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Riedel, Elisabeth. ""Variations on art" : Aldous Huxley's reflections on the visual arts /." Salzburg : Institut für Anglistik und Amerikanistik, Universität Salzburg, 1992. http://catalogue.bnf.fr/ark:/12148/cb35604059q.
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Outhier, Sara Diane. "Igor Stravinsky and Aldous Huxley : portrait of a friendship." Thesis, Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/2353.
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Júnior, Cláudio Marcos Veloso. "A decepção em Admirável mundo novo, de Aldous Huxley." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2016. http://www.bibliotecadigital.uel.br/document/?code=vtls000210555.
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O presente estudo analisa a paixão da decepção na personagem John em Admirável Mundo Novo (HUXLEY, 2009). Para tanto, o trabalho de dissertação utiliza como base metodológica a Semiótica das paixões. O objetivo desse estudo é verificar como a estrutura social apresentada na obra de Huxley influenciou na decepção da personagem John. Diante disso, analisaram-se as estruturas das sociedades na obra, o imaginário de John sobre esses lugares e seu percurso em procurar um lugar no mundo. Por ser pertinente na compreensão das estruturas sociais apresentadas na obra, a dissertação fez um levantamento do contexto sócio-histórico do autor na criação das estruturas das sociedades de Admirável Mundo Novo. O estudo divide-se em três partes. O primeiro momento dedica-se a fazer um levantamento teórico sobre a Semiótica das paixões. A segunda parte do estudo é voltada a analisar as estruturas sociais apresentadas na obra Admirável Mundo Novo e a fazer uma relação com o período sócio-histórico no qual o autor se insere. O último capítulo do estudo dedica-se exclusivamente à paixão da decepção de John e como ela foi surgindo na personagem durante seu percurso em busca de um lugar no mundo.<br>This study analyzes the passion of disappointment in the character John from Brave New World, by Aldous Huxley. Therefore, this dissertation uses the semiotics of passions as a methodological basis. The aim of this study is to verify how the social structure presented in Huxley's oeuvre influences towards the character's disappointment. Thus, the structures of societies in the work are analyzed, as well as John's imaginary about those places and his journey in search for a place in the world. On account of its relevance to the understanding of social structures presented in the oeuvre, this study scrutinizes the socio-historical context of the author in creating the foundations of the societies in Brave New World. This work is divided into three parts. The first moment is dedicated to making a theoretical review of the Semiotics of passions. The second part of the study focuses on the analysis of social structures presented in Brave New World and relates them to the author's socio-historical period. The last chapter of the study is exclusively dedicated to John's passion of disappointment and to how it emerges in the character during his journey in search of a place in the world.
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Burgmann, Mark J. "Fearing an inhuman(e) future the unliterary or illiterate dystopia of Aldous Huxley's Brave new world /." Diss., Connect to the thesis, 2009. http://hdl.handle.net/10066/3612.
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Huebner, Seth. "The finger pointing to the moon Perennial philosophy and John Milton /." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/s_huebner_041610.pdf.
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Ozawa, Hisashi. "Identity paradoxes : the self and others in the literature of Aldous Huxley." Thesis, King's College London (University of London), 2016. https://kclpure.kcl.ac.uk/portal/en/theses/identity-paradoxes(22aacf42-ff55-4d71-98f9-925d3f0d8fd0).html.
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This dissertation is a study of the literature of Aldous Huxley, especially his fiction, with a particular focus on the issue of identity. By observing his representations of the self and Others, and by elucidating his attitude towards political and cultural problems pertaining to identity, I aim to reveal significant aspects of this topic, which have not been fully recognized in recent research on his work. Each chapter offers close readings of his texts biographically, historically and theoretically. Chapter I, “Self,” sheds light on Huxley’s early writing on the Great War, particularly the “Farcical History of Richard Greenow,” disclosing his insights into the mind, which are then compared with psychoanalytic discourses on human aggression. Chapter II, “Woman,” focuses on Point Counter Point and analyses female characters while considering the actual women around the author as well as gender criticism of the maternal and the feminine. Chapter III, “Savage,” examines Brave New World by contextualizing the Savage Reservation and the hero Savage with their possible sources in anthropology in order to align the text with postcolonial concerns. Chapter IV, “Mass,” delves into how Huxley deepened his Utopian ideas in his later career, and investigates specifically Eyeless in Gaza and Island in relation to Marxist discussions of Utopia and totality. With his sensitivity and imagination, the novelist Aldous Huxley consistently questioned the concept of identity in ways that might now seem postmodernist. However, his fear that loss of identity would lead to loss of meaning in life, history and the world prompted him to seek a paradoxical form of identity that was not fixed or exclusive, and that was based on his scientific and religious belief in the changing and hybrid “unity,” existing behind all animate and inanimate beings.
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Souto, Sheila Maria Tabosa Silva. "Tradução no contexto da Era Vargas: Érico Veríssimo, tradutor de Aldous Huxley." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6296.
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Previous issue date: 2014-02-27<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The present work analyzes Erico Veríssimo as a translator of Point counter point (1928) by Aldous Huxley in Globe Publishing House. His translation, Contraponto (1934), is analyzed in the context of translation and ideology of Vargas Age, a nationalist and authoritarian government. The methodology is developed via cultural transferences, and it intends to comprehend the trajectory of Erico Veríssimo as a translator and remake the translation process of Point counter point. The profile of the translator Veríssimo is initially traced through his first experiences at Globe Magazine, where he published rapid translations, inventing pseudonyms for them. Later on, he published translations of books internationally known and the translation process occurred in an elevated and more elaborated standard. The route and the choice of Contraponto translation initially presented an editorial audacity of Veríssimo, who risked commercially, once the literary work was dense and the author was not known in Brazil. However, it was a decisive point to the translator Veríssimo and to the divulgation of Huxley in Brazil. Contraponto became a best-seller and an editorial milestone. It was published in the Nobel Collection, which brings to the ordinary reader and the intellectuals of that epoch the translation of literary works of international repercussion, raising and enriching culturally its public. The editorial policy of Globe in translating the world classics is linked to the nationalist ideals of Vargas in valuing the role of vernacular language and the education in the search for an identity for the Nation. In a selective textual analysis from the concepts of specific cultural items in translation by Aixelá and the Theory of Polisystems, it is highlighted that translation is marked by conservation strategy (repetition), in a tendency of adequacy. The translation of Veríssimo permits the visualization of marks of foreign culture. Moreover, it does not nationalize cultural specificities, adding new information to the reader. With the concepts of translation and ideology brought by Lefevere, it is understood that rewriting can be inspired by ideological motivations. Therefore, it could be associated that Contraponto approaches ideological questions related to fascism, linking them to Vargas Age, with which had totalitarian similarities.<br>Este trabalho analisa Erico Veríssimo enquanto tradutor na Editora Globo da obra Point counter point (1928), de Aldous Huxley, intitulada Contraponto (1934), no contexto da tradução e ideologia no Regime Vargas, governo autoritário e nacionalista. A metodologia é desenvolvida via transferências culturais, buscando compreender a trajetória de Erico Veríssimo como tradutor e refazer o processo tradutório da obra de Huxley. O perfil do tradutor Veríssimo é traçado inicialmente através de suas primeiras experiências na Revista do Globo, onde lançava no mercado traduções rápidas, inventando pseudônimos para as mesmas; e, posteriormente, com a publicação de traduções de obras de renome internacional, onde o processo tradutório ocorria num padrão elevado e mais elaborado. O percurso e a escolha da tradução Contraponto representam inicialmente uma ousadia editorial de Veríssimo, arriscando-se comercialmente, uma vez que a obra era densa e o autor desconhecido no Brasil; e, de fato, foi um ponto decisivo para Veríssimo tradutor e para a divulgação de Huxley no Brasil. Contraponto foi sucesso de vendas e um marco editorial, publicado na coleção Nobel, que levava ao leitor médio e aos intelectuais da época as traduções de repercussão internacional, formando e enriquecendo culturalmente seu público. A política editorial da Globo de traduzir os clássicos mundiais coaduna com os ideais nacionalistas de Vargas de valorizar o papel da língua vernácula e da educação na busca da identidade da Nação. Numa análise textual seletiva a partir dos conceitos dos itens culturais específicos em tradução trazidos por Aixelá e da teoria de polissistemas, destacamos que a tradução é marcada pela estratégia de conservação (repetição), numa tendência à adequação. Sua tradução permite a visualização das marcas da cultura estrangeira, não nacionaliza especificidades culturais, acrescentando informações novas ao leitor. Com os conceitos de tradução e ideologia advindos de Lefevere, entendemos que a reescritura pode ser inspirada por motivações ideológicas, logo podemos associar o fato de Contraponto tratar de questões ideológicas ligadas ao fascismo com o Governo Vargas, que possuía semelhanças totalitaristas.
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Deery, June Elizabeth. "Doors of perception : science, literature and mysticism in the works of Aldous Huxley." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359659.
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Menninghaus, Sabine. "Vorstellungsweisen künstlerischer Transformation : Naturwissenschaftliche Analogien bei Aldous Huxley, James Joyce und Virginia Woolf /." Münster : LIT, 2000. http://catalogue.bnf.fr/ark:/12148/cb40244634k.
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Fredriksson, Erik. "The Human Animal : An Ecocritical View of Animal Imagery in Aldous Huxley's Brave New World." Thesis, Högskolan i Halmstad, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-23625.
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The early twentieth century saw the beginning of modern environmentalism. Intellectuals dreamed up solutions to the world’s problems and hoped for a better future being made possible by advances in science and technology. However, Aldous Huxley produced Brave New World which, as this essay argues, mocks the enthusiasm of his intellectual peers. The dystopian novel depicts a future in which technology dehumanizes the population, and uses a great deal of animal imagery to make this point. This essay analyses the use of animal imagery from an ecocritical perspective arguing that the “pathetic fallacy” is reversed. By examining the use of biotechnology and central planning in the novel, and applying the ecocritical perspective that humanity and nature are part of a whole, this essay argues that society resembles a farm for human animals, which is partly expressed by Huxley’s use of the image of a bee colony. The argument is presented that Huxley satirizes his environmentally concerned peers by depicting a totalitarian state which, though unconcerned with environmental issues, echoes the eco-fascist methods proposed by the author’s friends and family.
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Joanico, Lennon Moraes. "IDÍLIO OU PESADELO? A GENEALOGIA DO PODER EM ADMIRÁVEL MUNDO NOVO DE ALDOUS HUXLEY." UNIVERSIDADE ESTADUAL DE PONTA GROSSA, 2016. http://tede2.uepg.br/jspui/handle/prefix/429.
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Previous issue date: 2016-10-14<br>This dissertation aims to examine how the control mechanisms and thus power are organized in the utopian narrative Brave New World, written by Aldous Huxley, as well as highlight the importance of such issues for the narrative’s understanding. For this, the discussion will avail concepts and reflections proposed by philosopher Michel Foucault, specifically, but not exclusively, in Microphysics of Power (2013), in which the theoretic ponders about the micro-power relations, the body, discipline and the individual as the result of power relations. Thereby, the study will problematize the multiplicities of control and power constitutive of the interrelations between the social and the individual, showing the potential positive and negative aspects of power settings in the narrative. With this, it expected that the issues that will be listed here can contribute to the expansion of reflections about Aldous Huxley's work, and also, it can further the discussions concerning to the control and power's issues in other literary works.<br>Este trabalho tem como objetivo analisar de que modo os mecanismos de controle e, portanto, de poder estão agenciados na narrativa utópica Admirável Mundo Novo, de Aldous Huxley, bem como evidenciar a importância de tais questões para a compreensão da obra. Para tanto, a discussão valer-se-á de conceitos e reflexões propostas pelo filósofo Michel Foucault, mais precisamente, mas não de maneira exclusiva, na obra Microfísica do Poder (2013), na qual o teórico pondera sobre as relações de micropoder, o corpo, a disciplina e o indivíduo como resultante das relações de poder. Desse modo, o estudo problematizará as multiplicidades do controle e poder constitutivos das inter-relações entre o social e o individual, evidenciando os aspectos potencialmente positivos e negativos das configurações de poder na narrativa.Assim, espera-se que as questões que serão aqui elencadas possam contribuir para a ampliação das reflexões relativas à obra de Aldous Huxley, e também, aprofundar discussões concernentes às questões de controle e poder em outras obras literárias.
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Matus, Hannah. "Reflections on terror from Aldous Huxley to Margaret Atwood dystopic fiction as politically symbolic /." Connect to resource, 2009. http://hdl.handle.net/1811/38782.
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Le, Boucher Marc. "La conversion d'Aldous Huxley au pacifisme et au mysticisme dans ses essais philosophiques." Paris 8, 1987. http://octaviana.fr/document/174328095#?c=0&m=0&s=0&cv=0.
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L'itineraire spirituel d'Aldous Huxley passe par les desillusions de la chose politique qu'il connait et apprehende mal. Aucun systeme politique ne trouve grace a ses yeux et ne peut ameliorer "la miserable condition de l'humanite". A la veille d'ecrire le meilleur des mondes Huxley pense que l'alternative est celle du Martin de Candide: "nous n'avons le choix qu'entre la lethargie de l'ennui et les convulsions de l'inquietude". Huxley est pret pour la dictature ouatee de son utopie. En 1935, Huxley se convertit en pacifiste et il adhere au Peace pledge union qui ne prit pas l'ampleur souhaitee. Des 1937, l'ethique religieuse se confirme : le progres doit egalement venir de l'interieur. Mais la retraite de l'action fut fulgurante: l'inconsistance des propositions a fini par lasser les lecteurs. Le retour a l'introspection profonde fut la marque de l'etape suivante ainsi qu'une influence passagere de d. H. Lawrence. Le mysticisme oriental de Huxley se caracterise par la mortification du moi, le detachement, une identification au tat twam asi (facilitee par des experiences avec de la mescaline) et sa grande synthese (la reconciliation entre la science et la religion). La deuxieme partie analyse l'heritage moral d'Huxley (Matthew Arnold, John Stuart Mill, l'ecole de la morale utilitaire) et compare le pacifisme ou le mysticisme de huxley a celui d'autres romanciers ou philosophes contemporains (Bertrand Russell, Emmanuel Mounier, Romain Rolland, Alain, Paul Valery, Hermann Hesse) ou appartenant au siecle precedent : Ralph Waldo Emerson. Cette partie tentera egalement de montrer comment Huxley, inconsciemment, s'est installe dans une situation d'echec dans sa double conversion au pacifisme et au mysticisme: le choc traumatique de la perte de sa mere, alors qu'il avait quatorze ans, constituant le declenchement des attitudes d'echec<br>Aldous Huxley's road to spiritual conversion goes through his deceptive conception of politics which he knows only superficially. No political system finds favour in his eyes and cannot better "the wearisome condition of humanity". Just before writing brave new world, Huxley thinks that the alternative is the one of martin in candide: "the only choice lies between boredom apathy and the convulsions of anxiety". Huxley is ready for the smooth dictatorship of his utopia. In 1935, Huxley converted himself to pacifism and he joined the peace pledge union which did not grow as expected. As soon as 1937, the religious ethics becomes clearer: progress must also come from within. The main flaw in man which we must do away with is "hubris" or wanton arrogance. But Huxley's retreat from action was immediate and the inconsistency of his proposition ended by tiring his readers. A return to deep introspection was the following step which was also characterized by D. H. Lawrence's short-lived influence. Huxley's oriental mysticism goes through the mortification of the self, non-attachment, the identification to the divine ground or tat twam asi (enhanced by the taking of l. S. D. ) and his grand synthesis (the reconciliation between science and religion). The second part analyses huxley's moral roots (matthew arnold, john stuart mill, the school of utilitarian morals), the influence of william james's pragmatism, and compares huxley's pacifism or mysticism to other contemporary novelist's and philosophers': Emmanuel Mounier, Bertrand Ussel, Romain Rolland, Alain, Paul Valery, Hermann Hesse, or belonging to the previous century: Ralph Waldo Emerson. This part will also try to show how Huxley, unconsciously, put himself into a position of failure in his dual conversion (the traumatic shock of his mother's death when he was fourteen constitutes the starting point of this very position)
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Rudge, Chris John. "Psychotropes: Models of Authorship, Psychopathology, and Molecular Politics in Aldous Huxley and Philip K. Dick." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13723.
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Among the so-called “anti-psychiatrists” of the 1960s and ‘70s, it was Félix Guattari who first identified that psychiatry had undergone a “molecular revolution.” It was in fact in a book titled Molecular Revolutions, published in 1984, that Guattari proposed that psychotherapy had become, in the de¬cades following the Second World War, far less personal and increasingly alienating. The newly “molecular” practices of psychiatry, Guattari mourned, had served only to fundamentally distance both patients and practitioners from their own minds; they had largely restricted our access, he suggested, to human subjectivity and consciousness. This thesis resumes Guattari’s work on the “molecular” model of the subject. Extending on Guattari’s various “schizoanalytic metamodels” of hu¬man consciousness and ontology, it rigorously meditates on a simple ques¬tion: Should we now accept the likely finding that there is no neat, singular, reductive, utilitarian, or unifying “model” for thinking about the human subject, and more specifically the human “author”? Part 1 of this thesis carefully examines a range of psychoanalytic, psychi¬atric, philosophical, and biomedical models of the human. It studies and re¬formulates each of them in turn and, all the while, returns to a fundamental position: that no single model, nor combination of them, will suffice. What part 1 seeks to demonstrate, then, is that envisioning these models as differ¬ent attempts to “know” the human is fruitless—a futile game. Instead, these models should be understood in much the same way as literary critics treat literary commonplaces or topoi; they are akin, I argue, to what Deleuze and Guattari called “images of thought.” In my terminology, they are “psycho¬tropes”: images with their own particular symbolic and mythical functions. Having thus developed a range of theoretical footholds in part 1, part 2 of the thesis—beginning in chapter 4—will put into practice the work of this first part. It will do so by examining various representations of authorship by two authors in particular: Aldous Huxley and Philip K. Dick. This part will thus demonstrate how these author figures function as “psychoactive scriv¬eners”: they are fictionalising philosophers who both produce and quarrel with an array of paradigmatic psychotropes, disputing those of others and inventing their own to substitute for them. More than this, however, the second part offers a range of detailed and original readings of these authors’s psychobiographies; it argues that even individual authors such as Huxley and Dick can be seen as “psychotropic.” It offers, that is, a series of broad-ranging and speculative explanations for the ideas and themes that appear in their works—explanations rooted in the theoretical work of the first part. Finally, this thesis concludes by reaffirming the importance of these authors’s narcoliteratures—both for present-day and future literary studies, and beyond. For while Huxley and Dick allow us to countenance afresh the range of failures in the history and philosophy of science, they also prom¬ise to instruct us—and instruct science—about the ways in which we might move beyond our received mimetic models of the human.
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Taylor, Stephanie Abigail. "Expunging Father Time the search for temporal transcendence in the novels of Aldous Huxley and Tom Robbins /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.
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Tarrant-Hoskins, Nicola Anne. "KATHERINE MANSFIELD AMONG THE MODERNS: HER IMPACT ON VIRGINIA WOOLF, D. H. LAWRENCE, AND ALDOUS HUXLEY." UKnowledge, 2014. http://uknowledge.uky.edu/english_etds/17.
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Katherine Mansfield among the Moderns examines Katherine Mansfield’s relationship with three fellow writers: Virginia Woolf, D. H. Lawrence, and Aldous Huxley, and appraises her impact on their writing. Drawing on the literary and the personal relationships between the aforementioned, and on letters, diaries, and journals, this project traces Mansfield’s interactions with her contemporaries, providing a richer and more dynamic portrait of Mansfield’s place within modernism than usually recognized.
Hitherto, critical work has not scrutinized Mansfield in the manner I suggest: attending to representations of her as a character in other’s work, while analyzing the degree to which her influence on the aforementioned authors affected their writing and success. Albeit, her influence extends in vastly different ways, and is affected by gender and nationality. While Woolf’s early foray into Modernism is accelerated by Mansfield’s criticism of her work, several of Woolf’s texts – “Kew Gardens,” Jacob’s Room, and Mrs. Dalloway – are similar in certain respects to Mansfield’s work – “Bliss” and “The Garden Party.” A repudiation of Mansfield, personally, and a retelling of her work are seen in Lawrence’s The Lost Girl and Women in Love. Huxley’s Those Barren Leaves and Point Counter Point, contain characterizations of Mansfield that undermine her writing, and her person: both are affected by the mythical misrepresentation of Mansfield, created by Murry after her death, known as the “Cult of Mansfield.”
Using Life Writing, this study asserts that Mansfield had impact on the writing of Woolf, Lawrence, and Huxley. Taking into account the many issues that surround the recognition of this, among them: gender politics, colonialism, marginality by genre, and personal relations – these all, to varying degrees, prevented critics from acknowledging that a minor modernist author played a role in the undisputed success of three major authors of the twentieth century.
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Illerhag, Erik. "Life or Death: Biopower and Racism in Huxley´s Brave New World." Thesis, Högskolan i Gävle, Engelska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-26762.
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Aldous Huxley´s Brave New World describes how a totalitarian power has taken control over both body and mind of the whole population. A hierarchical caste system, where a person´s role in society is predetermined long before birth, maintains stability together with brain-washing methods and propaganda. Huxley expressed his fears of what might happen if science was used for the wrong purposes, and wrote his futuristic novel Brave New World in the beginning of the 1930s, inspired by the turbulent world around him. It was a time preoccupied with race and classification of populations, which ended in the disastrous Holocaust. Huxley´s novel is equally important today when eugenics is on the comeback and democracy is challenged by nationalist and populist movements. This essay will consist of a close reading of Brave New World, analyzed from the perspective of the theories of French philosopher Foucault. He launched his concept of biopower in the 1970s, where he linked a negative use of controlling citizens with state racism. The focus of this essay will be to explore how biopower and racism are used by the totalitarian state in the novel to maintain control of the population. The argument will be made that racism, internal division and exclusion are vital tools to achieve that purpose.
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Fischer, Erica Kerstin. ""The best that has been thought or said" cultural division and the postmodern turn in "Point Counter Point" /." [Pensacola, Fla.] : University of West Florida, 2009. http://purl.fcla.edu/fcla/etd/WFE0000152.
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Franzén, Martin. "Deconstructing Aldous Huxley’s Brave New World’s Ambiguous Portrayal of the future." Thesis, Karlstads universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-70827.
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This research presents a deconstructive analysis of Aldous Huxley’s 1932 novel Brave New World. As a literary work, it is most commonly considered a dystopian visualisation of the future of modern civilisation. This essay reveals a more ambiguous reading of Brave New World by deconstructing and presenting the aspects of the novel which pertain to the classification of the novel as both dystopian and utopian simultaneously. This conclusion of ambiguity is presented to negate any notion that the novel can be classified as a definitive representation of either a utopian or a dystopian portrayal of the future.
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Lundqvist, Lisa. "Aldous Huxley’s Dichotomized Beginning towards Spirituality : An Analysis of Religious Aspects in Crome Yellow." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-29168.
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This essay is an analysis of the religious aspects of Crome Yellow. The main focus is to discover what Aldous Huxley’s views on religion were at the time he wrote Crome Yellow and to explore how Huxley’s contemporary surroundings influenced his views on religion. Huxley was born into a family and a society where there was a conflict between science and religion and this conflict together with the crises of his early life, came to affect him greatly. This essay conducts an analysis of Crome Yellow by utilizing Peter Berger’s theory of social construction, which includes information about Huxley’s contemporary surroundings. Huxley seems to have been ambiguous towards religion. He was concerned about the future of society and opposed to organized religion. He was longing for answers and meaning, and he had begun to form a spiritual belief where colour and light are central. These spiritual aspects can be seen as the beginning of Huxley’s spiritual enlightenment.
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Hachtel, Julia. "Die Entwicklung des Genres Antiutopie : Aldous Huxley, Margaret Atwood, Scott McBain und der Film "Das Leben der Anderen" /." Marburg : Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3008882&prov=M&dok_var=1&dok_ext=htm.
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Poller, Jacob Robert. "'Dangerously far advanced into the darkness' : the place of mysticism in the life and work of Aldous Huxley." Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/2964.
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This thesis traces Huxley’s abiding preoccupation with mysticism, from his first collection of poetry to his final novel Island (1962). The function of mystics, Huxley argues in Grey Eminence (1941), is to dispel the ignorance of our benighted world by letting in the light of ultimate Reality. A world without mystics, he writes, would be ‘totally blind and insane’, and he laments that at present ‘[w]e are dangerously far advanced into the darkness’. Chapter 1 examines the influence of mysticism on Huxley’s early work. Several of his poems betray a mystical yearning; Gumbril is tantalised by intimations of the divine Ground; however, it was not until Those Barren Leaves (1925) that Huxley created a character who actively investigates ultimate Reality. Huxley’s disenchantment with mysticism has traditionally been ascribed to the influence of D.H. Lawrence, but the supposedly Lawrentian doctrine of life-worship that Huxley advocated was essentially humanist, whereas for Lawrence life was a metaphysical force. Chapter 2 analyses what it was that Huxley responded to in Lawrence, and the extent to which life-worship actually conforms to Lawrence’s ideas. Chapter 3 examines Huxley’s transition from intellectual elitism in the 1920s to his re-engagement with mysticism in the mid thirties. As a result of his friendship with Gerald Heard, Huxley joined the Peace Pledge Union, and it was a pacifist lecture tour that catalysed Huxley’s emigration to America in 1937. In California, Huxley grew exasperated with Heard and increasingly turned to Jiddu Krishnamurti for spiritual advice. Chapter 4 assesses the influence of these ‘problematic gurus’. The final chapter examines the treatment of sex in Huxley’s work, from the disillusioned romantics of his early fiction, to the reformed libertines who embrace celibacy in an attempt to lead a more spiritual life, to the inhabitants of Pala, for whom sex is a sacrament.
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Dündar, Hayri. "Dystopia as a vital peek into the future : The importance of dispatching antiquated morals and establishing new ethics." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-14737.
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This essay analyzes and tries to untangle the meaning and intention of dystopian literature, by analyzing two novels (Neal Shusterman‟s “Unwind” and Aldous Huxley‟s “Brave New World”). From this analysis, whether or not the futures portrayed in dystopian literature relate to our own future is riddled out, furthermore the importance of the authors‟ intention is debated and a conclusion is reached. As the dystopian future unravels, ethnicity, gender, class and sexual orientation, to mention a few factors, find their own place in the new world; this essay tries to establish their roles in the new society. When discussing the characters in the novels, Bourdieu‟s theories on fields, habitus and social capital are used to figure out what they are competing for and in what ways they struggle for the reward. Furthermore, the development of dystopian imagining is discussed and its function as a reflection of contemporary society and the state of science. Delineating the roles of social classes in dystopias is an important task in figuring out whether social power still reduces minorities depending on class or gender. Our antiquated morals and ethics aren‟t suitable anymore and need to be reformed; this is discussed based on dystopian literature and the image of the future. Furthermore, this essay gets into detail with the reduction of man and by what means we are enslaved and made to believe in the faux utopias. In the end, the conclusion reached is that dystopian literature delivers a hefty and important point that needs to be heeded and used as a rare look into the future.
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FRANCISCO, RAFAEL DA CUNHA DUARTE. "WE ARE THE DEAD: THE AESTHETICS OF PROGNOSIS IN REALISTIC DYSTOPIAN LITERATURE OF ALDOUS HUXLEY, GEORGE ORWELL AND YEVGENY ZAMYATIN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24932@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>Este trabalho tem como objetivo central analisar comparativamente três dos principais romances distópicos escritos na primeira metade do século XX: We (1924) de Yevgeny Zamyatin, Brave New World (1932) escrito por Aldous Huxley e 1984 (1949) escrito pelo romancista e jornalista inglês George Orwell. Não se trata aqui de pensar apenas em como essas obras foram moldadas por um ou outro conjunto de pressões históricas, mas sim procurar refletir especialmente se e como essas obras também podem possuir uma dimensão propositiva comum a todas elas. Elabora-se, a partir desse esforço, a categoria de estética do prognóstico, no interior do próprio pensamento crítico e ensaístico de Aldous Huxley. Partindo da obra de Huxley e posterioremente testando a força dessa categoria de estética do prognóstico frente aos dois outros romances, fomos capazes de perceber como a ficção opera a construção de uma encenação que pretende ser mais do que mera encenação. Pretende ser ela mesma uma espécie de realismo do futuro, chamado por nós de realismo distópico. Mas esse realismo não encontra o ponto máximo de sua representação da realidade na literatura ao profetizar (prognosticar) os meios pelos quais a sociedade do futuro irá se desenvolver, mas sim nas tópicas centrais à construção de seus protagonistas: o amor e a morte.<br>This work is mainly aimed at comparing three of the main dystopian novels written in the first half of the twentieth century: We (1924) by Yevgeny Zamyatin, Brave New World (1932) written by Aldous Huxley and 1984 (1949) written by the english novelist and journalist George Orwell. We re not only interested to think of how these works were shaped by either set of historical pressures, but rather trying to reflect especially if and how these works may also have a common propositional dimension to all of them. Draws up from that effort, the category of the aesthetic of prognosis, built inside the critical and essayistic thought of Aldous Huxley himself. Starting from the work of Huxley and then testing the strength of this category of aesthetic of prognosis compared to the other two novels, we were able to understand how fiction works to build a staging that aims to be more than mere acting. Want to be itself a kind of realism of the future, called by us the dystopian realism. But this realism did not find the peak of its representation of reality in literature prophesying (predicting) the means by which the society of the future will develop, but on the construction of the central protagonists issues: love and death.
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Morais, Rafael Pinto. "A modernidade em lugar nenhum: o mundo moderno revisitado pelos romances utópicos de William Morris, H. G. Wells e Aldous Huxley." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/3309.
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Previous issue date: 2011-06-06<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>Modernity is still alive, but not in the same way it has always been. Nowadays, the condition of the modern world is coldly examined, many of its institutions are analyzed and greatly frowned upon, and, therefore, the need for change is evident. The present dissertation arises from this context and aims at taking part in its discussions from the perspective of literature, more precisely of the genre utopia. The objective of our study is to understand what William Morris, H. G. Wells and Aldous Huxley, in their utopian novels, have to say about the modern civilization and what changes they propose regarding the problems they witness. First, we start the research by adopting the belief that there is a logic that is present in, permeates and moulds the modern practices and existences: the enlightened reason. Second, we take modernity for its reason, describe it in details and try to see it embodied in the material life, in the segments of production and consumption, politics and science. After this characterization of what modernity is, we finally get to the analyses of the novels. By revealing how the writers see modern reason in their books, we achieve our main goal. Briefly speaking, while Wells views the imperatives of the modern world as great principles that must be clung to and spread, Morris e Huxley are much more critical: both see the darkness of our times and show, through their own understanding of the facts, possible ways out of it. The two writers bring us important contributions that should be considered in the path we have been walking on lately<br>A modernidade ainda está viva, mas não da forma que sempre esteve. Nos dias atuais, examina-se a condição do mundo moderno friamente, jogam-se luzes sobre seus trabalhos sem gostar muito do que se vê e, por fim, percebe-se a necessidade de mudanças. A presente dissertação surge desse contexto e tem como intuito geral tomar parte em suas conversações a partir da literatura, mais precisamente do gênero utopia. O objetivo do trabalho é compreender o que William Morris, H. G. Wells e Aldous Huxley, em seus romances utópicos, dizem a respeito da civilização moderna e propõem como saída para suas contradições. Damos início à pesquisa assumindo a noção de que existe uma lógica que sustenta, permeia e molda as práticas e existências modernas: a razão esclarecida. Logo após, tomamos a modernidade por sua razão, descrevemos esse elemento basilar da civilização moderna e buscamos enxergá-lo corporificado nas esferas da produção e do consumo, da política e da ciência. Feita a delimitação, caracterização e mapeamento do que é a modernidade, chegamos à análise dos romances. Revelando a postura dos autores diante da razão que alicerça o mundo moderno, nosso propósito é alcançado. Em suma, enquanto Wells se prende aos imperativos do período e tenta de todas as formas propagá-los, Morris e Huxley têm uma postura mais crítica, conseguem enxergar a obscuridade de nosso tempo e expor, na própria apreensão dos fatos, possíveis caminhos para fora das trevas. Os dois autores, assim, trazem contribuições que nos auxiliam a pavimentar o caminho que percorremos na atualidade
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Rebelo, Maria Raquel de Gouveia Durão Pina. "Entre a civilização e a selvajaria : os estereótipos do nativo americano e o selvagem de Brave New World de Aldous Huxley." Master's thesis, Porto : [Edição do Autor], 1999. http://hdl.handle.net/10216/14514.
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A presente dissertação apresenta, num primeiro momento, um estudo dos estereótipos do Ameríndio - nomeadamente o Bom-Selvagem e o canibal feroz e amoral -, formados pela mente branca europeia e americana numa atitude de contraponto entre culturas. Este estudo, baseado em textos representativos de várias épocas, serve de base à deconstrucção satírica que aldous Huxley faz desses estereótipos e à subversão das categorias discursivas oposicionais nas quais eles assentam e que levaram à distinção entre a selvajaria e um mundo dito civilizado. Através da personagem John, the Savage na obra em estudo, o autor irá relativizar os conceitos de primitivismo e progressivismo, bem como as idealizações e posições extremistas quanto à américa e seus nativos.
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Rebelo, Maria Raquel de Gouveia Durão Pina. "Entre a civilização e a selvajaria : os estereótipos do nativo americano e o selvagem de Brave New World de Aldous Huxley." Dissertação, Porto : [Edição do Autor], 1999. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000101358.
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A presente dissertação apresenta, num primeiro momento, um estudo dos estereótipos do Ameríndio - nomeadamente o Bom-Selvagem e o canibal feroz e amoral -, formados pela mente branca europeia e americana numa atitude de contraponto entre culturas. Este estudo, baseado em textos representativos de várias épocas, serve de base à deconstrucção satírica que aldous Huxley faz desses estereótipos e à subversão das categorias discursivas oposicionais nas quais eles assentam e que levaram à distinção entre a selvajaria e um mundo dito civilizado. Através da personagem John, the Savage na obra em estudo, o autor irá relativizar os conceitos de primitivismo e progressivismo, bem como as idealizações e posições extremistas quanto à américa e seus nativos.
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Modig, Andrew. "The Rational State : A feminist look, supported by Althusser’s Marxist theory, at how Mr. Scogan views and interacts with the women in Aldous Huxley’s Crome Yellow." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-12167.
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This paper analyses Mr. Scogan and his treatment of women with the use of Althusser’s Marxist theory which (supposedly and in this case successfully) reveals the ideology which infuses every State and every larger social group. Feminist theory is then used to analyse his philosophy which influences both his utopia, “the Rational State”, as well as his treatment of women – the conclusion drawn after analysing several events or discussions in Crome Yellow, such as on the Home Farm, the Rational State and the Charity Fair was that Mr. Scogan is perhaps not representative of all men and certainly not of men (and men’s notions) at the timeof Crome Yellow’s publication, but he is representative of a stereotypical man who oppress women based on their femininity. The worst case scenario drawn was that Mr. Scogan could be a rapist of young virgins.
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DuPlessis, Nicole Mara. "Literacy and its discontents: modernist anxiety and the literacy fiction of Virginia Woolf, E. M. Forster, D. H. Lawrence and Aldous Huxley." Texas A&M University, 2008. http://hdl.handle.net/1969.1/86028.
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Literacy theory, a multi-disciplinary, late-twentieth century endeavor, examines
the acts of reading and writing as cognitive and social processes, seeking to define the
relationship between reading and writing and other social and cognitive - especially
linguistic - acts. As such, literacy theory intersects with discussions of public and
individual education and reading habits that surface with the rise of the mass reading
public. This dissertation analyzes scenes of reading and writing in the fiction of Virginia
Woolf, E. M. Forster, D. H. Lawrence and Aldous Huxley as implicit authorial
discourses on the function of literacy, including properties of written language and the
social consequences of literate acts. It argues that reading and writing form important
thematic concerns in Modernist fiction, defines fiction that theorizes about reading and
writing as "literacy fiction," and proposes fictional dramatizations of literate activity as
subjects for literacy theory.
Chapter I argues that early twentieth-century Britain is an important historical
site for intellectual consideration of literacy because near-universal access to education across social classes influences an increase in middle and working class readers.
Woolf's Mrs. Dalloway provides a test case for the analysis of scenes of reading because
her democratic concern with education is well established in the scholarly literature.
Chapter II argues that in "The Celestial Omnibus" and "Other Kingdom," Forster
critiques use of literacy as cultural capital. Chapter III argues that Forster's A Room with
a View and Howards End portray the dangers of naive reading and the difficulties of
autodidacticism for the working class, respectively. Chapter IV argues that Lawrence's "Shades of Spring" and Sons and Lovers introduce the theoretically unexplored topic of
literacy's influence on intimate relationships. Chapter V argues that Huxley's Brave
New World responds to the Modernist discourse on literacy by addressing the restriction
of individual literacy by the State and elite intellectuals. The conclusion summarizes
Modernist representation of literacy, states the significance of the methodology and its
further applications, and refines the definition of literacy fiction. Because Modernist
writers scrutinize the relationship between external forces and the individual psyche,
their anxiety-tinged portraits treat both cognitive and social functions of literate acts.
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Mak, Ngah-lam Elaine. "Eugenics in dystopian novels /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23595954.
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Pavloski, Evanir. "Admirável mundo novo e A ilha." reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/29051.
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Resumo: O objetivo do presente trabalho é desenvolver uma análise comparativa entre as obras Admirável mundo novo e A ilha, de autoria do autor britânico Aldous Leonard Huxley e inscritas na chamada literatura utópica / distópica. Após discorrer sobre a perenidade e a relevância do utopismo enquanto expressão substancialmente crítica do pensamento humano ao longo dos séculos, focalizamos a representatividade das projeções utópicas como signos da modernidade e mecanismos de problematização da realidade experimental nos séculos XIX e XX. Nesse contexto, defendemos a influência da sensibilidade romântica nas figurações ficcionais de Huxley, aspecto que o caracteriza como um autor vinculado à corrente ideológica denominada por Lukács de romantismo anticapitalista. Ao longo da análise, demonstramos que elementos problemáticos das projeções utópicas - o apagamento das individualidades e a consequente normalização das identidades, a alienação e o impulso materialista - são utilizados por Huxley como instrumentos de crítica à expansão do racionalismo capitalista. Comprovamos no decorrer da argumentação que tal processo de contestação se efetiva tanto pela radicalização distópica em Admirável mundo novo, quanto pela destruição do idílio utópico em A ilha. A complementariedade das duas perspectivas, portanto, fornece subsídios para apontar a dicção literária de Aldous Huxley como uma das mais críticas de seu tempo.
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Kringstad, Johan. "From Alphas to Epsilons : A study of eugenics and social caste in Aldous Huxley’s Brave New World from a biographicalperspective." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-62645.
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AbstractThis essay discusses the concepts of eugenics and social caste in Brave New Worldin relation to Aldous Huxley, from a biographical perspective. The essay analyzes how events and personal relationships of Aldous Huxley have influenced the depiction of the concepts social caste and eugenics in his novel Brave New World. Using sources which recount the travels and the personal encounters that Aldous Huxley made throughout his life, this essay makes comparisons and draws conclusions as to how these eventsand relationshipshave affected the depiction of social caste and eugenics in Brave New World
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Chizmar, Paul Christopher. "Miranda's Dream Perverted: Dehumanization in Huxley's Brave New World." Kent State University Honors College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1335827209.
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Carvalho, Licurgo Lima de [UNIFESP]. "Clássicos da Literatura no Ensino e na Humanização em Saúde: A dinâmica do Laboratório de Humanidades (LabHum) nas Leituras de Aldous Huxley e Níkos Kazantzákis." Universidade Federal de São Paulo (UNIFESP), 2017. http://repositorio.unifesp.br/11600/41893.
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Previous issue date: 2017-05-29<br>O Laboratório de Humanidades (LabHum), criado em 2003 na Universidade Federal de São Paulo - Escola Paulista de Medicina (Unifesp-EPM), consiste em um grupo de discussão de Clássicos da Literatura Universal, onde um coordenador metodologicamente capacitado faz a mediação dos encontros a fim de facilitar o compartilhamento de ideias e sentimentos suscitados pela leitura. Partindo assim desse objeto de pesquisa, esse trabalho teve por objetivo compreender como a dinâmica do LabHum, especialmente nas discussões dos romances “Admirável Mundo Novo” (Aldous Huxley, 1932) e “Vida e Proezas de Aléxis Zorbás” (Nikos Kazantzákis, 1946), repercutiu na formação pessoal e/ou profissional dos participantes, procurando aprofundar, ainda, a reflexão sobre o impacto da literatura por meio da metodologia proposta. Para tanto, optamos pela utilização de uma metodologia qualitativa de coleta de dados baseada na Observação Participante, na análise de Relatos de Experiência, e na História Oral de Vida. Dessa maneira, ao final dos 31 encontros, os 61 integrantes, com faixa etária entre 20 e 65 anos aproximadamente, foram convidados a relatarem, por escrito, o que significou para eles participar dos encontros de leitura e discussão dos romances, sendo que para os estudantes e profissionais da saúde o convite foi estendido para que também nos contassem suas trajetórias, resultando em 34 Relatos de Experiência e nove narrativas de História Oral de Vida. Essas 43 narrativas foram analisadas pela Imersão/Cristalização, técnica inspirada na Fenomenologia Hermenêutica, sobre as quais realizamos uma Compreensão Interpretativa. Os resultados indicam que a dinâmica afetiva do Laboratório de Humanidades, que estimula o pensamento crítico e reflexivo a partir da leitura literária compartilhada em um ambiente diverso, propicia o desencadeamento, em diferentes níveis de intensidade, de experiências de crise e despertamento, com consequente ação transformadora e/ou humanizadora. Por outro lado, ao privilegiar os afetos e o contexto do leitor, contribui para a construção de leitores literários, ou seja, que alteram seus hábitos de leitura, que aprendem a aproximar a literatura da vida, e que passam a valorizar as narrativas literárias na formação pessoal e profissional, despertando-os para o potencial humanizador dos textos ficcionais.<br>The Laboratory of Humanities (LabHum), created in 2003 at the Federal University of Sao Paulo - Escola Paulista de Medicina (Unifesp-EPM), comprises a discussion group of the classics from universal literature, where a methodologically trained coordinator mediates the meetings to facilitate the sharing of ideas and feelings raised by the readings. This work aimed to understand how the aforementioned LabHum’s dynamic – our research object – especially the discussions arisen by the novels “Brave New World” (Aldous Huxley, 1932) and “Life and Times of Alexis Zorbas” (Nikos Kazantzakis, 1946), reverberated in the individual and/or professional education of participants, seeking to further deepen the reflection on the impact of literature via the proposed methodology. For such purposes, we deployed a qualitative methods approach for data collection based on Participant Observation, and for the analysis of what we termed ‘Experience Reports’ and the Oral Life History Narratives. Hence, at the end of 31 meetings, all 61 participants, ranging from approximately 20 to 65 years of age, were invited to produce written reports on what their participation at such reading and discussion meetings of those novels meant for them – the invitation for students and health professionals was extended to those who also narrated their life history – resulting in 34 Experience Reports and 9 Oral Life History Narratives. These 43 narratives were analysed by Immersion/Crystallisation – a method inspired by Hermeneutic Phenomenology – as we conducted an Interpretative Analysis. The results indicate that the LabHum’s affective dynamic, which stimulates both critical and reflexive thinking from the shared experience of literary reading at a diverse environment, fosters the triggering, at distinct levels of intensity, of experiences of crises and awakening, with a consequent transforming and/or humanising effect. On the other hand, by privileging the reader’s affections and context, the LabHum’s dynamic contributes to the making of literary readers – i.e. altering their reading habits as they learn to bring reading closer to life, and begin to value literary narratives in both their individual and professional education, further awakening for the humanising potential of fictional texts.<br>BV UNIFESP: Teses e dissertações
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Dunphy, Patricia. "Den nya generationen: Dystopisk reproduktion : En tematisk genusanalys av Karin Boyes Kallocain, Aldous Huxleys Du sköna nya värld och George Orwells 1984." Thesis, Södertörns högskola, Institutionen för genus, kultur och historia, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-5700.
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The three dystopian novels Brave New World by Aldous Huxley, Kallocain by Karin Boye and Nineteen Eighty-Four by George Orwell have been highly discussed amongst literary critics and scholars. Although these works are well-known, some themes have had very little or no recognition. Biological reproduction is a recurring subject in dystopian literature. Although it is not the main theme in the novels, it is a very important part in dystopian culture and dystopian society. By focusing on reproduction and the structure of gender roles in these three dystopias, I hope to bring to light something that's been in the shadows for a long time i.e. the women of dystopian society. I will address the role of nature and technology in terms of reproduction by using Pia Maria Ahlbäck's theory of the heterotopia. Later, I will discuss the problems and possibilities of the role of women in biological reproduction.
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West, Alan George H. "The natural history of the future: The related importance of history and nature to the work of Richard Jefferies, William Morris, H. G. Wells, and Aldous Huxley." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6083.
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Utopias and dystopias are forms of social criticism in which the author draws on an existing society to create a perfected (utopian) or exaggerated (dystopian) projection which is set in a different time and/or space from the original. As reactions to problematic, or potentially problematic, situations and developments, utopias and dystopias are always connected to change---they explicitly or implicitly present an argument for change, and/or they embody a response to it. This thesis focuses on four English authors who wrote utopias and/or dystopias between the latter part of the Nineteenth Century and the middle part of the Twentieth: Richard Jefferies, William Morris, H. G. Wells, and Aldous Huxley. In each case they not only responded to recent, endemic, or continuing change, but also implicitly or explicitly sought it. The narratives they wrote are founded in change and emerged during a time of flux. Jefferies responded to a declining rural culture, Morris to an expanding industrial culture, Wells to the material uncertainties evoked by evolution theory, and Huxley to the post-Darwin, post-War metaphysical incertitude which appeared to him to have decentred the culture. Each author also sought appropriate change to remedy the particular circumstances of which he was critical. This thesis looks at these authors, not simply in terms of their response to change, but in terms of their attitudes to the relatively enduring structures of nature and history. Nature, in its various manifestations, had different connotations for different authors. To Jefferies, nature---as local landscape and cosmic immensity, as ears of corn and universal life force---offered, amongst other things, an essential continuity that modern life was eroding. For Morris, nature offered inspiration and the possibility of a harmonious interrelationship with humanity once the restless era of capitalism had been succeeded by a restful future in communism. To Wells, both external and internal nature offered a dangerous unpredictability which must be controlled, while Huxley believed that humanity's struggle with the environment and consequent negative impact on it could be dissolved in the possibility of epiphanic fusion with the cosmos. Central to all their various conceptions of, and attitudes toward, nature, however, is the question of what are the shaping characteristics of humanity's relationship with nature. The unfolding of history, in the simple sense of time passing, was not synonymous with progress for these writers, and the perception that the temporal current was actually carrying society, or elements of it, toward regression and/or fragmentation inspired their remedial dystopian and utopian texts. (Abstract shortened by UMI.)
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Touzani, Hamza. "Itinéraires d'Aldous Huxley et de George Orwell à travers l'étude de Brave new world et de Nineteen eighty-four et leurs rapports au contexte actuel." Paris 4, 1994. http://www.theses.fr/1994PA040205.
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Cette thèse concerne les carrières d'A. Huxley et de G. Orwell à travers l'étude en commun de leurs deux ouvrages respectifs Brave new world et Nineteen eighty-four. Elle incorpore trois parties : la première est consacrée à l'étude des contenus des deux ouvrages. Le premier chapitre étudie les personnages de Brave new world et de Nineteen eighty-four. Le deuxième chapitre traite des valeurs, des visions du monde et des institutions des sociétés futures qu'ils contiennent. La deuxième partie est, elle, consacrée à l'étude des contextes dans lesquels G. Orwell et A. Huxley ont écrit leurs deux romans en question. Le premier chapitre porte sur les biographies des deux auteurs et sur l'influence des contextes socio-politiques sur Brave new world et Nineteen eighty-four. Le deuxième chapitre contient l'étude des influences écrites : littéraires, scientifiques, politiques et philosophiques sur A. Huxley et G. Orwell et leurs œuvres. La troisième partie étudie les rapports de Brave new world et de Nineteen eighty-four au contexte actuel. Le premier chapitre contient une sorte de diagnostic de la société moderne à la lumière des mises en garde et des anticipations de Huxley et d’Orwell ; le deuxième incorpore des solutions et des alternatives (tout en les comparant avec celles des deux écrivains en question) aux diverses crises de la société industrielle<br>The thesis deals with a study of the literary and intellectual itineraries of Aldous Huxley and Georges Orwell through the analysis of two of their literary works: Brave new world and Nineteen eighty-four. The thesis is divided into three parts, the first of which presents an analysis of the two novels's contents. A discussion of the plots and the characters of brave new world and nineteen eighty-four was provided. In addition to this, a study of the values, visions of the word and the institutions of the futures societies imagined by A. Huxley and G. Orwell has been largely discussed. Concerning the second part which is in itself divided into two chapters, it discusses the social and historical context in which the two authors have written their two novels. More explicitly we find a study of the biographies of the two writers as well as the impact of the socio-historical context on Brave new world and Nineteen eighty-four. Equally important, I have discussed the literary, scientific, philosophical and political influences on A. Huxley and G. Orwell and on their literary products. A study of Brave new world and Nineteen eighty-four's relation to the contemporary society is the theme of the last part. It consists of a diagnostic of the modern society compared to A. Huxley and G. Orwell's anticipations in Brave new world and Nineteen eighty-four
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Eros, Paul James. ""One of the most penetrating minds in England" : Gerald Heard and the British intelligentsia of the Interwar period." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:44445caf-be0a-49e2-bd51-ebed4d33225c.
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Gerald Heard (1889-1971) was an influential figure among the intelligentsia of the 1930s, once described by E.M. Forster as “one of the most penetrating minds in England.” However, he remains an ill-defined footnote, a marginal figure whose influence and reputation, although acknowledged, remains unexamined. This dissertation examines his life and work, and considers the role which Heard, as a generaliser and public intellectual, played in the intellectual landscape of the 1930s. Central to Heard’s philosophy was a belief that society was in need of a spiritual and psychological force which could allow isolated individuals to participate in community with one another. Heard’s solution to bring about this evolution of consciousness would prove to be partly psychological, partly mystical and partly down to the product of a particular way of living. The first chapter outlines Heard’s philosophy in detail. Subsequent chapters are structured so as to provide a loose biographical chronology, each focussing on a different phase of Heard’s career and examining the development of his thought. Running throughout the dissertation is a consideration of Heard’s role as a public intellectual. It was as a popular ‘generaliser’ of thought that Heard found his public, and the limited degree of success he found as a man of action could be seen to be a natural limitation of the role he had constructed for himself. Chapter II focuses on Heard’s time as personal secretary to Sir Horace Plunkett, father of the Irish Co-Operative Movement, and how the ideals of this movement can be seen to inform his developing ideas of human community. Chapter III looks at Heard’s role as a broadcaster with the B.B.C., where he became a noted populariser of science, firmly establishing himself as a public figure and cultural authority. It is arguably this increased public profile which provided Heard with a ‘public’ to whom he could address his ideas. Chapter IV, drawing on archival material from Dartington Hall, considers Heard’s role as a lecturer at Dartington School, and more importantly his first experiment to establish a small ‘group’ for meditation in an attempt to discover the mystical and psychological basis for a co-operative society. Chapter V examines his career as an outspoken pacifist, where he would advance his arguments for a radical reorganisation of society as a practical solution to the question of peace and further attempt to become a man of action.
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Casagrande, Eduardo Vignatti. ""Each one of us goes through life inside a bottle" : a reading of Brave new world in the light of Zygmunt Bauman's theory." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/141236.
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Esta dissertação propõe uma leitura do romance Admirável Mundo Novo (1932) de Aldous Huxley sob a luz dos conceitos de Zygmunt Bauman da Modernidade Líquida. A narrativa ocorre em uma Londres futurística no século 26, no ano 2540 de nossa Era Comum, ou – na narrativa no ano 632 AF (Após Ford). Subjacente ao cenário distópico de avanço tecnológico e organização altamente desenvolvida, porém, os temas discutidos no romance remetem à circunstância do tempo e lugar de sua produção, o início dos anos 1930, em um contexto de desenvolvimento industrial, tensão política e crise econômica. Nesta pesquisa, eu busco a resposta para a seguinte pergunta: “De quais maneiras a ficção de Huxley antecipa o tipo de sociedade seus leitores vivem no tempo presente, três-quartos de século após sua publicação? Com ajuda das teorias do Professor Zygmunt Bauman, eu construo minha interpretação das metáforas encontradas no romance, que prognosticam as atuais condições de capitalismo de mercado livre, consumismo, obsolescência programada que determinam a ética, a estética e a forma de pensar de nosso tempo presente. As hipóteses de Bauman concernem a liquidez do mundo atual, no qual nada deve durar muito. Esta premissa gera um grande número de consequências, tais como: fragilidade dos laços humanos, pensamento crítico superficial e supremacia dos contatos virtuais sobre ocontato de fato entre as pessoas. A dissertação está dividida em quatro capítulos. No primeiro, eu contextualizo o conceito de distopia. No segundo, eu trago a contextualização necessária sobre o tempo, a obra e o autor. No terceiro, eu introduzo os conceitos de Bauman sobre modernidade sólida e líquida e os conecto com o estudo de Admirável Mundo Novo. No capítulo IV, apresento minha leitura da obra. Ao final da pesquisa, espero encontrar respostas para a questão proposta estabelecendo inter-relações entre os aspectos ficcionais do romance e os traços sociais de nosso tempo atual.<br>The present thesis proposes a reading of Aldous Huxley’s Brave New World (1932) in the light of Zygmunt Bauman’s concept of Liquid Modernity. The plot of the novel unfolds in the futuristic London of the 26th century, in the year 2540 of our Common Era, or – in the narrative – in the year 632 AF (After Ford). Underlying the dystopian scenario of technological advancement and highly developed organization, however, the themes discussed in the novel actually address the circumstances of the time and place of its own production, the beginning of the 1930’s, in a context of developing industrialization, political tension, and economic crises. In this research, I pursue the answer to the following question: “In what ways does Huxley’s fiction anticipate the kind of society its readers would be living in at our present time, three quarters of a century after its publication?” With the help of Professor Zygmunt Bauman’s theories, I build my interpretation of the metaphors found in the novel, that prognosticate the current conditions of free-market capitalism, consumerism, programmed obsolescence, that determine the ethics, the aesthetics and the ways of thinking of our present times. Bauman’s assumptions concern the liquidity of the contemporary world, where nothing is meant to last long. This premise generates a number of consequences such as overconsumption, frail human bonds, superficial critical thought, and supremacy of online over factual contacts among people. The thesis is devised in three chapters. In the first, I contextualize the concept of dystopia. In the second, I bring the necessary contextualization about the time, the work and the author. In the third, I introduce Bauman’s concepts of solid modernity and liquid modernity and connect them with the study of Brave New World. Finally. In Chapter IV, I present my reading of the novel. At the end of the research, I expect to find the answers to the posed question by establishing critical interrelations between the fictional aspects of the novel and the social features ongoing in our present time.
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Sendra, Sophie. "Réflexions philosophiques sur les réalités non-ordinaires d'une littérature de la perception : Huxley, Kerouac, Castaneda." Nice, 2007. http://www.theses.fr/2007NICE2003.
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Ce travail de recherche s’interroge sur la fonction et la signification des états de réalité non-ordinaires que l’on appelle également états de modification de la conscience. Au travers des théories philosophiques de la conscience et de la perception, nous verrons de quelle façon celles-ci ont évolué de Descartes aux sciences cognitives. Loin de nous focaliser sur une analyse liée essentiellement à la philosophie, nous inclurons dans notre recherche l’étude d’une littérature de la perception, celle-là même qui se manifesta outre-atlantique à partir de la seconde moitié du XXème siècle. En nous intéressant exclusivement aux passages les plus significatifs de certains ouvrages d’écrivains tels que Aldous Huxley, Jack Kerouac et Carlos Castaneda, nous tenterons de cerner les limites perceptives de notre conscience. Nous nous interrogerons sur la possibilité d’une philosophie ouverte et sur une éventuelle relativité de la perception au travers de ces états de réalité non-ordinaires<br>This research work tries to question on the function and the signification of states of nonordinary reality also called states of modification of conscience. Through philosophic theories of conscience and perception, we’ll see how they evolued from Descartes to cognitives sciences. Far from focus ourselves on an analysis tied to philosophy, we’ll include in our research a study of a litterature of perception, the american ones wich begin in the second half of the 20th century. Exclusively focusing on significatives excerpts of some books by writers like Aldous Huxley, Jack Kerouac and Carlos Castaneda, we’ll try to define the perceptives limits of our conscience. We’ll question ourselves on a possibility of a wider philosophy and on a possible relativity of perception through these states of nonordinary reality
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Martin, M. "A novel: Three Jumpers (An Elegy for Trevor) ; and, A study: Death-work in the Californian comedies of Aldous Huxley and Evelyn Waugh: a critical consideration and creative response." Thesis, Bath Spa University, 2008. http://researchspace.bathspa.ac.uk/1476/.
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Three Jumpers (An Elegy for Trevor) is a comic novel about a man who comes to believe that he makes no impact on the world, that the world is entirely unaffected by his existence. Concluding that he has no reason to live, Trevor decides to die. To produce a fitting valediction that might serve as both a memorial and a cautionary tale, he hires a writer, the narrator, Bardolph. The story tells of how, through the writing process, each of these two protagonists struggles to come to terms with his own mortality, and his consequent descent - Trevor's morbid downward spiral towards suicide and Bardolph's spiritual descent towards irreparable loss of faith. Three Jumpers aims to be, among other things, a satire in the Dryden tradition, commentating on 'the Condition of England' through a broad range of 'vices, ignorance, and errors.' It is also an elegy - hence the subtitle. The inherent irony is that the narration - at the core of which is the narrator's struggle with, and apparent failure in, writing the elegy - turns out to be that very elegy. More importantly, the novel is intended as a parody, albeit, in the best Beerbohmian tradition, a good-humoured and affectionate one. Within the novel there lurk parodic literary allusions, many of them to the chosen texts of the study. The accompanying study is a critical consideration of the Californian comedies (from 1939 to 1948) of Aldous Huxley and Evelyn Waugh. There are four key texts, After Many a Summer (1939) and Ape and Essence (1949 (1948 in USA)) by Aldous Huxley and 'Half in Love with Easeful Death' (1947) and The Loved One (1948) by Evelyn Waugh. These texts are chosen because they are rich in what is defined as death-work (the treatment of death in the text), and they share the Forest Lawn funeral home as a setting. In this way, they highlight Huxley's and Waugh's preoccupation with matters of mortality and spirituality. The study develops and applies a 'chromatic' model of comic literary fiction; while chroma (the essence of colour) might be defined in terms of wavelength and luminance, the comic fictional equivalents are taken to be genre (authors' 'pitch', their response to readers' requirements) and colour (the brightness of the narrative). From this chromatic perspective, the study draws the following main conclusions. Death-work is not a feature of genre but of narrative colour and, contrary to Bernard Bergonzi's view that 'we expect comedies to end more or less happily' (Bergonzi 27), comedies may well reach successfully funny morbid and untimely mortal ends with little hint of happiness either in the here and now or in the hereafter. After Many a Summer is an allegory about American world domination. Waugh is no satirist, and The Loved One is a farce, and is clearly informed by After Many a Summer. Ape and Essence should be read as an allegorical attack on the United States' censorship regimes in train during the late 1940S. Evelyn Waugh's essay, 'Half in Love with Easeful Death', provides Aldous Huxley with the narrative structure for Ape and Essence.
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Le, Bouille Lucien. "Aldoux Huxley la vision nostalgique." Lille : A.N.R.T, 1985. http://catalogue.bnf.fr/ark:/12148/cb36105556k.
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Wojciekowski, Mauricio Moraes. "Utopia/distopia e discurso totalitário : uma análise comparativo-discursiva entre Admirável Mundo Novo, de Huxley, e A República, de Platão." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17521.
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Esta Dissertação de Mestrado examina o tema Utopias/Distopias e o discurso totalitário em duas obras de caráter e gênero distintos: A República, de Platão (Filosofia), e Admirável Mundo Novo, de Aldous Huxley (Literatura). Tendo como objetivo principal a comparação de elementos narrativos, temáticos e ideológicos encontrados nessas duas obras, utiliza como metodologia a análise embasada em referenciais da Literatura Comparada e da Teoria da Literatura (Narratologia e a Tematologia), da Análise do Discurso Francesa, dos estudos da obra de Platão e de estudos sociológicos. Esta análise segue a sequência de apresentação dos pressupostos teóricos, análise das obras de Platão e de Huxley (em seus aspectos internos e externos), para, finalmente, apresentar um quadro comparativo com os discursos totalitários retirados dessas obras - discursos esses que são analisados em pormenores. Por fim, esta Dissertação culmina com a compreensão de que o tema utopia/distopia, e os discursos acerca dele, não se restringe somente à literatura ficcional, mas pode ser encontrado em estudos filosóficos e políticos, e no nosso dia a dia.<br>This thesis examines the theme of Utopia/Dystopia and the totalitarian discourse in two works of different nature and genre: Plato's Republic (a work of Philosophy) and Brave New World (a work of Literature) by Aldous Huxley. The thesis' main objective is to compare narrative, thematic and ideological elements. In order to perform this analysis, the author will make use of methodologies taken from Comparative Literature, Literary Theory (Narratology and Thematology), the French school of Discourse Analysis, studies on Plato's works and sociological studies. After presenting and explaining those theoretical references, the author shall perform an analysis of Plato's and Huxley's works, considering their internal and external aspects; afterwards, a final analysis shall be performed, comparing the totalitarian discourses contained within those works. After examining minutely those discourses, the thesis concludes by stating that the theme of Utopia/Dystopia is not restricted to fictional literature; it can be found, also, within the frame of philosophical and political studies, and in our day-to-day lives.
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Veratti, Nelson Samuel Porto. "Admiravel Mundo Novo : um enredo de possiveis." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269877.
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Orientador: Adelia Toledo Bezerra de Meneses<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-08T09:03:32Z (GMT). No. of bitstreams: 1
Veratti_NelsonSamuelPorto_M.pdf: 1167836 bytes, checksum: 0c69a907ec6083e5ebe70538b1937d34 (MD5)
Previous issue date: 2007<br>Resumo: Este trabalho busca a revitalização da obra Admirável Mundo Novo, de Aldous Huxley, por meio de uma leitura que não apenas reconhece o seu mérito literário como também resgata o seu teor crítico, cujo valor vem sendo desconsiderado por aqueles que recusam alguns de seus aspectos. Procuramos examinar e reconsiderar os prováveis motivos que levam a obra à margem da crítica literária para, em seguida, apontar a importância desse romance que permite reflexões relevantes sobre o mundo contemporâneo<br>Abstract:
This thesis argues for a renewed reading of Aldous Huxley's ¿Brave New World¿. The interpretation carried out therein not only aknowledges the novel's literary merit, but also recuperates its critical tenor, whose import has been ignored by those who refuse to accept some of its most relevant aspects. The thesis examines and reconsiders the most probable motives which led to this marginal position in critical discourse; following this, it highlights the importance of the novel, which allows one to develop revelant reflections on the contemporary world<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária
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Bradshaw, John David. "Aldous Huxley's ideological development 1919-1936." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358069.
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Kuzmina, Irina. "Inscription du mythe dans le roman français, anglo-saxon et russe du XXe siècle." Versailles-St Quentin en Yvelines, 2005. http://www.theses.fr/2005VERS005S.
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La thèse Inscription du mythe dans la littérature française, anglo-saxonne et russe du XXe siècle (" L'Emploi du temps" de Michel Butor, " Brave New World " d'Aldous Huxley et " Lolita " de Vladimir Nabokov) est consacrée à la présence du mythe relevant du sacré dans la littérature occidentale du XXe siècle. Il s'agit d'une étude comparative de la figure du labyrinthe, dont une marque est l'écriture labyrinthique, qui se substitue à trois autres mythes repérés dans les œuvres du corpus : Saturne, représentant l'héritage gréco-romain, Lilith, issue de la culture judéo-biblique et l'Utopie ou la Cité idéale, archétype universel qui connaît bien des avatars en Occident. Une telle comparaison devient possible dans le cadre des études sémiotiques considérant le mythe, système sémiologique second, qui, comme tout langage, se fonde sur le caractère paradigmatique du signe<br>The thesis Presence of Myth in 20th Century French, American and Russian Literature (Michel Butor's “L'Emploi du temps”, Aldous Huxley's “Brave New World” and Vladimir Nabokov's “Lolita”) is consecrated to the presence of myth referring to the sacred in modern western literature. It is a comparative study of the labyrinth image transcribing itself, in particular, through labyrinth writing, which substitutes itself to three other myths found in the analised novels – Saturn coming from the Latin heritage, Lilith stemming from Biblical and Judaic culture, and Utopia, universal archetype with its countless metamorphosis in Western culture. Such a comparison is possible within the framework of Semiotic studies considering myth, like any language, as a secondary semiological system basing on the paradigmatic nature of the sign
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Desjardins, Olivier. "A BRAVE NEW BUILDING. Réédition expérimentale et design d'information." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27118/27118.pdf.
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Leth, Corina. "What is the Meaning of Meaningless sex in Dystopia?" Thesis, Högskolan i Gävle, Akademin för utbildning och ekonomi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-16223.
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The aim of this essay is to provide an answer to the question "What is the Meaning of Meaningless sex in Dystopia?". It will show that meaningful concepts such as sexual satisfaction, pleassure, passion, love, bonding, procreation and family are handled as threats in dystopian societies described in well-known novels as We, Brave New World and Nineteen Eighty-Four . It will explain how the conflict between the collective and the individual influences peoples' sexuality. It will also show how leading powers in the three dystopian societies use different methods to remove the significanse and functions of sex. It will suggest meaningless sex is a means to control the masses in a collective and that meaningful sex is an act of rebelion against the state.<br>.
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Bessa, Maria de Fatima de Castro. "Individuation in Aldous Huxley's Brave New Word and Island: Jungian and Post-Jungian Perspectives." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/ECAP-73QMQ3.
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Aldous Huxley´s novels Brave New Word (1932) and Island (1962) share utopian/dystopian tradition, depicting imaginary societies and solutions for the basic problems of the human existence, with Brave New Word showing a catastrophic view of a society of the future and Island an optimistic one. Both novels present a marked concern for the way the social organisation affects the indiviual and his quest for self-realisation. This point allows us to analyse them using C.C Jung´s theory of archetypes and examine how far the novels ilustrate the process of individuation. This process, accoridng to Jung, conducts us towards becoming whole individuals, and eache of its steps is associated with a certain archetype that presents specific characteristics. The archetypes of indiviuation are the persona, the shadow, the wise old man and wise old woman, and the self, and since it is the ego that deals with the problems these archetypes raised, it has been included in the analysis as well. The investigation compares the features of these archetypes with certain elements in the novels, notably characterisation, plot, and setting, and shows that there are similarities as well as discrepancies. According to classical Jungian tehory, is possible to establish thar Island showd a better illustration of a person's journey towards indifviduation than Brave New Word. Post-Jungian theorists have revised some of Jung's concepts, giving a different view of the archetypes and of the process of individuation itself, and in this case, Island seems to be closer to these new formulations than Brave New Word. Individuation, ins this case, does not refer to an ain to be achived at end of your life, but to a series of meaningful experiences throughout life. Finally, it is also possible to establish a connection between the way the process of individuation is show in the two novels and the social context in which they were written .
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Leavey, James. "'Psycho-physical wholes' : the influence of F.M. Alexander and William Sheldon on Aldous Huxley's works." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12302/.
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Aldous Huxley’s writings, which exhibit his avid interest in all areas of knowledge, including the arts, the sciences, religion, politics, philosophy and psychology, display a tendency to adopt, and attempt to synthesise, the ideas of others, as well as a willingness to embrace unorthodox thinkers. This thesis examines how the works of Aldous Huxley were influenced by two men whose ideas focused upon the relationship between the mind and body: Frederick Matthias Alexander (1869-1955), inventor of the mind-body therapy known as the Alexander Technique, and Dr William Sheldon (1898-1977), a constitutional psychologist who developed a theory of mind-body types. The phrase ‘psycho-physical wholes’ in the thesis title is taken from a letter from Huxley to E. S. P. Haynes in March 1945: ‘Sheldon considers human beings as they really are – psycho-physical wholes or mind-bodies’.1 This is the central theme of the thesis; it will examine how Alexander’s and Sheldon’s particular conceptions of human beings as psycho-physical entities were profoundly influential upon Huxley’s writings. The thesis as a whole thus provides an important contribution to the study of Huxley’s conception of the relationship between mind and body, and the works he wrote which were impacted by this conception. It provides a contribution to the understanding of the influences that helped to shape the works of Huxley. It sheds further light on the origins of Huxley’s ideas and characters, thus providing additional insight into the often unorthodox ideas that influenced the works of writers and intellectuals in the interwar and postwar period.