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Journal articles on the topic 'Dystopian literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Hochberg, Gil. "Dystopias in the Kingdom of Israel: Prophetic Narratives of Destruction in Recent Hebrew Literature." Comparative Literature 72, no. 1 (2020): 19–31. http://dx.doi.org/10.1215/00104124-7909950.

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Abstract This article is about a recent wave of literary dystopias published in Israel, most of which center on the soon-to-come destruction of the Jewish state. Notable among these are The Third (Ha-shlishi) by Yishai Sarid (2015), Mud (Tit) by Dror Burstein (2016), and Nuntia (Kfor) by Shimon Adaf (2010). These texts draw on biblical or Rabbinic Hebrew, Jewish sources, and Jewish historical events (specifically the destruction of the First and Second Temples), making them just as much about a dystopian past as they are about a dystopian future. They are, in other words, dystopias of a circul

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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 A

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3

K, Pappitha. "Dystopian Visions: A Critical Examination of Margaret Atwood’s the Handmaid’s Tale and Cormac Mccarthy’s The Road." Shanlax International Journal of Arts, Science and Humanities 12, S3-Jan (2025): 45–51. https://doi.org/10.34293/sijash.v12is3-jan.8837.

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Literature is the total of preserved writings belonging to a given language or people. It is a product of life and about life. It uses language as a medium. A dystopia is an imaginary society or community characterized by undesirable, frightening, and often oppressive conditions in a totalitarian society. Dystopian literature is a genre of fiction that enables authors to examine the consequences of human decisions, social and politicalpatterns, and technological processes. It characterizes a society plagued with suffering, poverty, or oppression. Dystopias are extremely flawed societies. In th

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Poleganov, Vladimir. "Variations on the Dystopian: William James, Ursula Le Guin, and Bernard Wolfe." Colloquia Comparativa Litterarum 10 (2024): 45–54. http://dx.doi.org/10.60056/ccl.2024.10.45-54.

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For over a centurynow, dystopian visions of the future have been an integral part of the strategies through which literature reacts to changes in the world. However, dystopia is not always an entirely new world. Sometimes, it is an element in a world born from a utopian impulse. The article explores the variations of the dystopianin two such worlds influenced by the works of William James: Bernard Wolfe's Limboand in Ursula K. Le Guin's The Ones Who Walk Away From Omelas. The analysis adopts the concept of dystopia as utopia’s shadow, and traces the moments when the world, the body, and the la

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Seeger, Sean, and Daniel Davison-Vecchione. "Dystopian literature and the sociological imagination." Thesis Eleven 155, no. 1 (2019): 45–63. http://dx.doi.org/10.1177/0725513619888664.

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This article argues that sociologists have much to gain from a fuller engagement with dystopian literature. This is because (i) the speculation in dystopian literature tends to be more grounded in empirical social reality than in the case of utopian literature, and (ii) the literary conventions of the dystopia more readily illustrate the relationship between the inner life of the individual and the greater whole of social-historical reality. These conventional features mean dystopian literature is especially attuned to how historically-conditioned social forces shape the inner life and persona

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Scotti, Nathani dos Reis, and Marcelo Fernando de Lima. "Mulheres distópicas: representações femininas em Nós e Jogos vorazes." Acta Scientiarum. Language and Culture 46, no. 2 (2024): e70228. http://dx.doi.org/10.4025/actascilangcult.v46i2.70228.

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This paper aims to compare the representations of women in the novels We, by Yevgeny Zamiátin, and The hunger games, by Suzanne Collins, to examine how women are represented in dystopian literature and whether there are significant changes in these representations in the 20th and 21st centuries and how they influence the construction of the dystopian novel. The study was based on feminist and cultural theories, which helped to understand the processes of oppression and resistance present in the characters O-90 and I-330 in Zamiátin's novel and Katniss Everdeen in Suzanne Collins' narrative. Th

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Su, Ping, Mingwen Xiao, and Xianlong Zhu. "Rethinking utopian and dystopian imagination in island literature and culture." Island Studies Journal 17, no. 2 (2022): 3–12. http://dx.doi.org/10.24043/isj.392.

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The trope of the utopian island occurs in a variety of cultural traditions. For example, in the West, the literary imagination of ideal islandness made manifest an imperialist rhetoric and contributed to European exploration and colonization. The tension between utopia and dystopia is an intrinsic feature of Western utopian island imaginations, which were complicit in colonial exploitation and oppression. Western models of island utopias and dystopias have been imposed on non-Western cultures, whose scholars have engaged in decolonial practices by adapting, reshaping, and transforming these co

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Stahr, Radka, and Anne Marlene Hastenplug. "With dark humor about a dark future." Folia Scandinavica Posnaniensia 29, no. 1 (2020): 19–29. http://dx.doi.org/10.2478/fsp-2020-0005.

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Abstract This article analyses the relationship between black humor and dystopian literature. In dystopia, humor can appear on the surface as language or situational comics, but there is also a deeper link between these two literary phenomena: they confront the reader with an unexpected notion in order to bring him to a critical reflection. There are many dystopias in the Nordic literature that use comic elements. Three of them are discussed in this article: Axel Jensens Epp (1965), Lena Anderssons Duck City (2006) and Kaspar Colling Nielsens Den danske borgerkrig 2018–24 (2013). The analysis

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Baccolini, Raffaella. "Recovering Hope in Darkness: The Role of Gender in Dystopian Narratives." Revista X 17, no. 4 (2022): 1224. http://dx.doi.org/10.5380/rvx.v17i4.87033.

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My aim is to comment on dystopia based on an approach that has foregrounded, from its very beginning, issues of writing in their intersection with gender and the deconstruction of high and low culture. In the first part of the article, I carry out a reflection on the genre of dystopia, how it has changed, its constituent elements and their transformations, with a look in particular to its gender dimension, its formal and thematic features, as well as to its modes of articulating horizons of hope. In the second part, I discuss dystopian conventions and developments, drawing from Lyman Sargent’s

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Nguyen, Phuong Khanh. "DYSTOPIAN THEME IN SOUTH KOREAN LITERATURE AND FILM." UED Journal of Social Sciences, Humanities and Education 11, no. 1 (2021): 137–46. http://dx.doi.org/10.47393/jshe.v11i1.944.

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The theme Dystopia began as a response to Utopian theory, which isrelated to perfect communities. A dystopia is an imaginary community or society that is dehumanized and is therefore terrifying with people who are forced to battle for survivalin a ruined environment with technological control and oppression by the governing authority. Dystopian novels or films can challenge readers to think differently about the current social and political contexts, and can even promptpositive actions for the future of human beings. Recently, not only America and Europe but also South Korea has witnessed the

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Marco, Malvestio. "Theorizing Eco-Dystopia: Science Fiction, the Anthropocene, and the Limits of Catastrophic Imagery." European Journal of Creative Practices in Cities and Landscapes 5, no. 1 (2022): 24–38. https://doi.org/10.6092/issn.2612-0496/14532.

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This essay considers a peculiar kind of science-fictional writing with environmental concerns that pivots on the imagery of catastrophe and blends the dystopian and the post-apocalyptic traditions. This sub-genre is known as eco-dystopia, which, I argue, merges the catastrophic imagery of the post-apocalyptic tradition with the consequential mode of dystopia. Eco-dystopias rely on the imagery of catastrophe to warn the public about the dangers and the consequences of the Anthropocene. However, such imagery presents strong limitations when used to dramatize and conceptualize the Anthropocene, a

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Sofiana, Azizah Putri regina, and Ambar Andayani. "DYSTOPIAN SOCIETY IN ADAM SILVERA’S THEY BOTH DIE AT THE END." TANDA: Jurnal Kajian Budaya, Bahasa dan Sastra (e-ISSN: 2797-0477) 5, no. 01 (2025): 12–25. https://doi.org/10.69957/tanda.v5i01.2029.

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In this era there are many novels that deal with reflections of injustice, suffering, social control, and moral issues. This thesis entitled Dystopian Society in Adam Silvera’s They Both Die At The End discusses the characteristics of dystopia reflected in Adam Silvera’s They Both Die at the End and the literary elements that reflect dystopian literature through narration or dialog in the novel. The writer uses Chung’s (2011) theory to describe the characteristic of dystopian society as well as what elements of novel showing dystopian. This research uses qualitative method, with extrinsic and

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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, p

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Revutska ., S. K., and L. M. Barlit. "SIGNS OF DYSTOPIAS IN J. ORWELL'S "1984" AND O. HUXLEY'S "BRAVE NEW WORLD"." INTELLIGENCE. PERSONALITY. CIVILIZATION, no. 1 (28) (July 21, 2024): 51–57. http://dx.doi.org/10.33274/2079-4835-2024-28-1-51-57.

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Objective. The objective of the article is to outline the main features of dystopia in the works of J. Orwell "1984" and O. Huxley "Brave New World". Methods. The main scientific results are obtained by means of a component analysis of the novels "Brave New World" by O. Huxley and "1984" by J. Orwell. The main attention is paid to the common dominant features of dystopias. Results. In recent years the phenomenon of dystopia has become increasingly relevant not only in literary studies, but in other humanities and art as well. The dystopian novels "Brave New World" and "1984" are repeatedly men

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Hughes, Rowland, and Pat Wheeler. "Eco-dystopias: Nature and the Dystopian Imagination." Critical Survey 25, no. 2 (2013): 1–6. http://dx.doi.org/10.3167/cs.2013.250201.

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Stepanov, Vitalii, and Nadiia Shamrai. "OCCASIONALISMS IN THE DYSTOPIAN GENRE: THE TRANSLATION ASPECT." Fìlologìčnì traktati 16, no. 1 (2024): 203–12. http://dx.doi.org/10.21272/ftrk.2024.16(1)-20.

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The article reflects the dystopian genre as a relevant way of comprehending the past, present, and future reality in the context of socially resonant events and political cataclysms. The status of dystopian works within contemporary literature is determined. Occasionalisms in dystopias are discussed – new words generated by the author that are used in the discourse without current fixation in language dictionaries. The authors describe the role of occasionalisms in writing a dystopian book, including their potential to produce a communicative effect on the target audience. As a pilot experimen

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Sabourín, Vladimir. "The ThirdRome: Dystopia and Archaism as History of the Present in Victor Pelevin’s Journey to Eleusis." Colloquia Comparativa Litterarum 10 (2024): 141–54. http://dx.doi.org/10.60056/ccl.2024.10.141-154.

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This article is an introduction to the close reading of Victor Pelevin’s novel Journey to Eleusis (2023) as a paradigmatical example of the Russian dystopian literature from the beginning of the 21th century. Journey to Eleusisis the final part of a trilogy whose previous installments include the collection of short novels Transhumanism Inc.(2021) that set the dystopian universe, and the sequel KGBT+(2022) taking place already in the wartime sociopolitical reality. I argue that starting with Vladimir Sorokin’s Blue Lard (1999) the contemporary Russian dystopia intertwines idiosyncratically fut

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Omar, Abdulfattah, and Maha Alanazi. "From Gilead to Syria: A Comparative Study of Patriarchal Oppression and Resistance in Margaret Atwood's “The Handmaid's Tale” and Nagham Haider’s “Winter Festivals”." World Journal of English Language 13, no. 7 (2023): 376. http://dx.doi.org/10.5430/wjel.v13n7p376.

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This paper examines the influence of Margaret Atwood's concept of feminist dystopia on Nagham Haider's Winter Festivals. The main objective of the research is to explore how Haider's literary works, specifically her Winter Festivals, reflect Atwood's feminist dystopian vision. The study adopts Atwood’s approach of feminist dystopia as represented in The Handmaid's Tale to explore themes of gender oppression, objection of the female body, government control, and patriarchal power structures. In her novel, Haider draws heavily from Atwood's feminist dystopian vision, particularly in her explorat

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Prudius, Irina G. "Features of Dystopia in P. Christen and S. Verdier’s Graphic Novel Orwell." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 4 (2023): 136–51. http://dx.doi.org/10.15826/izv2.2023.25.4.065.

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This article analyses the graphic novel Orwell (2019) by French authors Pierre Christin and Sebastian Verdier from the point of view of its genre affiliation, i.e. a dystopia. The author aims to reveal the dystopian characteristics of the texts of this genre in the twentieth century and their transformation in the texts of the early twenty-first century. The author of the article presents an analysis of the graphic novel which examines the history, life, and conditionality of the life position of the writer George Orwell in relation to the reality of his most famous novel, 1984 (1948). In acco

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Andreichykova, O. A. "PROBLEMS AND CLASSIFICATION OF MODERN DYSTOPIA (Ukrainian and World Literature)." Writings in Romance-Germanic Philology, no. 2(51) (December 19, 2023): 4–19. http://dx.doi.org/10.18524/2307-4604.2023.2(51).296816.

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The article examines the specific features of modern dystopia, the themes and issues of the genre. The object of research is modern dystopian novels of the World and Ukrainian literature. In contrast to the 20th century, the concepts of critical, feminist, digital, national (in the context of multiculturalism) dystopia were included in the literary circulation of dystopia researchers of the 21st century. Specific groups and their genre subspecies are distinguished. The article also notes that the relevance of dystopia is primarily related to socio-cultural and geopolitical catastrophes and des

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Sriastuti, Anna, Ida Rochani Adi, and Muh Arif Rokhman. "CAPITALISM AND SOCIALISM AS IDEOLOGICAL CONSTRUCTIONS IN AMERICAN DYSTOPIAN NOVELS." Rubikon : Journal of Transnational American Studies 8, no. 2 (2021): 91. http://dx.doi.org/10.22146/rubikon.v8i2.69733.

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Literature reflects the history of people's lives, which includes lifestyle, culture, language, desires, and important events in people's lives. Dystopia novels cannot be separated from discussions about authoritarian government, restraints on people's freedom, criticism of the development of technology and information, exploitation and the class system, and the arbitrariness of the rulers. Despite telling a bad world, Dystopian novels proved popular in America, a country that promised freedom, equality, and freedom to its citizens. The possibility of different realities captured by American p

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Pataki Šumiga, Jelena. "Unwinding the Nuclear Family Ideal of Blockbuster YA Dystopia." International Journal of Young Adult Literature 4, no. 1 (2023): 1–21. http://dx.doi.org/10.24877/ijyal.59.

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YA dystopian literature has often been criticised for its reinforcement of the traditional institution of the patriarchal nuclear family. This article argues that such criticism is the result of a reduction of this genre to certain blockbuster titles, such as Suzanne Collins’ The Hunger Games series (2008-2010), which do indeed overrepresent the traditional family as the main desirable family ideal. Building on Rebekah Fitzsimmons and Casey Alane Wilson’s commitment to expanding the study of YA literature in Beyond the Blockbusters (2020), the article will first explore how a hyperfocus on YA

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Manugeren, M., Purwarno Purwarno, Purwanto Siwi, Susi Ekalestari, and Sri Wulan. "SOCIAL CRITIQUE IN MERDEKA SHORT STORY BY PUTU WIJAYA: A DYSTOPIAN LITERATURE APPROACH." English Review: Journal of English Education 10, no. 3 (2022): 855–64. http://dx.doi.org/10.25134/erjee.v10i3.6621.

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Changes in a society produce social critiques which in turn become a means of communicating new ideas in addition to assessing old ideas for social change, in short as a vehicle for the conservation and reproduction of a social system. Social critique can be conveyed through literary works; this is seen from the short story of Merdeka by Putu Wijaya. Through a dystopian literary approach and supported by related theories and concepts, it is revealed that this short story is full of social critiques as a result of the author's observations of his environment. The flow of dystopia is generally s

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Buividavičiūtė, Lina. "Elements of Dystopian Fiction in the Modern Lithuanian Prose." Respectus Philologicus 28, no. 33A (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 par

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Andonova-Kalapsazova, Elena. "Motherhood – The Quiet Rebellion of Utopia in Megan Hunter’s The End We Start From." Balkanistic Forum 33, no. 1 (2024): 252–65. http://dx.doi.org/10.37708/bf.swu.v33i1.19.

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The blurring of the boundaries between utopia and dystopia and the weaving of utopian hopes and possibilities into narratives seen as belonging to the genre of the dystopian novel has been a characteristic of the latter for a long time. Overviews of developments in dystopian literature in the twentieth and the twenty-first century have noted instances of this phenomenon ranging from works in which pockets of resistance to dystopian worlds carry with them hopes for a utopian future to ones in which utopian hope is read in the faces of a handful of survivors who have heroically emerged from amon

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Newman, Bobby. "Discriminating Utopian from Dystopian Literature: Why is Walden Two Considered a Dystopia?" Behavior Analyst 16, no. 2 (1993): 167–75. http://dx.doi.org/10.1007/bf03392621.

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Dipankar, Mondal. "Utopian and Dystopian Perspectives in the Works of Jules Verne." Literary Enigma 1, no. 4 (2025): 1–5. https://doi.org/10.5281/zenodo.15450570.

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Abstract   Jules Verne's narratives have played an essential role in science fiction literature, with wildly utopian and dystopian themes. His imagination and storytelling impacted the science fiction genre; he showed us the uses of technological advantages and disadvantages. This paper focuses on the duality of Jules Verne as a utopian and dystopian writer. This paper analyzed Verne's works, reflecting on his time's society and technological changes. This research highlighted the portrait of technology and society ideals in his utopias, criticized the Industrialization in his dystopias,

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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 an

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Ilyas, Mohammed. "Fear, Anxiety, Surveillance in Dystopias Revisited: A Retrotopian Perspective." International Journal of English Language and Literature Studies 11, no. 2 (2022): 97–108. http://dx.doi.org/10.55493/5019.v11i2.4526.

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The term dystopia has witnessed several new meanings including the one associated with the literature of the pandemic. These writings describe the scenes of fear, anxiety, and surveillance in flu-affected societies. This paper makes a qualitative study of a few selected novels published during 2000-2020 to understand the retrotopian perspective. No research has been carried out on pandemic dystopias with the retrotopian perspective. The dystopias selected for this study includes Whitehead’s Zone One (2011); Mandel’s Station Eleven (2014); DeLillo’s The Silence (2020) and most recent May’s Lock

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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 T

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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 mos

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Bezrukov, Andrii, and Oksana Bohovyk. "Mutation of Dystopian Identity in the Age of Posthumanism: Literary Speculations." Respectus Philologicus 42, no. 47 (2022): 52–64. http://dx.doi.org/10.15388/respectus.2022.42.47.107.

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Dystopia while deconstructing utopian ideas generates a special type of identity as a consequence of a deviation from anthropocentric principles, crises of national and cultural worldviews, and changes in manifestations of social shifting in the posthumanist world. The article has focused on four symptomatic dystopian texts – George Orwell’s Nineteen Forty-Eight, Ray Bradbury’s Fahrenheit 451, Ahmed K. Towfik’s Utopia, and Salman Rushdie’s Quichotte – to explicate the dichotomous nature of the opposition of identity vs society in the posthumanist transformations. Those conditions are considere

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Haloi, Neeharika. "Dystopian Mumbai: Futurism in Varun Thomas Mathew’s The Black Dwarves of the Good Little Bay." eTropic: electronic journal of studies in the Tropics 24, no. 1 (2025): 140–58. https://doi.org/10.25120/etropic.24.1.2025.4128.

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Dystopian science fiction narratives often serve as a powerful medium for imagining the post-apocalyptic scenarios of contemporary socio-political realities. In the context of South Asia, the intersection of multinational capitalism and corrupt politics within a dystopian setting provides a poignant commentary on the region’s vulnerabilities and systemic injustices. Varun Thomas Mathew’s The Black Dwarves of the Good Little Bay (2019) is set in the year 2041, where the tropical city of Mumbai is seen to be recuperating in the aftermath of a massive flood that has led to the rehabilitation of i

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Sierz, Aleks, and Merle Tönnies. "“Who’s Going to Mobilise Darkness and Silence?”: The Construction of Dystopian Spaces in Contemporary British Drama." Journal of Contemporary Drama in English 9, no. 1 (2021): 20–42. http://dx.doi.org/10.1515/jcde-2021-0002.

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Abstract This article examines the recent explosion of British dystopian plays, analysing their changing characteristics from the 1990 s to the 2010 s. After an initial brief look at precursors, it then focuses on examples of new writing which tackle the idea of dystopia in the absurdist manner typical of the 2000 s. In a third step, the focus is on the dystopian drama of the 2010 s and its more conventionally structured plots, which at the same time increasingly include ironic and parodistic elements. It becomes clear how this comparatively new genre is able to shake off the constraints of tr

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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 (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

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Andreichykova, Olena A. "THE MOTIVE OF CATASTROPHISM IN THE DYSTOPIAN GENRE POETICS: KAZUO ISHIGURO AND YAROSLAV MELNIK." Alfred Nobel University Journal of Philology 2, no. 24 (2022): 29–37. http://dx.doi.org/10.32342/2523-4463-2022-2-24-3.

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The article examines the concept of catastrophe as an art theme, which is extremely relevant in our time and is also marked by the entropy features. We can confirm that this phenomenon grows and affects many spheres of human life, both external (global, social) and internal (psychological). The author of the article focuses on how modern dystopia reflects an awareness of a catastrophe, which is happening or has already happened. We have analyzed two novels from this point of view: “Masha, or the Fourth Reich” by the French writer of Ukrainian origin Yaroslav Melnyk and “Never Let me Go” by the

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Rajgor, Vidhi Bharatbhai, and Dushyant Nimavat Dr. "HISTORY AND EVOLUTION OF DIGITAL DYSTOPIAN NOVELS." INTERNATIONAL EDUCATIONAL JOURNAL OF SCIENCE AND ENGINEERING - IEJSE 7, no. 3 (2024): 19–24. https://doi.org/10.5281/zenodo.15607485.

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This research paper explores the history and evolution of digital dystopian novels, examining their emergence, major works, themes, reception, and influence. Digital dystopian literature represents a subgenre of dystopian literature that delves into the dark side of technological progress, envisioning futures where advanced technology exacerbates societal issues or creates new forms of oppression. The paper discusses the historical context of dystopian literature, the transition to the digital era, and the influences of cybernetics and the information age. It analyzes major works such as "1984

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Resheq, Reem. "Critical Dystopia: Local Narrative in the Threshold in Ahmed Khaled Towfik’s Utopia." International Journal of Arabic-English Studies 19, no. 1 (2019): 175–94. http://dx.doi.org/10.33806/ijaes2000.19.1.10.

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This study is an exploration of critical dystopia within a postmodern context. Literary and historical viewpoints associate dystopia with the failed utopia of twentieth-century totalitarianism manifested in regimes of extreme coercion, inequality, and slavery. Raffaella Baccolini and Tom Moylan, of whose perspective this study makes use, theorize that critical dystopia provides a potential for change through rejecting the traditional dystopian ending marked by the subjugation of the individual. Problematizing critical dystopia further, the study proposes that the critical orientation of this s

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Hamzeh, Sara (M Omar), and Halimah Mohamed Ali. "Unravelling Dystopia in Dreams of Resurrection: Searching for Meaning Amid Chaos." World Journal of English Language 14, no. 6 (2024): 153. http://dx.doi.org/10.5430/wjel.v14n6p153.

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Amidst the global COVID-19 epidemic, there has been a growing surge in the popularity of dystopian literature, notably in the Arab world. This analysis delves into a unique piece of this literature, Ahlam Al Qeyamah (2018) by Egyptian writer Mohammad Gamal, translated as Dreams of Resurrection and released in 2021. This paper not only explores the dystopian characteristics included in the novel and their connection to the pandemic but also highlights the unique narrative style and thematic elements that set this work apart. The novel, which ignited substantial controversy in the Arab world, po

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Pulatova, Victoria I. "From the History of English Dystopia of the End of the 20th Century: Conceptual and Substantial Dominants of the Novel The Children of Men by P.D. James." Studia Litterarum 8, no. 3 (2023): 68–81. http://dx.doi.org/10.22455/2500-4247-2023-8-3-68-81.

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The paper suggests the analysis of the way dystopian genre invariant was realized in the novel The Children of Men by the English writer P.D. James. Particularly, the author of the article studies the novel’s conceptual and thematic elements regarding dystopian canon. Firstly, the article characterizes literary dystopia. Secondly, it defines the level of novel’s research in Russian and English literary studies. Thirdly, using the methods of genre typology and artistic analysis, the article investigates conceptual and thematic content of the novel, that is defined, according to the canon, by th

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Alsaedi, Shaima Muzher Abid Alreda. "Dystopian Reality in Frankenstein in Baghdad a novel by Ahmed Saadawi." Al-Adab Journal, no. 133 (June 15, 2020): 7–22. http://dx.doi.org/10.31973/aj.v0i133.606.

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Dystopian literature is important in old and modern literature. It depicts a world in which everything is imperfect, chaotic and distorted. It shows a nightmarish image yet it is true in some afflicted communities. It mainly deals with war, oppression and disastrous situations. Almost all the characteristics of dystopian literature are real in Ahmed Saadawi’s novel Frankenstein in Baghdad. These characteristics are real and tangible in the place where the events of the novel occurred. These characteristics are manifested in people’s fear from the government, the American troops and terrorism a

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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

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Pulatova, V. I., and M. N. Nizamova. "DYSTOPIAN ELEMENTS IN THE N OVEL KLARA AND THE SUN BY K. ISHIGURO." Lomonosov Journal of Philology 48, no. 2, 2025 (2025): 156–66. https://doi.org/10.55959/msu0130-0075-9-2025-48-02-12.

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The works by Kazuo Ishuguro, a modern British writer of Japanese origin, play a significant part in British literature of the early 21st century. He has written eight novels, and each of them in terms of genre can be defined as a synthetic work. This article aims to describe the dystopian elements and their function in the newest novel by K. Ishiguro Klara and the Sun (2021). We suppose this work, as well as his novel Never Let Me Go (2005), can’t be defined strictly as a typical dystopia: it doesn’t contain features dominant in this genre, which in our opinion are: the idea of power, the them

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Moosavinia, Sayyed Rahim, and Anis Hosseini Pour. "WOMEN IN A NIGHTMARISH UTOPIA: THE EFFECT OF TECHNOLOGY IN BRAVE NEW WORLD." Folia linguistica et litteraria XII, no. 36 (2021): 57–72. http://dx.doi.org/10.31902/fll.36.2021.4.

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In Brave New World, Aldous Huxley shows us a society in which technological advances have changed the entirety of human life on earth. The opening of the novel does not strike the reader as dystopian and certainly neither does the title. But as we go on, we find that free thinking is limited or nonexistent by the manipulation of scientific advances like hypnopedia and genetic conditioning. On one hand, Huxley paints a picture-perfect society that is at the height of civilization with genetic and scientific advances. On the other hand, he shows us the nightmarish utopia by the lack of moral val

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Labudova, Katarina. "Testimonies in The Testaments by Margaret Atwood: Images of Food in Gilead." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (2020): 97–110. http://dx.doi.org/10.4312/elope.17.1.97-110.

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In The Testaments, Margaret Atwood takes readers deeper into her dystopian world of Gilead, also through the imagery of food and eating. The oppressive patriarchal regime enforces its power through dietary restrictions, reducing women into edibles. The Testaments (2019), moreover, creates the impression of a highly individual and authentic narratorial perspective. Thus, Atwood’s characters’ daily lives in a nightmarish theocracy are illustrated with images of dystopian food that reflect the limitations, constant control, and abuse of human rights in the Republic of Gilead. This article explore

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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 (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 situa

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Cooke, Brett, and M. Keith Booker. "Dystopian Literature: A Theory and Research Guide." Slavic and East European Journal 40, no. 4 (1996): 769. http://dx.doi.org/10.2307/310125.

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Wilkinson, Rachel. "Teaching Dystopian Literature to a Consumer Class." English Journal 99, no. 3 (2010): 22–26. http://dx.doi.org/10.58680/ej20109515.

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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 (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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Novikova, Nina Nikolaevna. "Socio-critical discourse in the dystopian novel “Corpus Delicti: A Process” by Juli Zeh." Philology. Theory & Practice 17, no. 10 (2024): 3471–77. http://dx.doi.org/10.30853/phil20240491.

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The aim of the research is to identify the features of the genre specificity of Juli Zeh’s dystopian novel “Corpus delicti. Ein Prozess” (“Corpus Delicti: A Process”), taking into account the socio-critical intention contained in it. The article provides, firstly, various definitions of the terms “utopia” / “anti-utopia” / “dystopia” in order to reveal the genre originality of the novel in question, and secondly, analyzes the plot and compositional features of the novel with an emphasis on socio-critical discourse, as well as the singularity of the poetics of the work. The scientific originali

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