Ian Fleming's use of binary opposition in Doctor No illustrates dichotomies of power unraveling their selves, thus proving the equality of their positions with the lesser of the opposition. Culture versus nature is illustrated as the novel's main binary opposition: James Bond reveals the ambiguity of the polarity while Honeychile Rider and Dr. No provide examples of culture and nature in opposition with each other and the deconstructed privilege awarded to nature. Doctor No provides an excellent reception to post-structuralism criticism through its anarchical dichotomies: "the deconstructionist aims to show that the text is at war with itself: it is a house divided, and disunified" (Barry, 72).

The protagonist, James Bond, symbolizes justice on two levels. In the world of crime he is the final fist of justice, empowered by the British government: "The license to kill for the Secret Service, the double-0 prefix, was a great honour" (Fleming, 17). Textually he is also symbolized as justice between the binary opposition of culture and nature. Although he identifies closer with culture do to his upbringing he does not deny the relevance and equality of nature: "Honey, now look here. Yo

u know these things. I can't help it that I live in towns. I'd like to know about your things too. I just haven't had that sort of life. I know other things instead" (86). Albeit he is subject to discrepancies in this matter as depicted by his naive and callous recognition of Dr. No's ocean aquarium as a 'picture' (155). He has the desire to care about nature but does not always adequately put into perspective the reality of nature. The torment Bond endures in Dr. No's cultural based death trap is a mixture of cultural and natural based torture: an electric grille, a portion of tunnel with burning hot metal, tarantulas and a giant octopus. Inside the trap, Bond attempts to thwart his worries, which are a product of culture, nature does not worry: "Don't worry about the glimmer of light [...] Don't worry about losing your grip [...] Don't worry about cramp [...] Don't worry about your screaming muscles" (188). During his final test of Dr. No's trap Bond is pitted against a giant caged octopus, a cultural perversion of nature. Again the idea of worrying is raised, the narrator reveals that Bond does not have time to waste worrying about his current physical ailments: "Bond had not time to worry about them [...] The eyes were glaring up at him, redly, venomously, and the forest of feeding arms was at his feet and legs, tearing the cotton fabric away and flailing back" (203). To survive Bond must follow his natural instinct to survive without the cultural presence of 'worry'. The culturally perverted octopus retreats into the ocean after emptying its 'ink sac' as Bond rises from the water: "It was black and sticky [...] it was covered with black slime, and blackness stained the sea for twenty yards around [...] The wounded squid had emptied its ink sac at him" (204). It is impossible to think of black without referencing it to white: " words are always 'contaminated' by their opposites-you can't define night without reference to day" (Barry, 64). The black ink symbolizes the death and evilness of culture; in contrast Bond rises back up due to the natural intentions of his actions. Bond symbolizes the ambiguity of the binary opposition as he views b

Some common words found in the essay are:
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Approximate Word count = 1466
Approximate Pages = 6 (250 words per page double spaced)