Consilience between society and its government requisites a veto of propaganda ploys which separate politics and the populace as two disparate entities. Examination of Henry Reynold’s monograph memoir Why Weren’t We Told in contrast with Thomas More’s political meditations in Utopia and Vladimir Bortko’s 1988 film adaptation of Heart of a Dog reveals how composers shape their audience’s political perspectives in support of pellucid law and order. The three texts are angry polemics concluding on a collective consensus of what the worst bi-product of social manipulation is. By means of analyzing the contrast between modern day Australia’s journey of reconciliation against examples of a utopian and a dystopian society. The root of crime in society
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Presented through a pastiche human body held together by an inhuman dog’s heart; while the canine agenda is a representation of the Bolsheviks throughout the novella. The reverse of Utopia’s foundational law attaches with an asyndeton of racially associated colors to frame its unprejudiced nature in that “terror is useless, whatever its color – white, red or even brown! Terror completely paralyzes the nervous system.” Terror stands for domestic and transnational fears countries in the Soviet Union experienced such as the brutally oppressive regime under Lenin, Trotsky and Stalin resulting in the closing of trade and a shortage of resources, inflation of the ruble and the threat of being in the center of a nuclear war. Bulgakov presents his solution by highlighting the root cause: the indoctrination of citizens into the ideal Soviet man noting through a synecdoche used for the Frankenstein monster-like creations as that “The whole horror of the situation is that he now has a human heart, not a dog's heart. And about the most rotten heart in all creation!” The society for which he wrote and which censored his response for being accused as the vehicle of change for the worse and better future. Bulgakov argues through the construction of a being with a dog’s heart and a human’s body that it is morals which make a human. On the other hand, as earlier stated it is impossible to rule over an animal using terror only kindness which is contrary to how the Soviet Party approached their rise to power. What the dog is fed, that is what it gives back as echoed in the metonymy of the gutter when the dog with “All the words he used, in the beginning, were gutter words. He heard them and stored them in his brain.” Bulgakov ends the novella with a
Presented through a pastiche human body held together by an inhuman dog’s heart; while the canine agenda is a representation of the Bolsheviks throughout the novella. The reverse of Utopia’s foundational law attaches with an asyndeton of racially associated colors to frame its unprejudiced nature in that “terror is useless, whatever its color – white, red or even brown! Terror completely paralyzes the nervous system.” Terror stands for domestic and transnational fears countries in the Soviet Union experienced such as the brutally oppressive regime under Lenin, Trotsky and Stalin resulting in the closing of trade and a shortage of resources, inflation of the ruble and the threat of being in the center of a nuclear war. Bulgakov presents his solution by highlighting the root cause: the indoctrination of citizens into the ideal Soviet man noting through a synecdoche used for the Frankenstein monster-like creations as that “The whole horror of the situation is that he now has a human heart, not a dog's heart. And about the most rotten heart in all creation!” The society for which he wrote and which censored his response for being accused as the vehicle of change for the worse and better future. Bulgakov argues through the construction of a being with a dog’s heart and a human’s body that it is morals which make a human. On the other hand, as earlier stated it is impossible to rule over an animal using terror only kindness which is contrary to how the Soviet Party approached their rise to power. What the dog is fed, that is what it gives back as echoed in the metonymy of the gutter when the dog with “All the words he used, in the beginning, were gutter words. He heard them and stored them in his brain.” Bulgakov ends the novella with a