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Journal articles on the topic 'Dystopian literature'
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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 (March 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 circular temporality: emerging from and moving toward (Jewish) dystopia. This recent wave of Israeli dystopian narratives is primarily preoccupied with the past and future of Judaism, the Jewish people, and Israel as a secular-yet-Jewish state. Most interesting, perhaps, is the complete absence of Palestinians from these texts and from this dystopic imagination. Despite their obvious presence in Israel’s current reality, Palestinians have no role whatsoever in these texts. We are dealing therefore with exclusively Jewish dystopias. Read against some of the dystopian white South African writings under Apartheid, the complete absence of Palestinians in the recently published Israeli dystopias, appears particularly disheartening. Neither partner nor enemy, Palestinians do not even share in a future nightmare with Israeli Jews. We are left with the following questions: Does writing a Jewish Israeli dystopia require eliminating Palestinians from the narrative? Is it possible (how is it possible?) to think of a Jewish (Israeli) future, present, and past without thinking about a Palestinian past, present, and future? Following the example of South African dystopias, this article concludes that for such literary and ethical concerns to be critically explored, Israel must first be (officially) recognized as an apartheid regime.
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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 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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Seeger, Sean, and Daniel Davison-Vecchione. "Dystopian literature and the sociological imagination." Thesis Eleven 155, no. 1 (November 16, 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 personal experience of the individual, and how acts of individuals can, in turn, shape the social structures in which they are situated. In other words, dystopian literature is a potent exercise of what C. Wright Mills famously termed ‘the sociological imagination’.
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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 (November 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 conceptualizations. This special section, demonstrating the inherent intercultural qualities of utopian and dystopian island visions from diverse cultural traditions, contributes to decolonization efforts in island studies.
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Stahr, Radka, and Anne Marlene Hastenplug. "With dark humor about a dark future." Folia Scandinavica Posnaniensia 29, no. 1 (December 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 shows that classic black humor is enriched with other tragicomic, satirical or surrealistic elements and significantly contributes to the critical tone of the text. In all cases humor is used for the same purpose, and this is a critique of superior power (the so-called superiority theory). Therefore, humor can be considered not only as a stylistic means, but also as a principle of construction of the dystopian works.
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Baccolini, Raffaella. "Recovering Hope in Darkness: The Role of Gender in Dystopian Narratives." Revista X 17, no. 4 (December 21, 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 (1994, 2022), my own work and together with Tom Moylan (2003, 2020), Ildney Cavalcanti’s (2000), Ruth Levitas’s (2007) contributions. I understand that dystopia remains fundamentally a term for a distinct literary genre, with its particular history, its formal characteristics, but also its evolving form. In the third part of the article, I analyze Leni Zumas’s Red Clocks, as an example of critical dystopias produced today. Finally, I conclude that in dark times, dystopian literature becomes even more important to us, providing both the tools and the necessary incentive that we need to critically interpret and transform our present.
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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 (June 21, 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 increasing release of a range ofdystopian or post-apocalyptic films and novels. These creations reflect the harsh reality of our modern life in which human beings have to confront disasters, pandemics and problems of the modern industrialized society. Though usually set in a future scene, the dystopian theme can function as an open gate, an objection from the present, or as the “archaeology of the Future”. The success of South Korean literature and film on this topic claims the strong rise of SouthKorean wave in the world’s pop culture. It also shows that sci-fi works with dystopian theme can be seen as an anti-social discourse as well as their possibility of merging with the mainstream works.
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Hughes, Rowland, and Pat Wheeler. "Eco-dystopias: Nature and the Dystopian Imagination." Critical Survey 25, no. 2 (January 1, 2013): 1–6. http://dx.doi.org/10.3167/cs.2013.250201.
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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 (September 30, 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 popular novelists who differ from their imaginations gave birth to dystopian novels that are popular in American society. Thus, this study is important to analyse Capitalism and Socialism as ideological constructions in American dystopian novels through Fahrenheit 451, The Handmaid’s Tale, Uglies, and The Hunger Games. This research will formulate an understanding of whether or not American dystopian novels confirm or negate the ideology of Capitalism and the ideology of Socialism.
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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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Newman, Bobby. "Discriminating Utopian from Dystopian Literature: Why is Walden Two Considered a Dystopia?" Behavior Analyst 16, no. 2 (October 1993): 167–75. http://dx.doi.org/10.1007/bf03392621.
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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 (June 23, 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 Lockdown (2020). The findings reveal that each novelist preferred the retrotopian perspective, projecting an ideal past as the more plausible solution to their traumatic present. The protagonist in each of these four novels suffers traumas and witnesses the apocalypse both internally and externally, but each is engaged in a quest into the past and searching for the lost identity. This study fills up the research gap that currently exists in the field of dystopian literature related to the past or retrotopian studies. It would also open new avenues to explore the possibility of experimenting into devising a new theory or a genre of retrotopia.
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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 (October 7, 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 considered a cause of the mutation of dystopian identity that troubles its anthropological bases and modes of existence. To reconstruct the posthumanist context and its influence on the dystopian identities in the selected novels, this study has exploited a mixture of the following methods: intertextual, cultural, and genre ones; phenomenological approach; hermeneutic interpretation; conceptualisation, etc. The novelty of the study emanates from the very attempt to interpret the writers’ names of the AGEs which are represented in the books as a background of storytelling and a lens through which the posthumanist space is transformed from a dystopian perspective.
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Pelin, Dunja. "Translating neologisms in dystopian literature: Lexical innovation in Aldous Huxley’s Brave New World and its Croatian rendition." Hieronymus : Časopis za istraživanja prevođenja i terminologije 8 (2022): 54–81. http://dx.doi.org/10.17234/hieronymus.8.3.
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This study deals with word formation and translation of neologisms in dystopian literature on the example of Aldous Huxley’s novel Brave New World and its Croatian translation. Its aim is to provide an insight into lexical innovation in dystopias and their translations by relying on Millward’s (2007) theory of dystopian neology. Based on Millward’s theoretical model, the study hypothesizes that coinage is the least frequent, and derivation the most frequent word formation process among source text neologisms. The third hypothesis states that literal translation and lexical creation are the most productive translation procedures. The research consists of extracting source text neologisms and their translations and analyzing the employed word formation processes and translation procedures. The findings show that compounding is the most prolific creation process in source text neologisms, while coinage and conversion are not used at all. The extracted neologisms are mostly rendered through literal translation and borrowing.
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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 (May 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 traditional dystopian writing and develop recognisable characteristics of its own. Throughout, emphasis is put on the “reality” of the plays’ fictional worlds, on the usage of the stage space, and on how the audience’s relationship with the stage is constructed as a double bind of distance and closeness.
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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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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 (December 20, 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 English writer of Japanese origin Kazuo Ishiguro. The article emphasizes that the dystopias of our time correct classical dystopia attitudes, because they tend to the diffusion of new genres, acquiring the features of a parable novel, a myth novel, an alternative history fiction, and a philosophical novel. We have also noted the controversial nature of new formations, which combine signs of utopia and dystopia. Regarding the ideological and thematic component, the author of the article states that Ya. Melnyk and K. Ishiguro focus on the traditional problems of humanism and the relationship between “man and society” and on individual’s catastrophic depopulation issues in the conditions of nowadays turbulent challenges. The purpose of the article is to study the specificity of catastrophism artistic embodiment in the novels “Masha, or the Fourth Reich” by Yaroslav Melnyk and “ Never Let me Go ” by Kazuo Ishiguro and its functions in the structure of the dystopia genre. To achieve this goal we used historical-literary, cultural-historical and hermeneutic research methods. It was determined that the catastrophism motif realization in the dystopia genre contributes to searching for new experimental forms, activates the processes of transformation and diffusion in the genre creation field, paradoxically and organically combines classic and modern elements of dystopia, renewing the poetics of the genre. Conclusion. Kazuo Ishiguro’s novel “Never Let me Go” demonstrates a powerful example of genre synthesis: “stream of consciousness” coexists with the classic English estate novel, which is emphasized by confessional and allegorical intonations and does not prevent the writer from resorting to some possibilities of a detective story. Features of the traditional parable form and mythological genre are also observed. Fantastic elements are interspersed with realistic ones. But allegorical, mythological, fantastic, and realistic features organically coexist in the novel, reinforcing the author’s main ideas. Yaroslav Melnyk in his novel “Masha, or the Fourth Reich” successfully synthesizes an alternative history novel, an adventure novel and a classic philosophical novel. Here conflicting utopia and dystopia also organically coexist, reinforcing each other. A dystopia genre structure becomes open and acquires unlimited hybridization, losing its classical features and even postmodern boundaries. Thus, the catastrophic reality of the 21st century promotes the search for new experimental forms, activates unpredictable processes in the genre creation field, and paradoxically and organically combines classical and modern elements of literary art. Once again, modern dystopian literature shows that “common issue” as a social slogan cannot satisfy individual human needs. The problem of egocentrism with the insufficient development of the political machine is becoming more and more acute. As a general phenomenon, consumer society does not justify itself and makes the lives of its sons doomed. Unfortunately, the heroes of modern dystopias less and less often choose to fight and more often to humble themselves or flee, which is the main difference from their classical predecessors. The prospects of further work are to deepen the understanding of the causes of stylistic and substantive differences in dystopias, the influence of socio-cultural reality on modern dystopias genre synthesis, the differences in the methods of utopian representation and artistic means of enhancing catastrophization within stories framework.
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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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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 attacks. Also the unstable life that they are forced to adapt. In addition, the lack of freedom and independence create a huge gap between citizens and the government.
Baghdad was devastated by many oppressive factors like: American annoying troops, terrorists’ explosions attacks, incompetent government highly officials, and militias’ sectarian attacks. The only imaginative tool of dystopia that Saadawi use is the creation of Whatsitsname. Saadawi tries to drag his readers’ attention to a magical-realistic world. All the other incidents are real and present in everyday life in Baghdad in 2005; like the unsafe capital, the disintegration of family members, the separated limps of victims. Saadawi virtually described the dark era in Baghdad at that time. The bloodshed, the torture and massive killing was overwhelming the city.
Dystopian fiction links elements of truth that is specific to the time in which it is written in with science or imaginary elements that represent the terrifying direction we are winding to. Frankenstein in Baghdad converses this classic formula: the dystopian fundamentals of the novel are not engrained in its hypothetical and mythical elements but rather in the very real, frightening violence that Baghdad witnessed in 2005.
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Moosavinia, Sayyed Rahim, and Anis Hosseini Pour. "WOMEN IN A NIGHTMARISH UTOPIA: THE EFFECT OF TECHNOLOGY IN BRAVE NEW WORLD." Folia linguistica et litteraria XII, no. 36 (September 2021): 57–72. http://dx.doi.org/10.31902/fll.36.2021.4.
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In Brave New World, Aldous Huxley shows us a society in which technological advances have changed the entirety of human life on earth. The opening of the novel does not strike the reader as dystopian and certainly neither does the title. But as we go on, we find that free thinking is limited or nonexistent by the manipulation of scientific advances like hypnopedia and genetic conditioning. On one hand, Huxley paints a picture-perfect society that is at the height of civilization with genetic and scientific advances. On the other hand, he shows us the nightmarish utopia by the lack of moral values in the society. Utopia turns into dystopia when we witness the inferior role of women and the humiliation of the intellectual. In addition, the natural process of childbirth is controlled in test tubes. Furthermore, there is no place for religion, literature, and family values. Lastly, Huxley warns the readers about what technology devoid of value could do to human beings. What is more, is the effect of technology on women which is portrayed through the image of utopia turned into dystopia: a society that mandates promiscuity in the name of civic duty in addition to the removal of the female body from childbirth. Dystopian literature is by nature critical; hence, women’s inferiority along with the misuse of a gendered approach to technology highlights toxic patriarchy in the society. It shows Huxley’s warning about the destructive effect of dystopia on women.
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Labudova, Katarina. "Testimonies in The Testaments by Margaret Atwood: Images of Food in Gilead." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 1 (May 28, 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 explores how Atwood employs the literary form of testimony to create fragments of individual lives in a dystopia brought closer to us through food metaphors and metaphors of cooking, or rendered shocking through metaphors of cannibalism. Since food (and lack of food) has emotional as well as political significance, it pervades the testimonial literature of oppressive regimes.
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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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Mokrushina, Amalia A. "The Image of Authority in Basma Abd al-Aziz’s Dystopian Novel The Queue." Vestnik of Saint Petersburg University. Asian and African Studies 13, no. 2 (2021): 132–36. http://dx.doi.org/10.21638/spbu13.2021.201.
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The article presents an overview of the new dystopia genre in Arabic literature as well as the main reasons and prerequisites for its appearance. The interest of Arab authors in the newly discovered genre of the dystopian novel has grown markedly, which is primarily due to serious political, economic and social changes affecting the region. The situation in some Arab countries offers many avenues in which society can develop, and literature was the first to respond to this. Egypt has become one of the centers of global change that has affected the Middle East. Young Egyptian intellectuals tend to soberly assess the situation that has developed since the Arab Spring and writers have offered their own vision of the situation in the country. As an example of a modern dystopia, the novel The Queue by Basma Abd al-Aziz was chosen. The Queue does not have a traditional dystopian oppositional character. However, of the significant images of the novel to which the writer draws attention is the image of authority, which is impersonal and inaccessible to the common people. There is no mention of the name of the country where the events of The Queue unfold, but the reader easily recognizes Egypt. In the study a comprehensive approach was used, as well as cultural and sociological methods of analysis and interviews.
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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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Franková, Milada. "Dystopian Transformations: Post-Cold War Dystopian Writing by Women." Brno Studies in English 39, no. 1 (2013): 211–26. http://dx.doi.org/10.5817/bse2013-1-12.
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Jerald, Aysha. "Exploring the Relationship between Dystopian Literature and the Activism of Generation Z Young Adults." American Journal of Undergraduate Research 16, no. 4 (March 15, 2020): 81–93. http://dx.doi.org/10.33697/ajur.2020.009.
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Some recent research has posited that the independent and revolutionary traits of Generation Z can be traced to the circumstances of their births, specifically the 9/11 attacks and the Great Recession. While there has been research examining the effect of these events on the type of behavior Generation Z exhibits towards political and societal issues, there has been little research that examines the literary culture in which they grew up. Did popular dystopian works such as Catching Fire by Suzanne Collins (2009), Divergent by Veronica Roth (2011), and The Maze Runner by James Dashner (2009) have an impact on their political identities and behaviors? This paper examines that question by using a mixed method approach: a public questionnaire, thirteen in-depth interviews with a select group of Generation Z students from the University of Georgia, and direct content analyses of the key works under consideration. This study argues that the relationship between dystopian literature and young adult activism may offer insight into the ways literature can be used as a revolutionary tool. This study also hopes to add to the literature exploring the characteristics of Generation Z and the significance dystopian literature may have not only on a young adult’s thoughts but also their actions. KEYWORDS: Dystopian Literature; Dystopian Literary Media; Generation Z; Youth Activism; Literary Influence; Activist Typology; Aspects of Literary Response: A New Questionnaire; College Students; Divergent; Catching Fire; The Maze Runner; Literary Culture, The Hunger Games
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Leppänen, Katarina. "Memory of Water: Boundaries of Political Geography and World Literature." European Review 28, no. 3 (February 27, 2020): 425–34. http://dx.doi.org/10.1017/s1062798719000541.
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The fact that dystopian literature has a great potential for envisioning alternative futures is elaborated in this article in relation to the Finnish/British author Emmi Itäranta’s Memory of Water (2013). Itäranta’s gloomy low-fi novel is read alongside contemporary ecocritical theory with a focus on issues of vernacular cultures and knowledges versus ideas of cosmopolitan planetary citizenship. Reflections are made about the profound nature of the concept of borders: cultural, temporal, informational, geographical, political, in the event of massive catastrophes. The article investigates how Rob Nixon’s concept of ‘slow violence’ and Ursula Heise’s ‘eco-cosmopolitanism’ are played out in a novel, and how the novel in turn poses important questions for ecocritical theory. Thus, the interplay between ecocritical literary theory, on the one hand, and literature, on the other, is highlighted. What can dystopia make visible in contemporary theory?
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Brinko, Alena. "JEWGIENIJ IWANOWICZ ZAMIATIN JAKO PREKURSOR XX-WIECZNEJ POWIEŚCI ANTYUTOPIJNEJ." Studia Europaea Gnesnensia, no. 17 (June 15, 2018): 71–84. http://dx.doi.org/10.14746/seg.2018.17.4.
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The aim of this article is to reveal the relationship between the author of the first dystopia, Yevgeny Zamyatin and a totalitarian regime, by means of analyzing the biography and selected works of that writer; the analysis of the novel We – a prophecy novel, which can be regarded as an exaggerated depiction of the Stalinist regime; the analysis of the influence Zamyatin’s novel had on – far more famous – works by George Orwell and Aldous L. Huxley, as well as on the anti-utopia genre (dystopian literature) in general.
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Martinho, Ana Maria Mão-de-Ferro. "Utopian Eyes and Dystopian Writings in Angolan Literature." Research in African Literatures 38, no. 1 (March 2007): 46–53. http://dx.doi.org/10.2979/ral.2007.38.1.46.
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Martinho, Ana Maria Mão-de-Ferro. "Utopian Eyes and Dystopian Writings in Angolan Literature." Research in African Literatures 38, no. 1 (2007): 46–53. http://dx.doi.org/10.1353/ral.2007.0012.
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Willmetts, Simon. "Imagining surveillance: eutopian and dystopian literature and film." International Journal of Performance Arts and Digital Media 11, no. 2 (July 3, 2015): 237–39. http://dx.doi.org/10.1080/14794713.2015.1084815.
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Roemer. "Teaching Utopia During Dystopian Times." American Literary Realism 53, no. 3 (2021): 192. http://dx.doi.org/10.5406/amerlitereal.53.3.0192.
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Tomin, Brittany. "“We Live in Dystopian Times”." Science Fiction Studies 48, no. 2 (2021): 375–78. http://dx.doi.org/10.1353/sfs.2021.0029.
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Connors, Sean P. ""I Have a Kind of Power I Never Knew I Possessed": Surveillance, Agency, and the Possibility of Resistance in YA Dystopian Fiction." Study and Scrutiny: Research on Young Adult Literature 2, no. 2 (September 20, 2017): 1–23. http://dx.doi.org/10.15763/issn.2376-5275.2017.3.1.1-23.
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Drawing on Foucault’s examination of the gaze as a disciplinary mechanism, and de Certeau’s discussion of how people use tactics to resist oppressive power systems, this article advocates reading the gaze in young adult dystopian fiction. To illustrate the complex readings that doing so makes possible, the author examines three young adult dystopias—M. T. Anderson’s Feed, Suzanne Collins’s Hunger Games trilogy, and Corey Doctorow’s Little Brother—to demonstrate how they depict adolescents as having varying degrees of agency to resist the gaze. To conclude, the author discusses the implications for teachers and students of reading the gaze in young adult literature.
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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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Mansurov, R. "The Whorf Hypothesis and Language Manipulation in Dystopian Literature." Bulletin of Science and Practice 5, no. 5 (May 15, 2019): 481–86. http://dx.doi.org/10.33619/2414-2948/42/71.
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Komandera, Aleksandra. "Le Combat d’hiver de Jean-Claude Mourlevat : les stéréotypes dans le processus de lecture du récit dystopique pour adolescents." Romanica Silesiana 16, no. 2 (February 16, 2021): 147–57. http://dx.doi.org/10.31261/rs.2019.16.14.
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Adolescent dystopian literature has been in vogue recently. Its popularity reflects in fact several aspects, from readers’ preferences, through marketing rules, to writers’ choices. The predominance and reiteration of dystopian fiction suggests that they can involve stereotypes. Taking into consideration the fact that the stereotype is a reading construction, we analyse in this paper the role of stereotypes in perceiving and decoding a dystopian universe, with its elements, such as prison environment, oppressive authorities, tentative of revolt, and final victory or defeat, with respect of his young readers, in Jean-Claude Mourlevat’s novel Le Combat d’hiver.
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Crone, Moira. "What to Read Now: Dystopian Novels." World Literature Today 86, no. 6 (2012): 6. http://dx.doi.org/10.1353/wlt.2012.0159.
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De Visser-Amundson, Anna, Annemieke De Korte, and Simone Williams. "“Chill or thrill”: the impact of the “polarity paradox” on hospitality and tourism." Journal of Tourism Futures 2, no. 1 (March 14, 2016): 71–78. http://dx.doi.org/10.1108/jtf-12-2015-0053.
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Purpose In a society of abundance, complexity, uncertainty and secularisation, consumers seek extreme market offerings. They thereby avoid the grey middle ground and rather seek white or black, or rather utopia or dystopia, in their experiences. This consumer behaviour is coined the Polarity Paradox. The purpose of this paper is to investigate the effect of the Polarity Paradox on travel and tourism and specifically highlight how darker and dystopian type of tourism experiences can add value to the overall tourist experience. Design/methodology/approach The paper is based on literature and trend report reviews to support the direction of the Polarity Paradox trend and the opportunities it presents to the hospitality and tourism industry. Findings Travellers do not seek only beauty and happiness when travelling. Examples of the thrilling or dystopian side of the Polarity Paradox clearly illustrate travellers’ emerging needs to look for the extreme. In fact, new travel and hospitality experiences are all about originality and understanding that whether the experience triggers positive or negative emotions matter less in a market where consumers want to be “shaken up”, surprised, taught something or seek a deeper meaning. The difference with the past is that these same thrill seeking tourists, also seek “white” and chilling experiences and that demands a new approach to market segmentation. Originality/value Until now, the Polarity Paradox has been described as a general consumer trend. In this paper, the authors are the first to analyse its possible impact on hospitality and tourism and in detail describe that black, dystopian and thrilling experiences can be positive when they trigger emotions and reactions meaningful to the traveller. The authors further show that “playing it safe” will not be the future to build successful hospitality and tourism experiences. The examples explore how the hospitality and tourism industry can add elements of “dystopia” and by doing that actually add value to the overall travel experience.
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Serrano-Muñoz, Jordi. "Closure in dystopia: Projecting memories of the end of crises in speculative fiction." Memory Studies 14, no. 6 (November 18, 2021): 1347–61. http://dx.doi.org/10.1177/17506980211054340.
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In this piece, I approach the relationship between the paradigm of imbricated crises pertaining to the second decade of the twenty-first century and its contemporaneous dystopian literature. I focus particularly on how dystopian literature forges a sense of closure that attempts to give meaning through the construction of imaginary memories of how crises came and went, or came and stayed. Dystopian tales provide the troubled reader of its time with a sense of narrative continuation and a substitute for closure. For my analysis, I draw on a corpus of literary works from around the world, which includes The Queue, by Basma Abdel Aziz; Station Eleven, by Emily St John Mandel; The Emissary, by Tawada Yōko; Severance: A Novel, by Ling Ma; China Dream, by Ma Jian; Ansibles, Profilers and Other Machines of Wonder, by Andrea Chapela; and The Ministry for the Future, by Kim Stanley Robinson.
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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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Cooke, Brett, and M. Keith Booker. "The Dystopian Impulse in Modern Literature: Fiction as Social Criticism." Slavic and East European Journal 41, no. 2 (1997): 384. http://dx.doi.org/10.2307/309767.
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McCarthy, Patrick A. "Reading Dystopian Novels in the Trump Era." Science Fiction Studies 47, no. 1 (2020): 111–17. http://dx.doi.org/10.1353/sfs.2020.0043.
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McCarthy. "Reading Dystopian Novels in the Trump Era." Science Fiction Studies 47, no. 1 (2020): 111. http://dx.doi.org/10.5621/sciefictstud.47.1.0111.
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Madani, Shpëtim, and Zylfi Shehu. "THE DYSTOPIAN VISION IN BERNARD MALAMUD’S NOVEL GOD’S GRACE." Folia linguistica et litteraria XIII, no. 40 (July 2022): 65–81. http://dx.doi.org/10.31902/fll.40.2022.4.
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This article seeks to analyze the dystopian vision in Bernard Malamud’s final novel God’s Grace (1982). An animal fable and fantasy in itself, the book centers on the last human survivor who interacts with primates, in order to create civilization anew by teaching them language, ethics, science and religion, with a major emphasis on the dualities of good and evil; reason and instinct, and their interconnectedness with free will, choice, and responsibility. The study begins with a short introduction into the history of dystopian literature, whose function is to serve, from a future perspective, as a social and political commentary about existing dark aspects, which can easily take over if not held in check. Then, the analysis probes into the dystopian features of the (covert and overt) totalitarian climate that reigns in the book, due to the human’s control of the animals through the mechanisms of language, culture, science, religion, and sexuality. The utopian society established is short-lived, as the denial of individualism inevitably brings about the primates’ rebellion and the demise of human civilization. Despite being the most pessimistic work of fiction by Malamud, the novel ends with hope, which is the case in many dystopian books.
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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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Pereira, Isabella, and Renata Patricia Forain de Valentim. "Análise das relações sociais através da literatura distópica." Revista Pesquisa Qualitativa 6, no. 11 (August 1, 2018): 351. http://dx.doi.org/10.33361/rpq.2018.v.6.n.11.174.
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Resumo: Após ganhar força no período pós-guerra, a literatura distópica ressurge na pós-modernidade, como discurso voltado ao público adolescente e jovem adulto. Neste artigo é feita uma revisão bibliográfica das seguintes obras de ambos os momentos históricos: 1984, Fahrenheit 451, trilogia Jogos Vorazes e trilogia Destino. Os romances foram analisados qualitativamente através da análise de conteúdo de Bardin, que identifica “unidades temáticas”, elementos significantes comuns. Através das categorias “A influência social na vida privada”: “Vida familiar e social” e “Vida amorosa” examina-se como se relacionam as subjetividades destes jovens com o futuro e a realidade que os cerca, como eles se identificam com as produções literárias e como estas representam o discurso produzido na sociedade em que estão inseridos.Palavras-chave: Literatura distópica; Pós-Guerra; Pós-Modernidade; Relações sociais; Análise de conteúdo. Analysis of social relations through dystopian literatureAbstract: After gaining strength in the post-war period, dystopian literature resurfaced in postmodernity, as a discourse aimed at the adolescent and young adult public. In this article a bibliographical revision of the following works from both historical moments is made: 1984, Fahrenheit 451, Hunger Games trilogy and Destiny trilogy. The novels were analyzed qualitatively through the content analysis of Bardin, which identifies "thematic units", significant elements in common. Through the categories "Social influence in private life": "Family and social life" and "Love life" it’s examined how the youth subjectivities relate to the future and their social reality, how they identify themselves to the literary productions and how these ones represent the discourse produced in the society in which they are inserted.Keywords: Dystopian literature; Post-war; Postmodernity; Social relations; Content analysis.
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Ehre, Milton. "Olesha's Zavist': Utopia and Dystopia." Slavic Review 50, no. 3 (1991): 601–11. http://dx.doi.org/10.2307/2499856.
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Utopia and dystopia designate the human dream of happiness and the human nightmare of despair when these are assigned a place (topos) in space or time. Since narrative literature "is essentially an imitation not of persons but of action and life, of happiness and misery," Utopian and dystopian inventions are mere extremes of literature's ongoing story. In realistic fictions, although social circumstances may range from the incidental to the decisive, the story of the movement to happiness or unhappiness is usually told in terms of individual achievement and failure. In the Utopian and anti-utopian scheme deliverance or damnation depend on the place where one has found oneself, whether it is "the good place" or "the bad place." Although Utopias are allegorical constructs of the rational mind, attempting to bring order to the disorder of life, their denial of what is for the sake of what ought to be makes them a species of fantasy literature–a dream of reason.
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Norledge, Jessica. "Building The Ark: Text World Theory and the evolution of dystopian epistolary." Language and Literature: International Journal of Stylistics 29, no. 1 (January 16, 2020): 3–21. http://dx.doi.org/10.1177/0963947019898379.
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Told through a series of interrelated documents (including emails, text messages, newspaper clippings and blog posts), Annabel Smith’s interactive digital novel The Ark epitomises the contemporary hybridity of the dystopian genre. Designed to be fully immersive, the story can be engaged with across media, enabling readers to ‘dive deeper into the world of the novel’ and challenge how they experience dystopian texts. Taking a Text World Theory perspective, I examine the implications of this challenge, investigating the impact of transmedial storytelling on world-building and exploring the creative evolution of dystopian epistolary more broadly. In analysing both the ebook element of The Ark and certain facets of its companion pieces (which take the form of a dynamic website and a smartphone app), I investigate the creation of the novel’s text-worlds, considering the process of multimodal meaning construction, examining the conceptual intricacies of the epistolary form and exploring the influence of paratextual matter on world-building and construal. In doing so, I offer new insights into the conceptualisation of ‘empty text-worlds’, extend Gibbons’ discussions of transmedial world-creation and argue for a more nuanced understanding of dystopian epistolary as framed within Text World Theory.
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Božić, Rafaela. "The Motif of Nature in Early Russian Soviet Utopian and Dystopian Novels." Poznańskie Studia Slawistyczne 1, no. 22 (November 14, 2022): 47–66. http://dx.doi.org/10.14746/pss.2022.22.2.
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In this paper the most important works of Russian-Soviet literary utopia and dystopia have been analysed to investigate the role of nature. In literary utopias, people and their needs are the measure of all things, and the image of a utopian future is the vision of a nature so subdued that the need to eat and sleep have been subdued as well. Yet authors, such as Chayanov, emphasise the importance of a coexistence with nature. Dystopian authors ( Platonov and Zamyatin ) see the meaning of nature symbolically. They see nature not only as an unconquerable force, but also as a force entirely impermissible to defeat and that should not be defeated: for Platonov and Zamyatin nature is the eternal source of all that is to come.