To see the other types of publications on this topic, follow the link: Dystopian novel.
Dissertations / Theses on the topic 'Dystopian novel'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 43 dissertations / theses for your research on the topic 'Dystopian novel.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Vachon, Lauren Marie. "Glow: A Novel." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1374695902.
Full text
2
Hansson, Johanna. "The Universal Declaration of Human Rights and The Hunger Games : Implementing critical literacy in the EFL classroom when reading Suzanne Collins’ dystopian novel." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74892.
Full textAbstract:
The primary aim of this master’s thesis has been to examine how the dystopian, young adult novel, The Hunger Games (2008) by Suzanne Collins could entail depictions of violations against the articles of the Universal Declaration of Human Rights (1948). The analysis has been conducted based on a theme-based close reading of the novel using the Universal Declaration of Human Rights as a contextualization device. In addition, the literary analysis has been divided into three sections, namely global, group and the individual perspectives of how incidents in the novel hypothetically violate the Universal Declaration of Human rights. The division was made in order to delineate the social perspective of how literature can amplify the understanding of human rights and societal issues. Furthermore, the secondary aim of this master’s thesis has been to discuss how upper secondary students, when using a critical literacy lens in the English as a Foreign Language classroom, may establish an awareness about other people’s living conditions and fundamental rights that are present in their immediate social vicinity and in this novel.
3
Buciu, Felicia Catalina. "Stay Hungry, Stay Choosy : a dystopian novel based on insights from critical ethnographic research on the overeducated and underemployed in Italy and the United Kingdom." Thesis, Brunel University, 2018. http://bura.brunel.ac.uk/handle/2438/15818.
Full textAbstract:
This creative writing thesis consists of a full-length novel, Stay Hungry, Stay Choosy. The premise of the novel is that, by 2050, Italy will be a de jure gerontocracy that cannibalises its young. This thesis contributes to research on moral panics as it brings to the fore the voices of the voiceless and further explores the locus of youth unemployment in the discussion on social deviance. Thus, the thesis explores how Erich Goode and Nachman Ben-Yehuda's (1994) moral panics theory explains the mono-narrative of young people's transition from education to employment in Italy and the United Kingdom. In my academic research, I use a critical paradigm based on the fundamental premise that creative writing should play a key role in the liminal place that bridges social research and social activism. The research is framed by a number of social theories, underpinning the public discourse on youth overeducation, unemployment and underemployment. Subsequently, an in-depth analsyis is carried out, using the lens of Goode and Ben-Yehuda's moral panics framework, in order to show how the pervasive dichotomy of the angry youth and the aboulic youth in public discourse is used to stereotype the young and to maintain the power dynamics between both generations and socio-economic classes. Thirdly, Urbanski's 'rhetorical circle' (1975) is shown to be the explanatory metaphor that allows speculative fiction writers, such as Anthony Burgess and Marco Bosonetto, to draw upon pervasive social fears about the young, creatively elaborate upon them and hold up a mirror to readers by incorporating these fears into storytelling. These theoretical concepts are then explored from the perspective of young people, through ethnographic inquiry. Finally, the research outcomes are filtered through the process of self-reflexivity in order to illustrate the choices I had to make in order to complete the present novel in a way that respects both the conventions of the speculative writing genre and draws upon research findings. This thesis thus contributes to the case that creative writing has a key role to play in linking social science findings to practice by drawing concepts and findings together in a coherent narrative. This thesis turns this literary call to action into a real-life manifesto.
4
麥雅琳 and Ngah-lam Elaine Mak. "Eugenics in dystopian novels." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31226516.
Full text
5
Mak, Ngah-lam Elaine. "Eugenics in dystopian novels /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23595954.
Full text
6
Lahti, Davidsson Elisabeth. "Eros med och utan vingar : En komparativ studie av kärlek, sexualitet och ”det moderna projeket” i Vi och Kallocain." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-54329.
Full textAbstract:
My aim with this essay is to analyse how the theme of sexuality and love in two dystopian novels – We (1924), by Yevgeny Zamyatin and Kallocain (1940), by Karin Boye – relate to “the modern project”, a term I use to identify a cluster of important ideas that profoundly impacted society in the first decades of the 20th century. My analysis is based on a theoretical point of view claiming that dystopian novels present a critical perspective on society, and that they deal with issues, problems and values specific to the period in which they were written. Using a comparative method, where “the modern project” works asan “Ansatzpunkt”, I explore a variety of texts studying the theme of love and sexualityin We and Kallocain from different perspectives. I further discuss how both novels criticize societies where some of the ideas from “the modern project” are realized in unexpected ways: the “bourgeois family” is gone and the state performs some of its duties, sexuality is reduced to biological needs and reproduction, and love relationships are seen as egotistical and irrational. Even though these societies are trying hard, they can’t stop their citizens from using love and sexuality as a means to connect to one another and build a resistance. My conclusion is that both Zamyatin and Boye most likely were inspired by the writings of Sigmund Freud, who at that time was highly influential. In this light their novels can beinterpreted as presenting the human libido (We) and insights gained through psychoanalysis (Kallocain) as defences against collectivistic totalitarian states.
7
Naudé, Bernard. "The portrayal of subjectivity in selected dystopian novels." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/79906.
Full textAbstract:
In his Truth and Method, Gadamer explains that subjectivity is the everyday understanding that allows us to engage with the world. Gadamer identifies three main aspects that effect our understanding, namely history, language and dialogue. Dystopian fiction is in a unique position to portray how systems of societal control affect and effect understanding, and thus subjectivity, because dystopian fiction primarily explores societies rather than only individuals.
This dissertation applies Gadamer’s framework of subjectivity to George Orwell’s Nineteen Eighty-Four and Aldous Huxley’s Brave New World to analyse their portrayals of subjectivity critically. Huxley’s imagined world of test-tube births, rampant consumerism, feelies and orgy-porgies depicts a subjectivity that is nearly completely controlled through the manipulation of history, language and dialogue, with the exception of a few rebellious characters. But Orwell’s Oceania is far grimmer, and the systems of control in place to manipulate history, language and dialogue create a harsh environment in which Winston Smith, the protagonist, struggles to assert his individuality, his own subjectivity, until the liberating sexual relationship he has with Julia. Although both novels depict stringent measures of control, the possibility of rebellion is present in the worlds depicted in both novels, suggesting that despite the manipulation around subjectivity’s three main pillars, as identified by Gadamer, something else provides the impetus for the characters’ understanding of rebellion. Therefore, the study also analyses the characters’ pre-understandings, as explained by Nietzsche and Heidegger, as sources for a wider framework. Through the novels’ portrayals of rebellion, these pre-understandings are shown to complement and inform Gadamer’s framework of subjectivity.Dissertation (MA)--University of Pretoria, 2015.
English
MA (English)
Unrestricted
8
Cartwright, Amy. "The future is Gothic : elements of Gothic in dystopian novels." Thesis, University of Glasgow, 2005. http://theses.gla.ac.uk/1346/.
Full textAbstract:
This thesis explores the relationship between the Gothic tradition and Dystopian novels in order to illuminate new perspective on the body in Charlotte Perkins Gilman’s Herland (1915), Aldous Huxley’s Brave New World (1932), George Orwell’s Nineteen Eighty-Four (1949), Anthony Burgess’ A Clockwork Orange (1962), Margaret Atwood’s The Handmaid’s Tale (1985) and Michel Houellebecq’s Atomised (1999). The key concerns are those of the Labyrinth, Dark Places, Connectedness and the Loss of the Individual, Live Burials, Monsters and Fragmented Flesh. A thematic approach allows for the novels to be brought together under common Gothic themes in order to show not only that they have such tendencies, but that they share common ground as Gothic Dystopias. While the focus is on bodily concerns in these novels, it is also pertinent to offer a discussion of past critical perspectives on the Dystopia and this is undertaken in Chapter One. Chapter Two looks at the narrative structure of the novels and finds similarities in presentation to Gothic novels, which leads to exploration of the position of the body in such a narrative of the unseen. The third chapter looks to the spaces inhabited by characters in the novels to examine their impact on the threat faced by these individuals. The Gothic convention of doubling is the focus of Chapter Four, which finds not only doubling operating in Dystopian novels, but the more complex relationship of triangles of doubling holding characters, fixing them in relation to those around at the expense of selfhood. Chapter Five takes Eve Kosofsky Sedgwick’s musings on the Gothic as its point of departure and finds that Dystopian bodies occupy a very similarly trapped position. Chapter Six identifies two types of monsters that inhabit the Gothic Dystopian space: those people who transform between the human and the monstrous, and those individuals who form a larger monster based on power that lives parasitically on transgressive bodies. The final chapter displays the impact of the Gothic Dystopia on individual bodies: ‘Fragmented Flesh’. The destruction of a coherent whole, a body with defined and sustainable boundaries, is the outcome of the novels where fear, repression, and the hidden combine to leave little space for cohesion and identification in the Gothic Dystopia.
9
Wesche, Gretchen M. "Control and Creativity: The Languages of Dystopia." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1304482313.
Full text
10
Beaulieu, Jean-François. "The Role and Representation of Nature in a Selection of English-Canadian Dystopian Novels." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23903/23903.pdf.
Full text
11
Vellai, Micayla Tamsyn. "Intermediality in the novels of Lauren Beukes." University of the Western Cape, 2021. http://hdl.handle.net/11394/8111.
Full textAbstract:
Magister Artium - MAThere is the growing recognition that literary works are not independent, but have often been impacted on by various other media. Complex intersections arise between printed text and other media such as photography, film, music and visual arts. The central theoretical concept underpinning this thesis is a study of intermediality, which interrogates the various ways non-literary media are used as a resource or reference. This analysis will be explored in the novels of Lauren Beukes, and will focus on the intermedial meaning-making and influences of both analogue photography and digital visuality in the dystopian society of Moxyland (2008). Furthermore, it will examine visual art in Broken Monsters (2014) and delineate visuality in terms of “bodies”, as is evident in the depiction of ruin porn and contemporary art.
12
Gosser-Duncan, Jennifer. "Religion, Power and Gender in Margaret Atwood’s Dystopian Societies : A Reading of The Year of the Flood and The Handmaid’s Tale." Thesis, Umeå universitet, Institutionen för språkstudier, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160236.
Full textAbstract:
Women are traditionally counted among the victims or losers in religious power plays. On the surface, Margaret Atwood’s dystopian novels give the impression that women will be the underdogs in these stories as well. However, on closer examination and application of Michel Foucault’s techniques of power, it can be seen that women indeed have and use power to put up resistance in otherwise seemingly hopeless situations in male dominated religious societies. The religious societies in The Year of the Flood and The Handmaid’s Tale will be compared as to how they appropriate religion and power to their advantage and how women make use of power techniques such as witnessing through discourse and the forbidden written language, use of their bodies and the fraying threads of power as opportunities, as well as community and solidarity and forgiveness to turn their situation around and fight for their futures.
13
Sharma, Elena. "The Young Adult Dystopia as Bildungsroman: Formational Rebellions Against Simplicity in Westerfeld's Uglies and Roth's Divergent." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/431.
Full textAbstract:
Young adult novels are undeniably popular and yet they are simultaneously dismissed as inconsequential or light – conventionally deemed low literature, these novels are generally not considered worthy to be discussed in the same spaces as the less popular, more traditional high literature. If a genre of young adult novels were given a place within literary history, it would not only legitimize these novels as more than guilty pleasures or the provinces of adolescent readers who will come to grow out of them, but it would also open up the possibility for other forms of literature to be similarly recognized as worth reading or thinking about. The Bildungsroman, also known as the “novel of formation” or the more colloquial “coming-of-age” novel, is a genre grounded in the traditions of multiple literary histories and is commonly understood to be high literature. Marianne Hirsch models the European Bildungsroman, which is useful for both American novels due to the predominance of European and particularly English canon. This paper is interested in determining how contemporary young adult dystopian novels, examined through the Scott Westerfeld's Uglies and Veronica Roth's Divergent, both work within and depart from the conventions of the traditional Bildungsroman.
14
Lewis, Abby N. "“It could have happened to any of you”: Post-Wounded Women in Three Contemporary Feminist Dystopian Novels." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3883.
Full textAbstract:
My goal for this thesis is to investigate the concept of (mis)labeling female protagonists in contemporary British fiction as mentally ill—historically labeled as madness—when subjected to traumatic events. The female protagonists in two novels by Sophie Mackintosh, The Water Cure (2018) and Blue Ticket (2020), and Jenni Fagan’s 2012 novel The Panopticon, are raised in environments steeped in trauma and strict, hegemonic structures that actively work to control and mold their identities. In The Panopticon, this system is called “the experiment”; in The Water Cure, it is personified by the character King and those who follow him; and in Blue Ticket, it is the social structure as a whole reflected in the character of Doctor A. To simply label these novels’ woman protagonists as ill would be to ignore that their behavior is not mental illness but in fact rational behavior produced by the traumatic dystopian environments.
15
Jonsson, Andrea. "Enforcing Patriarchal Values : A socialist feminist analysis of the characters of Offred and Serena Joy in Margaret Atwood's novel The Handmaid's Tale." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-66776.
Full textAbstract:
This essay shows how Margaret Atwood’s novel The Handmaid’s Tale (1985) functions as a critique of patriarchal society as it depicts a dystopic, dismantled society where women are divided into societal groups on biological grounds. Based on socialist feminist literary theory, an analysis is carried out of two of the female characters, Offred and Serena Joy, who are both oppressed by a patriarchal, totalitarian government; an oppression that is manifested in different ways. Offred is used as a tool to provide children and Serena Joy is confined within the home. The focus of the analysis is on the oppression of these two characters by the patriarchal government through the removal of their rights due to their gender. Red and blue, the two colors used to mark their different societal groups, are analyzed to show how they affect the reader’s perception of these characters and how the novel demonstrates the division of women visually.Denna uppsats visar hur Margaret Atwoods roman Tjänarinnans berättelse (1985) fungerar som en kritik mot ett patriarkalt samhälle. Denna kritik tar sig uttryck genom en dystopisk skildring av ett samhälle där kvinnor delas in i sociala grupper baserat på deras biologiska förutsättningar. Med utgångspunkt i socialistisk feministisk litteraturteori görs en karaktärsanalys av två av de kvinnliga karaktärerna, Offred och Serena Joy. De är båda förtryckta av det patriarkala, totalitära styret, ett förtryck som tar sig uttryck på olika sätt. Offred används som ett verktyg för att öka barnafödandet och Serena Joy är isolerad i hemmet. Analysen fokuserar på förtryckandet av de två karaktärerna baserat på borttagandet av deras tidigare rättigheter på grund av deras kön. Röd och blå, två färger som används för att markera deras sociala grupp, analyseras för att påvisa hur de påverkar läsarens uppfattning av karaktärerna och hur romanen rent visuellt kategoriserar kvinnor i olika grupper.
16
Correa, Sotelo Ruth Elvira. "The concept of identity in postmodern literature: the urban subject in the dystopian city : Paul Auster's In the country of last things." Tesis, Universidad de Chile, 2012. http://repositorio.uchile.cl/handle/2250/112718.
Full textAbstract:
Facultad de Filosof?a y HumanidadesDepartamento de Ling??stica
Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa
Introduction From the emergence of the term Utopia in Thomas More?s book of the same name, many controversial and prolific discussions have appeared throughout time. These discussions involved not only cultural and sociological aspects, but also those concerned more with the inner dimension of the self: his desires, ambitions and transformations. What More really meant by using this term we have no certainty, because in it he refers to several different factors that have an effect in the life of the island portrayed in his book. In opposition to Utopia, meaning ?a happy place where a person has nothing to worry about because his/her government provides everything they need?, there is Dystopia, which could be defined as ?a society being controlled by a repressive state, in both individual and collective ways?. Starting from this point, the general topic that gives rise to the object of study in this work is the urban subject, Anna Blume in Paul Auster?s In the Country of Last Things, immersed in a dystopian city nearly to be extinguished and conditioned by spaces that exert powerful forces on the prevalence of the self.
17
Nienaber, J. E. "Distopie in die grafiese roman : V for Vendetta as voorbeeld." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21688.
Full textAbstract:
Thesis (MPhil)--Stellenbosch University, 2008.ENGLISH ABSTRACT: This thesis examines the genre of dystopian fiction in the graphic novel, V for Vendetta in which a futuristic police state, run by a totalitarian regime is portrayed. Since V for Vendetta draws on a number of other dystopian texts, New Historicist theory is employed which begins its analysis of literary texts by attempting to look at other texts as well as the historical context in which it originated, to aid in the understanding of that text. Therefore, V for Vendetta with its thorough character development and multi-dimensional storyline that the larger format of the graphic novel allows, is studied alongside other highly regarded novels. The characteristics of the nightmarish anti-utopia is identified and analysed in V for Vendetta by looking at real examples of totalitarian regimes from history. The chapters are divided into what I identified as the main themes of the totalitarian dystopia. Chapter one explains the concept of the utopia in order to grasp the concept of dystopia, and more specifically, the Totalitarian dystopia. Chapter two looks at the social structure of V for Vendetta as well as the common Totalitarian dystopia. Chapter three discusses the issue of censorship which is a recurring theme in dystopian fiction. Chapter four examines the manner in which the totalitarian regime manipulates the populace of the dystopia through propaganda. Chapter five discusses the systems of surveillance and lack of privacy in the Totalitarian dystopia and a chapter on the protagonist in dystopia concludes this study.
AFRIKAANSE OPSOMMING: In hierdie studiestuk word die genre van distopiese fiksie in die grafiese roman, V for Vendetta behandel, wat ’n futuristiese polisiestaat teen die agtergrond van ’n totalitêre staatsbestel uitbeeld. Omdat V for Vendetta by soveel ander distopiese tekste leen, word dit vanuit die teoretiese oogpunt van New Historicism bestudeer, wat in die ontleding van ’n roman ander tekste asook die geskiedkundige konteks van daardie roman ondersoek, ten einde dit beter te begryp. Daarom word V for Vendetta, wat vanweë die grafiese roman se langer formaat wat ruimte skep vir deeglike karakterontwikkeling en ’n veelvlakkige storielyn, as volwaardige roman naas ander hoogaangeskrewe romans behandel. Aan die hand van ware voorbeelde van totalitêre regimes uit die geskiedenis word die eienskappe eie aan ’n nagmerriestaat in V for Vendetta geïdentifiseer en geanaliseer en dit is waardeur ek my laat lei het ten opsigte van die hoofstukindeling. In hoofstuk een word die begrip van utopie eers duidelik gemaak om die distopie, en meer spesifiek die Totalitêre distopie te verstaan. In hoofstuk twee word daar gekyk na die sosiale samestelling en magstruktuur binne V for Vendetta en die Totalitêre distopie in die algemeen. Hoofstuk drie bespreek die kwessie van sensuur - ’n gewilde tema in distopiese fiksie. In hoofstuk vier word ondersoek ingestel na die manier waarop die Totalitêre-distopie die burgery breinspoel deur propaganda. Hoofstuk vyf bespreek die verskynsel van bewaking en die skending van privaatheid in die totaliêre distopie en in die sesde hoofstuk word daar gefokus op die protagonis in die distopie.
18
Abbott, Sarah J. "The Future Perfect." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/30.
Full textAbstract:
In the prison society of Circadia, the Jury doesn’t need chains or locks to keep citizens tame, only routine—but Valerie and Brennan break the routine. Valerie allows a hospital patient who hurt her in the past to die from cardiac arrest. Her twelve-year term will be reset if anyone finds out she didn’t try to save him; she’ll start over in the dangerous Twelfth Circle. With 455 days left in Circadia, she must lie not only to the authorities but also to her family. And she’s a terrible liar.
Most conversations halt near Brennan, the Warden’s son, but even he catches the whispers after a police officer attempts to escape from Circadia. When Brennan learns that his mother and a Juror are rigging the officer’s public trial, they give him a choice: side with the Circadians and lose his safety, or side with the Jury and lose his self-respect.
Structured in chapters that alternate between Valerie and Brennan, this novel—influenced by George Orwell, Suzanne Collins, and Michel Foucault—suggests that the best prison makes you comfortable. It makes you want to stay.
19
Brandstedt, Nathalie. "The Complexity of Motherhood in Dystopian Novels : A comparative study of Margaret Atwood’s The Handmaid’s Tale and Lois Lowry’s The Giver." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-44202.
Full textAbstract:
This study explores how motherhood is depicted in Margaret Atwood’s and Louis Lowry’s dystopian novels The Handmaid’s Tale and The Giver. It examines the negative social and psychological consequences of forced surrogacy in the novels’ state-constructed nuclear families, looking closely at a lack of maternal love and care. Using feminist and psychoanalytic criticism, this essay examines the link between the broken connection of mother and child and the protagonists’ search for maternal love in other relationships. It contrasts the protagonists’ rebellion to the social backlash effect and shows how motherhood emerges as a form of resistance against the social engineering of the dystopian societies.
20
Rowland, Steffanie. ""One is not born a women; one becomes one" : perpetuating gender roles in the dystopian novels Brave New World and The Giver." Thesis, Högskolan Dalarna, Engelska, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4877.
Full text
21
SILVA, Giselia Rodrigues Dias da. "O indianismo revisitado: A expedição Montaigne, de Antonio Callado." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2395.
Full textAbstract:
Made available in DSpace on 2014-07-29T16:19:02Z (GMT). No. of bitstreams: 1
Dissertacao Giselia R D da Silva.pdf: 702936 bytes, checksum: a6afe83d56fd1fea4ecc4c13283c3d62 (MD5)
Previous issue date: 2011-05-09Since the Literature Training and Information until the contemporary literature, the Indian, under the most diverse shapes and shades, is always revisited by the Brazilian literary works. In this study, we observed how the novel A expedição Montaigne (1982), by Antonio Callado, incorporates in its narrative economy, the issue of indigenous peoples. This attempt to understand the approach of the Indian in a specific novel opened space for wider discussion. We seek, then, to understand what facets are coated the representation of the Indian in contemporary Brazilian novel, here understood as that novel produced from the second half of the twentieth century, supported mainly by reflections of Walnice Nogueira Galvão, who find themselves in a systematic test of the 1970, whose Indianism revisited" we took borrowed. Moreover, we discuss how the other novels, by Antonio Callado, produced during the same period, also deal with the issue of indigenous and, in parallel, pressing issues in a very specific moment in Brazilian history: the military dictatorship. To this end, we guided by our discussions in some studies critical of the singularities of the socio-historical, political and cultural Brazilian context of the second half of the twentieth century. As is the case of Tania Pellegrini, Regina Dalcastagné, Walnice Nogueira Galvão, and in the readings of novelist by Antonio Callado, whose main authors are Ligia Chiappini Moraes Leite, Alcmeno Bastos e Rejane Rocha. Thus, in an attempt to tie the threads, we finally reflect on how the narratological resources are mobilized in A expedição Montaigne to enable both a reassessment of the incongruities of the dictatorial regime that is already ending, as well as the historical and ideological contradictions that shape the representation of Indians in Brazilian novel.
Da Literatura de Formação e Informação até a contemporaneidade, o índio, sob as mais diversas formas e matizes, sempre é revisitado pelas obras literárias brasileiras. Nesse estudo, averiguamos o modo como o romance A expedição Montaigne (1982), de Antonio Callado, incorpora tematicamente em sua economia narrativa a questão do indígena. Essa tentativa de se compreender a abordagem do índio em um romance específico abriu espaço para reflexões mais amplas. Buscamos, então, entender de que facetas se revestiu a representação do índio no romance brasileiro contemporâneo, aqui entendido como aquele produzido a partir da segunda metade do século XX, amparados, principalmente, pelas reflexões de Walnice Nogueira Galvão, que se acham sistematizadas em um ensaio da década de 1970, de quem tomamos emprestado o termo indianismo revisitado . Além disso, discutimos o modo como os demais romances de Callado produzidos nesse mesmo período, também lidam com a temática do indígena e, paralelamente, com as questões prementes a um momento muito específico da história brasileira: a ditadura militar. Para tanto, pautamos nossas discussões nos estudos de alguns críticos a respeito das singularidades do contexto sócio-histórico, político e cultural brasileiro da segunda metade do século XX, como é o caso de Tânia Pellegrini, Regina Dalcastagné e Walnice Nogueira Galvão; bem como pelas leituras já realizadas sobre a obra romanesca de Antonio Callado, cujos principais estudiosos são Ligia Chiappini Moraes Leite, Alcmeno Bastos e Rejane Rocha. Assim, numa tentativa de articular as partes e obter um resultado significativo para o trabalho, buscamos finalmente refletir sobre como os recursos narratológicos são mobilizados em A expedição Montaigne, a fim de possibilitar tanto uma reavaliação das incongruências e dos efeitos nefastos do regime ditatorial que já estava se findando, quanto das contradições históricas e ideológicas que moldam a representação do indígena no romance brasileiro.
22
Ågren, Mattias. "Phantoms of a Future Past : A Study of Contemporary Russian Anti-Utopian Novels." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-108169.
Full textAbstract:
The aim of this dissertation is to study the evolution of the Russian anti-utopian literary genre in the new post-Soviet environment in the wake of the defunct Soviet socialist utopia. The genre has gained a renewed importance during the 2000s, and has been used variously as a means of dealing satirically with the Soviet past, of understanding the present, and of pondering possible courses into the future for the Russian Federation. A guiding question in this study is: What makes us recognize a novel as anti-utopian at a time when the idea of utopia may appear obsolete, when the hegemony of nation states has been challenged for several decades, and when art has been drawn towards the aesthetics of hybridity? The main part of the dissertation is comprised of detailed analyses of three novels: The Slynx (Kys', 2001) by Tatyana Tolstaya; Homo Zapiens/Babylon (Generation ‘P’, 1999) by Viktor Pelevin; and Ice Trilogy (Ledianaia Trilogiia, 2002−2005) by Vladimir Sorokin. The further development of the genre is subsequently discussed on the basis of seven novels published in the past decade. A main argument in the dissertation is that the genre has been modified in ways which can be seen as a response to social and political changes on a global scale. The waning power of the nation state, in particular, and its broken monopoly as the bearer of social projects marks a new context, which is not shared by the classic works of the genre. Analysis of this evolution in post-Soviet anti-utopian novels draws on sociological as well as literary studies. The dissertation shows how the analysed novels use the possibilities of the genre to problematize various forms of societal discourse, and how these discourses work as mutations of utopia. Prominent among these are historical discourses, which reflect the increasing importance of historical narratives in public political debates in the Russian Federation.
23
Ivarsson, Marcus. "Ultima Thule." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6918.
Full textAbstract:
The graduation work Ultima Thule made up by four parts, the first one is a science fiction world buliding made up of scripts, notes and sketches, the second one is a science fiction comic book in the edition of 200 with the name Everything in one place, this is the first part of the Ultima Thule-world. The third part is this report with text explaining the work process, and the third part was the participation in the Konstfack Spring Exhibition, this is also described in the report. Ultima Thule is a narrative about the end of humanity set in three Swedish cities; Västerås, Uppsala and Stockholm.
24
Campbell, Françoise. "Pursuing the impossible : the ambivalence of utopia in the novels of Michel Houellebecq." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC331.
Full textAbstract:
Cette thèse examine les représentations utopiques dans l’œuvre littéraire de Michel Houellebecq. En se démarquant des précédentes interprétations qui ont classifié ses romans comme soit utopiques, soit dystopiques, soit anti-utopiques, elle explore comment une approche par l’ambivalence permet de réévaluer ces textes en accord avec les nouvelles tendances critiques du genre utopique. De cette manière, cette thèse démontre qu’au-delà de la figuration du déclin de la civilisation occidentale pour laquelle ces textes sont connus, la question-clé soulevée dans ces récits s’avère être l’imagination de moyens pour s’échapper de notre monde.En se focalisant sur l’étude de sept textes écrits par Houellebecq, comptant six romans et une nouvelle, cette thèse analyse le rôle de l’ambivalence à travers quatre aspects de la représentation utopique : l’espace, la rhétorique, l’idéologie, et la forme. Pour ce faire, elle s’appuie sur les études critiques des théoriciens Louis Marin, Fredric Jameson, Ernst Bloch et Tom Moylan, dont les études procurent une base méthodologique pour identifier et interpréter l’ambivalence utopique du corpus. Par cette analyse, cette thèse révèle un cadre qui permet de relire l’utopie houellebecquienne comme une réflexion critique sur le désir et l’imagination utopique. En outre, elle approfondit l’interprétation des romans de Houellebecq en tant que produits littéraires et sociaux complexes, pluriels et dynamiques.Ainsi, cette thèse soutient que les romans de Houellebecq sont des représentations d’un utopisme ambivalent. En proposant une lecture des romans de Houellebecq qui ne se limite pas nécessairement à l’anti-utopisme et le désespoir, cette étude offre une démonstration exhaustive de la complexité par laquelle Houellebecq met en scène la possibilité et l’impossibilité du désir utopique de notre époque. De cette façon, elle démontre comment, en poursuivant l’impossible, l’écriture de Houellebecq offre une extension de la fonction critique propre à l’utopie, amenant le lecteur face aux limites de sa propre imagination tout en exprimant le désir persistant de sa poursuiteThis thesis examines utopian representations in the novels of Michel Houellebecq. Moving beyond previous definitions of Houellebecq’s utopias as either utopian, dystopian, or anti-utopian, it explores the ways in which the reading of ambivalence may provide the means for a re-evaluation of these works, in line with critical trends in the utopian genre. In doing so, this thesis seeks to show that beyond the depiction of Western decline that these texts are typically known for, one of the driving questions of Houellebecq’s writing is how to imagine a way out of our current bind.Focussing on a corpus of seven primary texts, comprising Houellebecq’s six novels and one novella, this thesis analyses the role of ambivalence across four key aspects of Houellebecq’s utopian representation: space, rhetoric, ideology, and form. In doing so, it draws on the critical utopian theory of Louis Marin, Fredric Jameson, Ernst Bloch and Tom Moylan to provide the methodological framework for the identification and interpretation of utopian ambivalence in the corpus. Through this line of enquiry, this thesis demonstrates the potential for reading Houellebecq’s utopias as critical reflections on utopian desire and imagination within the context of our contemporary society, and, in doing so, it illustrates how the study of ambivalence offers a greater understanding of Houellebecq’s texts as complex literary and social products. As such, this thesis argues for the understanding of Houellebecq’s novels as complex and ambivalent portrayals of utopianism. By proposing an interpretation of Houellebecq’s utopian paradigms that is not necessarily limited to the reading of anti-utopianism and despair, this thesis thus provides a comprehensive demonstration of the complexity by which Houellebecq foregrounds the contingency of utopian desire, through his representations. In this way, this thesis shows how, by pursuing the impossible, Houellebecq’s writing offers an extension of utopia’s critical function, bringing the reader face to face with the limits of their own utopian imagination while portraying the continued desire for utopian pursuits
25
Glover, Jayne Ashleigh. ""A complex and delicate web" : a comparative study of selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy /." [S.l. : s.n.], 2007. http://eprints.ru.ac.za/1001/.
Full text
26
Dujarric, Florence. "La ville de Rebus : polarités urbaines dans les romans d'Ian Rankin (1987-2007)." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-01015364.
Full textAbstract:
La présente étude analyse les représentations de la ville dans la série policière d'Ian Rankin dont l'inspecteur John Rebus est le protagoniste. La polarité étant l'un des principes organisateurs de l'écriture rankinienne, notre analyse s'articule autour de plusieurs couples de notions antinomiques. Nous remettons d'abord en cause la légitimité de l'antinomie qui oppose la littérature à la " littérature de masse ", dans laquelle est souvent classé le roman policier. Cela nous conduit à redéfinir le roman policier, et mettre en perspective la série dans le contexte du monde littéraire et artistique écossais contemporain. Puis nous étudions l'articulation entre topographie réelle et lieu imaginaire dans l'Edimbourg de Rankin. Toute une géographie urbaine se dessine dans les romans ; l'arpentage incessant de l'espace par le protagoniste fournit l'occasion de références très spécifiques à la topographie et à la toponymie, et la sérialité tisse peu à peu un dense réseau de points nodaux ainsi qu'une multiplicité de trajets potentiels que nous avons représentés par des cartes fournies en annexe. Mais dans d'autres cas, l'espace se fait générique, se réfère plus à des conventions cinématographiques qu'à la carte de la ville. Nous envisageons enfin la ville d'Edimbourg comme un personnage ambivalent dans la lignée des personnages du roman gothique. La filiation gothique est perceptible dans l'esthétique de la ville, et la surface de la carte est compartimentée suivant un ensemble d'axes polarisants. Toutefois, cette carte se déploie elle-même par-dessus un double souterrain et non cartographiable d'Edimbourg, à la fois mémoire et inconscient de la ville.
27
Glover, Jayne Ashleigh. ""A complex and delicate web" : a comparative study of selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002241.
Full textAbstract:
This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.
28
Wang, Hui-ling, and 王慧玲. "Sexual Politics in Margaret Atwood’s Dystopian Novel The Handmaid’s Tale: The Oppression and Resistance of Women." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/52491280019472445926.
Full textAbstract:
碩士國立中山大學
外國語文學系研究所
92
This thesis explores the oppression of women within the gender institution of patriarchy in Margaret Atwood’s dystopian novel The Handmaid’s Tale, and their resistance to this male-dominated society. As a feminist writer, Atwood is very much concerned about the issue of gender, which she foregrounds in The Handmaid’s Tale. In my analysis, I apply some theories of radical feminists and the French feminist who devote themselves to the study of gender--Kate Millett, Adrienne Rich, Catherine MacKinnon, and Hélène Cixous. Millett focuses on women’s subordinated position that leads to women’s oppression in patriarchy. Rich and MacKinnon focus on how women are controlled and oppressed in maternity and sexuality within the patriarchal society of gender inequality. Cixous challenges the validity of gender by pointing out its characteristic fluidity through creating woman’s own writing in order to redefine female selfhood for women’s resistance. The thesis is composed of five chapters. The Introduction presents the background materials about Atwood and The Handmaid’s Tale, the motivation of the thesis, and the resonance between The Handmaid’s Tale and certain feminists’ theories. The first chapter analyzes the formation of the unbalanced power relations between the sexes in which women are subordinated to men through the socialization. Moreover, because of women’s subordination, women are modulated as mothers through socially institutionalized motherhood such as the Wives and the Handmaids in Gilead. The second chapter further analyzes how women are formulated as sexual objects through the experience of sexual objectification within the institution of heterosexuality, such as the mistresses and the prostitutes of Gilead. The third chapter discusses how female orality empowers women to resist their patriarchal society in The Handmaid’s Tale. The protagonist Offred, by “writing her voice” through storytelling, resists patriarchal oppression, restores her body and self, and transforms herself from a victim in a claustrophobic world of male domination to a heroine of femininity. Moreover, her act of writing by her voice also reflects women’s histories of repression, which should be reconstructed in a culture in which only males are literate. Offred’s oral act of storytelling, to the reader, may also signify her resistance to reconstruct women’s repressed histories. The concluding chapter reiterates the research of The Handmaid’s Tale with a synthesis of Atwood’s and some of the prominent feminists’ points of view, namely Millett’s, Rich’s, MacKinnon’s and Cixous’s, toward the oppression and resistance of women within the institution of gender. This study hopes to explore and thus illuminate the nature, the functioning, the operation of socially constructed male domination, and then proceed to search the possible solution, or the “voice;” however feeble it is, the author, or the protagonist conceives to defy the oppression imposed on women.
29
Drkošová, Sylvie. "Rebelující ženské hrdinky v dystopických románech pro mladé." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-342012.
Full textAbstract:
The thesis is mainly concerned with popular dystopian book series Hunger Games and Divergent. The aim of the present diploma thesis is to summarize representative characteristics of a young adult dystopian novels featuring rebellious female heroes and to closely examine the social context of the aforementioned novels. The first part of the thesis is based on the analysis of young adult dystopian novels and the attitude of young female readers to the representation of strong female protagonists in literature. The second part od this thesis presents a qualitative research realized by interviews with young female readers and it attempts to answer the research questions about the attitude of readers to examined dystopian novels and the contemporary social role of women. Keywords: dystopian novel, Hunger Games, Divergent, female protagonists, gender
30
Hronová, Marie. "Rozdíl v přístupu Aldouse Huxleyho ke konceptu dystopie ve 30. a 60. letech 20. století s odkazem na jeho vybraná díla." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-349496.
Full textAbstract:
TITLE: The difference in Aldous Huxley's approach to the concept of dystopia in the 1930s and 1960s with references to his selected works AUTHOR: Marie Hronová DEPARTMENT: Department of English Language and Literature SUPERVISOR: PhDr. Petr Chalupský, Ph.D. ABSTRACT: This thesis is focused on the approach of Aldous Huxley to dystopian fiction. To explore this topic it analyses his two major novels, namely Brave New World (1932) and Island (1962). The aim of the theoretical part is to provide a context to these two works. Therefore, it describes the most important social changes which emerged after the First World War and further developed after the Second World War. This part is also concerned with the development of psychopharmacology and its consequences since it plays a major role in both analysed novels. Further context is given by outlining the basic ideas of selected eastern philosophies as they are crucial for one of Huxley's works. The practical part then analyses Huxley's imaginary society in Brave New World in order to pinpoint the features of the author's dystopian novel and his criticism of the society of the 1930s. Island is explored as a counterpart of Brave New World, since both novels deal with the same topic but in different perspectives. The aim of this part is to analyse and compare the...
31
Petrová, Eva. "Vlivy na vývoj anglicky psané dystopie ve 21. století." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-388237.
Full textAbstract:
1 ABSTRACT The aim of this thesis is to describe, analyze and explain major influences on the development of dystopian literature of the 21st century written in English. Those influences are described and illustrated on selected literary works, specifically on Oryx and Crake (2003) by Margaret Atwood, Never Let Me Go (2005) by Kazuo Ishiguro, The Hunger Games (2008) by Suzanne Collins, Matched (2010) by Ally Condie, and The Bone Season (2013) by Samantha Shannon. The theoretical part aims to explain the term dystopia, to define dystopia as a genre, and to describe its history. This part also deals with the influences on the development of dystopia, focused especially on the 20th century, and with the summaries of the books selected for the use in the practical part. The practical part focuses on the major influences on the development of dystopian literature of the 21st century written in English. Those are influences relating to methods of social control, scientific and technological advancements, and from various apocalyptic ideas and visions, such as wars and diseases. The practical part includes descriptions of the influences, their explanations, and subdivisions, following by illustrations of those influences on the selected literary works. KEY WORDS Dystopia, dystopian novel, the 21st century, major...
32
Machart, Filip. "Moderní dystopie a teorie totalitarismu." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329165.
Full textAbstract:
The diploma thesis Modern Dystopias and Theories of Totalitarianism deals with comparation of this two phenomena. The thesis is based on the concept of Giovanni Sartori. He understands the phenomenon of totalitarianism as ideal ending of the axis totalitarianism- democracy. Extreme points of this axis fulfill the role of unrealizable ideal regimes. In reality we can only move closer to them but modern dystopias may represent these ideal regimes. The diploma thesis is divided into theoretical and practical section. There is the analyse of five books in the theoretical section which deal with the theory of totalitarianism. The analysis contains the work of Sigmund Neumann, Hannah Arendt, Carl J. Friedrich and Zbigniew K. Brzeziński, Giovanni Sartori and Juan J. Linz. Each theory of totalitarianism is supplemented by reflection from other authors. There is the analyse of five dystopias (J. Zamjatin - We, A. Huxley - Brave New World, G. Orwell - Nineteen Eighty-four, M. Atwood - The Handmaid`s Tale, A. Moore, D. Lloyd - V for Vendetta) in the practical section. The analysis contains the storyline of the book, elements of totalitarian regime in the dystopia and inspiration of author for the world of dystopia. There is elaborated final comparation between theories of totalitarianism and modern dystopias...
33
Fortowsky, Alyson. "A tour of the house: a novel." Master's thesis, 2010. http://hdl.handle.net/10048/969.
Full textAbstract:
This novel manuscript explores the connections between art, the city of Calgary, and political complacency. Legislated into the school and job chosen by her high school career test results, a law student attends a party at a heritage house in Calgary and takes a tour through the rooms, hoping to encounter a lost acquaintance. In this world, careers are divided into five ambiguous "Fifths" (labour, service, secondary service, small business, and corporate science) none officially more valuable than any of the others. "Fifth Fifths", though, are the best paid, their post-secondary educations heavily subsized. The characters adhere unquestioningly to the ideology of the government in power (as Albertans historically have done), though they resent their lack of choice and recognize injustice. They, like most of the characters featured in popular Calgary history books, are the ones ultimately benefiting from the system.English
34
"Power and resistance in dystopian literature: a Foucauldian reading of three novels." 1997. http://library.cuhk.edu.hk/record=b5896261.
Full textAbstract:
by Wing Chi Ki.Thesis (M.Phil.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 177-182).
Abstract --- p.i
Acknowledgements --- p.i v
Table of Contents --- p.v
Abbreviations used for Foucault's Works --- p.vi
Chapter Chapter 1 --- Introduction: Power and Resistance in Foucault --- p.1
Chapter Chapter 2 --- 1984-The Axis of Power --- p.29
Chapter Chapter 3 --- Brave New World--The Axis of Sexuality --- p.70
Chapter Chapter 4 --- The Handmaid's Tale-The Axis of Knowledge --- p.117
Chapter Chapter 5 --- Conclusion: Resistant Topos´ؤFrom Dystopia to Heterotopia --- p.167
Works Cited --- p.177
Bibliography --- p.182
35
"The Role and Representation of Nature in a Selection of English-Canadian Dystopian Novels." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23903/23903.pdf.
Full text
36
Wakefield, Mark John Richard. "Saints, scholars and sinners: from dystopian vibrations to secular security in John McGahern's novels." Tese, 2018. https://hdl.handle.net/10216/112456.
Full text
37
Wakefield, Mark John Richard. "Saints, scholars and sinners: from dystopian vibrations to secular security in John McGahern's novels." Doctoral thesis, 2018. https://hdl.handle.net/10216/112456.
Full text
38
VOSÁHLO, Jan. "Outstanding Dystopian Novels in Anglo-American Literature with Respect to the Position of Heroes against Society." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-394356.
Full textAbstract:
The aim of this diploma thesis is to analyze and compare outstanding Anglo-American dystopias. The main attributes of dystopias, use of power, propaganda, censorship, and economic repercussions are described, as well as the hero's attitude towards society. This thesis analyses Golding's Lord of the Flies, Orwell's Animal Farm and 1984, Bradbury's Fahrenheit 451, Huxley's Brave New World and London's The Iron Heel. The thesis focuses on similarities and differences in those dystopias.
39
Vicente, Maria Eduarda Gil. ""'Make Orwell Fiction Again': Rereading Orwell's Nineteen Eighty-Four and Other Dystopian Novels in the Trump Age"." Master's thesis, 2019. http://hdl.handle.net/10316/93326.
Full textAbstract:
Dissertação de Mestrado em Estudos de Cultura, Literatura e Línguas Modernas apresentada à Faculdade de LetrasDesde que anunciou a sua candidatura à presidência dos Estados Unidos, Donald Trump destacou-se pela postura controversa e os discursos inflamatórios de índole populista, revelando, sem qualquer pudor, preocupantes tendências autoritárias. Inicialmente visto como o mais improvável dos candidatos, Trump foi subindo nas intenções de votos e, em novembro de 2016, foi eleito como 45º presidente americano, para grande incredulidade de metade do país e do mundo em geral. A ansiedade face ao futuro, que já se fazia sentir desde os tempos da campanha, rapidamente se agravou com as mentiras de Sean Spicer e os “factos alternativos” de Kellyanne Conway. A tumultuosa era de Trump tem vindo a alimentar medos antigos, de cujos contornos, em grande medida, a arte e principalmente a literatura já se ocuparam. Neste contexto, as distopias têm servido dois objectivos: surgem como estratégias para compreender esta nova realidade – que desafia a própria noção do real –, mas também como instrumentos de resistência à administração Trump. É justamente daí que surge o slogan: “Make Orwell Fiction Again”. A presente dissertação propõe-se tratar a relação entre a América de Trump e algumas das mais proeminentes distopias do século XX, i.e., pretende estudar a relação entre a realidade e a ficção numa conjuntura de grande agitação social e política, que pode vir a revelar-se um ponto de viragem histórico. Na primeira fase do trabalho, será considerada a evolução das utopias e distopias como géneros literários, bem como o seu potencial para inspirar mudanças sociais e políticas. A fase seguinte dedicar-se-á ao legado de George Orwell, cujo romance Nineteen Eighty-Four é o incontestável bestseller e a principal referência literária no domínio das distopias na era de Trump. Desde há várias décadas, a figura do autor e a sua obra influenciam o modo como o público avalia e pensa questões relacionadas com o autoritarismo, o abuso de poder e a manipulação da linguagem, pelo que têm destaque central na dissertação. A fase final consistirá num levantamento e análise de episódios da administração Trump que se assemelham a alguns dos aspectos mais alarmantes de Nineteen Eighty-Four e também de Brave New World, The Handmaid’s Tale e It Can’t Happen Here.
Ever since he announced his candidacy for the presidency of the United States, Donald Trump has become notorious for his controversial posture and inflammatory populist speeches, characterized by worrying authoritarian tendencies. Initially seen as the most unlikely of candidates, Trump quickly rose in voting intentions and, in November 2016, was elected the 45th American president, to the great incredulity of half of the country and the world at large. The anxiety concerning the future, which had been growing since the campaign, was enhanced by Sean Spicer's lies and Kellyanne Conway's “alternative facts”.Trump's tumultuous era has been raising old fears, the contours of which have long been the object of art, especially literature. In this context, dystopias have been serving two purposes: they emerge as strategies for understanding this new reality - which challenges the very notion of the real - but also as instruments of resistance against the Trump administration. That’s precisely where the slogan “Make Orwell Fiction Again” comes from. This dissertation proposes to deal with the relationship between Trump’s America and some of the most prominent dystopias of the twentieth century, that is, it intends to study the relationship between reality and fiction amidst great social and political upheaval, at a time that may prove to be a historical turning point.The first phase of the paper will consider the evolution of utopias and dystopias as literary genres, as well as their potential to inspire social and political change. The next phase will go through the legacy of George Orwell, whose novel Nineteen Eighty-Four is the Trump Age’s undisputed bestseller and the main literary reference within the field of dystopias. For several decades, the figure of the author and his work have influenced the ways in which the public understands and thinks about issues pertaining to authoritarianism, the abuse of power and the manipulation of language, hence they have central prominence in the dissertation. The final phase will consist of a survey and analysis of Trump administration episodes that resemble some of Nineteen Eighty-Four’s most alarming aspects, as well as of Brave New World, The Handmaid's Tale and It Can't Happen Here.
40
Franková, Alžběta. "Seriálová adaptace jako intersémiotický překlad: převod románu M. Atwood The Handmaid's Tale do televizního seriálu." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-393622.
Full textAbstract:
This thesis examines TV series adaptation as a type of intersemiotic translation. Proposing an interdisciplinary approach to adaptations, it combines methods of translation studies, film theory, narratology, and adaptation studies. The thesis analyses the translation of Margaret Atwood's dystopian novel The Handmaid's Tale into the first season of its TV series namesake. While using Katerina Perdikaki's translation/adaptation model, it studies and interprets the shifts that occur during the adaptation process. Applying hypotheses by Linda Hutcheon, it focuses on the film means used in the TV series to express meanings narrated in the novel (such as dialogues, voice-over, sound and soundtrack, types of camera shots, camera angles and movement, editing, colours, depth of field, light, narrative and story time, actors, or misanscene).
41
Boucher, David. "Les représentations dystopiques de la société dans le nouveau roman d'anticipation francophone (Nelly Arcan, Michel Houellebecq, Antoine Volodine)." Thèse, 2017. http://hdl.handle.net/1866/20458.
Full text
42
Méthot, Benoit. "Redéfinition du concept d'utopie et des termes qui lui sont étymologiquement apparentés." Thèse, 2008. http://hdl.handle.net/1866/7918.
Full text
43
Leduc, Marie. "Manières de voir et d’être vue : l’impact des regards télévisuels dans Acide sulfurique d’Amélie Nothomb et Les Sorcières de la République de Chloé Delaume." Thesis, 2020. http://hdl.handle.net/1866/24204.
Full textAbstract:
Depuis 1984 (1949) de George Orwell, la télévision et les regards (panoptiques et synoptiques) qu’elle engendre constituent un leitmotiv du genre dystopique. Dans les dystopies Acide sulfurique (2005) d’Amélie Nothomb et Les Sorcières de la République (2016) de Chloé Delaume, ils occupent une place centrale. Imposant une façon de voir au moyen du cadrage de la caméra et transmettant le contenu filmé à un nombre illimité de téléspectateurs, ils sont responsables de l’horrible traitement des protagonistes. Les héroïnes, Pannonique et la Sybille, sont exposées sans leur accord sur les écrans des habitants de leur pays qui se divertissent de leurs malheurs.
Les œuvres des autrices à l’étude critiquent toutes deux, chacune à leur manière, la « société du spectacle » (Guy Debord, 1967) qu’encourage la télévision. Suivant des perspectives intermédiales et féministes, ce mémoire s’intéresse aux conséquences de la contamination non seulement des personnages féminins mais également du genre romanesque lui-même par les regards télévisuels. Il semble avant tout qu’ils aient un effet non négligeable sur les protagonistes, puisqu’elles sont jugées selon leur apparence par les téléspectateurs et que leur sexe conditionne l’image qui leur est attribuée (la sorcière, la vierge, l’amoureuse, etc.). Or, l’impact des regards télévisuels ne se limite guère à l’intrigue des romans, puisqu’ils contaminent aussi la forme, la structure et la narration des œuvres. Acide sulfurique et Les Sorcières de la République apparaissent comme des « livres-écrans » qui font adopter la position de téléspectateur à leur lectorat et accueillent simultanément le virus télévisuel au sein du livre, tout en le combattant de l’intérieur.Since George Orwell’s 1984 (1949), television and the (panoptic and synoptic) gazes that it generates have been a leitmotif of dystopian fiction. In the dystopian novels Acide sulfurique (2005) by Amélie Nothomb and Les Sorcières de la République (2016) by Chloé Delaume, they play a central role. By imposing a way of seeing through the framing of the camera and by transmitting the filmed content to an unlimited number of viewers, televisual gazes are responsible for the horrible treatment of the protagonists. The heroines, Pannonique and Sybille, are exposed without consent on the screens of fellow citizens who are entertained by their misfortunes. The works by the two authors examined both critique, each in their own way, the “society of the spectacle” (Guy Debord, 1967) that television encourages. From an intermedial and a feminist perspective, this research analyses the televisual gazes’ contamination of the novel that occurs through the portrayal of the female characters, but also through the form of the works themselves. Firstly, it seems that they have a significant effect on the protagonists, since they are judged by the viewers according to their appearance and because their sex conditions the image assigned to them (the witch, the virgin, the lover, etc.). However, the impact of televisual gazes is not limited to the intrigue of the novels : they also contaminate the form, structure and narration of the works. Acide sulfurique and Les Sorcières de la République appear as “screening books” inviting readers to adopt a viewer’s role and hosting televisual gazes like a virus, all while fighting them from the inside.