What Animals Mean in the Fiction of Modernity argues that nonhuman animals, and stories about them, have always been closely bound up with the conceptual and material work of modernity. In the first half of the book, Philip Armstrong examines the function of animals and animal representations in four classic narratives: Robinson Crusoe, Gulliver’s Travels, Frankenstein and Moby-Dick. He then goes on to explore how these stories have been re-worked, in ways that reflect shifting social and environmental forces, by later novelists, including H.G. Wells, Upton Sinclair, D.H. Lawrence, Ernest Hemingway, Franz Kafka, Brigid Brophy, Bernard Malamud, Timothy Findley, Will Self, Margaret Atwood, Yann Martel and J.M. Coetzee. What Animals Mean in the Fiction of Modernity also introduces readers to new developments in the study of human-animal relations. It does so by attending both to the significance of animals to humans, and to animals’ own purposes or designs; to what animals mean to us, and to what they mean to do, and how they mean to live.
Gullivers Travels as a satire PDF
In Gulliver's Travels, satire is shown through narration, setting, character, and plot. Jonathan Swift uses utopia and dystopia as elements of setting, and he uses a flat character, miser and tyrant type of character, moral touchstone, and grotesque to illustrate the character element of his satirical novel.
One example of satire against the English society in Gulliver's Travels is the political affairs of the Lilliputians. The Lilliputians to gain a high ranking office “competed for them by dancing on a rope for the entertainment of the emperor” (Orwell).
Although Northrop Frye once indicated that Gulliver's Travels is a Menippean satire (308), an obscure genre that has lately got increasing attentions,1 the specific ways the text stands as the genre are not yet fully discussed.
There are three main types of satirical writing: Horatian satire. Juvenalian satire. Menippean satire.