Relevant bibliographies by topics / Brave new world (Huxley, Aldous)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Brave new world (Huxley, Aldous)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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Journal articles on the topic "Brave new world (Huxley, Aldous)"

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WOIAK, JOANNE. "Designing a Brave New World: Eugenics, Politics, and Fiction." Public Historian 29, no. 3 (2007): 105–29. http://dx.doi.org/10.1525/tph.2007.29.3.105.

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Aldous Huxley composed Brave New World in the context of the Depression and the eugenics movement in Britain. Today his novel is best known as satirical and predictive, but an additional interpretation emerges from Huxley's nonfiction writings in which the liberal humanist expressed some surprising opinions about eugenics, citizenship, and meritocracy. He felt that his role as an artist and public intellectual was to formulate an evolving outlook on urgent social, scientific, and moral issues. His brave new world can therefore be understood as a serious design for social reform, as well as a commentary about the social uses of scientific knowledge.
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Nesselhauf, Jonas. "Brave New Sex – Aldous Huxley und die „Sexual Politics“ der Dystopie." Politisches Denken. Jahrbuch 29, no. 1 (2019): 123–43. http://dx.doi.org/10.3790/jpd.29.1.123.

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The dystopian novel Brave New World (1932) by British writer Aldous Huxley (1894 – 1963) depicts a future society, in which every form of individualism is nothing but a ‚system error‘. Although the biological sex as well as sexuality (as a form of reproduction) itself have basically become irrelevant, the totalitarian system abides by a patriarchal ideology in order to suppress and control its inhabitants. This may, at a first glance, both affect male and female – but actually, using the examples of family, gender and sexuality, affects inherently more women than men in their everyday life or their social roles. Thus, 20th century novels such as Huxley’s Brave New World stand for a paradigmatic shift: While almost all ‚classical‘ utopias establish a patriarchal structure as a ‚stable‘ foundation for their society, it is in contrast maintained in the later (post–)‌modern dystopian novels mainly as a negative example in order to illustrate systemic injustices and sexist power structures.
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Moosavinia, Sayyed Rahim, and Anis Hosseini Pour. "WOMEN IN A NIGHTMARISH UTOPIA: THE EFFECT OF TECHNOLOGY IN BRAVE NEW WORLD." Folia linguistica et litteraria XII, no. 36 (2021): 57–72. http://dx.doi.org/10.31902/fll.36.2021.4.

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In Brave New World, Aldous Huxley shows us a society in which technological advances have changed the entirety of human life on earth. The opening of the novel does not strike the reader as dystopian and certainly neither does the title. But as we go on, we find that free thinking is limited or nonexistent by the manipulation of scientific advances like hypnopedia and genetic conditioning. On one hand, Huxley paints a picture-perfect society that is at the height of civilization with genetic and scientific advances. On the other hand, he shows us the nightmarish utopia by the lack of moral values in the society. Utopia turns into dystopia when we witness the inferior role of women and the humiliation of the intellectual. In addition, the natural process of childbirth is controlled in test tubes. Furthermore, there is no place for religion, literature, and family values. Lastly, Huxley warns the readers about what technology devoid of value could do to human beings. What is more, is the effect of technology on women which is portrayed through the image of utopia turned into dystopia: a society that mandates promiscuity in the name of civic duty in addition to the removal of the female body from childbirth. Dystopian literature is by nature critical; hence, women’s inferiority along with the misuse of a gendered approach to technology highlights toxic patriarchy in the society. It shows Huxley’s warning about the destructive effect of dystopia on women.
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Özenç, Ardeniz. "The Culture Industry and Loss of Individuality in Aldous Huxley’s Brave New World." Advances in Social Sciences Research Journal 9, no. 12 (2022): 179–91. http://dx.doi.org/10.14738/assrj.912.13603.

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When Theodore W. Adorno and Max Horkheimer, two of the most prominent figures of Frankfurt School, published their work Dialectic of Enlightenment in 1947, the Second World War had shaken the world and almost all hopes for humanity’s salvation were lost. The grand narratives such as Marxism, which had previously announced the coming of a fair and just revolution for the oppressed, and Humanism, which pointed the way to a harmonious existence of all humans, were all abandoned because the wars had shattered humanity’s hope in its own capabilities to achieve these ideals. Adorno and Horkheimer feared the dangers totalitarian and capitalist societies imposed on their citizens. Their assertion that late capitalism created a ‘culture industry’ which is used for the stupefaction and subjugation of people by turning them into uncritical masses is exemplified in Aldous Huxley’s novel, Brave New World. Huxley illustrates some of the key points that critical theory scholars make, such as commodification of culture, and alienation and reification of the individual. It is the aim of this research to analyse Brave New World in terms of Adorno and Horkheimer’s concept of ‘culture industry’, as specified in Dialectic of Enlightenment and the aforementioned key concepts of critical theory.
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Ivana, Ivana, and Dian Eka Sari. "MECHANISTIC DEHUMANIZATION IN ALDOUS HUXLEY’S BRAVE NEW WORLD." LINGUA LITERA : journal of english linguistics and literature 5, no. 2 (2020): 112–30. http://dx.doi.org/10.55345/stba1.v5i2.64.

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ABSTRACT 
 Knowledge advancement in the field of technology is often considered an advantage. Humans are living alongside the disadvantages. Dependency ontechnological inventions has brought humans to a threshold where technology goes beyond humanity. This occurrence thus possibly leads todehumanization. Two problems are proposed in this research: forms of mechanistic dehumanization and bad impacts of mechanistic dehumanization. The forms of mechanistic dehumanization focus on acts of human degradation while the bad impacts of mechanistic dehumanization focus on the human that represents machine and robot. Michel Foucault’s sociological theory is applied to reveal the problems proposed in this research. Two of Foucault’s concepts are considered appropriate to be utilized: Power and Knowledge and the Regime of Truth. Both concepts emphasize the practice of power imposed on the powerless and theacceptance by the powerless. The finding discloses that one who poses power and knowledge can produce laws that are imposed toward thepowerless and shape them as the powerful wish to obtain the benefit. The powerless ought to be submissive, obedient even accept the truth of lawsunconsciously. People in Aldous Huxley’s Brave New World show their unconscious acceptance of the Controller’s laws therefore they are treated and degraded as low as commodities to be made use of by the Controller. They become cold and rigid thus they show no distinction between humans and machines.
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Ahmed, Ahmed Abdelaziz Farag. "Enslavement and freedom in Aldous Huxleys Brave New World." International Journal of English and Literature 7, no. 4 (2016): 48–52. http://dx.doi.org/10.5897/ijel2015.0779.

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Francisco, Rafael da Cunha Duarte. "Entre a crítica, o público e o autor: construção de sentido e crítica social em Brave New World de Aldous Huxley." Resgate: Revista Interdisciplinar de Cultura 22, no. 2 (2015): 37. http://dx.doi.org/10.20396/resgate.v22i28.8645777.

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Esse trabalho tem como principal objetivo discutir o projeto estético criado por Aldous Huxley em seus romances distópicos, especialmente em "Brave New World", primeiramente publicado em 1932. A partir da comparação com alguns outros romances distópicos do mesmo período, pretendemos demonstrar como parece haver na obra de Huxley um projeto estético que se situa entre a crítica especializada, seu público e a representação de si mesmo como alguém apto a prognosticar o futuro por meio de seu romance. Ao abordarmos a questão da morte no interior da trama ficcional, pretendemos apresentar ao leitor como esse prognóstico tenta validar-se, com mais ou menos sucesso, diante de seu público como o futuro a ser encarado pelos homens e mulheres das próximas gerações.
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Evans, John H. "A Brave New World? How Genetic Technology Could Change us." Contexts 2, no. 2 (2003): 20–25. http://dx.doi.org/10.1525/ctx.2003.2.2.20.

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Forthcoming genetic technologies will allow people to design their children. Although these tools are unlikely to produce a society of castes like the Alphas and Epsilons in Aldous Huxley's novel Brave New World, they may already be changing our understanding of what it means to be human.
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Meckier, Jerome. "Aldous Huxley's Americanization of the "Brave New World" Typescript." Twentieth Century Literature 48, no. 4 (2002): 427. http://dx.doi.org/10.2307/3176042.

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Meckier, Jerome. "Aldous Huxley’s Americanization of the Brave New World Typescript." Twentieth-Century Literature 48, no. 4 (2002): 427–60. http://dx.doi.org/10.1215/0041462x-2002-1005.

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Dissertations / Theses on the topic "Brave new world (Huxley, Aldous)"

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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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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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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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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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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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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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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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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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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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Books on the topic "Brave new world (Huxley, Aldous)"

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Bode, Christoph. Aldous Huxley, Brave new world. W. Fink, 1985.

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Griffin, J. A. Brave new world: Aldous Huxley. Longman, 1990.

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Aldous Huxley: "Brave new world". Fink, 1985.

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Aldous Huxley: Brave new world. Marshall Cavendish Benchmark, 2009.

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Brave new world, Aldous Huxley. Longman, 1990.

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Peters, Christoph M. Aldous Huxley, Brave new world. Stark, 2011.

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Harold, Bloom, ed. Aldous Huxley's Brave new world. Chelsea House Publishers, 2003.

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Aldous Huxley's Brave new world. Chelsea House Publishers, 1996.

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Harold, Bloom, ed. Brave new world. Chelsea House Publishers, 2003.

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Huxley, Brave New World and Brave New World Revisited. Coles Publishing Company, 1987.

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Book chapters on the topic "Brave new world (Huxley, Aldous)"

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Brosch, Renate. "Huxley, Aldous: Brave New World." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8793-1.

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Waddell, Nathan. "Signs of the T: Aldous Huxley, High Art, and American Technocracy." In 'Brave New World': Contexts and Legacies. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-44541-4_3.

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Meckier, Jerome. "‘My Hypothetical Islanders’: The Role of Islands in Aldous Huxley’s Brave New World and Island." In 'Brave New World': Contexts and Legacies. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-44541-4_11.

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Horan, Thomas. "The Sexual Life of the Savage in Aldous Huxley’s Brave New World." In Desire and Empathy in Twentieth-Century Dystopian Fiction. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70675-7_4.

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Todd, Joseph. "A Utopian Mirror: Reflections from the Future of Childhood and Education in Aldous Huxley’s Brave New World and Island." In Children: Global Posthumanist Perspectives and Materialist Theories. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6210-1_8.

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Matz, Aaron. "Huxley and Reproduction." In 'Brave New World': Contexts and Legacies. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-44541-4_6.

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Greenberg, Jonathan. "What Huxley Got Wrong." In 'Brave New World': Contexts and Legacies. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-44541-4_7.

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Brummer, Alex. "Brave New World." In The Great British Reboot. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300243499.003.0002.

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This chapter mentions Aldous Huxley, who wrote the Brave New World after the upheaval of the First World War and before the terrors of the Second World War. It highlights Huxley's contemplation of revolutionary change that captured what he sensed as deep-seated changes in the national feeling, along with the questioning of long-held social and moral assumptions. It also discusses the economic shockwave delivered by the coronavirus, which caused an unprecedented loss of output from the month before lockdown to April 2020 when most of the economy was shut and threatened the highest level of unemployment in a century. The chapter explores the EU and the seventeen members of the eurozone that were considered not in the best of shape long before the coronavirus added to the dislocation. It talks about the membership of the euro that had delivered economic chaos, hardship and political turmoil in Greece.
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Maher, Ashley. "Aldous Huxley and the “Brave New World” of Architectural Modernism." In Reconstructing Modernism. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198816485.003.0003.

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Using Aldous Huxley’s prolific body of architectural criticism, this chapter argues that Huxley evaluated political concepts—individualism, liberalism, uniformity—through analyzing the creations and rhetoric of the modern movement. While his brother Julian sponsored modernist animal housing at the Regent’s Park and Whipsnade Zoos as part of his efforts to imagine a more egalitarian Britain, Aldous reconfigured the structuring role of the household in the novel. His foundational dystopian narrative, Brave New World, merges fiction and criticism, as Huxley stages debates between literary advocates and a World Controller. What emerges is a politics of medium, whereby literature serves as a vehicle for liberalism. Against the uniformity and “over-organization” of architectural modernism, Huxley demonstrates the capaciousness and flexibility of the novel as a genre.
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Lippe, Anya Heise-von der. "10. Aldous Huxley, Brave New World (1932)." In Handbook of the English Novel of the Twentieth and Twenty-First Centuries, edited by Christoph Reinfandt. De Gruyter, 2017. http://dx.doi.org/10.1515/9783110369489-011.

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Conference papers on the topic "Brave new world (Huxley, Aldous)"

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Hatif Jassam, Aseel, and Hadeel Hatif Jassam. "Science Fiction and Technological Advancement as Soft Powers to Control Human Genes in Aldous Huxley's Brave New World." In المؤتمر العلمي الدولي العاشر. شبكة المؤتمرات العربية, 2019. http://dx.doi.org/10.24897/acn.64.68.402.

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