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Journal articles on the topic 'Dystopian society'
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Siham Hattab Hamdan, Dr. "kamaugawar and the creation of a dystopian reality: A study in hassan Blasim's "Crossword" and Ambrose Bierce's "Chi." لارك 3, no. 42 (June 30, 2021): 1206–21. http://dx.doi.org/10.31185/lark.vol3.iss42.1947.
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The study shows how war can create a dystopian reality worse than the reality depicted in the dystopian stories. War creates a circular or enclosed world that has no exit where people cannot see the end of the tunnel. The study discusses two short stories, one is for the Iraqi writer Hassan Blasim entitled "Crosswords" and the other for the American writer Ambrose Bierce entitled "Chickamauga". These two short stories fit one of the categories of dystopian fiction where the society witnesses the effects of war and civilians and soldiers become the victims. Though the two stories do not adhere to the futuristic perspective of dystopian fiction, they could express the thought of their writers' that what is going on in the society though it is real but it is at the same time, dystopian.
Key Words: Dystopia, War, Defamiliarization, Hassan Blasim, Ambrose Bierce.
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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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Ginszt, Katarzyna. "Fincher’s 'Fight Club' as an example of a critical dystopia." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 67–84. http://dx.doi.org/10.26881/bp.2018.3.03.
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This article investigates David Fincher’s film Fight Club as a critical dystopian narrative. The first part of the article provides the definition of critical dystopia as well as it presents characteristic features of the subgenre. It also sets forward the difference between classical and critical dystopias. The following sections are case studies in which different elements of the film in the context of the subgenre are examined. They focus on the construction of a dystopian society and the negative influence of consumerism on the protagonist and therefore on other people. Moreover, this paper attempts to demonstrate how the overall pessimistic tendency of the narrative is realised. Finally, the protagonist’s actions as well as the aftermath of these actions are described and analysed. The final part of the article focuses on the significance of the last scene which introduces a utopian impulse into the narrative.
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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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Nguyen, Phuong Khanh. "DYSTOPIAN THEME IN SOUTH KOREAN LITERATURE AND FILM." UED Journal of Social Sciences, Humanities and Education 11, no. 1 (June 21, 2021): 137–46. http://dx.doi.org/10.47393/jshe.v11i1.944.
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The theme Dystopia began as a response to Utopian theory, which isrelated to perfect communities. A dystopia is an imaginary community or society that is dehumanized and is therefore terrifying with people who are forced to battle for survivalin a ruined environment with technological control and oppression by the governing authority. Dystopian novels or films can challenge readers to think differently about the current social and political contexts, and can even promptpositive actions for the future of human beings. Recently, not only America and Europe but also South Korea has witnessed the increasing release of a range ofdystopian or post-apocalyptic films and novels. These creations reflect the harsh reality of our modern life in which human beings have to confront disasters, pandemics and problems of the modern industrialized society. Though usually set in a future scene, the dystopian theme can function as an open gate, an objection from the present, or as the “archaeology of the Future”. The success of South Korean literature and film on this topic claims the strong rise of SouthKorean wave in the world’s pop culture. It also shows that sci-fi works with dystopian theme can be seen as an anti-social discourse as well as their possibility of merging with the mainstream works.
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Muradian, Gaiane, and Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative." Armenian Folia Anglistika 13, no. 1-2 (17) (October 16, 2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.
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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, freedom of choice and idiosyncrasy of the society and its members. It is such critical and creative reflections of science fiction dystopian narrative that are focused on in the present case study with the aim of bringing out certain properties in terms of narrative types and devices, figurative discourse and cognitive notions through which science fiction dystopia expresses and conveys its overarching message, i.e. the warning to stop before it is too late to the reader.
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Vieira, Patrícia. "Utopia and dystopia in the age of the Anthropocene." Esboços: histórias em contextos globais 27, no. 46 (January 15, 2021): 350–65. http://dx.doi.org/10.5007/2175-7976.2020.e72386.
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A product of Modernity, utopian and dystopian thought has always hinged upon an assessment as to whether humanity would be able to fulfil the promise of socio-economic, political and techno-scientific progress. In this paper, I argue that the predominantly dystopian outlook of the past century or so marked a move away from former views on human progress. Rather than commenting on humanity’s inability to build a better society, current dystopianism betrays the view that the human species as such is an impediment to harmonious life on Earth. I discuss the shift from utopia to dystopia (and back) as a result of regarding humans as a force that does more harm than good, and I consider the possibility of human extinction within the framework of dystopian and utopian visions. The final section of the chapter turns to Margaret Atwood’s MaddAddam trilogy as a fictional example that plays out the prospect of a world in which humans have all but become extinct.
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Machado-Jiménez, Almudena. "Sorority without solidarity: Control in the patriarchal utopia of Margaret Atwood’s 'The Handsmaid’s Tale'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 43–65. http://dx.doi.org/10.26881/bp.2018.3.02.
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Despite all variables, the subjugation of the female figure has always been the constant in the conceptualisation of patriarchal utopias. To ensure that subjugation women must undergo a process of reformation and surrender into normative sororities that are at the mercy of the state. It is argued here that such patriarchal utopias involve the elimination of solidarity with and between members of the sororal collective. This ensures the isolation of women and, consequently, eliminates the emancipation of womanhood from patriarchal idealisations. Sororities without solidarity are subjected to a comparative analysis of various classical utopian/dystopian texts and Atwood’s feminist dystopia The Handmaid’s Tale in order to foreground the problem concerning the construction of normative female beings. Moreover, the figure of (e)merging women in contemporary feminist utopian/dystopian discourses paves the way for female empowerment within patriarchal society by combining sorority and solidarity.
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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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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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Di Minico, Elisabetta. "Entre el malson i la realitat. Reflexions distòpiques sobre la societat contemporània." Quaderns de Filosofia 7, no. 2 (February 9, 2021): 143. http://dx.doi.org/10.7203/qfia.7.2.18804.
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Between Nightmare and Reality: Dystopian Reflections on the Contemporary Society
Resum: Per mitjà de la narració de fantasia i de ciència ficció, la utopia i la distopia promouen una anàlisi crítica de la realitat. En particular, la distopia ens alerta de les possibles conseqüències catastròfiques derivades de problemes sociopolítics existents i contribueix a la reflexió constructiva sobre les amenaces antidemocràtiques que posen en perill la nostra societat. Aquest article examina la representació de l’autoritat, la coacció, la propaganda, la plasmació, l’espai i el llenguatge en distopies sociopolítiques seleccionades i reconegudes, com Nosaltres de Zamiatin, Un món feliç de Huxley, La nit de l’esvàstica de Burdekin, 1984 d’Orwell i El conte de la serventa de Atwood, i compara aquestes ficcions amb esdeveniments històrics i contemporanis, amb l'esperança d’il·luminar la manera real en què el poder opera sobre els cossos i les ments en sistemes tant repressius com liberals.
Abstract: Through fantasy and science fiction storytelling, utopia and dystopia promote a critical analysis of reality. In particular, dystopia warns against the possible nightmarish consequences of factual socio-political issues, as well as it fosters a constructive and thought-provoking reflection on the undemocratic threats that jeopardize our society. This article examines the representation of authority, coercion, propaganda, embodiment, space, and language in selected and renowned socio-political dystopias, including Zamyatin’s We, Huxley’s Brave New World, Burdekin’s Swastika Night, Orwell’s 1984, and Atwood’s The Handmaid’s Tale, and it subsequently compares these fictional depictions with historical and contemporary events, hoping to shed light on the real way that power operates on bodies and minds both in repressive and liberal systems.
Paraules clau: distopia, utopia, control, violència, realització
Keywords: Dystopia, Utopia, Control, Violence, Embodiment
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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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Fatimah, Nadiah Nur, and Linusia Marsih. "REBELLION OF MAIN CHARACTER IN LAUREN DESTEFANO’S WITHER." ANAPHORA: Journal of Language, Literary and Cultural Studies 3, no. 1 (July 31, 2020): 15–28. http://dx.doi.org/10.30996/anaphora.v3i1.3546.
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This study aims to reveal rebellion of main character in Lauren DeStefano’s Wither. The discussion is focused on Rhine’s rebellion which is trigerred by dystopian-life happened in the society. In revealing the rebellion reflected in the novel, Mercuse’s theory of rebellion and Millner’s theory of dystopian-life are applied. The research method applied in this study is descriptive qualitative with intrinsic and extrinsic approaches. Based on the analysis, the writer finds out that among the nine dystopian society characteristics, the writer has found five characteristics that are reflected in Wither, namely the society is an illusion of utopia world; the natural world is being a banished and distrusted world; perception under constant surveillance; fear ot the outside world; and information, independent thought, and freedom are restricted. In addition, the analysis of the main character’s rebellion shows that the rebellion happens as the impact of dystopian society faced by the main character. Rhine’s rebellion is done in four ways – having intention to escape from Linden’s house, refusing to be consummated by her husband, having relationship with Gabriel, and escaping. The reasons of Rhine’s rebellion are wanting to be reunited with her brother and wanting to have freedom. After doing the analysis, the writer finds out that science and technology should be developed for human’s better condition. Science and technology must not be expected beyond God’s power. When science and technology is developed without consideration in terms of humanity, it will result in chaosness.
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Garrett, Jacob. "Pay-to-Play." Digital Literature Review 6 (January 15, 2019): 147–60. http://dx.doi.org/10.33043/dlr.6.0.147-160.
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This paper analyzes second episode of the popular dystopian sci-f show Black Mirror, “FifteenMillion Merits,” as a utopia for the capitalists that are in charge of the commune in which theepisode’s characters live. Through comparisons to American company towns and an analysis ofthe psychology that these capitalists employ, I come to the conclusion that, while a dystopia for thecitizens that the episode follows, this society is a utopia for those in charge. Furthermore, I positthat, even though the community we see is set far in the future and seems very removed from ourown world, it may not be as far away as we may like to think.
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Bugajska, Anna. "Biopolítica y distopía: la genómica en Next de Michael Crichton." Quaderns de Filosofia 7, no. 2 (February 9, 2021): 59. http://dx.doi.org/10.7203/qfia.7.2.18798.
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Biopolitics and dystopia: genomics in Michael Crichton’s Next
Resumen: En este artículo se busca demostrar que, mientras el desarrollo científico es propulsado por el pensamiento tecno-optimista (utópico), el discurso prevalente sobre genómica en la cultura de masas es pesimista (distópico) y tiene potencial para impedir la construcción de respuestas adecuadas a los desafíos biopolíticos por parte de los sistemas políticos y jurídicos. Aquí se sostiene que la utopía genómica es la única propuesta optimista que estimula las investigaciones científicas y que permite pensar en las posibles regulaciones y los cambios necesarios para la conceptualización de la idea de propiedad. Estos problemas son ilustrados con la ayuda del libro de Michael Crichton, Next, que proporciona numerosos ejemplos distópicos.
Summary: The article seeks to demonstrate that while scientific development is pro- pelled by technooptimistic thought (utopian), the prevalent discourse about genomics is pessimistic (dystopian), which has the potential to forestall the construction of an adequate answer on the part of political and legal systems. It is shown that genomic utopia is the only optimistic proposition which stimulates scientific research as well as enables thinking about regulations and the necessary changes in the conceptualization of the idea of property. These problems are illustrated with the help of Michael Crichton’s book Next, which provides numerous dystopian examples.
Palabras clave: biopolítica, distopía, genómica, sociedad abierta, autopropiedad, Crichton.
Keywords: biopolitics, dystopia, genomics, open society, self-ownership, Crichton.
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De Visser-Amundson, Anna, Annemieke De Korte, and Simone Williams. "“Chill or thrill”: the impact of the “polarity paradox” on hospitality and tourism." Journal of Tourism Futures 2, no. 1 (March 14, 2016): 71–78. http://dx.doi.org/10.1108/jtf-12-2015-0053.
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Purpose In a society of abundance, complexity, uncertainty and secularisation, consumers seek extreme market offerings. They thereby avoid the grey middle ground and rather seek white or black, or rather utopia or dystopia, in their experiences. This consumer behaviour is coined the Polarity Paradox. The purpose of this paper is to investigate the effect of the Polarity Paradox on travel and tourism and specifically highlight how darker and dystopian type of tourism experiences can add value to the overall tourist experience. Design/methodology/approach The paper is based on literature and trend report reviews to support the direction of the Polarity Paradox trend and the opportunities it presents to the hospitality and tourism industry. Findings Travellers do not seek only beauty and happiness when travelling. Examples of the thrilling or dystopian side of the Polarity Paradox clearly illustrate travellers’ emerging needs to look for the extreme. In fact, new travel and hospitality experiences are all about originality and understanding that whether the experience triggers positive or negative emotions matter less in a market where consumers want to be “shaken up”, surprised, taught something or seek a deeper meaning. The difference with the past is that these same thrill seeking tourists, also seek “white” and chilling experiences and that demands a new approach to market segmentation. Originality/value Until now, the Polarity Paradox has been described as a general consumer trend. In this paper, the authors are the first to analyse its possible impact on hospitality and tourism and in detail describe that black, dystopian and thrilling experiences can be positive when they trigger emotions and reactions meaningful to the traveller. The authors further show that “playing it safe” will not be the future to build successful hospitality and tourism experiences. The examples explore how the hospitality and tourism industry can add elements of “dystopia” and by doing that actually add value to the overall travel experience.
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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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Milerius, Nerijus. "UTOPIJOS IR ANTIUTOPIJOS VIZIJOS KINE. FILOSOFINĖS BANALAUS ŽANRO PRIELAIDOS." Problemos 79 (January 1, 2011): 81–89. http://dx.doi.org/10.15388/problemos.2011.0.1325.
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Straipsnyje tęsiami apokalipsės kino tyrinėjimai, pirmą kartą pristatyti praėjusiame „Problemų“ tome (78). Siekiant detalizuoti apokalipsės kino analizę, pasitelkiami nauji – utopijos ir antiutopijos – kinematografiniai aspektai. Apžvelgiamos utopinio diskurso mitologinės ir religinės prielaidos, parodoma, kaip utopinis diskursas išreiškiamas Platono idealios visuomenės projekte. Thomas More’o „Utopija“ apibrėžiama kaip jungiamoji grandis tarp klasikinių filosofinių ir religinių utopinių vizijų ir vėlesnių mokslinių technologinių pasaulio perkonstravimo modelių. Technologinis pasaulio perkonstravimas kaip moderniųjų utopijų pagrindas neišvengiamai susijęs su nekontroliuojamo pasaulio antiutopinėmis vizijomis. Mary Shelley „Frankenšteinas“ apibūdinamas kaip dažnas utopinių modelių fonas. Kaip utopinių ir antiutopinių motyvų sampynos kine pavyzdys analizuojamas Steveno Spielbergo „Dirbtinis intelektas“. Įrodoma, jog postapokaliptinė šio kino kūrinio aplinka konstruojama tam, kad būtų išryškintas pačios kasdienybės utopiškumas.Pagrindiniai žodžiai: kino filosofija, apokalipsės kinas, mokslinė fantastika, utopija, antiutopija.Visions of Utopia and Dystopia in Cinema. The Philosophical Presuppositions of the Banal GenreNerijus Milerius SummaryThe article continues researching the apocalypse film genre. The first results of such research were presented for the first time in the last volume of “Problemos”. In this article, aspects of utopia and dystopia are introduced into the analysis. Firstly, the mythological and religious presuppositions of utopian discourse are overviewed. Secondly, it is shown how utopian discourse is manifested in Plato’s project of ideal society. “Utopia” of Thomas More is considered as the medium between classical visions of utopia and subsequent models of technological transformation of the world.The technological transformation of the world is such basis of modern utopias, which is inevitably tied with the dystopian visions of uncontrollable reality. M. Shelley’s “Frankenstein” appears to be frequent background of utopian models. As the example of interconnection of utopian and dystopian motifs, S. Spielberg’s “The Artificial Intelligence” is presented. It is argued that the post-apocalyptic milieu of this film is constructed with the purpose of revealing the utopian character of the everyday itself.Keywords: film philosophy, apocalypse movie, science fiction, utopia, dystopia.
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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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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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Pereira, Ânderson Martins. "THE HUNGER GAMES IS A UTOPIA? THE FEMININE AS A BRIDGE TO THE RETURN TO NATURE IN CONTEMPORARY DYSTOPIA." Trabalhos em Linguística Aplicada 58, no. 2 (August 2019): 743–58. http://dx.doi.org/10.1590/010318135621615822019.
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ABSTRACT Contemporary dystopia has distinguished itself from the canonic texts of the genre since it has problematized technology and is permeated by posthumanism. This update in the dystopian genre has a utopic subtext within the narrative. In it, utopia is only achieved by a return to nature; such a connection between humanity and nature will only be restored by the feminine who will work as a bridge to a posthuman relation among species. This paper will start from the contributions of Derrida (1997, 2008), Dunja M. Mohr (2007), Rita Terezinha Schmidt (2017) and Cary Wolfe (2009) to analyze the trilogy Hunger Games (2008, 2009, 2010), aiming to discuss epistemologically the utopic subtext. The paper will show that Rue and Katniss will create a strong bond with nature, being the last female character responsible to lead society to a posthuman utopic place.
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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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Gerhard Wiesenfeldt. "Dystopian Genesis: The Scientist's Role in Society, According to Jack Arnold." Film & History: An Interdisciplinary Journal of Film and Television Studies 40, no. 1 (2010): 58–74. http://dx.doi.org/10.1353/flm.0.0152.
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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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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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Cunha, Ivan Ferreira da. "Utopias and Dystopias as Models of Social Technology." Principia: an international journal of epistemology 19, no. 3 (March 8, 2016): 363. http://dx.doi.org/10.5007/1808-1711.2015v19n3p363.
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http://dx.doi.org/10.5007/1808-1711.2015v19n3p363This paper presents some proposals for social science advanced by Otto Neurath, focusing on scientific utopianism. Neurath suggests that social scientists should formulate ideals of social arrangements in utopian style, aiming at discussing scientific proposals with a community. Utopias are deemed as models of social science, in the sense proposed by Nancy Cartwright. This view is contrasted with the claim that scientism might lead to dystopian consequences in social planning, drawn from Aldous Huxley’s fiction and from Paul Feyerabend’s philosophy of science. Thus, social science displays a unusual feature: sometimes a model has to be called off, in spite of its perfect functioning, because it brings about unwanted consequences. In the planning of a free democratic society, this ambiguity of utopia and dystopia is highly desirable, for it stimulates essential debates. Social science, therefore, is to be regarded from a plural and fallibilist standpoint.
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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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Ballet, Nicolas. "Survival Research Laboratories: A Dystopian Industrial Performance Art." Arts 8, no. 1 (January 29, 2019): 17. http://dx.doi.org/10.3390/arts8010017.
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This paper examines the leading role played by the American mechanical performance group Survival Research Laboratories (SRL) within the field of machine art during the late 1970s and early 1980s, and as organized under the headings of (a) destruction/survival; (b) the cyborg as a symbol of human/machine interpenetration; and (c) biomechanical sexuality. As a manifestation of the era’s “industrial” culture, moreover, the work of SRL artists Mark Pauline and Eric Werner was often conceived in collaboration with industrial musicians like Monte Cazazza and Graeme Revell, and all of whom shared a common interest in the same influences. One such influence was the novel Crash! by English author J. G. Ballard, and which in turn revealed the ultimate direction in which all of these artists sensed society to be heading: towards a world in which sex itself has fallen under the mechanical demiurge.
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Evans, John H. "Setting ethical limits on human gene editing after the fall of the somatic/germline barrier." Proceedings of the National Academy of Sciences 118, no. 22 (April 30, 2021): e2004837117. http://dx.doi.org/10.1073/pnas.2004837117.
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The ethical debate about what is now called human gene editing (HGE) has gone on for more than 50 y. For nearly that entire time, there has been consensus that a moral divide exists between somatic and germline HGE. Conceptualizing this divide as a barrier on a slippery slope, in this paper, I first describe the slope, what makes it slippery, and describe strong barriers that arrest the slippage down to the dystopian bottom of pervasive eugenic enhancement. I then show how the somatic/germline barrier in the debate has been weakened to the level of ineffectiveness, with no replacement below. I examine a number of possible barriers on the slope below the somatic/germline barrier, most of which lack sufficient strength. With the exception of the minority of people in the HGE debate who see the eugenic society as utopia, the majority will need a barrier on the slope to stop the slide to dystopia.
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Cardoso, André Cabral de Almeida. "Precarious humanity: the double in dystopian science fiction." Gragoatá 23, no. 47 (December 29, 2018): 888. http://dx.doi.org/10.22409/gragoata.2018n47a1211.
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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.------------------------------------------------------------------------------------------HUMANIDADE PRECÁRIA: O DUPLO NA FICÇÃO CIENTÍFICA DISTÓPICAO duplo é um elemento comum na literatura fantástica e desempenha um papel importante na retomada do gótico no final do século XIX. Ele questiona a noção de uma identidade coesa ao propor a ideia de um “eu” fragmentado que é ao mesmo tempo familiar e assustadoramente outro. Por outro lado, o duplo também é uma maneira de representar as tensões da vida nos grandes centros urbanos. Apesar de ser costumeiramente associado ao fantástico, o motivo do duplo se espalhou para outros gêneros, incluindo a ficção científica, gênero também preocupado com a investigação da identidade e da natureza do humano. O objetivo deste artigo é discutir a representação do duplo na ficção científica contemporânea, mais especificamente na sua modalidade distópica, onde a questão da identidade adquire uma relevância especial, uma vez que a distopia tem como foco a relação atribulada entre indivíduo e sociedade. Obras como o conto “Learning to Be Me”, de Greg Egan; White Chistmas, episódio da série de televisão Black Mirror; o romance Never Let Me Go, de Kazuo Ishiguro; e o filme Moon, dirigido por Duncan Jones, serão brevemente analisados a fim de rastrear as maneiras como a figuro do duplo é rearticulada na ficção científica distópica como um meio de trabalhar novas inquietações a respeito da identidade pessoal e da posição do indivíduo na sociedade.---Original em inglês.
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Zhao, Meijiao. "Power Analysis in The Handmaid’s Tale." IRA International Journal of Education and Multidisciplinary Studies 16, no. 4 (December 8, 2020): 248. http://dx.doi.org/10.21013/jems.v16.n4.p6.
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<em>The Handmaid’s Tale</em> is one of Margaret Atwood’s most popular novels. As a dystopian novel, it describes an absurd society in the future and explores themes of subjugated women in a patriarchal society and the various means by which these women resist and attempt to gain independence. By applying Michael Foucault’s power theory, this paper analyzes the power situations in Gilead, revealing the relationship between power and body, also aims to analyze the relation between female characters’ status and power in the novel to reveal the cruelty of the totalitarian government and patriarchal society.
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Hale, Elizabeth. "Examining Humanity in Bernard Beckett’s Genesis." Clotho 2, no. 2 (December 18, 2020): 103–25. http://dx.doi.org/10.4312/clotho.2.2.103-125.
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New Zealand author Bernard Beckett’s young adult novel Genesis (2006) blends classical philosophy and Gothic tropes in a dystopian novel about the nature and ends of humanity. It is a curious work, presented in the form of philosophical dialogue and set in a future world known as The Republic, in which robots have triumphed over humanity and formed a new society based on rational order. Yet sinister underpinnings to their society and their emotional origin-story, which forms the core of this novel, show both that their rational world order is built on lies, deception, and murder, and that the human soul is harder to be rid of than they imagine. The clash between robots and humans is depicted as a clash between reason and passion, and also as a clash between a classical calm (seen in the Republic’s emphasis on classical philosophy) and the Gothic emotions associated with the dark, but emotional, side of humanity. Genesis is a compelling reflection on the nature of the human soul, aimed at young readers. This paper will trace how that reflection plays out through Beckett’s use of classical and Gothic ideals in an unusually thought-provoking dystopian work for young readers.
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Choi, Jongneyo. "The Hunger, Desire, and Educational Implications of Dystopian Society in The Hunger Games." Korean Society for Teaching English Literature 24, no. 1 (April 30, 2020): 73–95. http://dx.doi.org/10.19068/jtel.2020.24.1.04.
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Ćuk, Maja, and Artea Panajotović. "MaddAddam Trilogy as a historical chronicle of the silenced in a (dystopian) society." Зборник радова Филозофског факултета у Приштини 50, no. 3 (2020): 193–210. http://dx.doi.org/10.5937/zrffp50-28107.
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The MaddAddam Trilogy includes three novels written in the form of speculative fiction. The narrators and major protagonists in the first two works, Oryx and Crake and The Year of the Flood, are human survivors after the pandemic that has obliterated almost all population on the planet. In these symbolic cautionary tales that reflect current cultural and economic conditions, Margaret Atwood makes readers think about the questions what if mankind was completely eradicated and what if the construction of a new species could be masterminded successfully. In the third book of the trilogy, MaddAddam, the apocalyptic story is retold by one of the genetically engineered beings, whose account provides a glimmer of hope for the future. The aim of this paper is to analyse the roles of the narrators and characters in the aforementioned works (Snowman, Toby, Ren, Adam One and Blackbeard) as recorders of the circumstances before, during and after the tragic event, by relying on Hayden White's theoretical views on the making of historical narratives.
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Smith, J. David, and Edward A. Polloway. "Intellectual Disabilities and Dystopian Visions: Ayn Rand and Edgar Rice Burroughs." Intellectual and Developmental Disabilities 51, no. 3 (June 1, 2013): 201–5. http://dx.doi.org/10.1352/1934-9556-51.3.201.
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Abstract Most cultures have respect for and respond positively to individuals who make significant literary contributions to the way that people understand life and society. While the impact of literature may vary widely, those individuals deemed to have added important perspectives through their writing are often elevated to positions of high regard and influence. Thus, their work becomes important to our understanding of the human condition, including the meaning of disability.
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Kula, Julia. "Lost, redefined, or preserved? Expressions of solidarity in Paul Auster’s 'In the Country of Last Things'." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 15/3 (December 17, 2018): 85–104. http://dx.doi.org/10.26881/bp.2018.3.04.
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In his novel set entirely in a dystopian environment, In the Country of Last Things, Paul Auster portrays a disturbing vision of urban space where pervasive processes of disintegration and destabilisation profoundly determine the relations inside it. In this study the semiotic space of this unnamed city will be examined on the basis of the opposition between dominant dystopian space and impermanent sanctuaries located within the urban realm. The defining division of space has its reflection in the practical realisation of the concept of solidarity. The city is inhabited by society for whom moral codes and higher values can be considered relics of the past. Consequently, genuine solidarity has been replaced by what Sally Scholz calls ‘parasitical solidarity’. Temporary refuges, on the other hand, serve as the last anchorages of humanity trying to resist detrimental impacts from outside and to preserve natural gestures of solidarity.
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Demker, Marie. "Converted by un confit de canard: Political Thinking in the Novel Soumission by Michel Houellebecq." European Review 27, no. 4 (July 9, 2019): 591–99. http://dx.doi.org/10.1017/s1062798719000188.
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From a certain perspective, literature is always political. Literature in a broad sense has been a source of uprisings and protest at least since Martin Luther nailed his theses on the door of the church in Wittenberg in 1517 – and probably much further back in history than that. Narratives are the most potent way to articulate both political praise and criticism within a given society. In his political satires, British author George Orwell reviled all kinds of totalitarianism and the idea of a socialist utopia. Swedish writer and journalist Stieg Larsson wrote explicitly dystopian crime stories targeting the Swedish welfare state. German novelist Heinrich Böll turned a critical eye on the development of the tabloid press and the use of state monitoring in German society. In the same tradition, Michel Houellebecq has been seen as a very provocative writer in his tone and in his use of political tools. He has articulated a nearly individual anarchist perspective combined with authoritarian and paternalistic views. In Soumission, Houellebecq uses the European idea of multiculturalism to explode our political frames from within. This article explores the perception of religion in Soumission, assesses the critique Houellebecq directs towards French society and European developments, and examines Houellebecq’s perception of democracy and politics. The following questions are addressed: does Houellebecq’s critique come from a classical ideological perspective? Does he describe any elements of an ideal society – even if only as the reverse of a presented dystopia? What kind of democracy does the text of Soumission support or oppose?
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Gilarek, Anna. "Marginalization of “the Other”: Gender Discrimination in Dystopian Visions by Feminist Science Fiction Authors." Text Matters, no. 2 (December 4, 2012): 221–38. http://dx.doi.org/10.2478/v10231-012-0066-3.
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In patriarchy women are frequently perceived as “the other” and as such they are subject to discrimination and marginalization. The androcentric character of patriarchy inherently confines women to the fringes of society. Undeniably, this was the case in Western culture throughout most of the twentieth century, before the social transformation triggered by the feminist movement enabled women to access spheres previously unavailable to them. Feminist science fiction of the 1970s, like feminism, attempted to challenge the patriarchal status quo in which gender-based discrimination against women was the norm. Thus, authors expressed, in a fictionalized form, the same issues that constituted the primary concerns of feminism in its second wave. As feminist science fiction is an imaginative genre, the critique of the abuses of the twentieth-century patriarchy is usually developed in defamiliarized, unreal settings. Consequently, current problems are recontextualized, a technique which is meant to give the reader a new perspective on certain aspects of life they might otherwise take for granted, such as the inadequacies of patriarchy and women’s marginality in society. Yet there are authors who consider the real world dystopian enough to be used as a setting for their novels. This is the case with Woman on the Edge of Time by Marge Piercy and The Female Man by Joanna Russ. Both texts split the narrative into a science fictional and a realistic strand so as to contrast the contemporary world with utopian and dystopian alternatives. Both texts are largely politicized as they expose and challenge the marginalized status of women in the American society of the 1970s. They explore the process of constructing marginalized identities, as well as the forms that marginalization takes in the society. Most importantly, they indicate the necessity of decisive steps being taken to improve the situation.
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Ovira Lestari, Mulya Cindi, and Bayu Kristianto. "Children Of Men (2006): Representation of Modern Spirituality in an Apocalyptic Dystopian World." Udayana Journal of Social Sciences and Humanities (UJoSSH) 4, no. 1 (February 29, 2020): 10. http://dx.doi.org/10.24843/ujossh.2020.v04.i01.p03.
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In the post-industrialization era, spirituality has gone through many shifts. Specifically, perceptions of spirituality have changed for the worst after 9/11, which inspired several movies in portraying spirituality within the society in science fiction movies. Children of Men (2006) is one of science fiction movies that portray biblical apocalyptic narratives in which spirituality is a crucial element in the movie, indicating how influential spirituality is in popular culture. This research paper aims to analyze how modern spirituality is represented through the shift from Weber's concept of disenchantment to Jenkin's concept of re-enchantment, examining how it affects oneself in the biblical apocalyptic narrative. The representation is analyzed by focusing on a huge alteration that resulted from the attack of 9/11, which affects how the disenchanted society in the movie deals with the gloom of apocalypse. These responses lead to re-enchantment as the movie incorporates biblical allegories that represent hope for tomorrow, which is fundamental teaching for most religions.
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Hampshire, Kathryn. ""Who Killed the World?": Monstrous Masculinity and Mad Max." Digital Literature Review 4 (January 13, 2017): 177–90. http://dx.doi.org/10.33043/dlr.4.0.177-190.
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In a futuristic, dystopian Australia, Max Rockatansky is a lone warrior struggling against the forces that have ripped his family, and society as a whole, to shreds. From rogue motorcycle gangs to violencebased legal systems, the Mad Max films depict a world in which the most toxic aspects of masculinity have poisoned society, mutating into something far more dangerous — something monstrous. The series presents a version of monstrosity that has sunk its claws into the very masculinity it usually serves to validate; in light of these subversions, this analysis utilizes monster theory in conjunction with gender studies to examine toxic masculinity in the Mad Max franchise
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Briedik, Adam. "A postcolonial feminist dystopia: Margaret Atwood’s The Handmaid’s Tale." Ars Aeterna 13, no. 1 (June 1, 2021): 57–67. http://dx.doi.org/10.2478/aa-2021-0004.
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Abstract Postcolonial criticism offers a radically new platform for the interpretation of science fiction texts. Mostly preoccupied with the themes of alien other and interstellar colonization, the genre of sci-fi breaths with colonial discourse and postcolonial tropes and imagery. Although Margaret Atwood rejects the label of science fiction writer, her dystopian novel The Handmaid’s Tale (1985) explores similar ethical concerns to the anti-conquest narratives of postcolonial authors. Atwood’s identification of Canadian identity as a victim of the former British Empire is challenged by her introduction of a female character rejecting their postcolonial subjugated identity in a patriarchal society. Her variation on dystopian concerns is motivated by sexuality, and her characters are reduced to objects of colonial desire with no agency. The protagonist, Offred, endures double colonization from the feminist perspective; yet, in terms of postcolonial criticism, Attwood’s character of Offred is allowed to reconstruct her subaltern identity through her fragmented narration of the past and speak in an authoritative voice. The orality of her narration only confirms the predisposition of the text to interpretation in the same terms as postcolonial fiction.
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Ślusarska, Alicja. "« Manuel de survie à l’usage des incapables » de Thomas Gunzig : une dystopie orwellienne à la belge." Lublin Studies in Modern Languages and Literature 43, no. 1 (April 30, 2019): 129. http://dx.doi.org/10.17951/lsmll.2019.43.1.129-136.
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<p>As George Orwell did with 1984, Thomas Gunzig gives us in his misleading novel a dystopian vision of the world, a distorted reflection of our everyday life, an acid pamphlet of an ultra-materialistic society. The Belgian writer fits his novel in that of George Orwell according to his own referents. The purpose of this paper is therefore to identify links of filiation, structural and thematic analogies with the Orwelian text while revealing the specificity of the Belgian novel.</p>
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Hale, Frederick. "Envisioning a Dystopian, Post-Christian Society in P. Anderson Graham’s The Collapse of Homo Sapiens." Religion and Theology 28, no. 1-2 (July 27, 2021): 83–104. http://dx.doi.org/10.1163/15743012-bja10020.
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Abstract As one of many contemporary British dystopian novels, P. Anderson Graham’s 1923 The Collapse of Homo Sapiens envisaged Britain in the twenty-second century as a devastated society that has largely reverted to a primitive, non-Christian state. However, a remnant of the surviving population has memories of the religious dimensions of national life, helping them to cope with the exigencies of their meagre existence. A modest revival of the faith of their forebears ensues, which in turn triggers a reaction against the re-assertion of Christianity by nationalistic elements that regard it as too charitable a social force to fortify their efforts to revitalise British culture in a hostile geopolitical setting. The narrative perspective of the novel is critical of the truncated state of that religion in Britain in the 1920s and how this was failing to guide and inspire peoples’ lives at that time.
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Yosef-Paz, Netta Bar. "Hebrew Dystopias." Israel Studies Review 33, no. 2 (September 1, 2018): 66–84. http://dx.doi.org/10.3167/isr.2018.330205.
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This article examines contemporary Hebrew dystopic novels in which ecological issues play a critical role, reflecting an increasing preoccupation of Israeli culture and society with the environment. The literary turn to dystopia is not new, but whereas Israeli dystopias published in the 1980s–1990s focused mainly on military apocalyptic visions, current novels combine these national anxieties with ecological dangers, following present-day trends in American literature and cinema. These contemporary dystopias either conjoin a national crises with an ecological disaster as the source of the catastrophe or represent environmental recklessness as evidence of moral corruption, linking ecological and social injustice to the emergence of a Jewish theocracy. Offering an ecocritical reading of these novels, the article pinpoints the American cultural influence on the narratives. This thematic shift in Hebrew fiction, I argue, reflects a rising environmental awareness and positions literature as a major arena in which these issues are raised.
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Pereira, Isabella, and Renata Patricia Forain de Valentim. "Análise das relações sociais através da literatura distópica." Revista Pesquisa Qualitativa 6, no. 11 (August 1, 2018): 351. http://dx.doi.org/10.33361/rpq.2018.v.6.n.11.174.
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Resumo: Após ganhar força no período pós-guerra, a literatura distópica ressurge na pós-modernidade, como discurso voltado ao público adolescente e jovem adulto. Neste artigo é feita uma revisão bibliográfica das seguintes obras de ambos os momentos históricos: 1984, Fahrenheit 451, trilogia Jogos Vorazes e trilogia Destino. Os romances foram analisados qualitativamente através da análise de conteúdo de Bardin, que identifica “unidades temáticas”, elementos significantes comuns. Através das categorias “A influência social na vida privada”: “Vida familiar e social” e “Vida amorosa” examina-se como se relacionam as subjetividades destes jovens com o futuro e a realidade que os cerca, como eles se identificam com as produções literárias e como estas representam o discurso produzido na sociedade em que estão inseridos.Palavras-chave: Literatura distópica; Pós-Guerra; Pós-Modernidade; Relações sociais; Análise de conteúdo. Analysis of social relations through dystopian literatureAbstract: After gaining strength in the post-war period, dystopian literature resurfaced in postmodernity, as a discourse aimed at the adolescent and young adult public. In this article a bibliographical revision of the following works from both historical moments is made: 1984, Fahrenheit 451, Hunger Games trilogy and Destiny trilogy. The novels were analyzed qualitatively through the content analysis of Bardin, which identifies "thematic units", significant elements in common. Through the categories "Social influence in private life": "Family and social life" and "Love life" it’s examined how the youth subjectivities relate to the future and their social reality, how they identify themselves to the literary productions and how these ones represent the discourse produced in the society in which they are inserted.Keywords: Dystopian literature; Post-war; Postmodernity; Social relations; Content analysis.
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Keeler, Amanda. "A postapocalyptic return to the frontier: The Walking Dead as post-Western." Critical Studies in Television: The International Journal of Television Studies 13, no. 4 (December 2018): 422–37. http://dx.doi.org/10.1177/1749602018796696.
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This article argues that The Walking Dead is a post-Western, a genre that extracts classical Hollywood Western themes and iconography, and resituates them in a dystopian, postapocalyptic setting. The program features characters forced to reconquer the frontier amid the disintegration of modern society, who must battle undead walkers and other human survivors. As a post-Western, the program inverts the ideological optimism of the classical Hollywood Western. In doing so, it highlights the linkages between the seemingly unconnected narrative universes of the Western and the postapocalyptic tale.
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Peña-Cervel, María Sandra, and Andreea Rosca. "Hope and equilibrium in the dystopian world of The Hunger Games." Círculo de Lingüística Aplicada a la Comunicación 85 (January 11, 2021): 227–44. http://dx.doi.org/10.5209/clac.73549.
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This paper provides evidence of the fruitfulness of combining analytical categories from Cognitive Linguistics and Critical Discourse Analysis for the analysis of complex literary characterizations. It does so through a detailed study of the “tributes”, i.e. the randomly selected children who have to fight to death in a nationally televised show, in The Hunger Games. The study proves the effectiveness of such categories to provide an analytically accurate picture of the dystopian world depicted in the novel, which is revealed to include a paradoxical element of hope. The type of dehumanization that characterizes the dystopian society of Panem is portrayed through an internally consistent set of ontological metaphors which project negative aspects of lower forms of existence onto people. This selection of metaphors promotes a biased perspective on the poor inhabitants of Panem, while legitimizing the social inequalities the wealthy Capitol works hard to immortalize. However, Katniss undergoes a metamorphosis through her discovery of her own identity, which hints at an emerging female empowerment. This transformation, together with her identification with the Mockingjay, a supernatural being that voices her beliefs and emotions, contributes to disrupting the status quo imposed by the almighty Gamemakers and to purveying a message of optimism.
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PhD, Parvathi P. K., and Research Scholar. "“Female Masculinity” in Dystopian Adolescent Fiction – Suzanne Collins’ Hunger Games Series." European Journal of Social Sciences Education and Research 10, no. 1 (May 19, 2017): 44. http://dx.doi.org/10.26417/ejser.v10i1.p44-50.
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In this paper, I seek to analyse the concept of ‘female masculinity’ by studying Suzanne Collins’ Hunger Games series. Pro-feminist Masculinity theorists like R.W. Connell and Michael Kimmel regard masculinity as not an ‘essence’ that manifests itself in ‘true’ males but as a ‘practice’ that is held as quintessential to all males and hence often aggressively pursued by males in order to maintain their superior position to women and to other marginalized males. The ‘practice of masculinity’ thus often rewards the males with positions of authority and power. (Connell, Gender and power: Society, the person, and sexual politics, 1987). If gender is exclusive of sex, it follows that female sex is capable of practising masculine gender. Judith Halberstam advocates this possibility of female masculinity in her work by the same name. (Halberstam, 1998). She claims that female masculinity is not an imitation of male masculinity but a “glimpse of how masculinity is constructed as masculinity” (Halberstam, 1998, p. 1). She regards female masculinity to be superior to that of male masculinity as it is not depended on the process of ‘othering’ women. Hunger Games series which gained much popularity among adolescents and adults alike and has been lauded as an exemplary work of female freedom has also got major female characters performing acts normally associated with masculinity. This study scrutinizes whether the actions of these female characters in the series superimpose or subvert masculinity.
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Othman Diab Abdelmaksoud, Walaa. "The Dystopian Vision of the American Society as Reflected in Stephen King's The Long Walk (1979)." مجلة الآداب والعلوم الإنسانیة 89, no. 4 (July 1, 2019): 895–908. http://dx.doi.org/10.21608/fjhj.2019.181808.
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Pitt, Jonathan. "1945: Nineteen Forty-Five A Fictional Schooling Short Story Inquiry." Issues in Social Science 7, no. 2 (July 14, 2019): 1. http://dx.doi.org/10.5296/iss.v7i2.14860.
Full textAbstract:
This is a work of inquiry study as fiction inspired by the works of Huxley’s Brave New World (published in 1932) and Orwell’s Nineteen Eighty-Four or 1984 (published in 1949) on the basis of what a dystopian schooled society could resemble in the next century. The year 1945 also marked the end of the last global-scale human conflict on planet earth. Names, characters, businesses, places, events, locales, and incidents are either the products of the author's imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.