Journal articles: '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 (January 1, 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 (January 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 (September 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 (December 15, 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 (September 22, 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 (April 30, 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 (January 22, 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 (May 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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Clyde, William C. "Strange Old World - Late Paleocene—Early Eocene Climatic and Biotic Events in the Marine and Terrestrial Record. Edited by Marie-Pierre Aubry, Spencer Lucas, and William Berggren Columbia University Press, New York. 1998. 513 pages." Paleobiology 25, no. 3 (1999): 417–23. http://dx.doi.org/10.1017/s0094837300021370.

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In his 1932 book Brave New World, Aldous Huxley laid out a satirical blueprint of a future so strange to people of the time that it became a symbol of the frightening and unyielding momentum of scientific progress. Literature and popular culture have since been littered with images of a future earth so transformed by human progress (or extraterrestrial intervention) that we can hardly recognize it. Earth historians and paleontologists, however, have taken a different path into the bizarre. This group of time travelers has used the kind of technology that Huxley foreshadowed to recreate past worlds of similar disparity. These worlds are neither based on, nor entirely limited by, human imagination, but are based instead on scientific observation. In short, these strange old worlds are real, not imagined. As often is the case, however, truth can b e stranger than fiction.

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Karaeva, Iryna. "Death Existentiality in Philosophical Novels of Aldous Huxley: Culturological Approach." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 22–27. http://dx.doi.org/10.18523/2617-8907.2021.4.22-27.

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Cultural studies cover the genesis and development of culture as a specific human lifestyle. Its universals are representations of human cultural experience, including humans, their life and death. The meaning of human life, death, and immortality became the main objects for consideration and research at all stages of Aldous Huxley’s literary activity.The analysis of his early philosophical novels and novels that offer an anti-utopian model of culture shows his tendency to destroy his characters in order to defend their personalities, a refusal to accept the patterns of ordinary being, when the man’s will is aimed only at self-preservation and reproduction. To identify this tendency, we studied the novels Crome Yellow, Antic Hay, Point Counter Point, Eyeless in Gaza, After Many a Summer, Time Must Have a Stop, Brave New World, Ape and Essence. At this stage of spiritual search, A. Huxley justifies suicide as a way of self-realization.Having reached the level of the philosophical outlook, A. Huxley proposes and promotes the spiritual ideals of self-improvement, love for neighbour as for ‘another one’, the attitude to death as an existential, which is a certain stage of human existence, not tragic but natural. It is reflected in the novel Island. Thanatology is one of the main subjects at school. The yoga of death is promoted: it treats life and death as a single entity, as a kind of art, which should result in Paranirvana.The article proves that A. Huxley’s stance on the problems of purpose of life, death, and immortality had been changing along with the evolution of his outlook. It is shown how this genesis is reflected in A. Huxley’s literary works. Death in A. Huxley’s works is interpreted via meta-anthropological approach as the existential transcendent being of man.

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Rodrigues, Jessica Tomimitsu, and Rose Maria Belim Motter. "Brave new world: literatura e tecnologias digitais no ensino de língua inglesa." Diálogo das Letras 3, no. 1 (September 13, 2014): 107–18. http://dx.doi.org/10.22297/dl.v3i1.1112.

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O presente trabalho propõe refletir sobre a validade e eficiência de uma proposta pedagógica para o ensino de língua inglesa em salas de aulas regulares que une a Literatura e as Tecnologias Digitais. Em concomitância com a análise, discorre-se a respeito do papel do texto literário no desenvolvimento humano (LIMA, 2009), a proposta da Literatura na sala de aula (BORDINI; AGUIAR, 1993 e KLEIMAN, 1996), o ciberespaço e sua relação com a literatura (MURRAY, 2003) e uma proposta literária-cibernética para o ensino-aprendizagem de língua inglesa (BRENNER, 2014 e CHINNERY, 2014) para os chamados nativos digitais (PRENSKY, 2001). Analisar-se-á, também, o status do inglês como língua internacional, intrinsecamente ligado às relações de poder, políticas, econômicas e também identitárias; refletindo, portanto, nas propostas de ensino-aprendizagem para domínio fluente do idioma. Nesse sentido, a obra que intitula o trabalho, livro de excelência de Aldous Huxley e também versos shakespearianos, Brave New World, propõe um rompimento com as barreiras impostas bem como um incentivo à mudança, inovadora com as tecnologias e emancipadora com a literatura, na prática pedagógica de ensino de língua inglesa.

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Hamamra, Bilal Tawfiq. "A Foucauldian Reading of Huxley’s Brave New World." Theory and Practice in Language Studies 7, no. 1 (January 1, 2017): 12. http://dx.doi.org/10.17507/tpls.0701.02.

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Aldous Huxley’s Brave New World (1932) is a nightmarish depiction of a post-human world where human beings are mass-produced to serve production and consumption. In this paper, I discuss the manipulations of minds and bodies with reference to Foucault’s biopower and disciplinary systems that make the citizens of the world state more profitable and productive. I argue that Brave New World depicts a dystopian systematic control of mind and body through eugenic engineering, biological conditioning, hypnopaedia, sexual satisfaction, and drugs so as to keep the worldians completely controlled, collectivized and contented in a totalitarian society. The world state eradicates love, religion, art and history and deploys language devoid of any emotions and thoughts to control the mind that judges and decides. I argue that Brave New World anticipates the Foucauldian paradigm of resistance, subversion and containment, ending in eliminating the forces that pose a challenge to the ideology of the world state.

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Mack, R. L. "Another Thomas Gray Parody in Aldous Huxley's Brave New World." Notes and Queries 51, no. 2 (June 1, 2004): 178–82. http://dx.doi.org/10.1093/nq/51.2.178.

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Mack, Robert L. "Another Thomas Gray Parody in Aldous Huxley's Brave New World." Notes and Queries 51, no. 2 (June 1, 2004): 178–82. http://dx.doi.org/10.1093/nq/510178.

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Bessa, Maria De Fátima de Castro. "Post-Jungian perspectives on archetypes of individuation in Aldous Huxley’s Brave new world and Island." Em Tese 12 (December 31, 2008): 105. http://dx.doi.org/10.17851/1982-0739.12.0.105-111.

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The archetypes of individuation, as proposed by C. G. Jung, have been challenged by post-Jungian writers. Persona, shadow, anima and self offer examples of these new approaches, and their use in the analysis of Aldous Huxley’s Brave New World and Island highlight some cultural aspects of the novels.

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KANGYONGKI. "A Rich Two - Way Deconstruction in Aldous Huxley’s Brave New World." Literature and Environment 15, no. 2 (June 2016): 7–31. http://dx.doi.org/10.36063/asle.2016.15.2.001.

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Klinger, Cornelia. "An essay on life, care and death in the Brave New World after 1984." Equality, Diversity and Inclusion: An International Journal 37, no. 4 (May 21, 2018): 318–31. http://dx.doi.org/10.1108/edi-12-2017-0269.

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Purpose In order to explore the impact of the recent wave of a technological revolution on global culture and society, the purpose of this paper is to re-read the two most outstanding dystopian novels of the mid-twentieth century. George Orwell and Aldous Huxley observe and anticipate technological development in relation to questions of human nature and culture, individual identity and close relationships, matters of care, privacy and private life. The totalitarian regimes both authors experienced in their time have disappeared, yet today the two fields of high technology that fueled their fantasy are reaching levels of development to surpass Orwell’s and Huxley’s daunting visions. Design/methodology/approach This paper approaches the recent innovations in the information and communication technology as well as the upsurge of life sciences and bio-technology from a philosophical perspective, considering their impact on the social structure (division of labor, distribution of wealth) as well as on the symbolic order of advanced industrial societies (the sign and the body, life and death). Findings Taking up Michel Foucault’s distinction between ancient sovereign rule and modern biopolitics, the author suggests discerning a third stage of domination: bio economics plus culture industries. In contrast to the two previous forms of domination, this new regime does not endeavor to suppress but to foster and unleash life. Therefore, it instigates less resistance and opposition but meets with more approval and compliance. Domination in this neoliberal-libertarian guise may prove not less dangerous than the former totalitarian variant. It forces the author to re-think ways of resistance and critique. Originality/value This paper makes a theoretical contribution to the analysis of care, society and democracy.

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Gheran, Niculae Liviu. "Turning Romanticism on its Head: The Peripheral Symbolic Geography of Aldous Huxley and Ira Levin." Linguaculture 12, no. 2 (December 31, 2021): 33–44. http://dx.doi.org/10.47743/lincu-2021-2-0215.

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Within the present paper, I aim to discuss how Aldous Huxley and Ira Levin have employed the peripheral symbolic geography of their two works (Brave New World and This Perfect Day) to articulate their debate between different sets of social values. Unlike other authors of negative utopias such as George Orwell or Yevgeny Zamyatin, neither Huxley nor Levin idealized pre-modern values. In order to highlight how the two articulated their views with the help of symbolic geography, I will also make use of Michel Foucault’s theoretical concepts of heterotopias, heterochrony as well as the ideas developed by the critics Michael Lowy and Robert Sayre in their seminal work Romanticism against the Tide of Modernity. My purpose is thus firstly to point out how and why Huxley and Levin divided the symbolic geography of their works in two parts as well as how they employed the Romantic critique of modernity. Secondly, I aim to show how despite using this analytical tool, they also employed symbolic geography with the purpose of turning the critique on its head, thus unveiling both its strong points as well as its shortcomings.

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Seed, David. "The Flight from the Good Life: Fahrenheit 451 in the Context of Postwar American Dystopias." Journal of American Studies 28, no. 2 (August 1994): 225–40. http://dx.doi.org/10.1017/s0021875800025470.

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Surveying the American scene in 1958, Aldous Huxley recorded his dismay over the speed with which Brave New World was becoming realized in contemporary developments: “The nightmare of total organization, which I had situated in the seventh century After Ford, has emerged from the safe, remote future and is now awaiting us, just around the next corner.” Having struck a keynote of urgency Huxley then lines up a series of oppositions between limited disorder, individuality and freedom on the one hand, and order, automatism and subjection on the other in order to express his liberal anxieties that political and social organization might hypertrophy. Huxley sums up an abiding fear which runs through American dystopian fiction of the 1950s that individuals will lose their identity and become the two-dimensional stereotypes indicated in two catch-phrases of the period: the “organization man” and the “man in the grey flannel suit. ” William H. Whyte's 1956 study diagnoses the demise of the Protestant ethic in American life and its replacement by a corporate one which privileges “belongingness. ” The result might be, he warns, not a world controlled by self-evident enemies familiar from Nineteen Eighty-Four, but an antiseptic regime presided over by a “mild-looking group of therapists who, like the Grand Inquisitor, would be doing what they did to help you.”

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Hossain, Md Mozaffor. "Simulation and Simulacra in Aldous Huxley’s Brave New World: A Baudrillardian Appraisal." J-Lalite: Journal of English Studies 3, no. 2 (December 31, 2022): 130. http://dx.doi.org/10.20884/1.jes.2022.3.2.6474.

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Aldous Huxley’s Brave New World portrays a post-human totalitarian society namely “World State” which does not let humans be conceived in and born naturally from mothers’ wombs, rather it regards them as any creature which can be hatched, conditioned, fertilized, incubated and Bokanovskified to be manufactured in thousands. The system of power has thrown normality into exile while celebrating the procession of replicating humans in abnormal proliferation. I find this technological multiplication of humans identical to the march of simulacrum of any object or sign of today’s world, which Jean Baudrillard (1929-2007) elucidates in his Simulacra and Simulation (1981). This study intends to achieve a critical appraisal of the novel through Baudrillard’s illumination of simulation and simulacra

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Buchanan, Brad. "Oedipus in Dystopia: Freud and Lawrence in Aldous Huxley's Brave New World." Journal of Modern Literature 25, no. 3 (2002): 75–89. http://dx.doi.org/10.1353/jml.2003.0016.

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Gasparyan, Gayane, and Hasmik Grigoryan. "Aldous Huxley’s Futuristic World from the Perspective of Its Translation Properties." Translation Studies: Theory and Practice 2, no. 1 (3) (June 1, 2022): 27–37. http://dx.doi.org/10.46991/tstp/2022.2.1.027.

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The article focuses on A. Huxley's famous novel "Brave New World" and the two versions of its translation (Russian and Armenian). The aim of the analysis is identification of linguistic means specifying A. Huxley's futuristic world, the so-called World State of the XXVI century (AD 2540), a world, where psychological manipulation predominates as a method of creating a totalitarian society, its dictatorship subjugation and people’s successful standardization. The next step is the determination of communicative/functional properties of the ST and two target texts (Russian and Armenian) in order to reveal how the linguistic manifestation of the author’s worldview is transmitted into a different cultural domain to become cohesive with a different target audience. To transmit exactly A. Huxley’s futuristic world vision into a TL the translator should keep closely to the author’s philosophical conceptualization of this world and the psychological manipulation principles the authorities employ to achieve the expected impact on the fictional society.

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Byk, Christian. "Transhumanism: from Julian Huxley to UNESCO." JAHR 12, no. 1 (2021): 139–60. http://dx.doi.org/10.21860/j.12.1.8.

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Julian Huxley, founder and the first Director-General of UNESCO, is at the heart of contemporary debates on the nature and objectives of the concept of transhumanism, which he first used in the early 1950s. Therefore, the analysis of his idea of transhumanism - a tool to improve the quality of life and the condition of man - should lead us to question his heritage in terms of philosophy that inspires UNESCO’s action as it seeks to build a comprehensive approach to artificial intelligence that takes into account, among other things, the values and principles of universal ethics and aims to derive the best from the use of this technology. This title where the British biologist, the elder brother of the famous science fiction writer, Aldous Huxley, author of the Brave New World, coexists with the United Nations Organization in charge of Education of Science and Culture is obvious for those who know the history of this international organization or who like radio games: Julian Huxley was appointed as the first Director-General of UNESCO in 1946. But, beyond this evidence, there is a deeper link that highlights the history of the renewal of the idea of transhumanism (I) and questions about the role that UNESCO has, among the other international organizations (II).

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Pelin, Dunja. "Translating neologisms in dystopian literature: Lexical innovation in Aldous Huxley’s Brave New World and its Croatian rendition." Hieronymus : Časopis za istraživanja prevođenja i terminologije 8 (2022): 54–81. http://dx.doi.org/10.17234/hieronymus.8.3.

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This study deals with word formation and translation of neologisms in dystopian literature on the example of Aldous Huxley’s novel Brave New World and its Croatian translation. Its aim is to provide an insight into lexical innovation in dystopias and their translations by relying on Millward’s (2007) theory of dystopian neology. Based on Millward’s theoretical model, the study hypothesizes that coinage is the least frequent, and derivation the most frequent word formation process among source text neologisms. The third hypothesis states that literal translation and lexical creation are the most productive translation procedures. The research consists of extracting source text neologisms and their translations and analyzing the employed word formation processes and translation procedures. The findings show that compounding is the most prolific creation process in source text neologisms, while coinage and conversion are not used at all. The extracted neologisms are mostly rendered through literal translation and borrowing.

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Fang, Karen. "Rethinking the Orwellian Imaginary through Contemporary Chinese Fiction." Surveillance & Society 17, no. 5 (December 10, 2019): 738–42. http://dx.doi.org/10.24908/ss.v17i5.13458.

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Although George Orwell’s Nineteen Eighty-Four ([1949] 2003) and Aldous Huxley’s Brave New World ([1932] 2006) have long offered contrasting paradigms in surveillance theory, little attention has been paid to how race and cultural difference operate in their respective regimes. This oversight is surprising given race’s centrality in surveillance theory and practice, and it is increasingly anachronistic in light of contemporary geopolitics and the rising power of non-Western states. By contrast, the best-selling and critically acclaimed novels The Fat Years (Koonchung 2013), The Three-Body Problem (Liu 20014), and Death of a Red Heroine (Xiaolong 2000) are all set in modern China and portray issues of surveillance technology, policy, implementation, and resistance previously associated with Western powers. Yet while these later novels’ Chinese settings offer radically different scenarios than our previous touchstones of surveillance imagery, their global popularity also demonstrates their vast resonance and accessibility. Indeed, in strong reaffirmation of Orwell’s and Huxley’s ongoing value—and the value of literature to surveillance theory more generally—these recent China-set novels collapse the Orwell and Huxley dichotomy to offer surprising glimpses into the more culturally diversified twenty-first century global surveillance society.

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Miller, Paul Steven. "Genetic Testing and the Future of Disability Insurance: Thinking about Discrimination in the Genetic Age." Journal of Law, Medicine & Ethics 35, S2 (2007): 47–51. http://dx.doi.org/10.1111/j.1748-720x.2007.00152.x.

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As we enter the new century, humanity wields increasing power to understand, alter, and control the world in which we live. The mysteries of our genetic code provide remarkable new insights into our unique human characteristics. Rapid developments in information technology provide instant access to limitless data. The information age has taken hold, and the genetic revolution is in full swing. With apologies to Aldous Huxley, we stand at the precipice of a brave new world.It has been just 50 years since James Watson and Francis Crick's groundbreaking discovery of the double helix. Since then, profound developments in the science of genetics have been staggering. More staggering still are the potential benefits, the boundless horizons, the promised and unimagined applications of their work, and the work of the many scientists involved in the sequencing of the human genome. There can be no doubt that a firm and unwavering commitment to the betterment of humankind has fueled this tireless effort.

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Milz, Manfred. "Revisiting Huxley’s Dystopic Vision of Future Cinema, The Feelies: Immersive Experiences through Contemporary Multisensory Media." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 27. http://dx.doi.org/10.25038/am.v0i20.325.

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Aldous Huxley’s concern with media, and in particular with cinema, is one of the most conspicuous components of his work as a social critic and as a novelist. Evaluating its potential societal functions, as an artistic genre, a didactic cultural tool for documentaries or as a mass entertainment venue, determined his critical relationship towards the medium. Due to his impaired eyesight, Huxley’s attention to perception, intertwined with advancing cinema-technologies, was not restricted to the visual, but extended to all of the human senses, as he demonstrated in the Feelies of his novel Brave New World (1932). Primarily with regard to mechanomorphic reflexes of human conditioning, this cinematic concept is interpreted by drawing from articles and essays of evolutionary, psychological, political, and aesthetic perspectives that Huxley developed on a parallel writing track in popular print media during the 1920s/30s. In confronting modes of multisensory immersion around 1900 with some of the 20th/21st centuries, this contribution reevaluates Huxley’s vision of future cinema. Article received: June 10, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Milz, Manfred. "Revisiting Huxley’s Dystopic Vision of Future Cinema, The Feelies: Immersive Experiences through Contemporary Multisensory Media." AM Journal of Art and Media Studies 20 (2019): 27-42. doi: 10.25038/am.v0i20.325

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Pijnenborg, Robert. "Manipulating Human Reproduction: A Retrospective View on Aldous Huxley’s Brave New World." Gynecologic and Obstetric Investigation 61, no. 3 (2006): 149–54. http://dx.doi.org/10.1159/000090627.

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Zubair, Hassan Bin. "ANALYZING THE ROLE OF MARXIST, ALTHUSSERIAN AND FREUDIAN IDEOLOGIES IN THE MAKING OF MODERN WORLD THROUGH THE POST-WORLD WARS DYSTOPIAN FICTION." International Journal of New Economics and Social Sciences 9, no. 1 (June 28, 2019): 427–41. http://dx.doi.org/10.5604/01.3001.0013.3060.

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This research explores the transition towards the modern era from the brutal scenario of World Wars I &II. Different kind of fiction was produced in this context and every writer has tried his/her level best to present that dilemma in his/her own way. It pre-sents a clear picture that which sort of elements were there to bring that specific change and transition towards the modern era in 20th century. It has brought the ur-ban settlements and rapid growth in the industrial deeds. During that specific time, fascism, consumer culture, surveillance, anti- intellectualism, media influence com-munism and totalitarianism were on the peak. All these factors lead the writers to create dystopian fiction and it formed a striking literary movement. This research is limited to the three dystopian novels of 20th century including Brave New World by Aldous Huxley, Lord of the Flies by William Golding and 1984 by George Orwell. This research is qualitative in nature, Marxist, Althusserian and Freudian theories support this research as a primary theoretical framework. This research is helpful to know about the Pre and Post World Wars scenario and to know about the socio-political scenario of the present day world.

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Khatir, Hadjer. "The Intoxication of Power in George Orwell’s Nineteen Eighty Four (1949) and Aldous Huxley’s Brave New World (1932)." IJOHMN (International Journal Online of Humanities) 6, no. 1 (February 4, 2020): 115–25. http://dx.doi.org/10.24113/ijohmn.v6i1.165.

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George Orwell’s Nineteen Eighty Four (1949)and Aldous Huxley’s Brave New World (1932) stand as two powerful works of art that emanated from a mere disorder and fragmentation. To put it differently, this work of art emanated from a world that underwent an extremely rigorous political transformations and cultural seismology. This is a world that has witnessed an overwhelming dislocation. All those upheavals brought into being a new life, that is to say, a reshuffled life .A new life brings forwards a new art. This research, accordingly, attempts to put all its focus on two modernist visionary works of art that have enhanced a completely new system of thought and perceived the past, the present, and even the future with an entirely new consciousness. In the world of Nineteen Eighty Four and Brave New World, power seems to get beyond of what is supposedly politically legitimate. This power has paved the way for the emergence of a totalitarian system; I would rather call it a totalitarian virus. This system has emerged with the ultimate purpose of deadening the spirit of individualism, rendering the classes nothing but “docile masses”. I will be accordingly analysing how power becomes intoxicating. In other words, I will attempt to give a keen picture of how power becomes no longer over things, but rather over men according to Nietzsche’s philosophical perception of “The Will to Power”.

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Datta, Souvik, and Ankita Dutta. "Psychoanalytic Deconstruction of Dystopian Personae: A Comprehensive Study of Brave New World, 1984, Fahrenheit 451 and The Handmaid’s Tale." International Journal of English Literature and Social Sciences 8, no. 1 (2023): 182–88. http://dx.doi.org/10.22161/ijels.81.21.

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“I think dystopian futures are also a reflection of current fears.” – Lauren Oliver The more we progress towards a better dawn, the more we find ourselves involved in a dystopian societal bond. Far removed from Thomas Moore and his concept of utopia, we have drowned deep into the abyss of never ending chaos, the chaos of erroneous distortions that mess up with the wits and generate robots. All dystopian fictions deal with the same concept, but each become more menacing than the former. This feature that emerged as a by product of post-colonialism, has stormed the world in general and the literary sphere in particular, striking alarming thoughts. “But within every dystopia there’s a little utopia.” – Margaret Atwood. We, readers, have to understand these minacious nightmares that have been penned down since the last century. This paper attempts to deconstruct the four pillars of dystopian narrative: Brave New World by Aldous Huxley, 1984 by George Orwell, Fahrenheit 451 by Ray Bradbury and The Handmaid’s Tale by Margaret Atwood. The deconstructive analysis, done through psychoanalytic criticism, would be based on both the Freudian and Jungian principles. The novels selected are dystopian in nature, keeping in mind the postcolonial society and the crisis that it has been facing since the advent of the world wars. Some of the major analytical theories have been taken up together by this paper: deconstruction to point at the horror from the closest point of examination and psychoanalysis that will help with a better understanding into the psyche of the protagonists. This paper aims at giving a better insight into the postmodern dystopian society as a whole, seeking to provide a solution rather than posing a problem. “The beauty of dystopia is that it lets us vicariously experience future worlds – but we still have the power to change our own.” – Ally Condie This is exactly what this paper aims to present: an understanding of the future agitations, so that postcolonial dystopia remains a vague abstraction, never concretised!

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Siegfried, Michael. "The Inner City in the 21st Century." Journal of Interdisciplinary Studies 8, no. 1 (1996): 19–30. http://dx.doi.org/10.5840/jis199681/22.

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Drugs and crime are resounding issues with regard to contemporary cities. As we approach the twenty-first century, their impact on American cities in particular requires attention. The realities of life facing the residents of inner cities today are leading to a future that may resemble in many ways Aldous Huxley's dystopia. Brave New World. Unless a serious national commitment is made to alter present trajectories, the future may well be one in which drugs, crime, and social pathologies, combined with a lack of educational and economic opportunities, relegate many people to the bottom of society, enslaved by soma and casual sexual gratification, eerily reminiscent of Huxley's genetically-engineered society.

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Boone, N. S. "D. H. Lawrence's 'Men Must Work and Women as Well' in Aldous Huxley's Brave New World." Notes and Queries 61, no. 1 (January 21, 2014): 133–35. http://dx.doi.org/10.1093/notesj/gjt223.

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Sansom, Clare. "Genetics, Bioethics and Space Travel: GATTACA." Biochemist 34, no. 6 (December 1, 2012): 34–35. http://dx.doi.org/10.1042/bio03406034.

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It has been said that all stories set in the future say more about the concerns of the time in which they are written than they do about future possibilities. Long before the genome era, writers were investigating the possibility of changing the biological make-up of humans. Questions about human biology, identity and eugenics (from the Greek ‘well-born’) have been raised by writers ever since Plato; classic novels addressing these issues include H.G. Wells's The Island of Doctor Moreau (1896) and Aldous Huxley's Brave New World (1931). Eugenics in fiction passed out of fashion after the Second World War, but recent developments in genetics and genomics have brought these ideas into the foreground again.

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Morgan, Dennis Ray. "Inverted totalitarianism in (post) postnormal accelerated dystopia: the arrival of Brave New World and 1984 in the twenty-first century." foresight 20, no. 3 (June 11, 2018): 221–36. http://dx.doi.org/10.1108/fs-08-2017-0046.

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Purpose This paper aims to depict how the state of inverted totalitarianism is emerging in post-postnormal times and illustrate how it shares many of the same features of the totalitarianism depicted in the novels Brave New World (A. Huxley) and 1984 (G. Orwell). It also shows how a “way forward” is possible through a paradigmatic reorientation of “well-being” and “happiness”. Design/methodology/approach The research is based on literature within the field of futures studies, as well as relevant sources outside the futures field. It applies R Slaughter’s critical futures and F Polak’s method of social critique and reconstruction in its analysis of the state of inverted totalitarianism in post postmodern times. Findings It finds that the technological society and the US empire (with its attendant corporatocracy, Panopticon and PAC man values) in post-postnormal times is drifting toward a state of inverted totalitarianism, which is remarkably beginning to resemble Aldous Huxley’s Brave New World and G. Orwell’s 1984. Research limitations/implications The research is an essay and conceptual paper, so it is limited by its conceptual, philosophical nature and the author’s interpretation of social phenomena. It could also include the latest research on the role that the manipulation of internet algorithms plays in the state of inverted totalitarianism. It could also include more reconstructive details. Practical implications Sheer consciousness of the state of inverted totalitarianism and the need for social reconstruction should lead to a reevaluation of the meaning of the good society and how to realize it. Social implications Social critique and reconstruction are essential to the survival of any given society or civilization, as the groundwork for the emergence of wise foresight. The creative minority of a civilization must understand its predicament, the nature of its civilizational crisis, before it can even begin to understand and meet the challenge of the future. Originality/value The paper presents post-postnormal times as the back drop through which a state of inverted totalitarianism is emerging – a social dystopia that resembles the dystopias depicted in the novels, Brave New World and 1984. Inverted totalitarianism is shown to be an outgrowth of the technological society and the American empire (a corporatocracy and Panopticon increasingly global in nature). Freedom from this emerging totalitarianism begins with the realization of its existence and its given assumptions about the meaning of life and the pursuit of happiness. The paper also posits social critique and reconstruction (as well as critical futures) as a fundamental method to deconstruct and reconstruct the paradigm that supports inverted totalitarianism.

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López-Rúa, Paula. "VPS, Goodthink, Unwomen and Demoxie: Morphological Neologisms in Four Dystopian Novels." Miscelánea: A Journal of English and American Studies 59 (December 2, 2019): 117–36. http://dx.doi.org/10.26754/ojs_misc/mj.20196342.

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In this paper I analyse the neologisms used in four dystopian novels –Aldous Huxley’s Brave New World (1932), George Orwell’s Nineteen Eighty-Four (1949), Margaret Atwood’s The Handmaid’s Tale (1985) and Dave Eggers’s The Circle (2013)– from a morphological point of view. Lexical innovation is accounted for in the light of three criteria: types of neologisms according to morphological analysis, fields of use, and motivations for their creation. It is concluded that the shared reasons behind the use of neologisms built by means of word-formation devices (derivation, composition and shortening) are basically pragmatic and manipulative, and that, as part of discourse, the new lexical items thus created become efficient tools, since they provide a hint of authenticity in the fictional worlds portrayed and contribute to the critical and didactic quality of dystopian narrative.

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Smith, Brian. "Haec Fabula Docet: Anti-Essentialism and Freedom in Aldous Huxley's Brave New World." Philosophy and Literature 35, no. 2 (2011): 348–59. http://dx.doi.org/10.1353/phl.2011.0017.

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Tall, Emily. "Behind the Scenes: How Ulysses Was Finally Published in the Soviet Union." Slavic Review 49, no. 2 (1990): 183–99. http://dx.doi.org/10.2307/2499479.

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Mikhail Gorbachev's policy of glasnost has resulted in an astounding flood of hitherto forbidden foreign classics. Aldous Huxley's Brave New World, George Orwell's 1984 and Animal Farm, Arthur Koestler's Darkness at Noon, Isaac Bashevis Singer's short stories, and James Joyce's Ulysses were all published during 1988-1989, and D. H. Lawrence's Lady Chatterley's Lover, Saul Bellow's Herzog, and the poetry of Ezra Pound, Chaim Nachum Bialik, and Czeslaw Milosz have all been promised for 1990.' It is as if permission were given, a list of forbidden books were consulted, translations were commissioned, and the books were published. In the case of Joyce, for example, Gorbachev came to power in 1985 and Ulysses was published in 1989. Surely, it would seem, the Russian Ulysses was a child of glasnost.

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Piletsky, Sergey. "On Humanism and Transhumanism." Ideas and Ideals 13, no. 1-1 (March 19, 2021): 166–80. http://dx.doi.org/10.17212/2075-0862-2021-13.1.1-166-180.

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The paper raises the problem, quite widely discussed not only in the frame of modern philosophizing, but in the whole complex of socio-humanitarian knowledge – the problem of the perspectives of the formation of the epoch of transhumanism. What is it - the epoch of transhumanism? What are the peculiar properties of it? And what are the specifics of that technological bias which would allow put it into practice? Is there a genetic bond between transhumanism and the sources of the traditional humanism? And why the majority of not only philosophers, but all humanitarians speak out against ‘the unprecedented advantages’ and ‘the good’ of transhumanism, considering its realization as the era of ‘dehumanization’ of a human being? These and similar questions worry millions of intellectuals all over the world. The author of this paper tries to give his answers. He analyses the definitions of humanism, given in two authoritative philosophical dictionaries. Then he reinforces his analysis with not only his own reasonings and extrapolations, but with the positions of three outstanding thinkers and famous humanists of Renaissance – Lorenzo Valla, Pico della Mirandola and Erasmus Roterodamus. However the author tries to consider the historical tradition not isolated but to link with the technological opportunity of its transformation into those perspectives of transhumanism. That’s why the author draws attention to a remarkable writer-philosopher Aldous Huxley with his anti-utopian novel ‘Brave New World’. The author concludes the paper with offering to the reader’s attention his author’s speculative model how it can be.

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Congdon, Brad. "“Community, Identity, Stability”: The Scientific Society and the Future of Religion in Aldous Huxley’s Brave New World." ESC: English Studies in Canada 37, no. 3-4 (2011): 83–105. http://dx.doi.org/10.1353/esc.2011.0041.

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Del Percio, Daniel Clemente. "ARQUITECTURAS INFERNALES. DISTOPÍAS Y UTOPÍAS SOVIÉTICAS EN LA NOVELA CIUDAD MALDITA, DE ARCADI Y BORIS STRUGATSKY." Astrolabio, no. 20 (June 30, 2018): 74–90. http://dx.doi.org/10.55441/1668.7515.n20.19545.

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La distopía o utopía negativa es un subgénero que ha hecho famoso la literatura inglesa, particularmente desde las obras de George Orwell (1984, de 1948) y Aldous Huxley (Brave New World, de 1932). Sin embargo, suele pasarse por alto que la primera antiutopía moderna pertenece a un autor ruso, Evgueni Zamiátin: la novela Nosotros (My), de 1922, producto de una modernidad tardía. Esta obra estableció los paradigmas que caracterizarían de ahí en más formalmente a la distopía. En 1968, los hermanos Arcadi y Boris Strugatsky, principales referentes de la ciencia ficción soviética en aquellos años, reelaboraron a partir de estas bases una ciudad ya no distópica sino infernal y oscuramente irracional, eje de su novela Ciudad maldita (Grab obrechonni), una distopía ya en clave posmoderna, llevándola a un auténtico (e irresuelto) planteo sobre la naturaleza del mal. A partir de un marco teórico que vincula la evolución de las utopías negativas con la ciencia ficción, nuestra hipótesis implica que esta novela, curiosa síntesis de ciencia, política, esoterismo y literatura, define un nuevo tipo de obra distópica. El paisaje de ruinas que implica, tan caro a la ciencia ficción posterior a la caída del Muro de Berlín, se vuelve un sistema de sinécdoques que representa, desde la estética del fragmento, un profundo nihilismo donde la posmodernidad adquiere la forma de abismo.

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RESNIK, DAVID B. "The Moral Significance of the Therapy-Enhancement Distinction in Human Genetics." Cambridge Quarterly of Healthcare Ethics 9, no. 3 (July 2000): 365–77. http://dx.doi.org/10.1017/s0963180100903086.

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The therapy-enhancement distinction occupies a central place in contemporary discussions of human genetics and has been the subject of much debate. At a recent conference on gene therapy policy, scientists predicted that within a few years researchers will develop techniques that can be used to enhance human traits. In thinking about the morality of genetic interventions, many writers have defended somatic gene therapy, and some have defended germline gene therapy, but only a handful of writers defend genetic enhancement, or even give it a fair hearing. The mere mention of genetic enhancement makes many people cringe and brings to mind the Nazi eugenics programs, Aldous Huxley's Brave New World, “The X-Files,” or the recent movie “Gattaca.” Although many people believe that gene therapy has morally legitimate medical uses, others regard genetic enhancement as morally problematic or decidedly evil.

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Elnahla, Nada, and Ruth McKay. "Workplace issues in the context of Aldous Huxley’s Brave New World: Mental health problems, cannabis and the division of labour." Transnational Corporations Review 12, no. 2 (April 2, 2020): 106–25. http://dx.doi.org/10.1080/19186444.2020.1746598.

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Horan, Thomas. "Revolutions from the Waist Downwards: Desire as Rebellion In Yevgeny Zamyatin's We, George Orwell's 1984, and Aldous Huxley's Brave New World." Extrapolation 48, no. 2 (January 2007): 314–39. http://dx.doi.org/10.3828/extr.2007.48.2.8.

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Lavi, Shai. "Cloning International Law: The Science and Science Fiction of Human Cloning and Stem-Cell Patenting." Law, Culture and the Humanities 14, no. 1 (March 13, 2014): 83–99. http://dx.doi.org/10.1177/1743872114522155.

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The article offers a critical appraisal of the rise of international governance in the field of genetics and reproductive technologies as “legal cloning.” It critically explores two of the dominant approaches to the homogenization of international law: the instrumentalist approach promoted by legal realists (law and science) and the deterministic approach advanced by legal surrealists (law and science fiction). As an alternative to both, the article offers an account of bio-technology’s modus operandi, and its power to “clone,” namely, to reduce human diversity – whether genetic, moral, or legal – not to identity but to a controlled and standardized uniformity. By examining three case studies of international law and transnational law – the UN declaration on human cloning, the recent restriction of the patenting of human embryonic stem cell research by the CJEU – along with Aldous Huxley’s classic novel Brave New World, the article unveils three different ways in which cloning operates in international law: international law versus cloning, international law as cloning, and the cloning of international law.

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Martynenko, Ekaterina А. "ALASDAIR GRAY’S LANARK (1981): WORKING WITH PRECEDENT TEXTS OF THE SCIENCE FICTION CANON." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 1 (March 1, 2022): 150–61. http://dx.doi.org/10.18522/2415-8852-2022-1-150-161.

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The article is devoted to the analysis of Alasdair Gray’s debut novel Lanark (1981) in the context of the world science fiction genre canon. The novel is marked by complex intertextual links, which go beyond quotations and imagery as the writer creatively employs established genre models. Lanark’s fantastic books aim at criticizing consumerism and capitalist totalitarianism. For this reason, they present a number of references to both Aldous Huxley’s Brave New World and George Orwell’s 1984. The novel also contains utopian elements. However, socialist ideals still remain an unattainable dream referable to the alternative past or hypothetical future. In addition, Lanark shows features intrinsic to the science fiction menippea of the Gulliver’s Travels type. These features demonstrate extraordinary liberty of plot, combination of profound symbolism and slum naturalism, protagonist’s eccentric behavior with his subsequent overthrowing, widespread use of inserted genres, three-planned construction (Earth, Olympus, nether-world) coupled with plot testing of the idea of union between power and science. In addition, Gray’s novel puts together science fiction, historical facts and memoirs, just as Vonnegut’s novelistic experiments do. This allows us to speak about Lanark as a genre hybrid of science fiction and autobiography.

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Gruenwald, Oskar. "The Dystopian Imagination." Journal of Interdisciplinary Studies 25, no. 1 (2013): 1–38. http://dx.doi.org/10.5840/jis2013251/21.

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This essay seeks to exploe the nature and effects of the new Post-Industrial Revolution as epitomized by the digital universe, the fusion of synthetic biology and cybenetics, and the promise of genetics, engendering new hopes of a techno-utopian future of material abundance, new virtual worids, human-like robots, and the ultimate conquest of nature. Central to this prefect is the quest for transcending human limitattons by changing human nature itself, consciously directing evolution toward a posthuman or transhuman stage. Less well understood is the utopia-dystopia syndrome illuminated by ttw dystopian imagination refracted in science-fiction literature in such famous twentieth-century dysopias as Yevgeny Zamyatin's We, Aldous Huxley's Brave New World, and George Orwell's 1984, cautioning that utopias may lead to their opposite: dystopia, totalitarianism, dictatorship. The thrall of techno-utopia based on technology as a prosthetic god may lead to universal tyranny by those who wield political power. The essay concludes that what humanity needs is not some unattainable Utopia but rather to cherish and nurture its God-given gifts of reason, free will, conscience, moral responsibility, an immortal soul, and the remarkable capacity of compasston to become fully human.

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Drux, Rudolf. "Vom Leben aus der Retorte." Rhetorik 37, no. 1 (November 1, 2018): 52–67. http://dx.doi.org/10.1515/rhet.2018.004.

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Abstract Since 1987, the year of birth of the first child conceived outside the womb, experiments with human life have been leading to an intense public debate about the benefits, chances and risks of research in reproductive medicine. For what had formerly existed in fictional worlds only, be it the alchemical mind game, the homunculus- recipe of Paracelsus or the breeding centre of Aldous Huxley’s Brave New World, was now happening in reality. With in vitro fertilization becoming a feasible alternative to creating offspring, the literary forms of representation for those technologies changed, too. This will be analysed in three exemplary 1980s novels with regard to topical focus, modifications in genre poetics and specific rhetoricity. It becomes apparent that in the age of human reproductive technology, the old motif of life from the lab has long lost its fictitious status and now manifests itself in diverse, sometimes bizarre ways as a part of social reality. As a result, authors now focus on the specific ethical and social problems of reproductive medicine. However, for fictional elaboration and rhetorical ornamentation of dystopias, bio-genetics and nanotechnology are mostly consulted because these sciences offer means of seemingly creating perfected and custom-made descendants.

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

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