WHICH THE SUPEREGO WOULD
    UTILIZE AS GUIDANCE DURING DIFFICULT TIMES.

27
INTERPRETATION
  • OF COURSE, THE MOST FASCINATING ASPECT OF DOING A
    FREUDIAN INTERPRETATION OF THE NOVEL IS THAT IT
    HELPS TO EXPLAIN THE CONFLICTS BETWEEN THE BOYS.

28
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.

29
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.

30
INTERPRETATION
  • LORD OF THE FLIES DEMONSTRATES JUST HOW DIFFICULT
    FINDING A BALANCE BETWEEN THESE FORCES CAN BE.
    WITHOUT CIVIL RESTRAINTS, WHO ARE WE REALLY?

31
INTERPRETATIONS
  • SCIENTIFIC HUMANISM
  • GOLDING EXPLODES THE BELIEF THAT MODERN SCIENCE
    WILL SAVE MODERN MAN FROM HIMSELF.

32
INTERPRETATION
  • THIS CLAIM OF GOLDING IS BEST COMMUNICATED BY THE
    CHARACTERS OF PIGGY AND SIMON.

33
INTERPRETATION
  • PIGGY SAYS, LIFE IS SCIENTIFIC, THATS WHAT IT
    IS.
  • HE CAN ONLY FATHOM WHAT HE CAN OBSERVE AND HE
    DOESNT UNDERSTAND PEOPLE.

34
INTERPRETATION
  • MORE IMPORTANTLY, HE CANNOT IDENTIFY THE BEAST
    FOR WHAT IT IS, EVEN REFUSING TO ADMIT SIMONS
    DEATH AS A MURDER.

35
INTERPRETATION
  • PIGGY 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.

36
INTERPRETATION
  • WE NEVER DONE NOTHING, WE NEVER SEEN
    NOTHING.--PIGGY

37
INTERPRETATION
  • ONE VIEW IS THAT SCIENTIFIC HUMANISM HAS GIVEN
    MAN A FALSE SENSE OF CONFIDENCE IN HIMSELF AND
    HAS STRIPPED AWAY HIS NEED FOR RELIGION.

38
INTERPRETATION
  • THEREFORE, SIMONS FULFILLS AN ALLEGORICAL ROLE
    OF SPIRITUAL SHAMAN ON THE ISLAND. HE IS THE
    MYSTIC WHO UNDERSTANDS THE BEAST AND THE FALLEN
    NATURE OF MAN.

39
INTERPRETATION
  • THE 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
    PIGGYS OBJECTIVE, EMPIRICAL EYE CANNOT.
  • TOGETHER, THEY ARE A POWERFUL FORCE.

40
INTERPRETATION
  • THE 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.

41
INTERPRETATION
  • THE PRIEST PROVIDES THE SCIENTIST A MORAL
    COMPASS.
  • SCIENCE AND MORALITY SEPARATED WILL NOT SAVE US
    FROM OURSELVES.
  • GOLDING WAS CLEARLY DISILLUSIONED WITH MANKINDS
    BLIND RUSH TOWARDS TECHNOLOGICAL PROGRESS.

42
INTERPRETATION
  • ANOTHER VIEW OF THE NOVEL INVOLVES A CLASSICAL
    APPROACH, HEARKENING BACK TO ANCIENT GREECE AND
    ROME.

43
INTERPRETATION
  • ONE 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.

44
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 SOUL

45
INTERPRETATION
  • MY PERSONAL FAVORITE CLASSICAL CONNECTION IS
    THE BOOKS DEBT TO THE PRINCIPLES OF DIONYSIAN
    AND APOLLONIAN PERSPECTIVES

46
INTERPRETATION
  • AS YOU SHOULD KNOW, THE GOD DIONYSUS WAS THE GOD
    OF FERTILITY, REVELRY, AND THE GREEKS CELEBRATED
    WILDLY AT FESTIVALS HELD IN HIS HONOR.

47
INTERPRETATION
  • IN THE LATE 1800S THE GERMAN PHILOSOPHER
    FREDERICK NIETZSCHE DETERMINED THAT THE DIONYSIAN
    FORCE WAS A MOVEMENT TOWARD CHAOS AND VIOLENCE.

48
INTERPRETATION
  • RATHER 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.

49
INTERPRETATION
  • DIONYSIAN ELEMENTS INCLUDE DARKNESS, FLUIDS,
    DISORDER, DEATH, DIRTINESS, AND SEXUALITY. JACK
    FUNCTIONS ALONG THE LINE OF DIONYSIAN PRINCIPLES.

50
INTERPRETATION
  • THE 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.

51
INTERPRETATION
  • APOLLONIAN ELEMENTS INCLUDE THE SKY, CLEANLINESS,
    REASON, A LACK OF EMOTION, ORDER, AND LIFE, AMONG
    OTHERS. RALPH AND PIGGY REPRESENT THIS CLASSICAL
    FORCE.

52
INTERPRETATION
  • THE NOVEL MAY ALSO BE DISCUSSED IN RELATION TO
    ITS THEOLOGICAL OR RELIGIOUS ELEMENTS. ONE, OF
    COURSE, IS THE ALLEGORICAL RENDERING OF SIMON AS
    CHRIST.

53
INTERPRETATION
  • THE NOVEL ALSO EXPRESSES A RELATIONSHIP WITH
    ORIGINAL SIN AND DEPICTS A FALL OF MAN
    ORIGINATING FROM THE SIN OF PRIDE. NOTICE JACKS
    FREQUENT BLUSHING.

54
INTERPRETATION
  • THE 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.

55
INTERPRETATION
  • ANOTHER MAJOR INTERPRETATION OF THE NOVEL
    REVOLVES AROUND GOLDINGS INTEREST IN EGYPTIAN
    MYTHOLOGY. JOHN FITZGERALD AND JOHN KAYSER ARGUE
    THE NOVEL IS BASED ON THE EGYPTIAN MYTH OF OSIRIS.

56
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.

57
INTERPRETATION
  • HERE ARE SOME SPELLINGS FOR SOME OF THE WORDS IN
    THE TAPE
  • ISIS AND OSIRIS
  • NEFTUS
  • ENUBUS
  • SET-TYPHON
  • SARCOPHAGUS
  • SYRIA

58
INTERPRETATION
  • JUST 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.

59
INTERPRETATION
  • SET-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.

60
INTERPRETATION
  • INTERESTINGLY, 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?

61
INTERPRETATION
  • THE 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

62
INTERPRETATION
  • THE 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
    BROTHERS THRONE. HE TRICKED OSIRIS AND DROWNED
    HIM. AS CAMPBELL SAID, ISIS FOUND THE

63
INTERPRETATION
  • BODY 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.

64
INTERPRETATION
  • THE 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 RALPHS FASCINATION WITH KILLING A PIG).

65
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 SIMONS INTUITION AND PIGGYS REASON
    COINCIDE WITH THIS DESCRIPTION OF THE GOD.

66
INTERPRETATION
  • UNLIKE 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.

67
INTERPRETATION
  • LASTLY, 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 THEY

68
INTERPRETATION
  • LOOKED TOO MUCH LIKE THE DESPISED SET-TYPHON.

69
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.

70
LOF AND THE CORAL ISLAND
  • IT 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 BALLANTYNES.

71
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 BALLANTYNES STORY WE
    CANNOT REALLY APPRECIATE HOW EXTENSIVELY GOLDING
    PARODIES

72
LOF AND THE CORAL ISLAND
  • AND 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.

73
LOF AND THE CORAL ISLAND
  • I WANT US TO THINK ABOUT THE FOLLOWING AREAS OF
    COMPARISON/CONTRAST FOR THESE TWO WORKS
  • EVIL
  • RELIGION
  • BOYS RESOURCEFULNESS
  • SCIENCE
  • HUMAN RELATIONSHIPS

74
DISCUSSION QUESTIONS--1
  • SPECULATE WHO WAS THE MAN WITH THE MEGAPHONE.
    WHY IS HE AN IMPORTANT SYMBOL FOR THIS NOVEL?
  • WHY DOES RALPH TELL PIGGYS NICKNAME? WHAT DO WE
    LEARN ABOUT RALPH AS A RESULT?
  • WHY MIGHT GOLDING HAVE DESCRIBED DEAD TREES LYING
    ABOUT? WHAT IS SUGGESTED?

75
DISCUSSION QUESTIONS--1
  • WHY 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?

76
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?

77
DISCUSSION QUESTIONS--2
  • WHY WACCO, BONG, DOINK?
  • WHY DOES RALPH BRING UP INDIA AND AFRICA?
  • BY HAVING THE BOYS VIOLENTLY REMOVE PIGGYS
    GLASSES, WHAT IS GOLDING SAYING?
  • WHY DOES JACK WANT RULES?
  • WHAT IS THE STRUCTURAL EFFECT OF HAVING THESE
    EVENTS SO SOON?

78
DISCUSSION QUESTIONS--3
  • HOW DOES GOLDING CHARACTERIZE JACKS 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?

79
DISCUSSION QUESTIONS--3
  • REFER TO TWO CDS 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
    JACKS DIFFICULTY ARTICULATING HIS COMPULSION TO
    TRACK DOWN AND KILL IN THIS CHAPTER. WHAT IS
    GOLDING SUGGESTING ABOUT LANGUAGE AND
    CIVILIZATION?

80
DISCUSSION QUESTIONS--3
  • GOLDING WRITES THAT JACK HAD TO THINK A MOMENT
    BEFORE HE COULD REMEMBER WHAT RESCUE WAS. WHAT
    DOES THIS SCENE SUGGEST REGARDING JACKS FUTURE
    ACTIONS?

81
DISCUSSION QUESTIONS--3
  • RALPH REVEALS SOMETHING ABOUT HIMSELF WHEN HE
    SAYS, BUT YOU LIKE IT. WHAT IS MOST ALARMING
    ABOUT THIS ADMISSION?
  • WHY DO I CONSIDER GOLDINGS USE OF CANDLEBUDS
    IN CH. 1 AND CH. 3 A BRILLIANT USE OF SETTING TO
    CHARACTERIZE SIMON?

82
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?
  • JACKS PAINTED FACE ALLOWS WHAT TO HAPPEN? WHAT
    IS SYMBOLIC ABOUT THE COLORS HE CHOOSES?
  • INTERPRET THE FIRE WAS DEAD.

83
DISCUSSION QUESTIONS--5
  • EXPLAIN RALPHS 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.

84
DISCUSSION QUESTIONS--5
  • WHAT ARE RALPHS 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?

85
DISCUSSION QUESTIONS--5
  • WHAT IS PIGGYS REACTION TO SIMONS STATEMENT
    ABOUT THE BEAST? IS THIS AN APPROPRIATE REACTION
    FOR HIS CHARACTER?
  • WHY WONT VOTING OR RULES WORK IN CONVINCING THE
    BOYS NOT TO FEAR?
  • ANALYZE THE CONVERSATION ABOUT GHOSTS AND TV.

86
DISCUSSION QUESTIONS--5
  • THE TRIO WISHES FOR A SIGN OR A MESSAGE,
    SOMETHING GROWN-UP. WHAT IS IRONIC ABOUT THIS?
  • WHAT POINT IS GOLDING MAKING ABOUT PERCIVALS
    INCANTATION OF HIS ADDRESS? HOW DOES THIS HELP
    GOLDING STRUCTURALLY UNIFY THIS CHAPTER?

87
DISCUSSION QUESTIONS-6
  • WHAT DOES RALPHS DREAM ABOUT PONIES, SUGAR, AND
    TEA TELL US ABOUT HIM?
  • INTERPRET JACKS WORDS, ITS TIME SOME PEOPLE
  • ALTHOUGH RALPH AND JACK ARE UNITED, DO THEY SHARE
    THE SAME MOTIVE FOR HUNTING THE BEAST?

88
DISCUSSION QUESTIONS-7
  • WHAT DOES RALPH MEAN BY BE SUCKING MY THUMB
    NEXT?
  • TRANSLATE THE ENCHANTMENTS OF MIRAGE.
  • DESCRIBE GOLDINGS PHYSICAL DESCRIPTION OF SIMON
    IN RELATION TO RALPHS POSITION AS THEY TALK
    TOGETHER. WHAT IS SYMBOLIC?
  • HOW IS PRIDE ADDING TO CONFLICT?

89
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 HED GO
    FOR THE CONCH. WHAT DOES THIS REVEAL ABOUT BOTH
    OF THEM?

90
DISCUSSION QUESTIONS-9
  • HOW 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 THE

91
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 GOLDINGS
    DESCRIPTION OF SIMONS DEAD BODY GOING OUT TO
    SEA.
  • DISCUSS HOW SIMONS AND THE PARACHUTISTS DEATHS
    ARE RELATED.

92
DISCUSSION QUESTIONS-10
  • CITE EXAMPLES OF THE RUTHLESS NATURE OF JACKS
    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.

93
DISCUSSION ?S-11 AND 12
  • WHY IS THE DESCRIPTION OF PIGGYS DEATH
    APPROPRIATE TO HIS CHARACTER? (11)
  • WHY DOES ROGER SEE RALPH AND PIGGY AS A SHOCK OF
    HAIRA 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?

94
Group Skits10 pts. per person,performed
Mondayeach skit must be 5-10 minutes in length
  • A ships 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 Piggys aunt
  • The boys teachers discuss them
  • The naval officer does not arrive
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