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Journal articles on the topic 'Dystopian fiction'
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1
Bakker, Barbara. "Egyptian Dystopias of the 21st Century." Journal of Arabic and Islamic Studies 21 (October 23, 2021): 79–94. http://dx.doi.org/10.5617/jais.9151.
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During the first two decades of the 21st century an increasing amount of narratives termed as Arabic dystopian fiction appeared on the Arabic literary scene, with a greater part authored by Egyptian writers. However, what characterises/marks a work as a dystopia? This paper investigates the dystopian nature of a selection of Egyptian literary works within the frame of the dystopian narrative tradition. The article begins by introducing the features of the traditional literary dystopias as they will be used in the analysis. It then gives a brief overview of the development of the genre in the Arabic literature. The discussion that follows highlights common elements and identifies specific themes in six Egyptian novels selected for the analysis, thereby highlighting differences and similarities between them and the traditional Western dystopias. The article calls for a categorisation of Arabic dystopian narrative that takes into consideration social, political, historical and cultural factors specific for the Arabic in general, and Egyptian in particular, literary field.
Keywords: Arabic literature, dystopia, dystopian literature, contemporary literature, Egypt, fiction, speculative fiction.
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Muradian, Gaiane, and Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative." Armenian Folia Anglistika 13, no. 1-2 (17) (October 16, 2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.
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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, freedom of choice and idiosyncrasy of the society and its members. It is such critical and creative reflections of science fiction dystopian narrative that are focused on in the present case study with the aim of bringing out certain properties in terms of narrative types and devices, figurative discourse and cognitive notions through which science fiction dystopia expresses and conveys its overarching message, i.e. the warning to stop before it is too late to the reader.
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Song, Mingwei. "A Topology of Hope: Utopia, Dystopia, and Heterotopia in Contemporary Chinese Science Fiction." AUC PHILOLOGICA 2021, no. 3 (February 15, 2022): 107–33. http://dx.doi.org/10.14712/24646830.2022.6.
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This essay investigates how utopian thinking met with dystopian variations in contemporary Chinese science fiction. The dystopian gaze into the utopian dreams, the alternative histories contending with the utopian narratives, and the heterotopian experiments challenging ideological orthodoxy are the focus of my analysis. Reading the dystopian fiction by Chan Koonchung and science fiction stories and novels by Han Song, Bao Shu and Hao Jingfang etc., I do not intend to illustrate the utopian/ dystopian interventions in the political sense, but rather to explore the vigorous, multifaceted variations of utopia, dystopia, and heterotopia that these authors have created as discursive constructs to suggest alternatives to the utopia/dystopian dualism. Contemporary science fiction authors write back to the usual literary practice taking words as reflections of the world. To these writers, words are worlds.
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Saund, Gurpreet S., and Kulandai Samy. "Eco-critical dystopia and anthropocentrism in Margaret Atwood’s Oryx and Crake." Scientific Temper 14, no. 03 (September 27, 2023): 741–46. http://dx.doi.org/10.58414/scientifictemper.2023.14.3.26.
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Geopolitical anxieties entangled and emerged with the anthropocene, creating a collective imaginary of critical eco-dystopia in a fictive way. The imaginings of apocalypse evade the entire human civilization with its natural habitat, deluging the corpses to be laid onto the death-stricken bed of the world. Drawings on sight provide an anthropocentrism-critical approach toward the textual interpretation in general. This research article decontextualizes critical dystopian fiction and predicts the reality of biotechnology advances in Oryx and Crake. It expands on the eco-critical dystopian world to the point that it defines its long-term viability through compelling human insights that exemplify destructive acts. For instance, cybernetics, artificial intelligence, virtual reality, species splicing, and genetic engineering deploy the critical dystopic vision and transform the planet into a dilapidated globe, which becomes an untowelled world
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Adil Majidova, Ilaha. "The dystopian genre as one of Ray Bradbury’s creative trends." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 87–90. http://dx.doi.org/10.36719/2663-4619/61/87-90.
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Utopia is a common literary theme, especially in a speculative and science-fiction genre. Authors use utopian genre to explore what a perfect society would look like. Utopian fiction is set in a perfect world, while a dystopian novel drops its main character into a world where everything seems to have gone wrong. Dystopian fiction can challenge readers to think differently about current world. The article is devoted to the etymology of dystopia genre within Ray Bradbury’s creativity. In his short stories he tried to show the depth of his imagination. In Ray Bradbury’s fiction the world is a terrible place. He exposes the destructive side of technological progress and paradoxes of human personality in a grotty society. Key words: science-fiction, utopia, dystopia, prognosis, short story
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Altaf, Sana, and Aqib Javid Parry. "Nalo Hopkinson’s Midnight Robber: Blending technology and fantasy in a dystopian narrative." Technoetic Arts 22, no. 1 (April 1, 2024): 133–44. http://dx.doi.org/10.1386/tear_00126_1.
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In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia.
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Amelina, Anna V. "Theoretical Aspect of Studying the Literary Utopias and Dystopias of the First Decades of the 20th Century (on the Genre Identification Problem)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 4 (2023): 77–91. http://dx.doi.org/10.15826/izv2.2023.25.4.061.
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This article examines the theoretical problems of studying literary utopias and dystopias. Since utopia and dystopia exist far beyond fiction, it is proposed to approach the analysis of a literary work as a particular case of the manifestation of a universal model of utopian/dystopian consciousness. First, in the texts under consideration, their elements should be identified with the support of research in social philosophy — the structure of utopian consciousness is outlined in the article, and the structure of dystopian consciousness is derived by the author of the article by analogy. If a work shows signs of utopian or dystopian consciousness, the next step in working with the text is to compare its genre features with the established genre invariant developed by literary critics. The article also presents the corresponding conditionally universal genre models of utopia and dystopia. This approach allows, firstly, to reasonably attribute the work to utopias and dystopias in the presence of signs of utopian or dystopian consciousness, secondly, to expand the body of texts that can be considered utopias or dystopias, and, finally, to fix individual genre features and correlate them with the corresponding invariant. During the formation of the genre of literary dystopia, i.e. in the first decades of the twentieth century, when the diversity of genre features in national literatures was extensive, this algorithm helps to fully trace the formation of the national invariant of the genre and establish its national specifics. At the same time, destroyed by the twentieth century, the genre of “classical utopia” is reborn and significantly modified under the influence of the novel form, so the identification of literary utopia becomes difficult — in this situation, the combination of philosophical and literary methods considered in the article also seems productive.
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Farahbakhsh, Alireza, and Soulmaz Kakaee. "A DYSTOPIAN READING OF THE PRESENT TIME IN DAVID MITCHELL'S NUMBER 9 DREAM." International Journal of Research -GRANTHAALAYAH 6, no. 12 (December 31, 2018): 12–22. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1070.
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With the intention to study the implications and their affinity with and deviation from reality, the present study will analyze Number9Dream (2001) in terms of its narrative style, ontological qualities, and certain conventions which lead to the particular genre of dystopian science fiction. It tends to settle the following questions: are the implications and contributions of categorizing Number9Dream as a dystopian science fiction significant in any way? What is the role and ontological significance of setting in the novel? Narratological approach and genre criticism are applied to the novel to analyze it from the perspective of its critical engagement with dystopia. It traces science fictional elements and then continues to examine their utopian or dystopian nature and the different functions of those elements. It also refers to the connection between the given ontologies and reality. The present article shows that the novel provides a range of multiple possible worlds through two layers of internal and external ontology which are the representations of the real world. Dystopian narrative and science fiction conventions are exploited to address today's world issues. Through a detached view toward the present societies, Mitchell gives the opportunity to criticize what is not otherwise visible. The novel warns about human's isolation, alienation, and dehumanization and calls people to action accordingly. It briefly refers to the reconciliation of past/ present and nature/ science as a solution.
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Siham Hattab Hamdan, Dr. "kamaugawar and the creation of a dystopian reality: A study in hassan Blasim's "Crossword" and Ambrose Bierce's "Chi." لارك 3, no. 42 (June 30, 2021): 1206–21. http://dx.doi.org/10.31185/lark.vol3.iss42.1947.
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The study shows how war can create a dystopian reality worse than the reality depicted in the dystopian stories. War creates a circular or enclosed world that has no exit where people cannot see the end of the tunnel. The study discusses two short stories, one is for the Iraqi writer Hassan Blasim entitled "Crosswords" and the other for the American writer Ambrose Bierce entitled "Chickamauga". These two short stories fit one of the categories of dystopian fiction where the society witnesses the effects of war and civilians and soldiers become the victims. Though the two stories do not adhere to the futuristic perspective of dystopian fiction, they could express the thought of their writers' that what is going on in the society though it is real but it is at the same time, dystopian.
Key Words: Dystopia, War, Defamiliarization, Hassan Blasim, Ambrose Bierce.
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Jones, Calvert W., and Celia Paris. "It’s the End of the World and They Know It: How Dystopian Fiction Shapes Political Attitudes." Perspectives on Politics 16, no. 4 (November 23, 2018): 969–89. http://dx.doi.org/10.1017/s1537592718002153.
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Given that the fictional narratives found in novels, movies, and television shows enjoy wide public consumption, memorably convey information, minimize counter-arguing, and often emphasize politically-relevant themes, we argue that greater scholarly attention must be paid to theorizing and measuring how fiction affects political attitudes. We argue for a genre-based approach for studying fiction effects, and apply it to the popular dystopian genre. Results across three experiments are striking: we find consistent evidence that dystopian narratives enhance the willingness to justify radical—especially violent—forms of political action. Yet we find no evidence for the conventional wisdom that they reduce political trust and efficacy, illustrating that fiction’s effects may not be what they seem and underscoring the need for political scientists to take fiction seriously.
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Buividavičiūtė, Lina. "Elements of Dystopian Fiction in the Modern Lithuanian Prose." Respectus Philologicus 28, no. 33A (October 25, 2015): 5. http://dx.doi.org/10.15388/respectus.2015.28.33a.5.
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The theoretical problems and practical analysis of utopia and its subgenre dystopia are widely known in the global cultural discourse. Nevertheless, these analyses still remains almost terra incognita in the studies of Lithuanian prose. The aim of this article is to analyse and compare the ambivalent elements in these novels: Vilniaus pokeris (Vilnius Poker) by R. Gavelis, Užkeiktas miestas (The Town under the Spell) by R. Lankauskas, and Anapus rytojaus (Beyond Tomorrow) by J. Jankus. This article is based on the hermeneutical methodology and the context of existentialism. The theoretical part of the article “Dystopian World” describes the main sources, features, and polemical issues of genre. The first practical part “The Social-Historical Subordinated Dystopia in Lithuanian Literature” analyses the concrete historical and cultural features of the dystopian genre. The features of ontological-existential dystopia are described in the second practical part of the paper.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (July 31, 2017): 37. http://dx.doi.org/10.22146/poetika.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Poetika 5, no. 1 (July 31, 2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction." Gragoatá 23, no. 47 (December 29, 2018): 888–909. http://dx.doi.org/10.22409/gragoata.v23i47.33608.
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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.---Original in English.
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Al-Mamori, Yasir Khudeir Obid. "Addressing the Future with Data Visualization in Science Fiction Films: Dystopia or Utopia." Человек и культура, no. 2 (February 2022): 12–20. http://dx.doi.org/10.25136/2409-8744.2022.2.37817.
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The subject of the research is the methods and techniques of addressing the future in dystopian and utopian films. The object of research is visual effects and ways of displaying the future, which allow us to convey to the viewer the meaning of the narrative. In the process of research, special attention is paid to the possibilities of science fiction films that create another world with the help of special effects, emphasizing many themes and hidden ideas, while depicting a fairy tale. Special emphasis is placed on the fact that modern technologies, the possibilities of creating visual effects have changed the film industry, as a result of which it has strengthened the genre convergence of utopian and dystopian film products, as a result of which it has become possible to create plausible worlds so that science fiction films are perceived in a more immersive way. The main conclusions of the study are the conclusion that the modern tradition of visualizing science fiction films embraces and interweaves dystopias and utopias within the framework of one work, as a result of which the narratives are doubly fictional: they create a utopian or dystopian place as a backdrop for history, and at the same time the place itself becomes history. The author's special contribution lies in the fact that in the process of research, visual techniques of representing the future in cinematic fiction are highlighted, which invariably contain cultural meanings. The scientific novelty of the research is to identify and analyze the most typical techniques of reproducing the future in science fiction films using visual effects, which include brutalist architecture, creating an image of the future city.
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Robinson, Kim Stanley. "California: The Planet of the Future." Boom 3, no. 4 (2013): 3–11. http://dx.doi.org/10.1525/boom.2013.3.4.3.
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Boom interviews prolific science fiction writer Kim Stanley Robinson about writing, California, and the future. Topics of discussion include utopian and dystopian visions of the state, the Sierra Nevada and Sacramento Delta, the Orange County of Robinson’s youth, how California’s landscape and environment have informed science fiction, terraforming, utopia, dystopia, and finding a balance between technology and environmentalism.
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Altaf, Sana. "Negotiating patriarchal hegemony: Female agency in Christina Dalcher’s Vox." Technoetic Arts 21, no. 1 (August 1, 2023): 125–33. http://dx.doi.org/10.1386/tear_00103_1.
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Contemporary critics have opined that the vision of dystopian texts has come true about the present situation rather than about the future. In today’s technologically driven world, where the gulf between speculative fiction and political reality seems to have narrowed, feminist dystopian fiction has gained immense popularity. These texts address gender ideologies and issues and often use current social conditions to demonstrate the sexism inherent in patriarchal societies. This article aims to analyse the novel Vox (2018) by American writer Christina Dalcher within the framework of feminist dystopia to highlight the unbridled nature of violence used against women and the eventual emergence of the female body as the locus of self-articulation and resistance against the dystopian authority. It also demonstrates how the novel creates a narrative space within which the feminine body is transformed from a static object of representation to a potent subject of the text.
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Popova, S., and V. Bilokon. "DYSTOPIAN VISION OF 2052 IN HENLEY’S “SIGNATURE”." Studia Philologica 2, no. 17 (2021): 86–92. http://dx.doi.org/10.28925/2311-2425.2021.1711.
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Modern drama tends to catch up with the representation of the dystopian alternative worlds much like the contemporary mass culture. Sci-fi and dystopian productions become popular onstage because the medical and technological breakthroughs occur so rapidly in our present-day life that the humanity fails to reflect them properly. There are the following main features pertaining to science fiction in drama, namely dystopian play: fantastical concepts in tune with the modern scientific theory; the illusion of authenticity via scientific methodology; creation of a fictional world on the basis of the factors and tendencies of wide public importance. The aim of this article is to study the generic features of sci-fi subgenre of dystopia on the material of Henley’s drama “Signature” (1990). The play written by the US woman dramatist introduces the world deprived of meaningful lives for its characters whose fake values drive them to grave consequences (death, loss of the beloved). This text for staging warns the audience about the devaluation of human life in favor of elusive success. Henley’s 2052 Hollywood is a dystopic space for rather emotionless characters (the T-Thorp brothers, L-Tip, the Reader), who understand their failures and losses when it is too late. The only exception is William, selfless and unafraid of predicaments. The fundamental for the Western civilization phenomenon of love is distorted and disregarded in favor of immediate satisfaction and addiction to fame. Like her predecessors in sci-fi Henley predicts a mass human alienation in not so distant future. Yet the open end of Boswell’s story somewhat decreases the horror of dystopia – there is a remote chance that after anagnorisis the protagonist will find his beloved and make peace with her even though for a very short time. Henley’s dystopia constructs the ambivalent vision of the future, charged with questions of cryonics, cloning, global digitalization, omnipresent euthanasia, environmentalism and feminism.
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Hinchliffe, Jade. "Speculative Fiction, Sociology, and Surveillance Studies: Towards a Methodology of the Surveillance Imaginary." Surveillance & Society 19, no. 4 (December 13, 2021): 414–24. http://dx.doi.org/10.24908/ss.v19i4.15039.
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Utopian theorists often speak about the merits of reading utopian fiction in order to reimagine and rebuild a better world, but dystopian fiction is often overlooked. This is, in my view, misguided because dystopian fiction, like utopian fiction, diagnoses issues with the present, inspires activism and resistance, and, in the twenty-first century, often presents ideas of how to effect positive change through collective activism. As speculative literary genres concerned with world-building, utopian and dystopian fiction have inherent sociological concerns. These texts can therefore be utilised by sociologists and other researchers beyond the arts and humanities. Speculative fiction is important to the field of surveillance studies not only because surveillance is a major theme in these literary texts but also because their formal properties provide us with the language, imagery, and feelings associated with being under surveillance. Twenty-first-century utopian and dystopian fiction has not been thoroughly examined by surveillance scholars. Analysis of utopian and dystopian fiction in this field has also focused on texts set in, and written by authors from, the global north. Considering the plethora of dystopian novels in and beyond the global north published in recent years that discuss surveillance, the neglect of the study of these texts to date is an oversight.
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Dubakov, Leonid, and Yuting Li. "The poem «Terkin in the Next World» by A. Tvardovsky and the story «Notes from the Spirit World» by Zhang Tian-yi: a dystopian mortal mirror of the political regime." Филология: научные исследования, no. 9 (September 2023): 1–9. http://dx.doi.org/10.7256/2454-0749.2023.9.40914.
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Russian and Chinese dystopias have similarities and differences in their genesis. The proximity of the dystopian texts of the two cultures is due to parallel historical and social processes, which are reflected in the plots of the corresponding works. The difference is manifested in the accents that both literature puts. In particular, we can say that there is no Chinese dystopia in the Western and Russian understanding: China sees dystopia more as fiction and satire. Despite this, Russian and Chinese dystopias have similar features. The purpose of this article is to analyze the ideological, plot, and motivational calls between A. Tvardovsky's poem "Terkin in the Next World" and Zhang Tian-yi's novel "Notes from the Spirit World". The scientific novelty of the research is seen in the fact that the author for the first time compares these works, designates genre signs of dystopia in both texts, formulates the specifics of the writer's assessment of the corresponding dystopian regime. The inhabitants of the afterlife, in which Terkin found himself, and the world of spirits are the image of contemporaries of Tvardovsky and Zhang Tian–yi, citizens of the state, which is metaphorically portrayed by writers as the reality of death. This infernal world turns out to be a mortal mirror for the political regime. In the case of "Terkin in the next world" it is an authoritarian regime, in the case of "Notes from the spirit world" it is a pseudo–liberal regime, and but in fact - oligarchic and nationalistic.
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Hossain, Kazi Amzad. "Space and Dystopian Imagery in Batman Begins (2005)." European Journal of English Language and Literature Studies 12, no. 4 (April 15, 2024): 1–12. http://dx.doi.org/10.37745/ejells.2013/vol12n4112.
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Batman Begins is a 2005 Hollywood movie directed by Christopher Nolan, with a screenplay by Bob Kane, David S. Goyer, and Christopher Nolan. The movie is set in Gotham, a fictional corrupt society in the US, dominated by crime and fear before the arrival of Batman. It follows Bruce Wayne's journey from witnessing his parents' murder as a child to becoming a vigilante. The film uses space and dystopian imagery to depict Gotham's poverty, corruption, and crime, emphasizing Bruce's internal struggle and transformation into Batman.The paper will explore how Batman Begins employs space metaphors and Gothic imagery to convey a sense of dystopia. Space and place, as defined by Tuan (1977), highlight the differences between freedom and security, abstract and concrete reality. The repeated use of darkness in the film underscores Gotham's moral decay, aligning with the concept of dystopia—a theme common in modern science fiction that portrays dehumanized, fearful societies. The discussion will delve into how these elements create a vivid dystopian setting in the movie.
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Steble, Janez. "New Wave Science Fiction and the Exhaustion of the Utopian/Dystopian Dialectic." ELOPE: English Language Overseas Perspectives and Enquiries 8, no. 2 (October 10, 2011): 89–103. http://dx.doi.org/10.4312/elope.8.2.89-103.
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The paper explores the development of the utopian and dystopian literature in the experimental and prolific period of New Wave science fiction. The genre literature of the period chiefly expressed the dissolutions of the universe, society, and identity through its formal literary devices and subject-matter, thus making it easy to arrive at the conclusion that the many SF works of J. G. Ballard’s post-apocalyptic narratives, for example, exhausted and bankrupted the utopian/dystopian dialectic. However, the article provides textual evidence from one of the most prominent authors of the New Wave and the theoretical basis to suggest the contrary, namely that the categories of utopia and dystopia had by that time reached a level of transformation unprecedented in the history of the genre. Furthermore, the paper explores the inherent qualities science fiction shares with utopian literature, and suggests that the dialogism of the science fiction novel, especially that of the New Wave, has brought about the revival of utopia and rediscovered its potential.
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Muñoz González, Esther. "Discussing the Feminist Agenda in Margaret Atwood’s Dystopian Novels." Journal of English Studies 20 (December 22, 2022): 179–96. http://dx.doi.org/10.18172/jes.4809.
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In this article, an analysis is made of Margaret Atwood’s The Handmaid’s Tale (1985) and MaddAddam (2013) from a gendered and generic perspective. The Handmaid’s Tale was one of the novels that marked the dystopian turn in the 1980s writing of fiction, while MaddAddam is, for some critics, a feminist critical dystopia in which the ending retains hope for a better future. Consequently, both novels belong a priori to a specific branch of the dystopian genre: the feminist dystopian novel. However, some ambiguity or even contradictory readings can be inferred in both texts. This article explores The Handmaid’s Tale and MaddAddam’s portrayal of women and their acts of resistance in order to assess these texts’ liberatory or still inherently conservative messages of their endings, especially regarding women.
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Pérez, Vincent. "The Fourth Reich: Ishmael's Reed's The Terrible Twos and the Triumph of Celebrity Culture." Popular Culture Review 28, no. 2 (December 2017): 4–33. http://dx.doi.org/10.1002/j.2831-865x.2017.tb00328.x.
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AbstractDonald Trump's rise to the U.S. presidency was foretold in many 20th century works of dystopian fiction as well as Western Marxist scholarship written during and after the Nazi era. The most prescient modern dystopian novel, Ishmael Reed's The Terrible Twos (1982), has much in common thematically with earlier American dystopian fiction while also sharing the bleak vision of U.S. mass (media) culture postulated by Frankfurt School theorists such as Theodor Adorno and Max Horkheimer in The Dialectic of Enlightenment (1947). But Reed's novel diverges dramatically from these earlier writings, whether fictive or scholarly, through its farcical and absurdist postmodernist depiction of a future neo‐fascist America in which popular (media) culture reigns triumphant even as spaces of resistance take shape amid the seemingly overdetermined ideological and cultural landscape.
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Cuadrado Payeras, Lidia María. "On Sight, Technology, and Science Fiction: Transhumanist Visions in Contemporary Canadian Dystopia." 452ºF. Revista de Teoría de la literatura y Literatura Comparada, no. 27 (July 30, 2022): 220–36. http://dx.doi.org/10.1344/452f.2022.27.12.
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This article examines a number of practices of observation as represented in contemporary Canadian dystopias in light of technological developments as seen by transhumanist thought. It argues that the transhumanist scopic practices that underlie their science-fictional imaginaries are in fact dystopian, and, as such, it takes examples from dystopian literature to illustrate how the nature of sight and seeing in the techno- and image-mediated context presents dangerous pitfalls for subject formation, identity politics, and agency. The article distinguishes between “vision” as a body of ideas and “sight” as the actual ways of seeing that may be reciprocal and create bonds of affectivity or, in the case of the transhumanist predicament, be instead founded on watching as the one-sided commodifying alternative.
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KAYIŞCI AKKOYUN, Burcu. "Archiving the Resistance: Memory and Oppositional Recordkeeping in Dystopian Fiction." Cankaya University Journal of Humanities and Social Sciences 17, no. 1 (June 30, 2023): 62–79. http://dx.doi.org/10.47777/cankujhss.1221173.
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As imaginary good places located elsewhere and/or in another time, literary utopias may articulate nostalgic yearnings for an irretrievable past, but more significantly, they express socio-political discontent with the present and anticipations for the future. The role of memory is thus central in utopian configurations since they present better alternatives primarily by “remembering” and evaluating specific historical conjunctures. In line with the increasing prominence of dystopian fiction starting from the early twentieth century, issues concerning the preservation and destruction of memory have become more relevant. Authors portray how totalitarian regimes and corporations reshape or sever the links between the past, the present, and the future while defiant characters resist political oppression by forming alternative narratives. The struggle to construct personal and collective archives against the obliteration of past and present records makes recordkeeping a common theme and trope in many dystopian narratives. This paper examines the various forms of what I call “oppositional recordkeeping” in the selected major examples of the genre through theories of dystopia, memory, and the archive. The paper will conclude that authors of dystopian fiction preserve the possibility of utopian change by imagining various oppositional recordkeeping practices without overlooking the problems entailed in authority and authorship.
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О. Г. ШКУТА. "VERBALIZATION OF THE CONCEPT OF FEAR IN THE ENGLISH YOUTH DYSTOPIAN NOVEL “THE HUNGER GAMES” BY SUZANNE COLLINS." MESSENGER of Kyiv National Linguistic University. Series Philology 22, no. 2 (December 26, 2019): 79–87. http://dx.doi.org/10.32589/2311-0821.2.2019.192338.
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Introduction. The article focuses on the problem of the concept of FEAR verbalization in the English-language youth dystopian fiction novel “The Hunger Games” by American writer Suzanne Collins. The main invariant features of dystopian novels in general, and, in particular, of youth dystopian fiction novels, are detected.The purpose of the article is to identify the means of verbalization of the concept of FEAR as a component of the invariant model in youth dystopian fiction novel The Hunger Games by American writer Suzanne Collins.The following methods are applied to analyze the data: descriptive method, the method of lexicographic analysis and vocabulary definitions’ analysis.The results. Based on the textual analysis the means of the concept of FEAR verbalization are identified, and the most frequently presented lexical units of its verbalization in The Hunger Games are highlighted. Localization of FEAR in the youth dystopian fiction novel in time and space is explored, as well as the manifestations of the emotion of FEAR, the development of successive stages of FEAR growth. The study has revealed that the maininvariant features of dystopian novels are totally controlled by society, obligatory unanimity of its members, quest, external conflict. The significance of Suzanne Collins' interpretation of the tiniest nuances of the emotion of FEAR is summed up. The article states that the FEAR in the novel is inexplicable, existential and motivated by certain circumstances.The research makes the conclusion that the concept of FEAR plays an important role in the poetics of dystopian youth fiction novels, testifying to the author as a master of psychological analysis.
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Herrero, Dolores. "Populism and Precarity in Contemporary Indian Dystopian Fiction: Nayantara Sahgal’s When the Moon Shines by Day and Prayaag Akbar’s Leila." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 2 (December 23, 2020): 214–32. http://dx.doi.org/10.28914/atlantis-2020-42.2.11.
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Although dystopia has been an enduring trope in literature, it is now, however, that dystopian and apocalyptic fiction has become especially popular all over the world. The main aim of this article is to discuss how contemporary Indian fiction denounces the barbarity of contemporary Indian nationalism, in particular the policies enforced by a repressive Indian state where tradition and purity are valued above multiculturality, dialogue and equality. In order to do this, I focus on two internationally acclaimed novels, namely, NayantaraSahgal’s When the Moon Shines by Day (2017) and Prayaag Akbar’s Leila (2018). In different but complementary ways, both dystopias draw a telling portrait of precarious times in contemporary India. Both novels also warn against the dangers of the fundamentalist version of Hindu nationalism and cultural censorship, at the same time as they bring to our attention the damage that a dominant minority can inflict on those situated at the bottom of the social ladder, who are thus condemned to live in inhuman conditions, as if they were less than nothing.
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Rahariyoso, Dwi, and Dimas Sanjaya. "COVID-20 DAN SEPILAHAN FIKSI LAINNYA SEBAGAI BENTUK SASTRA DISTOPIA." Caraka: Jurnal Ilmu Kebahasaan, Kesastraan, dan Pembelajarannya 7, no. 1 (December 29, 2020): 130–43. http://dx.doi.org/10.30738/caraka.v7i1.8493.
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This article discusses the literary narrative of dystopia in Covid-20 and Other Sorts of Fiction. This study aims to determine the formulation of dystopia and discourse short stories offered in Covid-20 and Other Fiction. This research is a qualitative descriptive study with the postmodernism approach of Jean-Francois Lyotard. For data collection with literature study. To analyze the data using the descriptive analysis method. The research results found that dystopian literature provides formulations in it, namely, the time landscape (the future of the world and the Divine), catastrophic situations (dehumanization, chaos), coveted transformations, in which a new but unpleasant world is created due to social degeneration, an order. destructive social activities, or the consequences of social transformation efforts that lead to disasters.
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B. Almalki, Salma. "The Resistance Narrative in Arabic Science Fiction: Azem’s The Book of Disappearance (2014)." Arab World English Journal For Translation and Literary Studies 8, no. 1 (February 15, 2024): 159–72. http://dx.doi.org/10.24093/awejtls/vol8no1.12.
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This paper aims to analyze the mode of resistance narrative in Ibtisam Azem’s The Book of Disappearance (2014), which is read within the frame of Arabic Science Fiction. The study answers the following questions:(1) What are the Arabic Science Fiction tropes in Azem’s novel? (2) How does ASF subserve resistance narratives in Azem’s novel? (3)Why does Azem utilize the Dystopian Narrative for resistance narratives? The study examines the structure and themes of Azem’s The Book of Disappearance in terms of postcolonial and science fictional theories. The study’s methodology considers Kanafani’s resistance narrative, Morrison’s rememory, and Hochberg’s archival imagination in exploring the historical frame in Azem’s The Book of Disappearance. The analysis of Azem’s The Book of Disappearance interconnects the Palestinian resistance literature and the postcolonial writing to the ASF tropes and techniques. The alternative history closely examines the controversy between Israeli utopia and Palestinian dystopia. The study concludes that in Azem’s novel, the 1948 Nakba is recreated in the future through the imaginative incident of the Palestinian disappearance. As Palestinian novels often grapple with the complex question of identity in the face of displacement, occupation, and cultural pressures, Azem’s novel inspects the question of identity through a simulation of history in Alaa’s diary and through the gaze of Arial, the Israeli journalist. Azem’s novel confronts this trauma, giving voice to the pain and suffering of the Palestinian people through the Arabic Science Fiction frame of a dystopian narrative that dismantles the Zionist ideology and Israeli oppressive regime.
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AKKOYUN, Tülay. "EKOLOJİK TEHLİKE ÇIĞLIĞI: ERNEST CALLENBACH’IN ‘EKOTOPYA’ ve OYA BAYDAR’IN ‘KÖPEKLİ ÇOCUKLAR GECESİ’." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 96–104. http://dx.doi.org/10.31567/ssd.703.
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The first known Ecological Utopia novel was written by Ernest Callenbach in 1975 in America. Ecological Dystopia, on the other hand, has already taken its place in many dystopian works, even if it had not been named yet, as dystopia takes the future as its subject. In dystopian fiction, since the problems that are and can be experienced in a country or in the world are discussed, the dystopian writer expresses the negativities that may be experienced in the future based on his/her own geography. Ecological dystopia writers make predictions about how environmental pollution, forest fires, natural disasters such as earthquakes, floods and erosion will affect humanity and the universe in the future. Since there is no other planet suitable for human life, the authors' predictions about the need to protect the planet we live in can be described as a cry of enlightenment. In this study, we will examine comparatively two works that deal with the desired ideal world and a world that faces the danger of extinction as a result of conscious or unconscious harm, within the scope of Sociological Criticism. Hoping that every dystopia can evolve into a utopia; even though Ernest Callenbach's "Ecotopia" and Oya Baydar's "The Night of Children with Dogs" seem to opposite each other, we will try to demonstrate with examples that both works carry the same ecological danger’s outcry. Keywords: utopia, dystopia, ecological outcry.
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Feneja, Fernanda Luísa. "Promethean Rebellion in Ray Bradbury's "Fahrenheit 451": The Protagonist's Quest." Amaltea. Revista de mitocrítica 4 (November 15, 2012): 1–20. http://dx.doi.org/10.5209/rev_amal.2012.v4.40586.
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The article aims to reflect on the role of the myth in science fiction narrative, namely on the specific forms it may take in utopian/dystopian fiction, such as Fahrenheit 451 (1953) by Ray Bradbury. The personal development of the main character, Guy Montag, constitutes the focus of this analysis, by which we aim to shed some light on the relation between the meaning of the novel and the Promethean features he evinces in the context of a dystropian novel. The symbolic power of fire and of books is also of core relevance to this study, not only because the highlight the hero's inheritance of the Promethean myth, but also because the provide a deeper insight into exegetic possibilities of dystopsian fiction
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M, Indra Priyadharshini, and Dr C. Leena. "Post Humanismin Dystopian Fiction with Reference to the Novel Feed by M.T. Anderson." International Journal of English Literature and Social Sciences 9, no. 1 (2024): 108–9. http://dx.doi.org/10.22161/ijels.91.14.
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The world is facing a lot of changes in recent decades. There is enormous development in every field. Everything is developing in one hand and on the other hand the entire world is reaching its grave position in terms of humanity and love. Many authors have shared their ideas on how the world is going to be in the mere future in the form of dystopian fiction. Dystopian literature is nothing but the entire story of the novel is set in the future. This research paper depicts post humanism and artificial intelligence taking its pace in dystopian fiction.
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Hickman, John. "When Science Fiction Writers Used Fictional Drugs: Rise and Fall of the Twentieth-Century Drug Dystopia." Utopian Studies 20, no. 1 (January 1, 2009): 141–70. http://dx.doi.org/10.2307/20719933.
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Abstract This article compares seven novels published from 1932 to 1980 which are set in drug dystopias (near future societies where pharmacology produces or reinforces a dystopian social order) in order to answer two questions. What are the effects and symbolic meanings of the fictional drugs they describe? Why are there so few examples of this subgenre? Today, their warnings about the reduction of populations to docility or of assaults on the integrity of individual minds seem overwrought, and the apparent passing of the subgenre need not be mourned. Two of the seven novels, however, Brave New World and A Scanner Darkly, continue to be read because they warn against more subtle forms of tyranny.
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Hickman, John. "When Science Fiction Writers Used Fictional Drugs: Rise and Fall of the Twentieth-Century Drug Dystopia." Utopian Studies 20, no. 1 (January 1, 2009): 141–70. http://dx.doi.org/10.5325/utopianstudies.20.1.0141.
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Abstract This article compares seven novels published from 1932 to 1980 which are set in drug dystopias (near future societies where pharmacology produces or reinforces a dystopian social order) in order to answer two questions. What are the effects and symbolic meanings of the fictional drugs they describe? Why are there so few examples of this subgenre? Today, their warnings about the reduction of populations to docility or of assaults on the integrity of individual minds seem overwrought, and the apparent passing of the subgenre need not be mourned. Two of the seven novels, however, Brave New World and A Scanner Darkly, continue to be read because they warn against more subtle forms of tyranny.
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Bacanu, Horea. "Globalisation of Cultural Circuits. The Case of International Awards for Fiction." European Review Of Applied Sociology 8, no. 11 (December 1, 2015): 19–30. http://dx.doi.org/10.1515/eras-2015-0008.
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Abstract In the international circuit of fictional texts from the last fifty years (perhaps even one hundred years, in some cases), several independent international organizations, academic and editorial platforms of critique and debate have been established. They have been organizing international contests, fine authorities of critical appreciation, evaluation and awarding of most prolific authors and most successful fictional texts: novels, short stories, stories or utopian and dystopian fictions. The allotment on cultural corridors, the geographical identification of both author and title dynamics which have been nominated at the most prestigious international awards for fiction demonstrates an increased emergence of several zones where wide international circulation texts were seldom, fifty years ago. In this paper, we suggest a reinterpretation and a comprehension of the political context from the contemporary fiction, by regrouping in one category, the three classical genres (historic novel, social novel, political novel) and also the universal fiction which implies characters and relations of power. Thus, we create a category which is known as „political fiction”. The increased individualization of this literary macro-genre called „political fiction” is also a creative answer to the high speed of circulation and at the general international amplitude with which contemporary socio-political novels are distributed.
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Panagopoulos, Nic. "Utopian/Dystopian Visions: Plato, Huxley, Orwell." International Journal of Comparative Literature and Translation Studies 8, no. 2 (March 30, 2019): 22. http://dx.doi.org/10.7575/aiac.ijclts.v.8n.2p.22.
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This paper attempts to theorize two twentieth-century fictional dystopias, Brave New World (2013) and Nineteen Eighty-Four (1984), using Plato’s political dialogues. It explores not only how these three authors’ utopian/dystopian visions compare as types of narrative, but also how possible, desirable, and useful their imagined societies may be, and for whom. By examining where the Republic, Brave New World, and Nineteen Eighty-Four stand on such issues as social engineering, censorship, cultural and sexual politics, the paper allows them to inform and critique each other, hoping to reveal in the process what may or may not have changed in utopian thinking since Plato wrote his seminal work. It appears that the social import of speculative fiction is ambivalent, for not only may it lend itself to totalitarian appropriation and application—as seems to have been the case with The Republic—but it may also constitute a means of critiquing the existing status quo by conceptualizing different ways of thinking and being, thereby allowing for the possibility of change.
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Heise-von der Lippe, Anya. "Histories of Futures Past: Dystopian Fiction and the Historical Impulse." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 411–25. http://dx.doi.org/10.1515/zaa-2018-0035.
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Abstract This article traces the historical impulse in two intertextually connected dystopian texts – George Orwell’s 1984 (1949) and Margaret Atwood’s The Handmaid’s Tale (1985) – by reading the two novels in the context of the construction of historical narrative after the proclaimed ‘end of history’ in the twentieth century. It considers their representation of history within the framework of literary criticism of the historical novel (György Lukács), critical dystopias (Tom Moylan), and memory as an active, mediated engagement with the past (Astrid Erll and Ann Rigney). It looks, more specifically, at how the texts contrast personal experience and the meta-narrative contemplation of memory with institutionalized versions of history on different diegetic levels by juxtaposing the narrators’/focalizers’ view of history with that presented in the framework of pseudo-historical appendices that accompany and significantly modify the interpretations of both narratives.
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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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Flynn, Deirdre. "‘Will it flood? Are you even listening to me?’ Eco-Gothic and the Climate Crisis in Kevin Barry’s ‘Fjord of Killary’." Irish University Review 53, no. 1 (May 2023): 143–58. http://dx.doi.org/10.3366/iur.2023.0594.
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Kevin Barry’s short story ‘Fjord of Killary’ combines contemporary dystopian and ecological concerns, through the gothic, in order to critique Irish neoliberal ideologies. Engaging the eco-gothic, Barry explores Irish cultural anxieties around climate change and the 2008 economic collapse. The ecological crisis at Killary, and the response to the flood, offer an insight into the fears and the possible futures of the looming climate crisis. This essay investigates why contemporary climate fiction is turning to speculative, gothic dystopias to investigate the eco consequences of global warming.
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Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction." Gragoatá 23, no. 47 (December 29, 2018): 888. http://dx.doi.org/10.22409/gragoata.2018n47a1211.
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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.------------------------------------------------------------------------------------------HUMANIDADE PRECÁRIA: O DUPLO NA FICÇÃO CIENTÍFICA DISTÓPICAO duplo é um elemento comum na literatura fantástica e desempenha um papel importante na retomada do gótico no final do século XIX. Ele questiona a noção de uma identidade coesa ao propor a ideia de um “eu” fragmentado que é ao mesmo tempo familiar e assustadoramente outro. Por outro lado, o duplo também é uma maneira de representar as tensões da vida nos grandes centros urbanos. Apesar de ser costumeiramente associado ao fantástico, o motivo do duplo se espalhou para outros gêneros, incluindo a ficção científica, gênero também preocupado com a investigação da identidade e da natureza do humano. O objetivo deste artigo é discutir a representação do duplo na ficção científica contemporânea, mais especificamente na sua modalidade distópica, onde a questão da identidade adquire uma relevância especial, uma vez que a distopia tem como foco a relação atribulada entre indivíduo e sociedade. Obras como o conto “Learning to Be Me”, de Greg Egan; White Chistmas, episódio da série de televisão Black Mirror; o romance Never Let Me Go, de Kazuo Ishiguro; e o filme Moon, dirigido por Duncan Jones, serão brevemente analisados a fim de rastrear as maneiras como a figuro do duplo é rearticulada na ficção científica distópica como um meio de trabalhar novas inquietações a respeito da identidade pessoal e da posição do indivíduo na sociedade.---Original em inglês.
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Oh, Yun Joo. "A Study on the Literary Educational Implications and Educational Methods of the Distopian Fiction." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 18 (September 30, 2022): 237–53. http://dx.doi.org/10.22251/jlcci.2022.22.18.237.
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Objectives This study attempted to explore the literary educational potential of dystopian fiction that shape negative prospects for the future through the imagination of catastrophe and end.
Methods To this end, this study conducted interpretative phenomenological analysis focusing on the works of Pyeon Hye-young, Yoon Yi-hyung, and Kim Cho-yeop among the novels created since the 2010s. This study first went through an interpretation process of watching the experience embodied in the text itself, synthesizing and grasping its essential meaning in context. This study categorized the dystopian attributes of each work derived in this way into Heidegger's philosophy of existence to explore the possibility of literature education and devise an educational plan for dystopian novels.
Results According to Heidegger, the essence of human existence lies in that he is ‘a being that leads to death’. ‘Dasein’ faces its essence of existence by “running ahead and looking ahead” toward death, and through this, it can only exist as its original self. The dystopian fiction is a genre that makes us reflect on what our lives should be like in the face of death by staring at and embodying the possibility of the end of human society.
Conclusions The dystopian fiction has literary educational significance and potential in that it allows readers to face the possibility of catastrophe, ask questions about catastrophe, find answers to it, and search for action orientation and concreteness through ‘Sorge’ toward death and life. This study proposed an educational plan for self-reflection for face-to-face with text, deepening reflection through questions, and existential conversion for dystopian novel education.
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Stock, Adam. "The Future-as-Past in Dystopian Fiction." Poetics Today 37, no. 3 (August 30, 2016): 415–42. http://dx.doi.org/10.1215/03335372-3599495.
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Basu, Balaka. "Female Rebellion in Young Adult Dystopian Fiction." Contemporary Women's Writing 10, no. 1 (July 23, 2015): 147–49. http://dx.doi.org/10.1093/cww/vpv013.
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Gorliński-Kucik, Piotr. "Interpretacja jako samozbawienie. O Gnieździe światów M.S. Huberatha." Przestrzenie Teorii, no. 37 (February 14, 2023): 159–77. http://dx.doi.org/10.14746/pt.2022.37.9.
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This article is an attempt to interpret the novel Gniazdo światów (Nest of Worlds) by Marek S. Huberath. Contrary to appearances, this novel does not fit into the science fiction convention, nor does it implement dystopian schemes without reservations. Instead, the novel uses a repertoire of postmodern tricks and emphasizes the cryptotheological background. These themes can be read through the reference to transhistoric, gnostic world-feeling, and hermetic speculation. Therefore, Huberath’s novel appears as a meta-dystopia from which self-salvation can be an appropriate interpretation of the world around us.
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Zia, Ather. "the land of dreams." English Language Notes 61, no. 2 (October 1, 2023): 15–18. http://dx.doi.org/10.1215/00138282-10782032.
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Elmore, Jonathan. "Terrestrial Horror or the Marriage between Horror Fiction and Cli-Fi: What the Language of Horror can Teach us about Climate Change." International Journal of Language and Literary Studies 4, no. 3 (August 5, 2022): 158–64. http://dx.doi.org/10.36892/ijlls.v4i3.985.
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This paper focuses on the dystopian camp of climate fiction and its affinities with another fiction genre: horror. During cli-fi’s rise, horror has enjoyed a resurgence of popular interest and sustained and reinvigorated scholarly interest in the past few years. While horror and dystopian cli-fi have different roots and conceptual underpinnings, there are points of contact between the genres, when the horrible in horror fiction spawns from environmental collapse or when the climatic in cli-fi drives what horrifies. My central claim is that these contact points, the overlap between cli-fi and horror fiction, become critical research nodes for developing the necessary societal, cultural, and intellectual framework for living in a destroyed world. I suggest a label for the crossover between cli-fi and horror fiction: terrestrial horror. Analyzing multiple texts within this subgenre renders visible the societal, cultural, and intellectual changes necessary for the kinds of posthumanism needed in a destroyed world.
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Casibual, Joseph Padios. "From Herland to Gilead: Framing Post-Feminine Fertility in Dystopian and Utopian Fiction." Jurnal Bahasa dan Sastra 10, no. 2 (July 3, 2022): 123. http://dx.doi.org/10.24036/jbs.v10i2.116564.
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There is something structurally amiss in a culture that only values women for their capacity to bear a child which is reflected in misrepresentations in literature that confined women to stereotypes that creates an endless room for debate as to what future is in store for women particularly in post-humanist literature. This paper addresses how female fertility is framed in the texts of Margaret Atwood- The Handmaid’s Tale and The Testaments (dystopian) and Charlotte Perkins Gilman- Herland and With Her in Ourland (utopian). Using transitivity analysis, it aims to examine representation and roles attached to feminine fertility, to discourse fertility in utopian and dystopian texts, and evaluate the politics of the female body in relation to fertility and reproduction. Clearly, Atwood’s dystopian fiction critically examined the oppressive and utilitarian view towards the female body which contrasted with Gilman’s utopic body autonomy. It is revealed that a sense of feminine liberty is associated with utopian fiction contrary to body bondage depicted in dystopian texts which have deeply elaborated a politicized view towards the future of the post-female body and women in general.
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Kabak, Murat. "Margaret Atwood’s "Oryx and Crake" as a Critique of Technological Utopianism." English Studies at NBU 7, no. 1 (June 1, 2021): 37–50. http://dx.doi.org/10.33919/esnbu.21.1.3.
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While there are major works tracing the themes of belonging and longing for home in contemporary fiction, there is no current study adequately addressing the connection between dystopian novel and nostalgia. This paper aims to illustrate how the Canadian writer Margaret Atwood uses nostalgia as a framework to level a critique against technological utopianism in her dystopian novel Oryx and Crake (2003). The first novel in Atwood’s “MaddAddam Trilogy” problematizes utopian thought by focusing on the tension between two utopian projects: the elimination of all suffering and the perfection of human beings by discarding their weaknesses. Despite the claims of scientific objectivity and environmentalism, the novel exposes the religious and human-centered origins of Crake’s technological utopian project. Atwood’s Oryx and Crake is an ambiguous work of science fiction that combines utopian and dystopian elements into its narrative to criticize utopian thought.
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Yusupov, Khalid U. "Adaptation of Dystopian Texts: Rendering Fictional Realia." Linguistics and Intercultural Communication 26, no. 3_2023 (November 29, 2023): 130–40. http://dx.doi.org/10.55959/msu-2074-1588-19-26-3-10.
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The article explores adaptation as a means of rendering fictional realia. Fictional realia (also known as quasi-realia and irrealia) are understood as a special kind of linguistic realia (culture-specific items) that exist within the genre of speculative fiction. These lexical units describe various aspects of fictional worlds: flora, fauna, everyday life, social and political structure, etc. Adaptation in general is defined as a specific form of intercultural and interlingual mediation that relies heavily on capabilities and necessities of a target audience. Unlike regular translation, adaptation does not necessarily strive to preserve formal and, in some cases, semantic features of the original text. Adaption can be used for different purposes: to make a text more comprehensible to a target audience, to influence a reader in a specific way, etc. When it comes to rendering fictional realia, adaptation can be interpreted in two ways. Firstly, it can be defined as adaptation of fictional objects, concepts, and phenomena to reality (when fictional realia are replaced by their real counterparts). And secondly, it can be understood as linguacultural adaptation that is conditioned by cultural and linguistic differences between an original and a target audience. The article primarily focuses on the second type of fictional realia adaptation. The Handmaid’s Tale and The Testaments by Margaret Atwood are used as source material for the study. The article draws connections between fictional realia adaptation and creation of new fictional realia (a means of rendering fictional realia that can be defined as either giving a new name to an existing fictional realia or introduction of a completely new fictional realia).