Satire and Social Critique in the works of Georgia Orwell and Aldous Huxley

This paper provides a comparative discussion of how George Orwell and Aldous Huxley deploy satire to critique the social world, with the idea that Orwell dissects coercive power grounded on fear and Huxley exposes seductive power based on pleasure; in terms of methodology, we did qualitative thematic examination of Animal Farm (1945), Nineteen Eighty-Four (1949), Politics and the English Language (1946) Brave New World (1932), and Brave New World Revisited (1958),uses a hybrid (deductive-inductive) codebook and Braun and Clarke six stages, and relies on analyst triangulation and an audit trail and reflexive memos. The findings identified five cross-cutting themes: language and truth manipulation (Newspeak/doublethink vs. hypnopaedic, therapeutic slogans) mechanisms of control (surveillance, scarcity and pain vs. conditioning, pharmacology and consumer bliss), memory, history and time (archival erasure and absurdity of history vs. amnesic distractions), individuality and agency (resistance staged and disparated Winston/Julia, John the Savage, Benjamin/Boxer) and the social stratification and biopolitics of These themes combine to demonstrate that both authors position politics at the point of encounter between language and desire, exercise a complementary hard and soft politics that newer institutions tend to mix and match; the model is transferable when applied to reading contemporary worlds of surveillance, nudging, censorship and entertainment that collectively create consent.