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Journal articles on the topic 'Dystopian novel'
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1
Terentowicz-Fotyga, Urszula. "Defining the dystopian chronotope: Space, time and genre in George Orwell’s 'Nineteen Eighty-Four'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 9–39. http://dx.doi.org/10.26881/bp.2018.3.01.
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The paper examines George Orwell’s Nineteen Eighty-Four as a canonical example of the dystopian novel in an attempt to define the principal features of the dystopian chronotope. Following Mikhail Bakhtin, it treats the chronotope as the structural pivot of the narrative, which integrates and determines other aspects of the text. Dystopia, the paper argues, is a particularly appropriate genre to consider the structural role of the chronotope for two reasons. Firstly, due to utopianism’s special relation with space and secondly, due to the structural importance of world-building in the expression of dystopia’s philosophical, political and social ideas. The paper identifies the principal features of dystopian spatiality, among which crucial are the oppositions between the individual and the state, the mind and the body, the high and the low, the central and the peripheral, the past and the present, the city and the natural world, false and true signs.
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Pennell, Beverley. "Allan Baillie’s Secrets of Walden Rising as Critical Dystopia: Problematising National Mythologies." Papers: Explorations into Children's Literature 15, no. 2 (July 1, 2015): 31–39. http://dx.doi.org/10.21153/pecl2005vol15no2art1248.
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In lieu of abstract, here is the first paragraph of the article: Allan Baillie’s Secrets of Walden Rising (1996) is a novel about ‘the politics of history’ (Fernandez 2001, p. 42) and an examination of the text’s significant challenges to the dominant historical stories of its time seems appropriate as Australia’s ‘history wars’ continue. In this paper I examine the critical dystopian strategies employed in Secrets of Walden Rising to subvert some of the utopian national mythologies of white settler Australia. Baccolini (2003 p.115) argues that critical dystopias tend to be ‘immediately rooted in history’ and that the critique they carry out exposes the revisionist impulse of historical narratives and the erasures they inevitably sanction. In Secrets of Walden Rising the control of national narratives and its erasures are represented as the underside of utopian national mythologies. In this text, the dystopian discourse opposes the pursuit of agricultural profits where this requires a disregard for the sustainability of the natural landscape, critiquing the pursuit of profit when it depends upon violence and social hierarchies for its continuation. The critical dystopian conventions of the novel set up a dialogue between past and present society, between the contemporary dystopian experience of a despoiled rural Australia and the older national mythologies that construct utopian versions of ‘Australia’ as either a pastoral idyll, or as an exciting frontier gold-mining town where fortunes are made, or as a working man’s paradise. Secrets of Walden Rising is apocryphal in its closure, offering a caution for the present time with regard to environmental sustainability in the face of a society where economic imperatives remain central to its raison d’être. Baccolini and Moylan (2003, p.7) argue that traditional dystopias ‘maintain utopian hope outside their pages, if at all; for it is only if we consider dystopia as a warning that we as readers can hope to escape its pessimistic future’. However in the critical dystopia, Baccolini and Moylan (2003, p.7) argue that hope is offered within the text. Secrets of Walden Rising is bleak in closure and the cognitive engagement outside the reading of the text is part of its pleasure and pain. However insofar as the novel’s closure invites readers to note the warning signs seen by the main protagonist, Brendan, the novel offers a ‘horizon of hope’ (Baccolini and Moylan 2003, p.6) within the text.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (July 31, 2017): 37. http://dx.doi.org/10.22146/poetika.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Poetika 5, no. 1 (July 31, 2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.
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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Shaheen, Muhammad Mahmood Ahmad, and Sohail Ahmad Saeed. "A Dystopian View of Postmodern Culture and Corporate Hegemony in Max Barry’s Jennifer Government." Global Regional Review IV, no. II (June 30, 2019): 106–14. http://dx.doi.org/10.31703/grr.2019(iv-ii).12.
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This paper offers a dystopian view of postmodern culture and corporate hegemony to foreground the effects of late capitalism on human and society. The paper interprets Max Barrys Jennifer Government in the light of Frederic Jameson and Tom Moylans theories of postmodern culture and dystopia, respectively. For Jameson, postmodern culture is characterized by commodification of society, general depthlessness, simulacrum, and death of subjectivity. Similarly, Moylan considers dystopia an index of the systemic ills of late capitalism. The corporate hegemony enacts a socioeconomic hegemonic enclosure and deprives humans of social and individual identity. Barrys novel presents a dystopic view of postmodern culture by foregrounding the commodification of society, corporate hegemony, and intensification of economic growth at the cost of social values, which prompt general depthlessness and social disintegration. The present study offers an explicit understanding of the ills of late capitalism by emphasizing the lived experience of social reality.
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Farahbakhsh, Alireza, and Soulmaz Kakaee. "A DYSTOPIAN READING OF THE PRESENT TIME IN DAVID MITCHELL'S NUMBER 9 DREAM." International Journal of Research -GRANTHAALAYAH 6, no. 12 (December 31, 2018): 12–22. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1070.
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With the intention to study the implications and their affinity with and deviation from reality, the present study will analyze Number9Dream (2001) in terms of its narrative style, ontological qualities, and certain conventions which lead to the particular genre of dystopian science fiction. It tends to settle the following questions: are the implications and contributions of categorizing Number9Dream as a dystopian science fiction significant in any way? What is the role and ontological significance of setting in the novel? Narratological approach and genre criticism are applied to the novel to analyze it from the perspective of its critical engagement with dystopia. It traces science fictional elements and then continues to examine their utopian or dystopian nature and the different functions of those elements. It also refers to the connection between the given ontologies and reality. The present article shows that the novel provides a range of multiple possible worlds through two layers of internal and external ontology which are the representations of the real world. Dystopian narrative and science fiction conventions are exploited to address today's world issues. Through a detached view toward the present societies, Mitchell gives the opportunity to criticize what is not otherwise visible. The novel warns about human's isolation, alienation, and dehumanization and calls people to action accordingly. It briefly refers to the reconciliation of past/ present and nature/ science as a solution.
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Adil Majidova, Ilaha. "The dystopian genre as one of Ray Bradbury’s creative trends." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 87–90. http://dx.doi.org/10.36719/2663-4619/61/87-90.
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Utopia is a common literary theme, especially in a speculative and science-fiction genre. Authors use utopian genre to explore what a perfect society would look like. Utopian fiction is set in a perfect world, while a dystopian novel drops its main character into a world where everything seems to have gone wrong. Dystopian fiction can challenge readers to think differently about current world. The article is devoted to the etymology of dystopia genre within Ray Bradbury’s creativity. In his short stories he tried to show the depth of his imagination. In Ray Bradbury’s fiction the world is a terrible place. He exposes the destructive side of technological progress and paradoxes of human personality in a grotty society. Key words: science-fiction, utopia, dystopia, prognosis, short story
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Subedi, Shankar. "Dystopian Vision in Ian McEwan’s Enduring Love." SMART MOVES JOURNAL IJELLH 8, no. 11 (November 30, 2020): 15–23. http://dx.doi.org/10.24113/ijellh.v8i11.10830.
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This paper argues that the novel Enduring Love projects a dystopian vision through the portrayal of failed and embittered lives of major characters. The novel is about the characters’ futile search for utopian life. Joe, through scientific rationalization, Clarissa through literary imagination and love, Jed through religious belief want to live a fulfilling and blissful life but fail due to various reasons related to misplaced values and beliefs or the social realities. None of the ways they adopt, leads them to the fulfillment of utopian ideals. Success through science, religion, or imagination is just a chimera that causes people to hallucinate. The narrative of enduring love interweaves subverted utopian lives of the characters from different fields of life thereby dramatizing the idea that life is dystopian and people’s attempt to live an ideal life is only a mirage. This paper analyzes the novel Enduring Love with the help of ideas about utopia and dystopia borrowed from writers like Krishan Kumar, R. Carter, Robert C. Elliot, and others.
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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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Lutsenko, E. M. "Threats and challenges of the modern dystopia. The linguistic reality of Elena Chizhova’s novel ‘The Sinologist’ [‘Kitaist’]." Voprosy literatury, no. 6 (February 7, 2019): 69–91. http://dx.doi.org/10.31425/0042-8795-2018-6-69-91.
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The article is devoted to reconstruction and analysis of the mental and linguistic models of Elena Chizhova’s dystopian novel The Sinologist [Kitaist]. A thesaurus of the novel is compiled in order to study its core concepts, and none more important than ‘ideology’, semantically linked with other entries in the thesaurus. It is in the novel’s dystopian dimension that the author models modern society’s biggest scares and challenges, focusing the reader’s attention on the social calamities of the 20th century, including the aftermath of World War II. The mentality of the dystopians is perceived as a threat to the nation’s psychological and social-cultural wellbeing. The totalitarian regime, shown by Chizhova at the moment of its bleak decline, is ruining society’s integrity, causing national extremism and social inequality, and provoking a new linguistic reality to the detriment of the true linguistic identity.
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Beauchamp, Gorman. "Technology in the Dystopian Novel." MFS Modern Fiction Studies 32, no. 1 (1986): 53–63. http://dx.doi.org/10.1353/mfs.0.1315.
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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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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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Setyorini, Ari, and Serwana Idris. "The Practice of Ideological State Apparatuses in Lois Lowry’s The Giver." NOBEL: Journal of Literature and Language Teaching 8, no. 2 (September 3, 2017): 83–93. http://dx.doi.org/10.15642/nobel.2017.8.2.83-93.
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This article attempts to portray how a contemporary young adult literature entitled The Giver (Lowry, 1993) illustrates the operation of state apparatus in a dystopian setting of time and place. Applying Althusser’s theory of state apparatuses, the study particularly focuses on a prominent issue of Ideological State Apparatuses (ISA) which is operated within the The Giver’s society. Descriptive qualitative research is applied to interpret the data in the novel. The result of this study reveals that the novel draws ISA as a tool to control and to maintain the dominance in this dystopian community. The ISA operates through training system, particular rule of language used by the community, media censorship, and family’s role.
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Urquhart, Ilona. "Daughters of The Handmaid’s Tale: Reproductive Rights in YA Dystopian Fiction." Papers: Explorations into Children's Literature 26, no. 1 (January 1, 2018): 1–21. http://dx.doi.org/10.21153/pecl2018vol26no1art1087.
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The election of President Trump in the US has reignited discussions regarding reproductive rights and renewed interest in Margaret Atwood’s 1984 dystopian novel, The Handmaid’s Tale, which depicts a future society in which women are stripped of these rights. However, the novel does not explore how threats to reproductive rights might affect teenage girls. The gap left in Atwood’s novel has been filled by authors of dystopias for young adults who foreground the double threat to teenage girls because of their sex and age. This paper discusses the way in which these novels show teenage girls resisting against societies that seek to dictate how they use their bodies, with Megan McCafferty’s Bumped and Thumped having a particularly strong political edge. Through the insights of feminist critic Drucilla Cornell, this paper shows that the challenges to characters’ reproductive rights in these texts may encourage readers to consider themselves as sexual subjects and take responsibility for that sexual subject, even if it requires political action.
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Shor, Francis. "Guns and Gender Roles in Dystopian Settings." Utopian Studies 33, no. 1 (March 1, 2022): 76–89. http://dx.doi.org/10.5325/utopianstudies.33.1.0076.
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ABSTRACT Dystopian settings are often dominated by fear and despair. As instruments and symbols of fear, guns, especially deployed in gendered ways, reinforce the dystopian setting. This article explores how guns and gender roles are represented in three dystopian novels (The Turner Diaries, The Road, and Parable of the Sower) and three dystopian films (Zardoz, The Terminator, and The Road). Examining how phallocentric aggression and toxic masculinity shape how guns are wielded by a number of characters in several of these films and novels, the article also suggests how critical dystopias offer insights into the conditions that create dystopia and impede alternative and better futures. By providing interpretive interventions into the constructions of the specific dystopian settings and the deployment of guns, the article offers new insights into the interface between gender, guns, and dystopia.
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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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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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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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Smuga, Łukasz. "Entre la distopía y la heterotopía: espacios de la crisis en las novelas de Isaac Rosa." Studia Romanica Posnaniensia 49, no. 1 (March 15, 2022): 67–82. http://dx.doi.org/10.14746/strop.2022.491.005.
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This paper analyses urban spaces of crisis in Isaac Rosa’s novels La mano invisible (2011), La habitación oscura (2013), and the graphic novel Aquí vivió. Historia de un desahucio (2016) by Cristina Bueno and Isaac Rosa. It explores the dystopian and realistic elements in Rosa’s fiction and proposes to read his works through the lens of Michel Foucault’s essay on other spaces. The article argues that the unusual, quasi-dystopian spaces are of a double nature, typical for heterotopias, and play a significant role in the manner in which Rosa depicts the consequences of the economic crisis in Spain at the beginning of the 21st century.aper analyses urban spaces of crisis in Isaac Rosa’s novels La mano invisible (2011), La habitación oscura (2013), and the graphic novel Aquí vivió. Historia de un desahucio (2016) by Cristina Bueno and Isaac Rosa. It explores the dystopian and realistic elements in Rosa’s fiction and proposes to read his works through the lens of Michel Foucault’s essay on other spaces. The article argues that the unusual, quasi-dystopian spaces are of a double nature, typical for heterotopias, and play a significant role in the manner in which Rosa depicts the consequences of the economic crisis in Spain at the beginning of the 21st century.
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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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Patyk, Katie. "From Dystopia to Utopia." Digital Literature Review 6 (January 15, 2019): 20–31. http://dx.doi.org/10.33043/dlr.6.0.20-31.
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Many science fction novels discuss either utopian or dystopian ideas. H.G. Wells’s novel, The Food of the Gods, is unique in that it addresses both. This paper argues that H.G. Wells’ s use of tonal shifts in The Food of the Gods signals a change from a dystopian society to a utopian one. Human refusal to adopt inevitable evolutionary change creates the former, while a superior race’s acceptance of it promises hope for an ever-improving future.
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Velychenko, Olena, and Yevheniia Shylova. "RENDERING OF THE CONCEPTUAL PICTURE OF THE WORLD IN THE MORAL AND ETHICAL DISCOURSE OF THE ENGLISH DYSTOPIAN NOVEL IN UKRAINIAN TRANSLATION." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2020, no. 31 (December 2020): 435–52. http://dx.doi.org/10.24195/2616-5317-2020-31-28.
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The article considers the problem of reflecting the picture of the world of English social dystopia and its moral and ethical component in the author’s idiosyncrasy, as well as ways of its reproduction in modern translation into Ukrainian. The urgency of this issue is dictated by the dynamism and variability of society, the processes of globalization and integration of states and nations, the need to find a common language in intercultural communication, solving common problems, finding compromises through faithful cross-cultural communication, interaction and cooperation. Within the framework of the research a comprehensive translation analysis was made, which allowed to outline the concepts related to the conceptual picture of the world and moral and ethical discourse of the dystopian novel, to find out and compare the features of authorial and translational transferring of the conceptual picture of the world in moral and ethical discourse in Ukrainian translation, as well as to characterize its tactical and strategic basis and translation operations. To reproduce the culturologically complicated, but conceptually important components of the picture of the world in the dystopian novel, it is necessary to adhere to the principles of “flexibility” and “combinatoriality” in the selection of translation operations for faithful rendering of these components. It is established that the correctness and faithfulness of rendering of the conceptual picture of the world in the dystopian novel is possible due to the holistic-situational perception and translation of the original text, wide subject and rich background knowledge of the translator, his/her creative intuition, pragmatic adaptation of the source text using logical and semantic, cross-cultural and occasional ways of solving the problem and adherence to an objective tactical and strategic approach in translation.
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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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Kabak, Murat. "Margaret Atwood’s "Oryx and Crake" as a Critique of Technological Utopianism." English Studies at NBU 7, no. 1 (June 1, 2021): 37–50. http://dx.doi.org/10.33919/esnbu.21.1.3.
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While there are major works tracing the themes of belonging and longing for home in contemporary fiction, there is no current study adequately addressing the connection between dystopian novel and nostalgia. This paper aims to illustrate how the Canadian writer Margaret Atwood uses nostalgia as a framework to level a critique against technological utopianism in her dystopian novel Oryx and Crake (2003). The first novel in Atwood’s “MaddAddam Trilogy” problematizes utopian thought by focusing on the tension between two utopian projects: the elimination of all suffering and the perfection of human beings by discarding their weaknesses. Despite the claims of scientific objectivity and environmentalism, the novel exposes the religious and human-centered origins of Crake’s technological utopian project. Atwood’s Oryx and Crake is an ambiguous work of science fiction that combines utopian and dystopian elements into its narrative to criticize utopian thought.
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Gebreen, Hayder Ali Kadhim. "Dystopian World of Ray Bradbury's Fahrenheit 451." International Journal of Linguistics, Literature and Translation 3, no. 7 (July 31, 2020): 215–22. http://dx.doi.org/10.32996/ijllt.2020.3.7.24.
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Ray Bradbury explores in his dystopian novel Fahrenheit 451 (henceforth F451), the destructive side of technology and totalitarianism, which can deny individuals of their basic rights. This article gives a critical, contextual analysis of F451(1953) by Ray Bradbury. It investigates the dystopian elements to show how an authoritarian government projected in the novel that blocks mind and awareness. The protagonist of the novel is Guy Montag who takes a key role in revealing the tyrannical system and the potential consequences of disobedience. This article examines the manipulation and control of the state and its ill use of technology and its banning of books to shackle knowledge and mind. However, this article aims to show the effect of autobiographical elements, McCarthyism's censorship and the fear of communism during the postwar era and their effects on writing the novel. It also shows how in this dystopian world, an oppressive government is not successful in controlling all citizens. There are opposing characters whose consciousness is awakened and they are successful to show the failure of the system although they are becoming lonely outsiders by that system. The literature review has paved the way by providing the theoretical basis for the analysis of the novel. Thus, this short study sheds the light on how the totalitarian state affects Montag’s change, but it is demonstrating the dystopian world of the novel.
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Toma, Monica Alina. "Dystopian Community in Lois Lowry’s Novel The Giver." Caietele Echinox 32 (June 20, 2017): 227–35. http://dx.doi.org/10.24193/cechinox.2017.32.18.
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Feneja, Fernanda Luísa. "Promethean Rebellion in Ray Bradbury's "Fahrenheit 451": The Protagonist's Quest." Amaltea. Revista de mitocrítica 4 (November 15, 2012): 1–20. http://dx.doi.org/10.5209/rev_amal.2012.v4.40586.
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The article aims to reflect on the role of the myth in science fiction narrative, namely on the specific forms it may take in utopian/dystopian fiction, such as Fahrenheit 451 (1953) by Ray Bradbury. The personal development of the main character, Guy Montag, constitutes the focus of this analysis, by which we aim to shed some light on the relation between the meaning of the novel and the Promethean features he evinces in the context of a dystropian novel. The symbolic power of fire and of books is also of core relevance to this study, not only because the highlight the hero's inheritance of the Promethean myth, but also because the provide a deeper insight into exegetic possibilities of dystopsian fiction
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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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Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction." Gragoatá 23, no. 47 (December 29, 2018): 888–909. http://dx.doi.org/10.22409/gragoata.v23i47.33608.
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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.---Original in English.
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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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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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Ursulenko, Anna. "Wojna w dystopii – dystopia jako antywojna (na materiale powieści Kaharłyk Ołeha Szynkarenki)." Slavia Occidentalis, no. 73/2 (June 14, 2018): 95–107. http://dx.doi.org/10.14746/so.2016.73.32.
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The dystopian novel Kaharlyk (2014) by Oleh Shynkarenko, the action of which takes place in about 2144, depicts various kinds of wars and forms of armed struggle: the occupation of territories of Ukraine by the Russian army, Russian-Chinese nuclear war, guerrilla warfare, the local conflict for power, and ethnic antagonisms. The description of the post-apocalyptic reality Grey Zone gives the author an opportunity to reflect on the dangers of aggressive ideology: imperialism, religious fundamentalism and radical nationalism. The diagnosis of Ukrainian society presented is also alarming. Hence, the work can be seen as a warning novel. Similar elements can be found in many dystopias written recently in different countries. An analysis of examples from Russian and American cultures shows that criticism of the existing situation is often combined with an admonition of the phenomena that may arise from the dangerous trends of the present, including armed conflicts. Hence visions of future wars, among other things, serve as a tool of discreditation against the ruling political forces and propose an analysis of discourses responsible for driving those wars. Implemented in such way, the ideological function, the metadiscursive perspective and humanistic values of dystopia allow for it, in our opinion, to be included in the arsenal of measures designed to “create conditions that scare of war or limit its scope” (A. Toffler, H. Toffler). The totality of these measures was defined by Alvin and Heidi Toffler as “anti-war”.
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Волков, Валерий Вячеславович, and Наталья Васильевна Волкова. "LITERARY UTOPIA AND DYSTOPIA: THE PECULIARITIES OF GENRES, THE ASPECTS OF HERMENEUTIC RESEARCH." Вестник Тверского государственного университета. Серия: Филология, no. 3(66) (November 6, 2020): 26–40. http://dx.doi.org/10.26456/vtfilol/2020.3.026.
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Цель данной работы - уточнить жанровую специфику британских и российских литературных антиутопий. В центре внимания авторов, с одной стороны, жанрово-теоретический анализ утопий, с другой стороны, анализ содержания и структуры базового дуального концепта «Время: настоящее - возможное будущее» и концептов, смежных с ним. Ключевые концепты интерпретируются по процедурам, использующимся в филологической герменевтике. В результате исследования выявлены отличительные особенности британских и российских антиутопий. Аксиологическое основание «британской» дистопии - стабильность и упрощенность, что каузирует застылость в рамках линейного времени. «Российская» дистопия в романе Ефремова основывается на идеях коммунизма, которые оказалось невозможным реализовать. Рассказ Чехова «Пари» строится в традициях «духовного реализма», центрирует внимание на соотношении секулярного и религиозного путей к «совершенному человеку». The purpose of the article is to clarify the genre characteristics of the British and the Russian dystopian fiction. The work is focused, on the one hand, on the genre and theory analysis of utopias and, on the other hand, on the content and structure analysis of the main binary concept «Time: the Present and the Possible Future», as well as related concepts. The key concepts are interpreted according to the procedures used in the philological hermeneutics. The distinctive features of the British and the Russian dystopias are revealed. The axiological essence of the «British» dystopia is stability and simplicity leading to stagnation within linear time. The «Russian» dystopia in Efremov’s novel is based on the ideas of communism impossible to implement. Chekhov’s short story «The Bet» is based on the traditions of «spiritual realism» and focuses the reader’s attention on the correlation of the secular and religious paths to the «perfect human being».
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Azizah, Rofi’atul, and Sufi Ikrima Sa'adah. "An Ecocritical Analysis of Young Adult Dystopian Novel in Veronica Rossi’s Under The Never Sky." NOBEL: Journal of Literature and Language Teaching 8, no. 1 (April 3, 2017): 22–34. http://dx.doi.org/10.15642/nobel.2017.8.1.22-34.
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This study aims to describe the representation of nature and the interaction of Aria and Peregrine as main characters with nature. Descriptive qualitative method is used by applying Garrad’s theory of ecocriticism and Basu’s perspective on dystopian literature. The results of this study are: first, pastoral is represented by the distiction of the town and country. In the novel town is reprsented as Reverie and country as Death Shop. Second,Wilderness is represented by the wilderness of society inthe Reverie and Death Shop and the wilderness of Death Shop’s land. Third, Apocalypse is represented by the portrayal of foreboding doom and human eradication in the novel. The setting of place and time is the result of natural disaster and the development of technology takes control in human’s life. The interaction of Aria and Peregrine shows human coexist with nature, human takes experience, learns knowledge and makes relation with nature.
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Erdem Ayyıldız, Nilay. "A Discussion of Aristotelianism and Machiavellianism in William Golding’s “Lord of the Flies” as a Children’s Dystopic Novel." Border Crossing 9, no. 2 (September 29, 2019): 63–77. http://dx.doi.org/10.33182/bc.v9i2.824.
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The present article analyses the representation of the political regimes in William Golding’s children’s dystopic novel, Lord of the Flies. Therefore, it, first of all, underlines the dystopian nature of the novel along with the features of plot, setting, characters and content to facilitate the reader to grasp the warning against totalitarianism throughout the novel. The study finds Aristotelian and Machiavellian philosophies of politics as highly convenient approaches to examine the political endeavours of the boys in the novel. As the key intention is to interrogate to what extent they fail or succeed in following the Aristotelianism and Machiavellianism, the paper presents a detailed comparative analysis of two separate philosophies to reveal their weaknesses and strengths in controlling people. The article then affirms that the order, set up through Aristotelianism, necessitates the repression of the evil, which is considerably tough for a ruler while the evil empowers Machiavellian totalitarians who turn citizens’ lives into a nightmare.
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Sih, Emmerencia Beh, and De Noumedem Peter Caleb. "The Omnipresent Past: Dystopian Trends in Nadine Gordimer’s No Time Like the Present." World Journal of Education and Humanities 3, no. 4 (October 26, 2021): p27. http://dx.doi.org/10.22158/wjeh.v3n4p27.
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This paper seeks to analyze the dystopian character of Nadine Gordimer’s No Time Like the Present and demonstrate the claustrophobic nature of post-apartheid South Africa. The problem in this paper is to investigate the way in which Gordimer’s novel interprets the perceived socio-political evolution of her country. Our point of departure is that post-apartheid South Africa is not healed of its turbulent past and this past haunts and torments it till date. This article foregrounds the argument that the dystopian nature of Gordimer’s last novel is evident in the fact it captures the crash of dreams for an egalitarian, non-racial society; it portrays the repression and failure of individual efforts to improve society; and it describes poverty, violence and anarchy as society’s unchanging norms. Using postcolonial literary theory, this paper shows how No Time Like the Present narrates the entanglement of South Africans at a time when political morass and socio-economic inequalities abort anti-apartheid expectations. This paper arrives at the conclusion that No Time Like the Present is a dystopian novel in which grim, absurd realities are portrayed to show how remote and unfamiliar the present is when compared with expectations nurtured in the past.
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Lappela, Anni. "Vuoret ja kaupunki vastakohtaisina tiloina Alisa Ganijevan teoksissa." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 3 (October 2, 2016): 7–22. http://dx.doi.org/10.30665/av.66158.
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Mountains and City as Contrary Spaces in the Prose of Alisa Ganieva
I analyze Alisa Ganieva’s novel Prazdnichnaia gora (2012) and her novella Salam tebe, Dalgat! (2010) from a geocritical (Westphal, Tally) point of view. Ganieva was born in 1985 in Moscow, but she grew up in Dagestan, in North Caucasia. Since 2002, she has lived in Moscow. All Ganieva’s novels are set in present-day Dagestan, not only in the capital Makhachkala but also in the countryside.
I study the ways the two main spaces and main milieus, the mountains and the city, oppose each other in Prazdnichnaia gora. I also analyze how this opposition constructs the utopian and dystopian discourses of the novel. In this high/low opposition, the mountains appear as the utopian place of a better future, and the city in the lowlands is depicted as a dystopian place of the present-day life. The texts’ multilayered time is also part of my analysis, which follows Westphal’s idea of the stratigraphy of time. Furthermore, the mountains are associated with the traditional way of life and the Soviet past. In this way, the mountains have two kinds of roles in the texts. Nevertheless, the city is a central element of the postcolonial dystopian discourse of Prazdnichnaia gora. In my opinion, Ganieva’s texts problematize referentiality, one of the key concepts of geocriticism. Whilst the city tends to be very referential, the mountains escape the referential relationship to the “real” geographical space.
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GERSTENBERGER, KATHARINA. "Nach der Postapokalypse: Thomas von Steinaeckers dystopischer Roman ,,Die Verteidigung des Paradieses“ (2016)." Zeitschrift für Germanistik 29, no. 3 (January 1, 2019): 587–601. http://dx.doi.org/10.3726/92165_587.
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Abstract Thomas von Steinaeckers Roman Die Verteidigung des Paradieses greift literarische Katastrophennarrative auf, insbesondere Vorstellungen vom ,letzten Menschen‘, und entwickelt sie weiter, indem er gesellschaftliche Kontinuitäten vor und nach der Katastrophe beschreibt. Statt Weltende zeigt der Roman eine deutlich aus der Gegenwart abgeleitete Dystopie. Schreiben über die Katastrophe ist Handlungsmotiv und zugleich Metadiskurs über das Vermögen von Kultur angesichts fundamentaler Bedrohung.Thomas von Steinaecker’s novel Die Verteidigung des Paradieses takes up literary catastrophe narratives, in particular scenarios about the last human beings on Earth and develops them further by describing social continuities before and after the catastrophe. Instead of the end of the world the novel depicts a dystopian society with unmistakable roots in the present. Writing about catastrophe is both plot element and metanarrative about the power of culture in the face of a fundamental threat.
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Boev, Hristo. "Transformative dystopia in Zadie Smith’s White Teeth." Lyuboslovie 21 (November 22, 2021): 164–74. http://dx.doi.org/10.46687/bxzg5617.
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This paper explores a hitherto unexplored issue in Zadie Smith’s White Teeth (2000), and namely the meaningfulness of the fact that two of the main characters in the novel, the Englishman Alfred Archibald Jones (Archie) and the Indian Bengali – Samad Iqbal, go through an extreme dystopian experience leading to their discovery of multiculturalism during World War II in the spaces of a defunct British tank and of a little Bulgarian village near the Greek and Turkish border. The paper examines some of the cultural incongruities in the novel, which renders the “Bulgarian” experience there locked in a dystopian space generated by the Bulgarian village as well as delineates the transformative significance of this experience in Archie’s and Samad’s awakening to multiculturalism.
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Arbaoui, Fatima Zahra El. "Feminist dystopian consciousness in margaret atwood’s the handmaid's tale." International journal of linguistics, literature and culture 4, no. 4 (June 16, 2018): 1–9. http://dx.doi.org/10.21744/ijllc.v4n4.231.
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Margaret Atwood's famous dystopian novel, The Handmaid’s tale, was written in 1985 during the emergence of the opposition to the feminist movement. The struggle that occurred between both parties of the women's rights issue excited Atwood, as an active advocate of this movement, to write this novel to alert women of what the female gender may mislay if the feminist movement were defeated. She has attempted to warn her readers through the life of Offred; a handmaid who expresses her dystopian feminist consciousness by taking the role of a storyteller and being the narrator and controller of her own story. The core aim of this article would be to focus on how Offred combines her feminist consciousness, memories, and language as liberty instruments to detect her way towards freedom? How can this consciousness be the seed which grows into the sapling of self-expression she cultivates and nourishes through the novel?
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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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Nesselhauf, Jonas. "Brave New Sex – Aldous Huxley und die „Sexual Politics“ der Dystopie." Politisches Denken. Jahrbuch 29, no. 1 (January 1, 2019): 123–43. http://dx.doi.org/10.3790/jpd.29.1.123.
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The dystopian novel Brave New World (1932) by British writer Aldous Huxley (1894 – 1963) depicts a future society, in which every form of individualism is nothing but a ‚system error‘. Although the biological sex as well as sexuality (as a form of reproduction) itself have basically become irrelevant, the totalitarian system abides by a patriarchal ideology in order to suppress and control its inhabitants. This may, at a first glance, both affect male and female – but actually, using the examples of family, gender and sexuality, affects inherently more women than men in their everyday life or their social roles. Thus, 20th century novels such as Huxley’s Brave New World stand for a paradigmatic shift: While almost all ‚classical‘ utopias establish a patriarchal structure as a ‚stable‘ foundation for their society, it is in contrast maintained in the later (post–)modern dystopian novels mainly as a negative example in order to illustrate systemic injustices and sexist power structures.
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Murphy, David F., and Leda Stott. "Partnerships for the Sustainable Development Goals (SDGs)." Sustainability 13, no. 2 (January 12, 2021): 658. http://dx.doi.org/10.3390/su13020658.
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In her dystopian novel The Handmaid’s Tale, Margaret Atwood gives voice to the importance of both context and experience in making sense of thought and action: “Context is all; or is it ripeness [...]
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Rizqa, Hasanul. "Wounds and Words: The Traumatic Memory in Omar El Akkad’s Dystopian Novel." Digital Press Social Sciences and Humanities 2 (2019): 00006. http://dx.doi.org/10.29037/digitalpress.42257.
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This paper discusses the literary portraying of personal trauma in Omar El Akkad’s dystopian novel American War. The purpose of this research is twofold: (1) identify the way in which the traumatic memory of war victims is transmitted from the first generation to next generation and (2) understand how the narrator constructs his discourse about the future of America and the world. The method used in this research is descriptive qualitative. The researcher uses Christa Schönfelder’s theory on postmodern trauma texts. This research shows that the main narrator’s choice to positioning Sarat as a war victim, not a perpetrator of biological genocide, makes the narrative of Sarat’s traumatic memory political. It exposes that the first generation’s desire for personal narration becomes unnaratable, and that there is second/third generation’s urge for a future beyond trauma. The conclusion proves that American War contains the quest for stability out of disruptive experiences, constituting a crucial aspect of the need for narrative in the face of a dystopian future.
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Dajnowski, Maciej. "Prędkość detonacji. Dialektyka wolności w "Nakręcanej dziewczynie" Paola Bacigalupiego." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 12 (September 23, 2021): 97–119. http://dx.doi.org/10.26881/jk.2021.12.07.
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The article explores the relationship between speed and freedom in Paolo Bcigalupi’s dystopian novel The windup girl. Detailed analyses have been devoted to the main character of the piece – an artificial, genetically modified woman. The contexts for them were both the feminist, postcolonial, and posthumanist reflection, as well as the genre determinants of the novel.
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Givens, John. "From Dystopian Discourse in the Modern Russian Novel to Project Literature." Russian Studies in Literature 45, no. 2 (April 2009): 3–5. http://dx.doi.org/10.2753/rsl1061-1975450200.
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Afolayan, Sola, and Charles Ibitoye. "A Marxist Interpretation of the Dystopian Society in the African Novel." Critique 39, no. 3 (August 2011): 341–53. http://dx.doi.org/10.1080/03017605.2011.583084.
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Ferreira, Eliane Aparecida Galvão Ribeiro, and Guilherme Magri da Rocha. "Nanook: He Is Coming: A dystopian young adult novel from Brazil1." Book 2.0 11, no. 1 (August 1, 2021): 51–63. http://dx.doi.org/10.1386/btwo_00043_1.
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This article discusses Nanook: ele está chegando (‘Nanook: He Is Coming’) (2016), written by Brazilian author Gustavo Bernardo, a Brazilian dystopian apocalyptic young adult (YA) novel influenced by an Inuit legend that mixes science with mysticism and human subjectivity. In this book, 15-year-old Bernardo emerges as a harbinger of events that will occur in the narrative, when he affirms that ‘Nanook is coming’. From that point onwards, climatic and supernatural events happen, which affect the whole world, with consequences for Ouro Preto, the former capital of the state of Minas Gerais, Brazil, where the story takes place. These consequences include snowfalls, increasingly intense cold and the disappearance of some animals. Nanook: He Is Coming was selected by the Brazilian National Textbook Program (PNLD – Programa Nacional do Livro Didático) for high school students. This programme is designed to evaluate didactic, pedagogical and literary works and make them available for free to Brazilian students what are studying at public schools. This article concludes with an analysis of the text, using critical tools, which include Reception Theory to examine the communicability of the novel with its implicit reader, the dialogical relationship with that reader and the novel’s language, stylistic characteristics, the constitution of its narrative operators and its ideological discourse.
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Iorga, Alina. "Visages de l'utopie dans la par abole roumaine contemporaine: Le Cimetière des héros (2017) par Adrian Lesenciuc." Romanische Forschungen 134, no. 1 (March 1, 2022): 47–65. http://dx.doi.org/10.3196/003581222835027949.
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The emergence of globalization, the economic and political crisis of the postcommunist transition, the cultural and identity challenges of the integration in the European Union have modeled – within the Romanian social and cultural imaginary – a dynamics that is relevant for the incorporation of »social dreaming« or »utopianism« (L T Sargent) Connected to the »deep contradiction between universalism and particularism« (Ph Wegner) that is conceived of as a constant characteristic of modernity and that is illustrated by the Romanian opposition between »localism« and »Occidentalism«, and also related to the »memo- rial conflicts« (J Candau) regarding the recent past, this dynamics has been integrated in the narratives of contemporary Romanian novels Without adopting all the conventions of narrative utopia (its negative varieties included), the Romanian novels of the 2000s reveal the mutations of »social dreaming« either in realistic, or in allegorical or parabolic forms tributary to the utopian / dystopian imaginary It is also the case of the novel The Cemetery of Heroes (2017) by Adrian Lesenciuc, in which both the utopian satire and the dystopia are contrasted against a cultural-pedagogic utopia within a parable of multiple semantic levels The subjects, the narrative strategies and the elements of vision that are characteristic for (anti-)utopianism are here instrumented in a complex narrative architecture which includes a political novel, a parable of civilizations and a parable of the human condition