History Of Penguin Paperback Books Arts Essay

History Of Penguin Paperback Books Arts Essay Penguin paperback books have become a constantly evolving part of British culture and design history since 1935 when the company was founded by Allen Lane. Lane came up with the concept of mass-producing inexpensive paperback editions of hardback titles. McLean (1952) mentions that the Penguin book venture is a standing reminder to manufacturers that the best is not too good for mass consumption. For the design of the books, Lane wanted to keep a consistent template for all the book covers to follow. He instructed his office Junior, Edward Young to devise a simple horizontal tripartite division of the covers using colours to signify the genre of each book orange for fiction, green for crime, dark blue for biography, cerise for travel and adventure and red for plays (Baines, 2005). The design featured contemporary typefaces at that time. Bodoni Ultra Bold was used for the publishers name Penguin Books and two weights of the relatively new (1927-8) Gill Sans Serif for the contents of the book cover and spine information (Baines 2005). First editions of Penguin paperback books (Adapted from Baines, 2005. p18-19) The fresh and modern appearance of the Penguin book covers was a major contributor to the commercial success. Other British publishers soon realised that design was an important feature for book covers and the demand for highly skilled designers increased (Doubleday, 2006b). Penguins design standards established uniformity and improved the overall aesthetic of books in Britain (Doubleday, 2006b). Despite the unity of their appearance there was twelve main front cover variations with some that contained illustrations. Lanes simple template for the Penguin books is derived to a degree from the Albatross book covers brought about in 1932. These designs were devised by Hans Mardersteig (McLeery, 2006). Lane was often quoted that he was trying to emulate the Albatross collection series which set the standard for early paperback book design (Doubleday, 2006b). Mardersteig designed the covers with the efficient system of colour-coded subject matter. Symmetry and centred sans-serif type placements were a feature. The size chosen for these books were 181 x 112 mm which adhered to the golden section of 1.61. Penguin books initially followed this size format which has become one of the two standard sizes within the paperback book industry, known as A and B format (Baines, 2005). The A format gives the reader a good line length for reading and a suitable compactness of the book (McLeery, 2006). Albatross book cover design series 1932 (Adapted from Genetic Joyce Studies, 2006) The bird inspired name and colophon, bright, plain coloured covers and focus on contemporary titles provided the influence for Lane a captivating standardised cover. Young, who went on to become the production manager at Penguin Books stated: it was time to get rid of the idea that the only people who wanted cheap editions belonged to a lower order of intelligence and that therefore cheap editions must have gaudy and sensational covers. (Joicey, 1993, p4) The classic design and layout of the Penguin books were to undergo a subtle, refined advancement under the direction of Jan Tschichold. Tschichold arrived at penguin in 1946 and asserted a more disciplined approach to the design (British Council Design Museum, 2006). The template for all Penguin books to follow consisted of designated positions for the title and authors name with a line between the two. The most notable change was the replacement of Gill Sans for Bodoni Ultra Bold for the PENGUIN BOOKS publisher title. He also drew the penguin symbol in eight variations. The oval or quartic that contains the publishers name is subtly more elegant and attractive than Youngs [Do a comparison in illustrator]. Some books included an illustration on the central horizontal band as shown on the Pelican book Sailing. Tschicholds Pelican Books follows the standardised layout with the inclusion of illustration and the blue colour that distinguishes Pelican. As Tschichold was already distinguished in the field of typography, great care was taken to optically letter-space all text on the covers and inside the book. Tschicholds experimental layout,left, and the revised design and layout, right (Adapted from Baines, 2005. p56 58) Tschichold studied a theory which claims to provide the most beautiful and harmonious proportions. It is was first documented in a book by Fra Luca Proportione(1509) and is said to have been the method laid down by Phidias, the architect of the Parthenon. It states clear rules of of the division of space. It is known as the Golden Section. The Golden Section is described as an aesthetic phenomenon. It is a division of space omnipresent throughout the universe. This division is an irrational ratio of 0.618:1. It represents every line, every surface, every volume whose elements are arranged in conformity with these proportions reflect the idea of Beauty (Br, 19xx). It has even been linked to the scale and proportion of human anatomy. It is all about expressing harmony. [Golden Section Diagram] The Golden section had great influence on Tschichold in his search for perfection in design and a greater awareness of proportion. He controlled the placement and size of elements with this ratio. The size of Penguin books were close but not precisely equal to the Golden Rectangle. It can be noted by (Br, 19xx) that the Golden Ratio can be substituted by another ratio e.g. 3:5, 5:8, 8:1, 13:21 etc. This is because such small differences are not picked up by the eye and can still be perceived as the Golden Ratio. The Golden section reassures that aesthetics is not subjective. That it is not an individual feeling and more a general taste that can be measured and mapped out. Tschichold commonly expressed the importance of constant adherence to standardised formats and composition rules. Soon after being offered the job at Penguin, Tschichold produced a set of rules known as the Penguin Composition Rules (Doubleday, 2006b) that were to be followed by Penguins typographers and printers to ensure the books followed the same style and that there were no variations. These rules, which ran into four pages long, standardized the formats and typographic specifications and unified the design of the book series (Doubleday, 2006a). Tschichold implemented a coherent grid system in conjunction with the Penguin Composition Rules that set the foundation for the trimmed page area, width and height of each book, visual cover size, type area on cover and spine, position and style of the spine label and lettering on labels for all the Penguin series (Doubleday, 2006). One of Tschicholds grids to control the design and production of Penguin books with detailed instructions (Adapted from Hurlburt, 1978. p70) This above illustration shows that Behind the simplest grid there is often a complex process of analysis (Hurlburt, 1978, p71). Hurlburt cites that many publishers treat the book cover design as a separate entity, often using different designers for the book to encourage advertising. But a better looking product will result when the overall design of a book is considered in the early stages. Magazines and newspapers designers always work in the sizes of the established format (Hurlburt, 1978). On the other a book designer may have the responsibility to select the size of shaped and pages. Also, a concern with the weight and thickness of the book will put a three-dimensional edge on the project. Tschichold identified contrast as the most important important element in all modern design (cited in Hurlburt, 1979, px). Furthermore, Hurlburt (1979) believes that the importance of contrast in the design of layout is very important. He states: The contrasts of dark against light and large against small, the contrast of mood in subject matter, and the punctuation of space in strong accents all contribute to the dramatic presentation of graphic material. (Hurlburt, 1979, px) This element of contrast is clearly evident in Tschicholds work for Penguin books The idea of great literature mass produced and sold cheaply, the famous Penguin slogan Good Books Cheap (Doubleday, (2006b), p24). The brightly coloured contrasts of each genre cover. The separation of the cover into three coloured sections for publisher, book title and author, and logo. The dissimilarity compared to other books on a merchants bookshelf that makes them stand out. The moderate use of then contemporary fonts instead of traditional ones. Doubleday (2006b) reasons Tschicholds main objective at Penguin books: was to synthesize all of the Penguin series with unprecedented quality, distinctiveness, and uniform styling, while at the same time, designating singular individuality and genuine features for each and every book. (Doubleday, 2006b, p45) Rationale Penguin books have been in production for over 70 years and although the cover designs have seen changes from different designers, the Tschichold era remains to be the most studied and the most iconic. Tschichold left a lasting impression on graphic design that few could compete against and undoubtedly set the standard for successful book design. Tschicholds design work and principles while at Penguin, inspires a great standard for design, even for contemporary designers. What was it about the Penguin book covers that made them so successful and in retrospect, a timeless and iconic part of British design history? The two defining achievements for Tschichold and his time at Penguin are the standard typographic conventions of the Penguin Composition Rules and the rigid grid structure that housed the design. The following list summarises Tschischolds achievements while at Penguin: Develop a grid for rigid and consistent use across all platforms. The grid must have distinct planned placements for the different elements and provide balance and uniformity Use the Golden Section to influence proportion Apply typographic standards for continuity Use legible and contemporary typefaces Pay close attention to brand loyalty and do not deviate far from it Use contrast for effective presentation of graphic material and to stand out from competition. Contrasting elements include colour, size and mood. Over the years, other popular culture mediums take shape that require tactile and original design in order to survive in such a competitive market. Many companies choose to re-brand in order to refresh their image due to decline in sales. In popular culture, it is not uncommon to recycle trends. Covers of contemporary media such as computer games have some similarities to book cover design after all, computer games are essentially a more interactive version of story-telling. Like book covers, they require the name of the publisher, the game authors, the title, room for illustration and other elements such as age-rating. A continuous grid structure that separates all these elements is used as well as typographic specifications. This shows a cover for Uncharted for the Sony Playstation 3 gaming console. It is a cover for the platinum range of Playstation games the games that sell a high amount in their first year. The design differs from the original game covers in order to signify its high acclaim in sales. These games are less than half the price of the original games and stand for good value gaming. The grid system used for the range of covers is shown below. [IMAGE] The current design of Playstation Platinum covers is hotly debated. They are deemed ineffective, perhaps because of a grid structure that does not allow for a well-proportioned design. To clarify this, a short questionnaire with a series of eight questions was presented to a number of computer-gaming community based forums. The questions were presented through Survey Monkey(http). The following is a breakdown of the questions with the three most relevant answers contributed. 1.How many hours per day/week do you spend playing computer games? 20 hours a week if I have time too many4 hrs per day 20-25 hours per week 2.Are you bothered by a games cover design? I prefer the cover to look nice, but not really no. A little Bothered no, but they can do catch my eye sometimes. 3.Do you think a games cover design inspires you to purchase it? It might make me want to purchase a game I was already interested in a little more. Impulse buying, Yes no. the game has to be good for me to purchse it. 4.Do you like to collect your game purchases and keep them in good condition? Yes. After all, I worked to buy them. Yes I do like to keep them in good condition. no. I just toss them in a file cabinet to play later. 5.Do you ever buy from the platinum game range? If no, please specify a reason why not for PS3 because of the game covers, but yes for other platforms Not usually, because I like to keep a well organized collection No as the boxart looks out of place with my other games 6.What are your views on the platinum game covers? Plain. Should re-design the covers entirely. They are fine, and allow one to find the cheaper games faster. platinum branding ruins the look 7.Would you prefer to see a better cover design for the platinum range? Possibly modify the colour, reduce the size of the borders. They shouldnt be as conspicuous as they are (e.g. not luminous yellow for EU PS3 platinum covers) yes. Something that shows off the greatness of the game. 8.Would you prefer to see the same cover design for the platinum range but with the price reduction only? No Have some distinction it is a platinum title. yes, however some indication that its platinum range would also be good, maybe a sticker or something id have no covers if it made it cheaper Considering these comments, create an alternative grid structure that will influence better proportions. Practice 1.Taking an accurate measurement of the physical dimensions and a rough idea of the elements to be included e.g. type size, line-height, image sizes. 2.Thinking about the nature and content of the project. Considering how to best present this and the amount of emphasis each element needs. Emphasis is the contrast between elements size, colour, disposition, placement. Used correctly, it should signify hierarchy. 3.Considering which type of grid best suits the project. [ILLUSTRATIONS OF GRIDS AND INFO ON TYPES] 4.Sketching the grid to a closely accurate scale that justifies the division of space and the placement of elements at the co-ordinates. The following image shows a grid using a series of Golden Sections constructed from the dimensions of the cover. There are six Golden Sections reaching from each side of cover. Using the co-ordinates of this grid to position elements may seem unorthodox. There is no sense of continuity and unvarying spatial zones. However, the asymmetrical divisions of the Golden Ratio is the concept of its beauty and harmonious proportions. A Golden Section grid was best suited to this project as it called for irregular proportions and a slightly intuitive placement of the objects. There is a clear hierarchical structure evident in the design. The tripartite division of the cover resembles the Penguin series. The top horizontal division contains the well known Platinum title and is of a modest type size. It casually confirms the highly acclaimed status of the game. The colour choice seemed appropriate to be eponymous to the section. In the bottom horizontal division is the game title, publisher, game authors and age certificate. This division needed to be the largest to house all the objects. The game title has the largest font size as it is the most important characteristic of the game. It is slightly off centre to the right and does not align with any other element. The unevenness gives the cover an edge and emphasizes each element individually. The choice of colour for the bottom division is reminiscent of the Penguin concept to visually signify the genre. It was decided to use a colour system of green for action and adventure, blue for sports, cerise for strategy, red for combat and orange for racing. The font used for the platinum title and game title is FF Blur medium by Neville Brody. Created in 1991, it was chosen for its irregular yet legible appearance that gives it a contemporary aesthetic. Its not too serious and not too playful, which aptly fits the nature of Playstation 3 and the temperament of its users. The font was chosen consistently for the platinum title and game title so that it keeps the range of games on the same level and is clear and lucid to observers on a sales stand. [FF BLUR TYPE] The middle horizontal division contains the non-translucent part of the game illustration. The illustration shows in-game action, like a snapshot of the game-play that encapsulates the greatness of the game. The top and bottom divisions are translucent to support a full cover illustration and provide a constant contrast against the text across all game covers. The middle division is structured as a focal point according the Golden Section and acts as a peer into the game-play. The borders to the left are kept constant with the regular non-platinum game covers. This is to keep an order of continuity in a game-players library. Many mentioned in the questionnaire they are put off buying platinum games because the luminous yellow borders hamper their ordered games library. The overall appearance of the game cover is suggestive of the Penguin covers and what they stand for good games cheap. This is perhaps overlooked by most gamers, however, the design is not intended to be nostalgic. When a project is planned like this it leaves little uncertainty for positions, image sizes etc. In a well structured grid, elements fall into place and the design takes shape more easily. Careful planning of this type can be applied to all mediums of graphic design. Grids for books, posters, magazines, web design etc. call for different grid structures. It depends on the subject matter and how it is to be presented and communicated. When including photography in any piece of design it is necessary to have good composition. Golden Ratio dimensions can to help compose a photography appropriately to achieve a sense of balance and harmony. The following page shows photographs that have been positioned appropriately to Golden Sections within a spatial zone. To do this, a program called PhiMatrix can be used as an aid. It displays a completely customisable Golden Rectangle over any program at any time. The three most important customisable features are the size of the rectangle, the amount of divisions within the rectangle and the style of Golden Rectangle. Although this program is useful for quick mock-ups of Golden Rectangles, it restrains the freedom to move in and out of programs when you want the Golden Rectangle to stay positioned where it is. Also, it does not contain the spiral rectangle. A better solution is to manually draw each type of Golden Rectangle. Begin with a scaled Golden Rectangle by using the Golden Ratio of 1:1.618. If the rectangle is 100mm in height, then it would be 161.8mm in width. To get the first vertical line for the grid do a calculation of 161.80.618 which equals 99.99mm. Make a vertical rule division 99.99mm across. To get the first horizontal rule for the grid do a calculation of 1000.618 which equals 61.8mm. Make a horizontal rule division 61.8mm up. These are the first two lines of the Golden Grid. If you need more lines in the grid for added structural assistance then times 0.618 by the next rule divisions i.e. 99.99mm and 61.8mm. Keeping repeating these steps until there is sufficient spatial zones to work with. For the grid to have a more modular structure, copy and flip the horizontal and vertical lines. For the purpose of positioning photography, four rules should be sufficient as shown. To draw a spiral Golden Rectangle begin by drawing a square and a horizontal halfway line of the square. Locate the point where the halfway line meets the squares edge. Draw a circle from this point with the radius of the distance from the point to the opposite top corner of the square. Extend the square up until it meets the tangent point of the circle. Draw another within the new rectangle division and repeat the process three times for the spiral to emerge. The Golden Ratio is becoming more established as practicable method method in influencing graphic design. It is believed that many logos are influenced by the Golden Section. A fictional Swedish brand was created to use the Golden Ratio to create a logo. The brand is called Skogsr . The idea of the logo was to use three crowns as it is a national emblem of Sweden, present in the Coat of Arms of the Realm of Sweden. The crowns were created using a total six Golden Rectangles that combine to make up one large Golden rectangle. The finished logo was wrapped around a 3D-model of two beer cans using 3DS Max. The beer cans were positioned relative to a Golden Ratio grid. The end result is an example. Evaluation To achieve a successful design solution, the process can be broken down and simplified by use of a grid. When all the necessary information of words and images are composed in a proportionate manner, the design then takes a dynamic form. This is a fundamental part of what design is elements positioned in a beautiful and harmonious system. Considering which elements go where when piecing together a work of images and words can be for the most part an unsure process. Experience and perhaps an innate sense of proportion account for most judgements when weighing up proportion. Essentially, there are two methods in which a designer can take to tackle a design problem using creative intuition about sense of proportion or using a grid for a sense of proportion. Both methods can result in a beautiful and harmonious design solution where all elements have a unique relationship to one another. It may be argued which method is best for the study of graphic design. From the experience gained during the course of this study, it has helped find solutions faster and more efficiently. Evidence shows designing with reference to a planned grid can consistently produce better results (Hurlburt,1978). When an intuitive course of action leads the creative process it could produce sometimes unordered and self-indulgent results. This may hinder the communication purpose of design. On the other hand, a purely pragmatic approach could result in design that lacks originality and flair. Breaking a grid in certain circumstances can be practical but knowing when to do so is import ant Education of design does not really call for a rigid use of grids. This is perhaps because people who seek roles in design are people with creative insight and have an innate sense of balance and proportion. A grid is essentially a combination of horizontal and vertical lines that act as a foundation for the placement of elements. The mind makes these lines when deciding where to place things. A grid can provide these lines and help the mind focus on the objective of communicating design effectively. Hurlburt(1978) states that many highly educated and and contemporary graphic designers can perform without the use of formal grids. Even so in Switzerland and Germany where it is believed grid systems originated. Grids provide a solid framework to work with and can be used in all desktop publishing software. Quite often, effective design ideas come as a correspondence in time between thoughts/moods and the design project at hand. There are times when creative ideas come to mind easily and design solutions are apparent. There times when there is a dry-up of creative flow, possibly as a result of outside forces. During these times a solid framework with which to work is the best course of action. It is comforting that a framework that assists the creative process exists, as graphic design is often thought of as a purely creative line of work that combines knowledge in software and not as a subject where rigid structures exist. Grids provide beautiful harmony and make a design more lucid. It can make a page come alive. They are a guide to, but not a guarantee to effective design and a sensible approach to the design problem. The design work created has laid the foundations for effective future work

ACE Hardware Point of Purchase Observation

Determine the shoppers' decision process. B. Methodology The strength of observation methods lies In â€Å"what It Is†. The subject is not required to recall actions, to answer a questionnaire or to complete a personal Interview. Likewise, the observer Is not In a position to Interpret an answer by an Interviewee. Action is recorded not interpretation. Covert observational research is used. Researchers do not identify themselves. Researchers are either mixing in the subjects undetected, or observing from the distance.This method is used so that the subjects' behavior will not be contaminated by the presence of the researcher. Customers will be observed regardless of whether or not they Interested in certain departments or whether they seemed to be only passing through. All persons, once â€Å"picked up†, will be documented and considered In the analysis even If no purchases are made. The observation location will be focused on the ground floor of ACE Hardware BCC.Resear chers will spread accordingly to the customers movements. The conversion rate of the store will be determined by observing the number of customers coming in only from the main door and customers purchasing at the cashiers of the ground level. Any other activities that take place on the other floor(s) ill not be observed. To avoid biases regarding the elements of the store, researchers will also implement some simple personal interview to the ACE Hardware staffs.By doing so, researchers may interpret the observational data collected more accurately. C. Point of Purchase Observation Things to be observed: Store Measurement Conversion or Closure Rate The amount of time a shopper spends In a store Interception Rate (percentage of customers who have contact with a store employee) Shopping Behavior Departments visited Things seen and touched Things put In the cart Time spent Purchase decision Store Management .Display Location of each departments Products put on the rack at the height the eye level Price tags (is there any differences between products displayed on display table and those on the rack) Differences of products on the height of eye level, above eye level, and under eye level (price, type, colors, shape, etc. ) Products arrangement Lighting b. Store Assistances Employees approach to consumers How to deal with queries and complaints c. In Store Promotion Current promotions Terms and conditions of the promotion Upcoming promotions d. Service Environment Must be available in the service Environment

Should Community Service be Mandatory?

Albert Einstein, one of the smartest men to ever live, is quoted saying â€Å"Only a life lived for others is a life worthwhile.† This is achieved through striving to uplift those around you with volunteering. Anything from cleaning up garbage to offering companionship to elderly and disabled people is a way to change the world, bit by bit.However, no single person can change the world on his or her own. There must be a constant effort from all of those that support this belief. Some believe that the best way for this to be accomplished is through mandatory community service implemented through schools, charities or churches.Although community service can be extremely valuable in the development of both character and academics, some believe the negative effects of forcing students to participate by making a set amount of service a requirement for graduation could offset the benefits. Today, a majority of high schools require so many hours of community service in order for high school seniors to graduate.In 1984, only 17 percent of high schools offered a community service program. This number increased 66 percent in just 15 years. By 1999, 83 percent of all high schools offered, and many required participation in, a community service program. Two thirds of high schools today require students in all grades to participate in community service activities (Howe and Strauss), but is this taking it too far?Community service is being forced upon students all over the country. Students who are forced to do community service will grow to resent it, making them less likely to volunteer in their communities after college. Our country needs people to volunteer, and more than just the young adult high school population.Also, if students are forced to do community service, the quality of the help they give is probably not going to be very good because they don't really want to do it. Requiring community service takes the volunteerism out of the equation and soon many o f those who â€Å"volunteer† are those who don’t even want to be there. Forcing students to participate in community services will cause them to resent voluntary services for the community later in life. In most communities, community service is used as a punishment for those who step  out of line.â€Å"For teenagers, ‘community service’ came to mean punishment for drunk drivers and Breakfast Club miscreants† (Howe and Strauss). In addition to students coming to resent community service, mandatory service takes away the benefits that actual volunteers would receive. If community service is not required, volunteerism carries more weight on a college application.Aside from the collegial benefit, volunteering helps to build the moral center of oneself. In the article, â€Å"Community Service Mission Statement†, the writer states that â€Å"Community Service situates our moral center;† also that it teaches us through experience â€Å"â €”about the relationship between empathy and responsibility, about what it takes to be a part of a community†.The strength of a community is found within the hearts of those who make the area a home. However, critics believe that community service should be required. They argue that education should not be limited to the classroom and that community service is a learning experience. While this may be true, many other experiences are educational yet should not be mandatory for high school students. For example; sports. Not all students are meant to be athletes. Sports are encouraged throughout high schools, but not required. This gives students the opportunity to experience what it means to work hard as a team. If all students were required to play sports, it would ruin sports for those who love to play.The same goes for volunteering: service is a growing and a learning experience, yet if unwilling students are required to participate in service activities, they spoil the e xperience for everyone else. Critics support their idea with a great argument; however, it isn’t logical. Community service is without a doubt a learning experience, but the choice to partake in such an experience should be left to the student. Community service isn’t for everyone just as sports aren’t for everyone. It’s up to more than just the high school student to change the world, and this can be achieved by activities other than community service.

Analysis Of Fahrenheit 451 By Ray Bradbury - 1307 Words

â€Å"When a man has lost all happiness, he’s not alive. Call him a breathing corpse,† as proclaimed by an Ancient Greek playwright by the name of Sophocles. This quote relates to the citizens of the dystopian society portrayed in Fahrenheit 451 by Ray Bradbury. The entertainment and technology encompassing the world deeply captivates their lives, resulting in a lethargic emotional state in which true happiness is not apparent. In conventional thought, firemen hold the task of extinguishing fires, while Guy Montag’s occupation consists of setting fire to books. The novel’s society is subjected to the control of government censorship and technology in order to prevent the surge of free thought and inquiry. It is their belief that the characters†¦show more content†¦Mildred’s life is consumed by television to the point of deeming the characters in media as her â€Å"family.† She does not have any intimate or sentimental relationships w ithin her life explicating the idea that a lack of connections with others impedes the ability to cognize true happiness. Mildred is completely phlegmatic in that she has no comprehension of emotions or what love is. Furthermore, Mildred says, â€Å"Come on, let’s be cheery, you turn the ‘family’ on now. Go ahead. Let’s laugh and be happy now, stop crying, we’ll have a party† (Bradbury 101). She accredits entertainment with providing jubilation, when, in reality, this only substantiates a temporary release of unwanted emotions which the evade through ignorance and negligence. Mildred’s rudimentary response to a state of dejection emanates from a society enthralled with entertainment that views technology as means of diverting attention from intense emotions and towards a false, ephemeral joviality. Overall, the artificial â€Å"family† that is concocted through the television forges an apocryphal happiness which seizes their min ds from all tangible emotions. Moreover, entertainment supersedes all emotive relationships inhibiting their ability to perceive veracious geniality. Mrs. Bowles, one of Mildred’s heartless associates, remarked, â€Å"IShow MoreRelatedLiterary Analysis Of Fahrenheit 451, By Ray Bradbury792 Words   |  4 PagesLiterary Analysis of Fahrenheit 451 by Ray Bradbury â€Å"We never burned right†¦Ã¢â‚¬  (Bradbury 113) stated Guy Montag, the main character of Fahrenheit 451. This book is about a society that is oppressive and dictatorial. They depend on firemen to burn books at an attempt at censorship and to block free thinking. They obstruct books and literature as a way to restrict knowledge and understanding. One of the major theme of Fahrenheit 451, written by Ray Bradbury, is as society gains more knowledge and wisdomRead MoreAnalysis Of Ray Bradbury s Fahrenheit 4511743 Words   |  7 PagesIn Fahrenheit 451, by Ray Bradbury, the protagonist, Guy Montag, suddenly realizes his overwhelming discontent with life when he meets Clarisse McClean, a seventeen year old girl who introduces him to beauty of the world and the notion of questioning ones surroundings. This novel, having been released shortly after the Second Read Scare, a time when fear of communism lead to the baseless accusation of political figures by Senator McCarthy, was re ceived with mixed reviews. However, today more so thanRead MoreAnalysis Of Ray Bradbury s Fahrenheit 451 Essay2089 Words   |  9 PagesThe analysis of Ray Bradbury s dystopian novel, Fahrenheit 451, shows that literature as books, education and alike is abused and criminalized in the hero’s reality, who is Guy Montag. The novel’s setting is when new things seem to have totally replaced literature, fire fighters set flames instead of putting them out, the ownership of books is deserving of the law and to restrict the standard is to court demise. The oppression of literature through innovation and technology can be analyzed throughRead MoreAnalysis Of Ray Bradbury s Fahrenheit 451 1396 Words   |  6 PagesAn Analysis of Freedom of Information in Fahrenheit 451 by Ray Bradbury This study examines the issue of freedom of information in the story of literary oppression found in Fahrenheit 451 by Ray Bradbury. Bradbury presents the oppression of an authoritarian state that does not allow its citizens to reads books. Guy Montag is initially a servant of the state that requires him to locate and persecute members of the community that still collect books. In various cases, Bradbury defines the rightsRead MoreCharacter Analysis : Fahrenheit 451, By Ray Bradbury831 Words   |  4 Pages Fahrenheit 451: Character Analysis Fahrenheit 451 by Ray Bradbury, is about a dystopian society that burns literature and everything and anything to keep the civilians distracted from the obstacles of life. Guy Montag is a citizen whose job is to burn down houses that contain literature, for books are illegal because the government says it causes controversy. His wife, Mildred, sits in front of the â€Å"parlor walls† with â€Å"seashells† in her ears and goes along mindlessly with society. ThroughoutRead MoreAnalysis Of Ray Bradbury s Fahrenheit 451 1815 Words   |  8 PagesRay Bradbury was a well-known author who happened to write several novels, books, and short stories. He was very famous and I have never read anything that he wrote, until I read this book. I wasn’t sure what to expect because I had no idea what it was about and what kind of story it told. Fahrenheit 451 told a breathtaking adventure, was relatable, and it was almost as if I was submerged in this dystopian society, who wa s forced to live without imagination, books and a sense of wonder. Mr. BradburyRead More Analysis of Fahrenheit 451 by Ray Bradbury Essay3557 Words   |  15 PagesAnalysis of Fahrenheit 451 by Ray Bradbury Imagine living in a world where you are not in control of your own thoughts. Imagine living in a world in which all the great thinkers of the past have been blurred from existence. Imagine living in a world where life no longer involves beauty, but instead a controlled system that the government is capable of manipulating. In Ray Bradburys Fahrenheit 451, such a world is brought to the awareness of the reader through a description of the impactsRead MoreAnalysis Of Fahrenheit 451 By Ray Bradbury1387 Words   |  6 Pagesdifferent and so similar in the exact same time†¦ Imagine a society where everything an individual can mentally and physically do is under the power of the government. Self-difference does not exist. In a futuristic setting of the novel ‘Fahrenheit 451’ written by Ray Bradbury, and the short story ‘Harrison Bergeron’ written by Kurt Vonnegut are both two very eventful and interesting readings that will keep one’s mind runn ing on about the outlook on futuristic life and the governments strict needs and wantsRead MoreAnalysis Of Fahrenheit 451 By Ray Bradbury921 Words   |  4 Pagesagree with this statement, for an unorganized essay leads to chaos and misunderstanding. The narrative structure includes exposition, rising action, climax, falling action, and resolution. The narrative structure was evident in the novel Fahrenheit 451 by Ray Bradbury. The exposition includes the basic introduction and background information that sets the time, situation, and place of the story. At the beginning of this novel, a futuristic dystopian society is described as the setting where the citizensRead MoreAnalysis Of Fahrenheit 451 By Ray Bradbury1119 Words   |  5 PagesIn the novel Fahrenheit 451 Mildred and Montag reside on polar sides of society, one is a supporter the other is a rebel. Despite their difference, their internal thoughts reveal they are both broken people. Bradbury’s symbolic patterns claims their destruction originated because both of them don’t have dominance over their minds. Mildred’s addiction to her parlor walls disrupts her cognitive presence in reality. As Guy ponders the word living room, he comments â€Å"what a good job of labeling that was