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1
Nikulin, Alexander. "Dreams of the Russian Revolution in the Utopias of Alexander Chayanov and Andrei Platonov." Sotsiologicheskoe Obozrenie / Russian Sociological Review 17, no. 3 (2018): 256–90. http://dx.doi.org/10.17323/1728-192x-2018-3-256-290.
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The Russian Revolution is the central theme of both A. Chayanov’s novel The Journey of My Brother Alexei to the Land of Peasant Utopia and A. Platonov’s novel Chevengur. The author of this article compares the chronicles and images of the Revolution in the biographies of Chayanov and Platonov as well as the main characters, genres, plots, and structures of the two utopian novels, and questions the very understanding of the history of the Russian Revolution and the possible alternatives of its development. The article focuses not only on the social-economic structure of utopian Moscow and Chevengur but also on the ethical-aesthetic foundations of both utopias. The author argues that the two utopias reconstruct, describe, and criticize the Revolution from different perspectives and positions. In general, Chayanov adheres to a relativistic and pluralistic perception of the Revolution and history, while Platonov, on the contrary, absolutizes the end of humankind history with the eschatological advent of Communism. In Chayanov‘s utopia, the Russian Revolution is presented as a viable alternative to the humanistic-progressive ideals of the metropolitan elites with the moderate populist-socialist ideas of the February Revolution. In Platonov’s utopia, the Revolution is presented as an alternative to the eschatological-ecological transformation of the world by provincial rebels inspired by the October Revolution. Thus, Chayanov’s liberal-cooperative utopia and Platonov’s anarchist-communist utopia contain both an apologia and a criticism of the Russian Revolution in the insights of its past and future victories and defeats, and opens new horizons for alternative interpretations of the Russian Revolution.
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Gregus, Adam. "Shadows Under a Rising Sun: Utopia and Its Dark Side in Kirino Natsuo’s Poritikon." Vienna Journal of East Asian Studies 8, no. 1 (December 20, 2017): 1–31. http://dx.doi.org/10.2478/vjeas-2016-0001.
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Abstract Kirino Natsuo, arguably one of the most popular contemporary Japanese authors in Western markets (a number of her novels having been translated into English, German, French, Italian, Dutch or Spanish, among other languages) who is often being recognised as a mystery writer, only enjoys limited acknowledgment for the thematic breadth and genre diversity of her work. Such description is not only inaccurate (Kirino published her last true mystery novel in 2002), but also manifests itself in the limited and underdeveloped treatment of her work in Western academic writing. This paper deals with Kirino Natsuo’s 2011 novel Poritikon (Politikon) and its analysis within the greater context of Kirino’s work. A focus is put upon introducing the novel as utopian fiction with the aim to illustrate ways in which Kirino Natsuo utilises utopian genre patterns as well as how her utopia works to provide a commentary on contemporary Japan. The utopian theme present in Poritikon makes the novel a rather untypical entry in Kirino’s oeuvre (although not a unique one, since her novels Tōkyō-jima [Tokyo Island, 2008 1 ] and Yasashii otona [Gentle Adults, 2010] also work with elements of utopian/dystopian fiction) as well as within the Japanese literary scene in general, and provides an interesting argument for Kirino Natsuo as more than ‘just’ a mystery writer.
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Birdwell, Robert Z. "The Coherence of Mary Barton: Romance, Realism, and Utopia." Victoriographies 5, no. 3 (November 2015): 185–200. http://dx.doi.org/10.3366/vic.2015.0194.
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Critics have argued that Elizabeth Gaskell's first novel, Mary Barton (1848), is split by a conflict between the modes of realism and romance. But the conflict does not render the novel incoherent, because Gaskell surpasses both modes through a utopian narrative that breaks with the conflict of form and gives coherence to the whole novel. Gaskell not only depicts what Thomas Carlyle called the ‘Condition of England’ in her work but also develops, through three stages, the utopia that will redeem this condition. The first stage is romantic nostalgia, a backward glance at Eden from the countryside surrounding Manchester. The second stage occurs in Manchester, as Gaskell mixes romance with a realistic mode, tracing a utopian drive toward death. The third stage is the utopian break with romantic and realistic accounts of the Condition of England and with the inadequate preceding conceptions of utopia. This third stage transforms narrative modes and figures a new mode of production.
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Czigányik, Zsolt. "From the Bright Future of the Nation to the Dark Future of Mankind: Jókai and Karinthy in Hungarian Utopian Tradition." Hungarian Cultural Studies 8 (January 22, 2016): 12–23. http://dx.doi.org/10.5195/ahea.2015.213.
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After defining utopianism Czigányik gives a brief introduction to Hungarian utopian literature. While he discusses Tariménes utazása [‘The Voyage of Tariménes’], written by György Bessenyei in 1804, the utopian scenes of Imre Madách’s Az ember tragédiája [‘The Tragedy of Man’, 1862] and Frigyes Karinthy’s short utopian piece, Utazás Faremidoba [‘Voyage to Faremido’, 1916], the bulk of the paper deals with Mór Jókai’s monumental novel, A jövő század regénye, [‘The Novel of the Century to Come’, 1872]. Jókai, who had taken an active part in the 1848 uprising, depicts in this novel a future world of an imaginary twentieth century, where Hungary has primacy within the Habsburg empire (with the emperor king being Árpád Habsburg) and the invention of the airplane (by a Hungarian) brings lasting peace, stability and prosperity to the world. Besides introducing the Hungarian utopian tradition, the paper will reflect upon the role of individuals in imagined societies and how an agency-centered narrative overwrites the essentially structuralist view of history, that usually permeates utopias.
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Zavarkina, Marina. "UTOPIA AS AN ANTI-UTOPIA (ANDREY PLATONOV'S SHORT NOVEL BREAD AND READING)." Проблемы исторической поэтики 19, no. 2 (May 2021): 326–52. http://dx.doi.org/10.15393/j9.art.2021.9402.
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The article analyzes A. Platonov's novel Bread and Reading, which is the first part of an unfinished trilogy called Technical Novel. Different approaches to the analysis of the writer's anti-utopian strategy are considered, and certain terms related to the intra-genre typology of his works, which are still the subject of controversy in Platonov studies, i.e., utopia, anti-utopia, metautopia, dystopia, and cacotopia are clarified. The article offers a new perspective on this problem and concludes that the short novel is characterized by a complex conflict between utopia and anti-utopia, namely, utopian consciousness is embodied in the form of anti-utopia, which leads to the ambivalence in meaning and the appearance of internal antinomies. This mainly revealed in the title of the story, the epigraph, a special type of plot situation and the character system structure. Platonov's work is characterized not only by the problem of the relationship between man and nature, but also that of between man and technology, which becomes a part of the anthropological worldview and acquires human features. Platonov's characters dream of a time when technology, nature and man are in a harmonious relationship, helping each other overcome universal entropy. The motif of construction sacrifice, traditional in the poetics of Platonov's works, plays an important role in the story: it is premature and shameful to think about personal happiness in the world of socialism that has not yet been built, without enough “bread and reading.” The work reflects Platonov's own hopes and doubts, and if the “principle of hope” (E. Bloch) is the main principle of utopian consciousness, then the writer's doubt becomes the main feature of his anti-utopia strategy. On the one hand, this makes it difficult to identify the genre of the short novel Bread and Reading (utopia or anti-utopia), on the other, it does not lead to an “imbalance” of forces, but, rather, to a meek awareness of the place of man in the world and his limited capabilities. An important role is also played by the fact that The Juvenile Sea was supposed to become the second part of the trilogy, and Dzhan may have made up the third part: the three works not only complement, but also “explain” each other. In the finale of Bread and Reading, the characters remain focused on the “distant,” as they stay in the same utopian dream space. Likely never having found a way out of the “impasse of utopia,” Platonov leaves Technical Novel unfinished.
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Krokhina, Nadezhda P. "Carnival mythopoetics of V. Aksenov’s novel “Moscow ow ow”." Neophilology, no. 24 (2020): 794–800. http://dx.doi.org/10.20310/2587-6953-2020-6-24-794-800.
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The interrelation between the novel and Aksyonov’s autobiographical essay “In Search of Melancholy Baby” is traced. The mythopoetics of the novel reveals the contamination of two social myths of the 20th century – the revolutionary utopia, which gave birth to socialist Russia (Bolshevik, Stalinist) and the American democratic myth, which formed the consciousness of Ak-syonov’s generation and the attempt to implement which gave birth to post-Soviet Russia in the 1990s. The heroes of the novel are analyzed as “people of two utopias”. The mythological poetics of Aksyonov’s novel is associated with a carnival world perception. We reveal the style of the me-nippea in the novel, with its violation of the generally accepted and usual course of events, reflect-ing the era of a person's any external position de-valuation, the epic integrity destruction. We present the basic features of the carnival chronotope, which asserts the “merry relativity” of every position, as the dominant of the novel’s mythopoetics. We substantiate that, as in Dostoevsky’s novels, we have a special carnival chronotope – “carnival as a way of life”, which erodes all moral concepts and condemns its participants to death. The key images for analysis are labyrinth, Minotaur, modern Theseus, perishing in the labyrinth of his historical time. The poet in the novel is seen as the creator of its main mythological meanings and a man of utopia. We conclude that utopian consciousness leads to transformations, inversion of ideas, concepts, which is explored by menippean poetics.
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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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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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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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Thaler, Mathias. "Hope Abjuring Hope: On the Place of Utopia in Realist Political Theory." Political Theory 46, no. 5 (November 22, 2017): 671–97. http://dx.doi.org/10.1177/0090591717740324.
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This essay reconstructs the place of utopia in realist political theory, by examining the ways in which the literary genre of critical utopias can productively unsettle ongoing discussions about “how to do political theory.” I start by analyzing two prominent accounts of the relationship between realism and utopia: “real utopia” (Erik Olin Wright et al.) and “dystopic liberalism” (Judith Shklar et al.). Elaborating on Raymond Geuss’s recent reflections, the essay then claims that an engagement with literature can shift the focus of these accounts. Utopian fiction, I maintain, is useful for comprehending what is (thus enhancing our understanding of the world) and for contemplating what might be (thus nurturing the hope for a better future). Ursula K. Le Guin’s novel The Dispossessed deploys this double function in an exemplary fashion: through her dynamic and open-ended portrayal of an Anarchist community, Le Guin succeeds in imagining a utopia that negates the status quo, without striving to construct a perfect society. The book’s radical, yet ambiguous, narrative hence reveals a strategy for locating utopia within realist political theory that moves beyond the positions dominating the current debate. Reading The Dispossessed ultimately demonstrates that realism without utopia is status quo–affirming, while utopia without realism is wishful thinking.
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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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Temirova, Jamila Khasanovna. "ANTI-UTOPIC MO OPIC MOTIVES IN THE NO TIVES IN THE NOVEL OF EV VEL OF EVGENIY ZAMYATIN "WE"." Scientific Reports of Bukhara State University 3, no. 1 (January 30, 2019): 197–201. http://dx.doi.org/10.52297/2181-1466/2019/3/1/11.
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In this article, in a comparative aspect, the specificity of the antiutopian genre in twentieth century literature is considered. Anti-utopian motifs in the work of Yevgeny Zamyatin "We" are defined. Focused on a new, "planetary" reader, on a new life reality, the novel turned out to be fantastic, utopian, with elements of a detective story and amusement
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Birdwell, Robert Z. "“The Radical Novel: Utopian and Scientific”." Journal of Narrative Theory 45, no. 2 (2015): 251–73. http://dx.doi.org/10.1353/jnt.2015.0011.
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Vieira, Patrícia. "Utopian amazons." Revista da Universidade Federal de Minas Gerais 24, no. 1 e 2 (May 3, 2018): 98–115. http://dx.doi.org/10.35699/2316-770x.2017.12603.
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This article discusses the portrayal of the mythical Amazons. In the past, the legend of a fearsome all-women tribe went hand in hand with a dystopian vision of the territory as a “green hell.” I contend that, with the development of the Amazon region in the wake of the rubber boom and, especially, with the rise of environmental concerns, the Amazons become part of an idealized image of the rainforest. I analyze two modes of utopian representation of the Amazons: Gastão Cruls’s depiction of a lost tribe of women in the novel The Mysterious Amazon (1925); and Abguar Bastos’s vision of the promised land of the Amazons in The Amazon Nobody Knows About (1929).
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Wójtowicz, Aleksander. "Transmutacja utopii. „Nowoczesna alchemia” i nauka w Mirandzie Antoniego Langego." Ruch Literacki 55, no. 1 (January 1, 2014): 53–65. http://dx.doi.org/10.2478/ruch-2014-0005.
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Abstract Published in 1924, Miranda is a utopian novel, saturated with modern debates about the nature of progress. Antoni Lange’s project of a perfect society presented in Miranda runs counter to the view shared by the majority of writers of utopian fiction that science and new technologies should be the foundations of an ideal society. He believes that the society of the future should be founded on a marriage of scientific progress and the occult. While science would bring into this alliance the discovery of the smallest particle of matter, esotericism would contribute its understanding of the characteristics of such a particle, analogous to the alchemical prima materia. Lange’s insistence on the union of the incompatible discourses of science and occultism situates his utopia in the sphere of Modern Alchemy
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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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Dohrmann, Gail V. ""John Dollar": Marianne Wiggins' Anti-Utopian Novel." English Journal 80, no. 4 (April 1991): 69. http://dx.doi.org/10.2307/819174.
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Khamis, Said A. M. "Classicism in Shaaban Robert's Utopian Novel,Kusadikika." Research in African Literatures 32, no. 1 (March 2001): 47–65. http://dx.doi.org/10.2979/ral.2001.32.1.47.
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Batchelor, Robert K. "Utopian Geographies and the Early English Novel." Journal of Historical Geography 52 (April 2016): 125. http://dx.doi.org/10.1016/j.jhg.2015.07.010.
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Hewitt, Regina. "Maria Edgeworth’s Harrington as a Utopian Novel." Studies in the Novel 46, no. 3 (2014): 293–314. http://dx.doi.org/10.1353/sdn.2014.0057.
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Khamis, Said A. M. "Classicism in Shaaban Robert's Utopian Novel, Kusadikika." Research in African Literatures 32, no. 1 (2001): 47–65. http://dx.doi.org/10.1353/ral.2001.0017.
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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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Sharapenkova, Natalia, Anna Meshkut, and Elena Tupikova. "«TRUTH SERUM»: KAREN BOYE’S SWEDISH ANTI-UTOPIAN NOVEL KALLOCAIN." Studia Humanitatis 15, no. 2 (August 2020): 31–39. http://dx.doi.org/10.15393/j12.art.2020.3565.
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The relevance of the present article is related to the urgent problem in Humanities (cultural studies, philology and sociology): characterization of anti-utopia that emerged in the ХХ and the XXI centuries, and its various national modifications. The purpose of the article is to define typical features of the anti-utopia in the Scandinavian novel Kallocain written by a Swedish writer Karin Boye and draw some parallels with Yevgeny Zamyatin’s novel We. The article proves the following thesis: the majority of the specific characteristics of anti-utopia are based on the category of the chronotope. The basic methods of the research were descriptive analytical method, comparative typological method, summarization, cultural-historical method, motive analysis, and content analysis of the text. The model of state-building is implemented in the artistic space of both novels. This model is presented as an ideal one; however, a closer look shows that it is the model of the totalitarian system of government: the states are isolated from the surrounding world which is presented in the novels as alien and hostile. Order, stability, and equality prevailing in the World Empire (Boye) and the United State (Zamyatin) are pushed to their grotesque limits and lead to the universal equalization of the citizens, and the governmental control of all the aspects of human life, including the intimate sphere.
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Amelina, Anna. "The Dam, an "utopian" novel of Marie Majerová." Slavic World: Commonality and Diversity, no. 2019 (2019): 232–35. http://dx.doi.org/10.31168/2619-0869.2019.3.2.
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Besharati, Mohammad Hossein, Golnar Mazdayasna, and Sayed Mohammad Anoosheh. "Orwell's Satirical View of Romantic Love in the Terrorized World of Nineteen Eighty-Four." International Journal of Applied Linguistics and English Literature 6, no. 6 (September 1, 2017): 78. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.6p.78.
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The beginning of twentieth century was accompanied with the prevailing current of technology in different aspects of human life. At first, it incited a positive stimulus which could build a utopian world on the advancement of technology. However, the bloody World Wars averted this view and the technological utopia was replaced by Orwellian dystopia. Orwell's Nineteen Eighty-Four is a satirical work which moves against Wells' utopian toward the reflection of a distorted technological society. Undoubtedly, satire is the best literary mode for dystopic depiction of the world specifically the one portrayed in Nineteen Eighty-Four. Winston Smith, the central character of this novel, is lower from his society in terms of intelligence and power of action. Therefore, he is put under rigid controls and brainwashing. And at last, he awfully rejects his love in favor the principles of the Party. Thus, in this study, we try to investigate Winston's romantic life in a satiric manner with respect to Northrop Frye's theme of romance which includes the three phase of agon, pathos and anagnorisis.
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Peksan, Selcan. "A Utopian Way of Thinking about Work: Tracing William Morris’ Ideas on the Concept of Work." Journal of Humanity and Society (insan & toplum) 11, no. 2 (June 20, 2021): 149–67. http://dx.doi.org/10.12658/m0624.
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Social theories present a wide range of criticism regarding the modern organization of work, yet little on the nature of humans and what an ideal concept of work would be. Favoring a utopian way of thinking about work, this paper inspects William Morris’ understanding of work and the basic dynamics of work organization in his vision of the society of the future. This article has chosen to perform an in-depth analysis of his utopian novel News from Nowhere due to the transformation of work laying at the core of the book. By tracing the key patterns of work in Morris’ future utopia which he called Nowhere, this paper proposes the concept of work that articulated in Morris’thought as a means of gaining an alternative model regarding the recent debates about the future of work. In particular, the paper scans Morris’ arguments on labor to demonstrate how Morris’ view presents an inspiring approach for our era. This hopefully opens up the prospect of thinking about the ideal work of the future one wants to achieve.
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Hann, Louisa. "‘If we Can’t Have a Conversation with our Past, then What will be Our Future?’: HIV/AIDS, Queer Generationalism, and Utopian Performatives in Matthew Lopez’s The Inheritance." English: Journal of the English Association 69, no. 265 (2020): 100–121. http://dx.doi.org/10.1093/english/efaa014.
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Abstract As the HIV/AIDS epidemic approaches its fifth decade, and emerging generations of queer-identified youth experience and conceptualize the virus in new ways, questions surrounding the memorialization and historicization of queer history have arisen within the arts. In the domain of theatre in particular, as mainstream revivals of crisis-era plays such as Larry Kramer’s The Normal Heart (1985) and Tony Kushner’s Angels in America (1991) proliferate, criticisms have arisen that such revivals feed into a narrative of the so-called ‘AIDS nostalgia’, pushing the idea that HIV/AIDS is a thing of the past and ignoring the ways in which the virus continues to shape individual social and sexual experiences. Recently, however, new plays such as Jonathan Harvey’s Canary (2010), the GHP Collective’s The Gay Heritage Project (2013), and Matthew Lopez’s The Inheritance (2018) have explicitly addressed this issue, conceptualizing a revised queer politics of HIV/AIDS that transcends Angels’ famous call for ‘The Great Work’ to begin. This article explores how The Inheritance in particular problematizes ‘AIDS nostalgia’ and configures novel approaches to the politics of HIV/AIDS in the twenty-first century. Alongside scholarship within the field of queer utopian studies such as José Estaban Muñoz’s Cruising Utopia (2009) and Jill Dolan’s Utopia in Performance (2005), it analyses the ways in which Lopez’s play employs utopian performatives to move towards a new politics of queer heritage.
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Lippman, Robert L. "Freud's B'nai B'rith Dream: Having Lost His Way, His “Brethren … Were Unkind and Scornful …”." Psychoanalytic Review 108, no. 3 (September 2021): 243–50. http://dx.doi.org/10.1521/prev.2021.108.3.243.
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On Tuesday, April 24, 1900, three days after Passover, Freud gave a talk at his B'nai B'rith lodge on Emile Zola's utopian novel penned in self-exile in London, Fécondité (1899). The next day Freud wrote Wilhelm Fliess that the night before the talk he had a dream in which “[t]he brethren … were unkind and scornful of me.” In the dream his brethren's contempt signifies that Freud is making his impious move to destroy their Tree of Life: no Law, no Judaism, no Christianity, no miserable anti-Semitism. In Freud's utopia, an enlightened socially just world grounded in reason, which mirrors the brotherly atheistic utopia envisioned in Fécondité, the seed of Abraham at long last can move across frontiers freely, develop their talents, and satisfy their needs.
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Felton-Dansky, Miriam. "Ex-Chromosomes: Contemporary Performance and the End of Gender." Theatre Survey 61, no. 2 (April 8, 2020): 156–81. http://dx.doi.org/10.1017/s0040557420000046.
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In the 1915 novel Herland, Charlotte Perkins Gilman imagined a utopian society, populated only by women, that has been flourishing in the absence of men for more than two thousand years. When Gilman's narrator—one of three male explorers to “discover” this much-mythologized wonderland—discusses gender distinctions with the Herlanders, he quickly learns that these utopians have long shed any consciousness of what a society with two genders would entail. “And there are two of you—the two sexes—to love and help one another,” a Herlander exclaims, in one of the novel's many ironic flourishes. “It must be a rich and wonderful world.”
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Hossain, Rokeya. "Excerpts from the writings of Rokeya Sakhawat Hossain." Feminist Dissent, no. 3 (November 27, 2018): 231–32. http://dx.doi.org/10.31273/fd.n3.2018.376.
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Rokeya Sakhawat Hossain (1880-1932) was a feminist author and educator who remains an inspiration to all Bengali Muslim feminists. Below is an excerpt from her utopian novel Sultana’s Dream (1905), which depicts a society in which women rule. Sultana, an Indian Muslim woman, visits the utopian land called Naristan and converses with a woman called Sara who cannot understand the patriarchy she comes from.
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Meakin, David. "Zola's Utopian Fall: From Ironic Novel to Totalitarian Romance." Romance Studies 13, no. 2 (September 1995): 99–107. http://dx.doi.org/10.1179/ros.1995.13.2.99.
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Kamratova, M. A. "Utopian theories in the novel «Aristonomiya» by Akunin-Chkhartishvili." Sibirskiy filologicheskiy zhurnal, no. 4 (December 1, 2014): 166–70. http://dx.doi.org/10.17223/18137083/49/22.
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Lanin, Boris. "Смерть и власть в литературной антиутопии." Slavica Wratislaviensia 167 (December 21, 2018): 249–62. http://dx.doi.org/10.19195/0137-1150.167.21.
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Death and power in anti-utopian literatureIn the article, through the prism of the hero’s peculiar approach to death, Russian anti-utopian literature of the twentieth and twenty-first century is discussed. The author focuses primarily on the novel by Yevgeny Zamyatin We, a short story by Vladimir Makanin Escape Hatch and the work of Vladimir Nabokov Invitation to a Beheading. The author also mentions following publications: S.N.U.F.F. of Viktor Pelevin, Leningrad of Mikhail Kozyrev as well as Moscow 2042 — anti-utopian novel by Vladimir Voinovich and Telluria, a book by Vladimir Sorokin. The researcher emphasizes that the genre structure of the plot in Russian anti-utopian literature is based on two basic pillars: death and power. Those in power manipulate subordinates by threatening them with death, thus maintaining society under their brutal control. Death becomes the best way to escape for the anti-utopian heroes from the “mandatory happiness for all” announced by the authorities. According to the author, the anti-utopian saints and all anti-utopian hagiography demonstrate a sarcastic approach to death and life in this type of society.Śmierć i władza w literaturze antyutopijnejW artykule rosyjska literatura antyutopijna XX i XXI wieku analizowana jest przez pryzmat szczególnego podejścia bohaterów do śmierci. Autor skupia się przede wszystkim na powieści Eugeniusza Zamiatina My, opowiadaniu Władimira Makanina Właz oraz dziele Vladimira Nabokova Zaproszenie na egzekucję. Wspomina również utwory: S.N.U.F.F. Wiktora Pielewina, Leningrad Michaiła Kozyriewa, powieść antyutopijną Moskwa 2042 Władimira Wojnowicza oraz książkę autorstwa Władimira Sorokina zatytułowaną Telluria. Badacz podkreśla, że główna struktura fabuły w rosyjskiej literaturze antyutopijnej opiera się na dwóch podstawowych filarach: śmierci i władzy. Posiadający władzę manipulują podwładnymi, grożąc im śmiercią, utrzymując tym samym społeczeństwo pod swoją brutalną kontrolą. Śmierć staje się jednak najlepszym sposobem ucieczki antyutopijnych bohaterów od ogłoszonego przez władze „obowiązkowego szczęścia dla wszystkich”. Według autora antyutopijni święci oraz cała antyutopijna hagiografia demonstrują sarkastyczne podejście do śmierci i życia w tego typu społeczeństwach.
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Shadurski, Maxim. "Aldous Huxley’s Poetry of Silence." Respectus Philologicus 21, no. 26 (April 25, 2012): 59–70. http://dx.doi.org/10.15388/respectus.2012.26.15411.
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Utopian thought, conventionally seeking to harmonize the world, witnessed an essential revision in the 20th century. This period of grand political and social upheavals, world wars, an arms race, scientific and technological progress, ecological concerns, and globalization radically undermined mankind’s faith in the humanistic potential of utopian projects. However, in Aldous Huxley’s writings, the intention to summon up a utopian experiment superseded any agonies of doubt about programmes of social reconstruction. Huxley turned to utopia when mass distrust in the constructive impulse of the genre had become notable in the socio-cultural climate. In Huxley’s last novel, Island (1962), “the poetry of silence” can be seen to render an optimistic response to the unholy state of the world.This article examines the novel’s lyrical interspersions, which arguably create a specific concept of silence through a series of thematic explorations comprising the ideas of noiselessness, speechlessness, and peace. The idea of noiselessness endorses a form of overcoming the world’s invincible cacophony. This kind of omnipotent dissonance can be diminished only by a supernatural power which integrates man’s disparate relationships with the universe. Like Nature for Wordsworth, Huxley’s image of the noiseless movement of the world unveils an image of unity to those who bring with them “a heart that watches and receives.” The idea of speechlessness surfaces in the lyrical fragments of the novel that touch upon intuition. Intuitive discoveries lie at the heart of a religion unfettered from dogma, and allow access to the perennial wisdom which becomes “suddenly visible” through the act of elevation to the summit of the universe. The idea of peace is placed outside the conventional frame of existential discrepancies. For this reason, the image of Shiva is meant to transcend the opposition of life and death. As long as Shiva dances simultaneously in all the planes of reality, the Palanese can learn from him how to exist in non-attachment. The acceptance of the world’s entropic progression checked by the poetry of silence leads the protagonist to a spiritual awakening and stirs his empathy for the utopian order realized in Pala.The poetry of silence embraces the beauty of the world which comes into existence from what Huxley calls a “pregnant emptiness.” The mystery of this creation cannot be subjected to any scientific, philosophical, or even theological systems of reference. One may only sense this mystery without reasoning. Wisdom converges with the skyin emptiness, dubbed “the womb of love,” and creates a universe from the poetry of silence. In Island, utopian thought, traditionally focusing on the regular patterns of a perfect society and state, attains a mystical profile promoted by the poetry of silence.
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Hubble, Nick. "Historical Psychology, Utopian Dreams and Other Fool's Errands." Modernist Cultures 3, no. 2 (May 2008): 192–207. http://dx.doi.org/10.3366/e2041102209000410.
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The initial premise of Georg Lukács's The Historical Novel is well-known and can be found outlined in its opening sentence: “The historical novel arose at the beginning of the nineteenth century at about the time of Napoleon's collapse (Scott's Waverley appeared in 1814)” (15). According to Lukács, the classical historical novel inaugurated by Sir Walter Scott was distinguished from what had preceded it by the conscious employment of a historical sense, already implicitly present in the realist fiction of Smollett and Fielding, combined with an understanding that progress is driven by the conflict of social forces.
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Dziekan, Marek M. "Egypt: Revolution 2011/2025. Dystopia, Utopia, and Political Fiction in Mustafa Al-Husayni’s Novel "2025 An-Nida Al-Akhir"." International Studies. Interdisciplinary Political and Cultural Journal 21, no. 1 (June 30, 2018): 99–111. http://dx.doi.org/10.18778/1641-4233.21.07.
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The article discusses the novel 2025. An-Nida al-Akhir [2025. The Last Call] written by a young Egyptian journalist and writer born in 1982 – Mustafa al-Husayni. The novel was published in early 2011, between the fall of Zayn al-Abidin Ibn Ali in Tunisia and of Husni Mubarak in Egypt. It describes a revolution against the regime of Jamal al-Mubarak, son of Husni, spurred by a group of young Egyptians. The story takes place in 2025 and anticipates the development of the political situation in Egypt and the Middle East between 2011 and 2025 in a utopian/dystopian manner. Alongside Utopia by Ahmad Khalid Tawfik and the poetry of Usama al-Abnubi and Abd ar-Rahman al-Abnudi, al-Husayni’s book is considered to be a forecast of the Arab Spring in Egypt.
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Gualeni, Stefano. "Fictional games and utopia." Science Fiction Film & Television: Volume 14, Issue 2 14, no. 2 (June 1, 2021): 187–207. http://dx.doi.org/10.3828/sfftv.2021.13.
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This interdisciplinary article discusses fictional games, focusing on those appearing in works of sf. ‘Fictional games’ are playful activities and ludic artefacts that were conceptualised to be part of fictional worlds. These games cannot - or at least were not originally meant to - be actually played. The article’s objective is to explore how fictional games can function as utopian devices. Drawing on game studies, utopian studies and sf studies, the first half of the article introduces the notion of fictional games and provides an initial articulation of their utopian potential. The second half focuses, instead, on the analysis of one (science-)fictional game in particular: the game of Azad, described in Iain M. Banks’s 1988 sf novel The Player of Games. This analysis is instrumental in clarifying the utopian qualities that are inherent in the activity of play such as its being uncertain and contingent. By presenting relationships of power through a game (and, finally, as a game), utopian fictional games such as Azad serve as a reminder that every socio-political situation - even the most dystopian ones - is ultimately indeterminate and retains the possibility of change.
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Grgas, Stipe. "Structure and Resistance in Thomas Pynchon’s Bleeding Edge." Cross-cultural studies review 1, no. 1-2 (April 15, 2020): 111–26. http://dx.doi.org/10.38003/ccsr.1.1-2.6.
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From his first to his last novel, Pynchon has addressed the “constraints” hemming in human existence and gestured to different ways of transcending these. After summarizing the way his novels exemplify this twofold movement I will offer a reading of his last novel Bleeding Edge and show how the dialectic between structures of power and human resistance continue to order the narrative. My reading of the novel will argue that, like in his previous work, the cooption of utopian potential resurfaces in this work and offers a vivid way of analyzing “speculative change” in literature.
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Snyman, E. "The possibility of an island; or, The double bind of Houellebecq’s apocalypse: when the end is not the end." Literator 29, no. 2 (July 25, 2008): 25–46. http://dx.doi.org/10.4102/lit.v29i2.114.
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The purpose of this article is to demonstrate that “The possibility of an island” (2005), the latest novel by the controversial French author Michel Houellebecq, utilises a variety of so-called marginal genres such as millennial, apocalyptic, Utopian writing and science fiction to question and to continue the millennial project he elaborated in “Atomised” (2001). The latter novel, first published in French in 1998, explores the idea of a new order that would gradually come into existence during the new millennium, namely that of a neo-humanity produced through cloning. In “The possibility of an island” this Utopian construction turns unequivocally into a dystopia. This novel thus adds a double bind to the Apocalypse foreseen in “Atomised”: the end was not the end, but just the beginning of an intermediary phase.This analysis of Houellebecq’s novelistic techniques is based on theoretical descriptions of the genres on which the two novels draw, as well as narratological concepts formulated by Roland Barthes and Gérard Genette. The conclusion of the article points out that Houellebecq’s utilisation of marginal genres enables him to question contemporary civilisation and to investigate the consequences of scientific research on future generations.
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Roper, Jon. "Utopianism, Scientific and Socialistic: Albert Chavannes and “Socioland”." Journal of American Studies 23, no. 3 (December 1989): 407–21. http://dx.doi.org/10.1017/s0021875800004059.
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Albert Chavannes is not a name that is mentioned often in intellectual histories of the United States in the late nineteenth century. Few nowadays are familiar with the work of this émigré farmer and businessman who lived for most of his life in Knoxville, Tennessee. Yet his achievement was impressive. Between 1883 and 1885 he edited and published The Sociologist, which was possibly the first monthly journal of its kind in the U.S.A. Inspired by Edward Bellamy's utopian novel, Looking Backward (1888), and the nationalist movement which resulted from it, he also wrote utopian fiction in two books, The Future Commonwealth (1892) and its sequel In Brighter Climes (1895). In the first of these novels Chavannes synthesized Darwinian theories of evolution and secular notions of progress to suggest that scientific sociological inquiry could aid rational planning in the cause of perfecting society. In the sequel, he built a firmer bridge from this dynamic sociology to a form of naive Marxism. Chavannes's work thus colours with European ideas and influences that distinctive American utopian tradition which retains a nostalgic faith in the realization of Jefferson's millennial democratic vision.
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Stabro, Stanisław. "Motory Emila Zegadłowicza czytane po latach." Ruch Literacki 55, no. 1 (January 1, 2014): 67–82. http://dx.doi.org/10.2478/ruch-2014-0006.
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Abstract Emil Zegadłowicz’s Motors, which was published in 1937, has to read in the context of the writer’s artistic and ideological evolution, marked by his novel cycle, The Life of his Mikołaj Srebrempisany (1927-1935), in particular Mares (1935), as well as the later The Dead Sea (1939). Close attention should also be paid to the autobiographical aspects of all his fictions. The same is true of Motors, the origin of which is deeply rooted in the writer’s biography. How should we read and interpret the novel today? Should we treat it as erotic fiction? Or focus primarily on the main character’s three types of utopian thinking, the utopia of sex, art and left-wing political activism? It seems that the latter approach may well restore to us and reveal a fresh relevance of a book often regarded as a product of a long gone epoch
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Milner, Andrew. "Archaeologies of the Future: Jameson's Utopia or Orwell's Dystopia?" Historical Materialism 17, no. 4 (2009): 101–19. http://dx.doi.org/10.1163/146544609x12537556703197.
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AbstractThis paper begins with the proposition that Fredric Jameson's Archaeologies of the Future (2005) is the most important theoretical contribution to utopian and science-fiction studies since Darko Suvin's Metamorphoses of Science Fiction (1979). It argues that Jameson's derivation of 'anti-anti-Utopianism' from Sartrean anti-anti-communism will provide 'the party of Utopia' with as good a slogan as it is likely to find in the foreseeable future. It takes issue with Jameson over two key issues: his overwhelming concentration on American science-fiction, which seems strangely parochial in such a distinguished comparativist; and his understanding of Orwell's Nineteen Eighty-Four as an 'anti-Utopia' rather than a dystopia. The paper argues that, for Nineteen Eighty-Four, as for any other science-fiction novel, the key question is that identified by Jameson: not 'did it get the future right?', but rather 'did it sufficiently shock its own present as to force a meditation on the impossible?'. It concludes that Jameson fails to understand how this process works for dystopia as well as utopia, for barbarism as well as socialism.
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Akers, Allison. "Divinity and its Imitation in the Utopian Visions of Death Note and Parable of the Sower." Digital Literature Review 6 (January 15, 2019): 105–18. http://dx.doi.org/10.33043/dlr.6.0.105-118.
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This paper explores the impact of divinity and divine imitation in the anime series Death Note byTsugumi Ohba and the novel Parable of the Sower by Octavia Butler, comparing the philosophiesof their respective protagonists and the success of their utopian visions. Death Note’s protagonist’sutopian vision become dystopian because of his violent tendencies and pursuit to become a god,while Parable of the Sower’s protagonist’s utopian vision succeeds because of her trust in others andher view of god as an ever changing force that people must shape to survive.
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Stedman, Mark E. "Skinner's Utopia: Bidirectional Influences." Psychological Reports 69, no. 3 (December 1991): 722. http://dx.doi.org/10.2466/pr0.1991.69.3.722.
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Matyaszewski, Paweł. "Le voyage utopique de Wojciech Gutkowski : la Pologne se trouve-t-elle en Australie ?" Romanica Wratislaviensia 66 (October 4, 2019): 193–203. http://dx.doi.org/10.19195/0557-2665.66.15.
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THE UTOPIAN JOURNEY OF WOJCIECH GUTKOWSKI:IS POLAND LOCATED IN AUSTRALIA?This article analyses the forgotten novel of Wojciech Gutkowski 1775–1826 Podróż do Kalopei [Trip to Kalopea], which was published in 1817. The story takes place in Australia, in a small country founded by the Polish king Bolesław II the Bold. Gutkowski describes the history of the Kalop nation the name Kalop is an anagram of Polak, its social and political system where everyone is equal and the term private property does not exist. Despite the Polish background presented in the novel, the unique vision of the nation seems to express a universal message which is valid for all the countries. That is the reason why Gutkowski’s work is considered to be one of the most important pieces of classical utopian literature.
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Ak Mallyta, Rendry Hanifa, and Hat Pujiati. "VIOLENCE BEYOND THE UTOPIAN SOCIETY IN LOIS LOWRY'S THE GIVER." Haluan Sastra Budaya 2, no. 1 (July 26, 2018): 90. http://dx.doi.org/10.20961/hsb.v2i1.16430.
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<p><em>This article discusses violence in a constructed utopian society in The Giver, Lois Lowry's distopian novel. We assume that 'sameness' as the governing system in the novel is the source of violence. Therefore, this article aims to reveal the real conditions beyond the utopian society. Applying genetic structuralism by Lucien Goldmann, we analyze the presentation of society in the novel through the narrative structure and relate them to discourses of American society in 1990s with Author as the bridge of the fiction and real life. The result of this analysis shows that comfort facilities provided by the government in a society is potential to hegemonize people and dehumanize them for the sake of power.</em></p><p><strong><em>Keywords: utopian society, genetic structuralism, worldview.</em></strong></p><p> </p><p align="center"><strong>Abstra</strong><strong>k</strong></p><p><em>Artikel ini mendiskusikan tentang kekerasan dalam masyarakat utopis yang dikontruksi dalam novel distopian berjudul The Giver karya Lois Lowry. Kami mengganggap 'sameness' sebagai sistem pemerintahan di masyarakat yang ada dalam novel sebagai sumber dari kekerasan tersebut. Selanjutnya, artikel ini bertujuan untuk menggungkapkan kondisi sebenarrnya dibalik masyarakat utopis ini. Dengan menggaplikasikan teori strukturalisme genetik milik Lucien Golmann, kami menganalisa tampilan dari masyarakat di novel ini melalui struktur naratif dan menghubungkannya dengan wacana tentang masyarakat Amerika pada tahun 1990an dengan kehidupan penulis sebagai penghubung antara fiksi dan dunia nyata. Hasil dari analisa ini menunjukkan bahwa fasilitas kenyamanan yang disediakan oleh pemerintah dalam masyarakat tersebut merupakan cara untuk mendominasi dan menghilangkan rasa kemanusiaan mereka hanya untuk kepentingan kekuasaan.</em></p><p><strong><em>Kata kunci: masyakat utopis, strukturalisme genetik, pandangan dunia</em></strong><strong><em>.</em></strong></p>
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Fellman, Michael, and Jean Pfaelzer. "The Utopian Novel in America, 1886-1896: The Politics of Form." American Historical Review 92, no. 2 (April 1987): 499. http://dx.doi.org/10.2307/1866793.
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Loar, Christopher F. "Utopian Geographies and the Early English Novel by Jason H. Pearl." Studies in the Novel 47, no. 2 (2015): 277–78. http://dx.doi.org/10.1353/sdn.2015.0033.
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Pavel, Thomas G. "Freedom, from Romance to the Novel: Three Anti-Utopian American Critics." New Literary History 29, no. 4 (1998): 579–98. http://dx.doi.org/10.1353/nlh.1998.0045.
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