Resumen: Este artículo se propone ahondar en la función política del relato distópico, entendido como un tipo de imagen política. Siguiendo la intuición de Gordin, Tilley y Prakash (2010) de que las distopías son utopías que han errado su curso, se plantea que el relato distópico busca construir una imagen política indeseable que permita romper la captura del deseo que ha producido la persecución de una determinada ilusión-utopía. Se propone, como criterio de lectura de las narrativas distópicas, que su emergencia (...) y proliferación se produce a partir de las experiencias históricas que dan cuenta del fracaso del ímpetu emancipador de la modernidad y su deriva en sistemas sociales y políticos que perfeccionan la dominación. En particular, en los términos de Wallerstein (1995), el proceso con el que la modernidad de la tecnología se impone históricamente a la modernidad de la liberación. Abstract: This article aims to delve into the political function of the dystopian narrative, understood as a type of political image. Following of Gordin, Tilley & Prakash´s (2010) intuition, that dystopias are utopias that have gone wrong, it suggests that the dystopian narrative seeks to build an undesirable political image that permits the breaking away from the capture of desire produced by the pursuit of a certain utopia-illusion. We propose, as a key to the reading of dystopian narratives, that their emergence and proliferation stems from the historical experiences that account for the failure of the emancipatory impetus of modernity and its drift into social and political systems that perfect domination. Specifically, in the terms of Wallerstein (1995), the process by which the modernity of technology is historically imposed on the modernity of liberation. (shrink)

In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate (...) the dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia. (shrink)

The rise of transrealism in the second half of the twentieth century embellished the literary landscape in America with a new mode of expression that offered new understanding of time, space, identity, and social values and norms. This study situates the American novelist Kurt Vonnegut’s Player Piano within this literary context to map out the qualities that distinguish it as a transrealistic fiction. We argue that through innovative coalescence of fantasy and realism, this postmodern novel provides a satirical commentary against (...) the incongruities of the contemporary American society. To analyse the novel, we employ Rudy Rucker’s theorisations of the movement that delineates the transrealist manifesto as a union of realism, fantasy, and science-fiction. The findings reveal that through a satirical representation of the current advancements in technology and their inevitably negative impact on human life and society, the novel provides a dystopian picture of modern life in America. This apocalyptic sentiment is reinforced through a creative convergence of the surreal features of science-fiction, the tropes of naturalistic realism, and the elements of satire that together help to accentuate the deficiencies and ironies of the modern American society as well as the rampant misuse of technology by both individuals and authorities. (shrink)

Abstractabstract:Christianity is a religion with deep utopian undercurrents that find their articulation in narratives about a utopian past, a dystopian present and a utopian future. The natural world is also part of this utopian trend, most prominently in the form of the lost Garden of Eden. While both Western and Eastern Orthodox Christianity recognize nature as part of this past utopia, their views regarding its role in the dystopian present, the future utopian condition as well as the (...) path toward it, significantly differ, leading to quite different responses to the current ecological crisis. For Western Christianity, ecological questions are a matter of ethics, while for the Eastern Orthodox they are an ontological issue. Utilizing Bloch's ideas about "educated hope" and the distinction between abstract and concrete utopias, the article discusses these different positions and their possibility to change believers' attitudes toward nature and align their behavior with that of environmentalism and ecology. (shrink)

This article attempts a critical conversation between Kafka's _Der Prozess_ (posthumously published in 1925, translated into English as _The Trial_ in 1937) and two novels from the Mediterranean Basin. The Turkish author Bilge Karasu's _Gece_ (1985, translated into English as _Night_ by Güneli Gün in 1994) responds to the national conflicts intensified by the military coup in Türkiye (Turkey) in the 1980s with its dark portrayal of political conspiracies and unhinged violence. Almost thirty years later, Aziz conveys a similar sense (...) of social chaos and political disillusionment: her novel _Al-Ṭābūr_ (2013, translated into English as _The Queue_ Elisabeth Jaquette in 2016) addresses the aftermath of the 2011 Egypt uprising. In addition to the social critique that shapes the dystopian allegories of the novels, Kayı_ş_cı Akkoyun examines the discursive conflicts and gaps through which Kafka, Karasu, and Aziz expose the constructed nature of oppressive structures and the arbitrariness of authority. She argues that the disjointed dystopian narratives of Kafka, Karasu, and Aziz not only portray the horrors witnessed at a particular place and time but also share a common utopian vision that extends to the future through the authors' imaginative struggle against totalizing forces of uneven modernization. (shrink)

From Joan Lindsay and cinematic master Peter Weir to Ted Kotcheff and Warwick Thornton, over past decades authors, screenwriters and filmmakers have produced films that depict the vast Australian landscape—simply referred to as terra nullius during colonial times by settlers literally confronting a continent vastly different from anything they were culturally and geographically accustomed to—as mysterious, impenetrable and ominous. Just like the dark cold of Scandinavia lends itself perfectly to contemporary Nordic Noir, the Australian New Wave or Australian Film Revival (...) of the 1970s and 1980s saw the release of films that encapsulated the eeriness of this largely rugged, arid and windswept continent, which opens up possibilities for anything to happen within those very, limitless, territories. This article analyses Weir’s Picnic at Hanging Rock (1975), Kotcheff’s horror flick par excellence Wake in Fright (1971); "the best and most terrifying film about Australia in existence" and with a TV-series remake in 2017, and Thornton’s more recent portrayal of Aboriginal misery and poverty Samson and Delilah (2009) set against a hostile urban backdrop, from a Foucauldian perspective. In its theoretical framework it also draws primarily on Freud. Heterotopia is used as a term to refer to strange, bewildering spaces that are disturbing and undecipherable—also described as “an unimaginable space, representable only in language, and as a kind of semimythical real site” (as articulated in Knight, 2017, 141). Foucault’s concept is applied in a cinematic context and used in conjunction with Freud’s notion of the uncanny as a feeling of uneasiness; or, as has been explained in his seminal text “The Uncanny” (1919), “that class of the terrifying that leads back to something long known to us, once very familiar.” We argue that these eerie, fear-induced screened narratives represent a nation whose weather-beaten, freedom-loving yet at heart anxiety-ridden people are most definitely a product of their environment. (shrink)

The rise in popularity in recent times of dystopian fiction is reflective of contemporary anxieties about law: the inhumanity of judicial-coercive machinery; the influence of corporate power; the lack of democratic imagination despite the desperate need for political reform; and the threat of order imposed through violence and victimisation. These dystopian texts often tell fear-inducing stories of law’s failure to protect; or of law’s unsuccessful struggle against unbridled power; or even sometimes of law’s ‘bastardised’ reconstruction. Indeed comics, with (...) their visual and narrative intricacies, thrive on dystopia as a key vehicle for contributing to collective notions of fear and trembling about the future. Yet, at the same time, these texts also contain within them the blueprints for hope—the idea that with transformation, heroic intervention, and/or faith in ‘justice’, the law will ultimately prevail. Law’s ability to be transformed is thus simultaneously portrayed as society’s downfall, AND as the key to enlivening humanity. This article attempts to understand this schismatic role of law as presented in the recent dystopian comic book series From Above by Australian creator Craig Bruyn. In this series set in futuristic Melbourne, where law has given way to an unaccountable corporate rule, the social divide is made manifest by the absence of ‘order’, ‘law’ and ‘justice’ in certain segments of society, and yet hope in law’s return is ever-present. The paper will interrogate expectations of law and justice that is mediated through the complex interaction of fear and hope, and contextualise this within current contemporary anxieties. (shrink)

Dystopian literature authored by Arab novelists serves as a reflective medium that elucidates the traumatic experiences endured by individuals in the Arab world amidst on-going crises and conflicts. This article employs trauma theory to explore the complexities of establishing a dystopian text showing how trauma manifests within the unconscious layers of the human psyche, thus leaving an indelible scar that persists over time. The article argues that the events associated with such traumatic experiences emerge into the realm of (...) reality through literary texts, a process that not only allows for the articulation of hidden traumas but also provides the writer with a means to alleviate personal dilemmas through the act of writing. By briefly analysing a selection of prominent and translated Arabic dystopian works, this article examines how certain narratives encapsulate experiences of trauma resulting from oppression and societal upheaval and explores how these texts present harsh realities while engaging readers and fostering resistance against personal adversities. The depicting of dystopian themes and characters in these texts enables readers to understand genuine traumas that bridge the gap between imaginative constructs and lived realities. In conclusion, the article asserts that Arabic dystopian literature acts as a mirror that reflects the injustices and oppression faced by Arabs under authoritarian regimes and the legacies of former colonial powers. (shrink)

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 theEdge 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. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. by Stephanie Peebles TaveraEtta M. MaddenStephanie Peebles Tavera. (P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. Edinburgh: Edinburgh University Press, 2022. Hardback, xii + 220 pp. ISBN 978-1-4744-9319-2.Utopian Studies readers first saw Stephanie Peebles Tavera’s work in print in her 2018 essay on reproductive health in Charlotte Perkins Gilman’s Herland. More recently, (...) in (P)rescription Narratives, she gives readers a view of the much broader historical scope of her scholarship in literary and cultural studies. Tavera’s analysis of what she labels “feminist medical fiction” considers not only novels and short stories but also literary reviews, dramas, and documentary films, many of which will be unfamiliar to readers of utopian and dystopian literature. Yet the book contextualizes the ways in which these works capture the “utopian possibilities” of women writers who pushed for breaking the boundaries of the dystopian strictures of embodied life. The literary works “rescript” what had been prescribed by others as “normalized behavior,” from the latter-nineteenth century through the Progressive Era (5, 37). As Tavera illustrates through her detailed analysis, these women’s narratives provide “interventions that... interrupt the dissemination of false [End Page 612] narratives of the female body” and “alter the course of cultural development toward greater inclusivity” (5).To establish the temporal boundaries for the project, Tavera emphasizes the Comstock Law, established in 1873, and the death of its author Anthony Comstock in 1915. While Comstock’s work often has been understood as restricting pornography, she explains the Comstock Law as more than merely that. Comstock sought to control what he and others saw as sexual deviation, which included birth control in any form. Tavera also bookends the project with lawsuits associated with Victoria Woodhull and Margaret Sanger, both women who advocated for abortion and birth control as means of allowing women to avoid the strictures over their bodies. Additionally, she explains, Comstock’s racism caused him to completely overlook Black women, ironically allowing a space in which Black women’s feminist medical fiction especially rescripts “normalized behavior” (37)—a topic she pursues in two parts of the book.The book follows a roughly chronological path as it examines four topics related to women’s health, brilliantly organized into “(p)rescriptions,” indicated by Rx, rather than chapters with numbers. Rx1, “Crip Medicine,” illustrates how authors such as Charlotte Perkins Gilman pointed to the socially constructed status of “hysteria” in a patriarchal culture that saw women as deviant by nature. Instead, these authors advocated for a more holistic examination of women’s health, impacted by the environments in which they lived. Drawing from Lyman Tower Sargent’s widely accepted view of utopianism as dreaming of a place “considerably better than the society in which the author lived,” she underscores “the utopian impulse underlies much of the work of feminist medical fiction” (39). In particular, writers of feminist medical fiction were “driven by failure.”Perhaps most familiar to illustrate this point is Gilman’s work, such as “The Yellow Wallpaper,” which illustrated how the culture failed certain characters. The narrator of that story suffers postpartum depression and is made worse by Dr. S. Weir Mitchell’s rest cure. Consequently, Gilman proceeded to write other works, such as Moving the Mountain (1911) and then Herland (1915), which push readers to envision “alternative societies” without such destructive patriarchal medical practices (39). But Tavera also explains how Louisa May Alcott’s Eight Cousins, or the Aunt-Hill (1875) critiques contemporary culture by providing a “domestic utopia” in the female domain of Aunt-Hill, wherein the male Dr. Alec Campbell demonstrates “a better way... of caring for the female body” (55). And another key example is Rebecca Harding [End Page 613] Davis’s Kitty’s Choice: A Story of Berrytown (1875). Berrytown is described as “the Utopia in actual laths, orchards, and bushel-measures of the advance guard of the reform party in the United States” (qtd. in Tavera 55). Through its two physicians, Dr. Muller and Dr. McCall, who represent homeopathic and allopathic practitioners, readers see that the society... (shrink)

Time and narratice technique compared. Two novelists, Heliodorus, 3rd century author of the novel Aethiopica and Sigrid Combüchen, contemporary Swedish novelist using a dystopian Europe around 2050 as a scenic setting. In both stories girls and women are captured and killed by soldiers. Both narrators are external to the story being told, presented in the past tense. But Combüchen´s narrator adopts it as a confession, and a turning point in his career as a commanding general, characterized by"double-bind".

Critical thought on immersive theatres is gathering in pace with many arguments centred on explorations of audience/performer interaction and the unique relationship these theatres create. Within this paper I look beyond these debates in order to consider the implications of immersive theatres within contemporary culture, with the aim of furthering the ways in which immersive theatres are presently being framed and discussed. Theatre and science fiction have shared a somewhat limited relationship compared to their burgeoning usage within other forms of (...) entertainment. This paper focuses on how the conceits of science fiction are being staged within this theatrical setting. Primary focus is given to Punchdrunk’s… and darkness descended (2011) and The Crash of the Elysium (2011–2012). This is considered alongside The Republic of the Imagination’s (TROTI) Cerebellium (2012–14), an original narrative created for the performance which has been subsequently developed over a three-year period to date. This discussion is presented and framed through my personal experience as both a performer in Cerebellium and (later) as audience member. The particular use of dystopian narratives and alternate worlds is given consideration, with reflection on the way these works destabilize and call into question the audience’s sense of self either through their ability to survive or understand their sense of self. By making evident the spectrum of practice, I endeavour to delve further into identifying and de-mystifying immersive theatres and their differences to conventional theatre. (shrink)

This study investigated people’s ethical concerns of surveillance technology. By adopting the spectrum of technological utopian and dystopian narratives, how people perceive a society constructed through the compulsory use of surveillance technology was explored. This study empirically examined the anonymous online expression of attitudes toward the society-wide, compulsory adoption of a contact tracing app that affected almost every aspect of all people’s everyday lives at a societal level. By applying the structural topic modeling approach to analyze comments on (...) four Hong Kong anonymous discussion forums, topics concerning the technological utopian, dystopian, and pragmatic views on the surveillance app were discovered. The findings showed that people with a technological utopian view on this app believed that the implementation of compulsory app use can facilitate social good and maintain social order. In contrast, individuals who had a technological dystopian view expressed privacy concerns and distrust of this surveillance technology. Techno-pragmatists took a balanced approach and evaluated its implementation practically. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Critical Forum Introduction:Cultural Encounters and Textual Speculations in the MediterraneanBurcu Kayışcı Akkoyun, Emrah Atasoy, and Merve TaburThis issue's Critical Forum takes its point of departure from two paradigm shifts. The first one has already occurred in utopian studies, as attested by the increasingly evident interest in non-Western conceptions of utopianism and representations of speculative fiction. Scholars of utopian studies such as Lyman Tower Sargent and Jacqueline Dutton have been (...) writing on utopias from other cultural traditions. The 2013 special issue of Utopian Studies (vol. 24, no. 1), which was introduced by Sargent and Dutton, included articles that reflected Iranian, Chinese, and Korean narratives and perspectives. During the first decade of the twenty-first century, monographs1 and journal special issues2 began examining literary and visual cultures of the Global South and transcultural expressions of the utopian imagination alongside a surge of speculative fiction from the Global South. A rising number of symposiums, anthologies, and critical works on Afrofuturism and Latinx and Arabic speculative fiction also contributed to today's widening discussions.3 This special section in Utopian Studies advocates shifting from Western-centric approaches to more nuanced modes of interpretation with a specific focus [End Page 127] on the Mediterranean, which has itself been a contested discursive site in Mediterranean studies, demanding the formation of new critical paradigms.According to Peregrine Horden and Nicholas Purcell, "It hardly needs stating that the Mediterranean, as an area seldom clearly defined but often subconsciously reduced to Italy and Greece, has been the perceived center of European civilization since the Renaissance, and in many respects since classical antiquity."4 Our set of articles challenges such reductionist views by exploring speculative configurations in the Mediterranean through literary representations of cultural encounters, social conflicts, and environmental crises. Offering analyses of various narratives that present dystopian articulations of the past and figurations of the present along with utopian aspirations for the future, the five contributions in this special section aim to expand the predominantly Eurocentric/Anglophone understanding of the Mediterranean by bringing together scholars and texts from diverse countries: Türkiye, Egypt, Morocco, and Tunisia. They demonstrate the cultural interactions between different traditions, conventions, styles, and narratives, all within the broad domain of "speculative" visioning. As Franco Cassano points out, the Mediterranean "becomes the root that we need to rediscover today," but one that is "constitutionally plural. … The Mediterranean that emerges is not a monolithic identity, but a multiverse that trains the mind to grasp the complexities of the world: hybridity, crossroads, and identities that do not love purity and cleanliness, but have been mixed for a long time."5 Cassano's emphasis on plurality as much as rootedness is relevant to the scope and purposes of our contributions as well.The articles here refrain from creating new hierarchies by simply inverting the East-West dichotomy, or by consolidating the center-margin debate within the context of the Mediterranean. While using familiar Western hermeneutical tools to understand utopian and/or dystopian narratives produced in the Mediterranean, this special section underscores historical, political, social, and literary particularities, engaging with various manifestations of power on both textual and contextual grounds. Gabriele Proglio's introduction to Decolonising the Mediterranean (2016) informs the critical orientation of our approach. Decolonizing the Mediterranean "means deconstructing the power relations at play," he writes, "viewing the Mediterranean as an excess space of signification in order to reconsider the past and present stories and subjectivities erased by Eurocentric, nationalist historical discourse."6 Such reconsiderations are essential to imagining future utopian possibilities not [End Page 128] only for fictional narratives but also for the many types of discursive practices shaping the material world.Following Proglio's lead, Ceyhun Arslan examines utopian possibilities that the Mediterranean, whether taken as a context or as a framework, generates for artists and scholars. He argues for the utopian potential of the Mediterranean's longue-durée history, underlining the importance of identifying and resisting discriminatory notions and practices of Western imperialism throughout that history. Drawing on recent approaches to Mediterranean studies, he envisions what he calls a "disciplinary utopia," wherein critics, scholars, and artists carefully attend to linguistic and historical differences in... (shrink)

As an atypical product of mass culture, the acclaimed series Westworld presents us with a layered dystopian narrative formed around several political issues relevant to our contemporary society. It uses a pastiche of the American history, staged as the Wild West­themed amusement park, presented in the form of simulacrum. As a reference with no referent, this park uses a network of historical signifiers to construct a space for the externalisation of fantasies of its clients, consequently commodifying the imaginary itself, (...) and creating surplus value for its owners. Simultaneously, within its reach, conscious androids conduct all of the necessary labour for its unimpeded functioning, although their consciousness and labour are not recognised and accepted. Because they structurally occupy a position of slaves in relation to humans, I will analyse this series as a political allegory on the master­slave dialectics established in the very heart of hyperreality that suggests a possibility of the return of the real, based on the rebellion of the androids. I intend to show how, because of the model of consciousness it maintains, the series is unable to fulfil what it implies. (shrink)

Despite the implied critical stance of dystopian narratives, there is a strand of beautiful, aesthetically pleasant dystopias—inherently ambivalent texts that are—both fascinating and horrifying. Drawing from examples in literature and television, this article argues that “beautified dystopias” generate a surplus of aesthetic enjoyment, harboring a mystifying potential in tension with the critical-satirical potential of dystopias. In a rereading of Yevgeny Zamyatin's We, this article first examine how D-503's aestheticizing voice—although undeniably constructed for a satirical effect—fosters a degree of (...) fascination toward the dystopian world in excess of Zamyatin's intentions. Second, taking Black Mirror's “Fifteen Million Merits” as an example of contemporary televisual dystopias, this article argues that the supposedly ironic construction of beautified cinematic mise-en-scènes deepens and complicates the underlying ambivalence of “beautified dystopias.” The author's assumption is that this is not an exceptional case, but rather an integral part of the current dystopian structure of feeling. (shrink)

Deepening and digging into the social side of AI is a novel but emerging requirement within the AI community. Future research should invest in an “AI for people”, going beyond the undoubtedly much-needed efforts into ethics, explainability and responsible AI. The article addresses this challenge by problematizing the discussion around AI shifting the attention to individuals and their awareness, knowledge and emotional response to AI. First, we outline our main argument relative to the need for a socio-technical perspective in the (...) study of AI social implications. Then, we illustrate the main existing narratives of hopes and fears associated with AI and robots. As building blocks of broader “sociotechnical imaginaries”, narratives are powerful tools that shape how society sees, interprets and organizes technology. An original empirical study within the University of Bologna collects the data to examine the levels of awareness, knowledge and emotional response towards AI, revealing interesting insights to be carried on in future research. Replete with exaggerations, both utopian and dystopian narratives are analysed with respect to some relevant socio-demographic variables (gender, generation and competence). Finally, focusing on two issues—the state of AI anxiety and the point of view of non-experts—opens the floor to problematizing the discourse around AI, sustaining the need for a sociological perspective in the field of AI and discussing future comparative research. (shrink)

Old age and visions of the future are inherently bound with one another, and the realms of dystopian fiction provide scope for a gerontological focus within contemporary literature. A theme that is now being revisited in speculative fiction, this paper aims to assess the role of the elderly within Margaret Atwood's dystopian tales, specifically looking at the role of gerontology in her collection of short stories Stone Mattress: Nine Wicked Tales (2014). I argue that Atwood utilises the (...) class='Hi'>dystopian narrative in order to address broader social issues that stem from immobility and declining virility. Focussing on Atwood's feminist politics and representations of the elderly woman in the dystopian narrative, this paper proposes that older women in Atwood's fiction seek to move beyond the asexual, immobile and matronly gerontological stereotype that is often portrayed in literature. Instead, the elderly, and in particular elder women, adapt to their environment, often becoming figures of their community. They are aware of sexual desires and look to move within and beyond societal constraints, utilising the realms of cyberspace in order to forge their own identity. The role of the elderly in a distinctly dystopian narrative allows for a new Utopian strategy to be constructed. (shrink)

Utopia can be conceived as a possibility – a space within language, a set of principles, or the product of technological development – but it cannot be separated from questions of place, or more accurately, questions of “no place.” 1 In between the theoretically imaginable utopia and its realisation in a particular time and place, there is a space of critique, which is exploited in anti-Utopian and critical dystopian narratives. 2 In Science Fiction narratives of this kind, (...) technology is responsible for the transformation of the utopian impulse into a set of principles that are precisely stated and rigidly enforced. The critique focuses on the impossibility, due to the reductive force of instrumental reason, of any systematic realisation of a eutopia where the positive qualities of freedom, individualism and creativity are nurtured. The films Minority Report, directed by Steven Spielberg , and Gattaca, written and directed by Andrew Niccol , both examine utopian claims through speculation on the possible future use of current technologies, the tools of crime investigation and the genome project respectively. However, an examination of the plot cannot attend sufficiently to the particular properties of film and how it, as a medium, constructs utopia as a place. This article aims to address this issue by examining how technologically derived images of utopia are realised in the visual space of film, that is, on the level of the mise en scène. These images are often dystopian but the distinction between dystopia and eutopia is not crucial to the argument, because the aim is not to return utopian ism to its place at the vanguard of progressive politics, nor to reject utopianism on the basis that it is unrealisable, but rather to examine how technology and utopianism can combine in the visual language of film. My concern here is to investigate how utopia is conceived according to the specific features of the medium rather than to present an overarching narrative judgement as to the value of utopian principles. In Gattaca, the utopianism of a genetically determined future is reproduced in the mise en scène as a set of aesthetic principles, whereas in Minority Report the utopian technology itself resembles the apparatus of film. This involves two quite different approaches to the visualisation of utopia: 4 in Gattaca, utopia is embodied in a society in which there can be “no other place,” realised through the subtraction or reduction of visual difference; in Minority Report, utopia is an expression of a panoptic regime that can incorporate all visual and cultural difference such that the visible is “every place.”. (shrink)

Recent research in global literature, with a focus on non-Anglophone and non-European literatures and cultures, has sparked a growing interest in utopian and dystopian narratives. These narratives present alternative world scenarios that unfold in both the present and the future. Amidst the escalating impact of the climate crisis in the Anthropocene, the complex issue of migration, and the aftermath of the COVID-19 pandemic, speculative fiction in the Mediterranean region captures the fears, aspirations, and dreams of individuals concerning (...) both the present and the future. Over the last three decades, authors in contemporary Türkiye have increasingly produced utopian and dystopian works. These speculative works exhibit a heightened focus on ecological breakdown, political polarization, gender roles, and the exercise of power. Ça_ğ_rı Akta_ş_'s _Toprak Palas_ (_Underground Station_, 2018), a representative work of speculative fiction in contemporary Turkish literature, carries both utopian and dystopian undertones as it investigates the pressing challenges of Rahim, Akta_ş_'s finely textured underground city. Through its open-ended structure, the narrative galvanizes readers into action, urging an expedited process of transformation toward a different future. (shrink)

The subject of the study is the study of such a specific genre as dystopia, which is the dominant form of society in post-apocalyptic worlds. The object of the study is dystopia and post-apocalypse in cinema, as well as their features in modern realities. In the course of the research, special attention is paid to the study of the substantive essence of such definitions as "dystopia", "apocalypse" and "post-apocalypse". Special emphasis is placed on the fundamental difference and differences between apocalyptic (...) and post-apocalyptic events. Special attention is also paid to the reasons and factors that cause the return of popularity of dystopian narratives to cinema. In addition, the social, political and philosophical orientation of the genre of dystopia is considered. В В В В The main conclusions of the study are the conclusion that cinema, thanks to its dynamic audiovisual nature, allows dystopia to reveal its potential as an exciting and entertaining genre, while provoking the viewer to critical reflections and actions. The author's special contribution lies in the fact that during the analysis it was possible to substantiate the statement that the vision of dystopian cinema and, accordingly, the content of films varies depending on events occurring in a certain historical period of time, which allows us to depict various characteristics of the post-apocalyptic world. The scientific novelty of the research consists in conducting a discussion about the historical background of the terms "apocalypse", "post-apocalypse" and "dystopia" within the framework of the new millennium and the events that occurred and influenced the whole world and its perception of a possible end. (shrink)

David Levine and Mathew Bowker explore cultural and political trends organized around the conviction that the world we live in is a dangerous place to be, that it is dominated by hate and destruction, and that in it our primary task is to survive by carrying on a life-long struggle against hostile forces. Their method involves the analysis of public fantasies to reveal their hidden meanings. The central fantasy explored is the fantasy of a destroyed world, which appears most commonly (...) in the form of post-apocalyptic and dystopian narratives. Their special concern in the book is with defenses against the painful consequences of the dominance of this fantasy in the inner world, especially defenses involving the use of guilt to assure that something can be done to repair the destroyed world. Topics explored include: the formation of internal fortresses and their projection into the world outside, forms of guilt including bystander guilt and survivor guilt, the loss of and search for home, and manic forms of reparation. (shrink)

Dystopian and postapocalyptic narratives are often vectors for utopian hope in decidedly anti-utopian historical moments. The twenty-first century has, arguably, been such a moment. The association of utopianism with some of the most devastating political projects of the twentieth century, the plurality of existential threats looming over the globalized world, and the hegemony of global capitalism converge to form a cultural milieu inundated with grim visions of the future. These visions, however, have a stubborn tendency to gesture toward (...) their negation: the emancipated society. Optimism and pessimism are intermingled in contemporary narratives that frame the end of civilization as the precondition for a utopian... (shrink)

Background Human brain organoids are a valuable research tool for studying brain development, physiology, and pathology. Yet, a host of potential ethical concerns are inherent in their creation. There is a growing group of bioethicists who acknowledge the moral imperative to develop brain organoid technologies and call for caution in this research. Although a relatively new technology, brain organoids and their uses are already being discussed in media literature. Media literature informs the public and policymakers but has the potential for (...) utopian or dystopian distortions. Thus, it is important to understand how this technology is portrayed to the public. Methods To investigate how brain organoids are displayed to the public, we conducted a systematic review of media literature indexed in the Nexis Uni database from 2013–2019. News and media source articles passing exclusion criteria (_n_ = 93) were scored to evaluate tone and relevant themes. Themes were validated with a pilot sample before being applied to the dataset. Thematic analysis assessed article tone, reported potential for the technology, and the scientific, social, and ethical contexts surrounding brain organoids research. Results Brain organoid publications became more frequent from 2013 to 2019. We observed increases in positively and negatively toned articles, suggesting growing polarization. While many sources discuss realistic applications of brain organoids, others suggest treatment and cures beyond the scope of the current technology. This could work to overhype the technology and disillusion patients and families by offering false hope. In the ethical narrative we observe a preoccupation with issues such as development of artificial consciousness and “humanization” of organoid-animal chimeras. Issues of regulation, ownership, and accuracy of the organoid models are rarely discussed. Conclusions Given the power that media have to inform or misinform the public, it is important this literature provides an accurate and balanced reflection of the therapeutic potential and associated ethical issues regarding brain organoid research. Our study suggests increasing polarization, coupled with misplaced and unfounded ethical concern. Given the inhibitory effects of public fear or disillusion on research funding, it is important media literature provides an accurate reflection of brain organoids. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bioshock and the Art of RaptureGrant TavinorI am Andrew Ryan, and I am here to ask you a question. Is a man not entitled to the sweat of his brow? "No!" says the man in Washington, "It belongs to the poor." "No!" says the man in the Vatican, "It belongs to God." "No!" says the man in Moscow, "It belongs to everyone." I rejected these answers; instead, I chose (...) something different. I chose the impossible. I chose Rapture! A city where the artist would not fear the censor; where the scientist would not be bound by petty morality; where the great would not be constrained by the small! And with the sweat of your brow, Rapture can become your city as well.Andrew Ryan, opening BioshockIBioshock is the Masterpiece of recent gaming. Genre-wise the game is a first person-shooter survival-horror game—already a complicated mix of gaming forms—and Bioshock is excellent in these gaming terms: playing the game is a consistently engaging, challenging, and tense experience. The narrative of the game, set in Rapture, a dystopian city beneath the sea, fits perfectly with this interactive gaming form. The premise of Bioshock is a parody of Ayn Rand's objectivist novel Atlas Shrugged. Led by the magnate Andrew Ryan, the industrialists, artists, and scientists have retreated from the world and built Rapture through sheer force of will. But when the player enters the city at the beginning of the game, it is evident that nature is pushing back, and that the sea is slowly but surely retaking Rapture, while its citizens have become corrupted by the arts and sciences the city was built upon: as genetically manipulated "splicers" they now creep through Rapture's darkened halls bemoaning their lost humanity. Andrew Ryan "chose the impossible," [End Page 91] and inevitably his hubris is being repaid by the recalcitrance of human nature and the impermanence of human achievement. Much of the immense fun of Bioshock derives from the irony of an objectivist utopia running amok.The immediate visual impact of Bioshock, depending on its employment of cutting-edge high definition 3D computer graphics, is striking. The aesthetic qualities of the water, in particular, have drawn wide praise. The world of Rapture is also presented through an engaging and excellent style. To depict this decaying world, Bioshock draws on the architectural motifs and cultural themes of 1930s and 1940s America. Portrayals of decaying art deco facades, faded Hollywood socialites, and echoes of Hearst, Hughes, and Citizen Kane, are combined with period music and philosophical and literary references to produce a coherent artistic statement.Two features of Bioshock bear out its unique artfulness as a game. First is the role in the game-world of the Little Sisters: cute little girls that pose a game obstacle with which the player must decide how to deal. In Bioshock, the task of harvesting the game-world resources needed to survive is given a moral dimension in that the resources can be extracted only from the Little Sisters by killing them, and so a key part of the gameplay rests on an emotionally provocative moral choice. The second artful aspect of the game that warrants special attention is a narrative twist partway through the game where it becomes evident that player's principle sympathetic source of information in the game-world is a dissemblance. Bioshock has an interactive twist on an untrustworthy narrator, which clouds and complicates the decisions the player has made in Rapture. Rather than an actor, the player-character is a pawn in someone else's game. At the forefront of both of these aspects of Bioshock are considerations of freewill and morality.To really appreciate the art of Bioshock we need to understand its nature as a game, and moreover, to treat the gaming nature seriously and with sympathy. Bioshock is a videogame, and it is also clearly art; but it is not as if the game is art despite its being a videogame and that the art is a mere gloss or veneer. Rather, Bioshock's nature as a game allows it to be art of a distinctive kind. Treating videogames as a kind... (shrink)

In parallel with a process that has characterised modern history and in accordance with the constitutive features of utopian literature, utopian discourses have expunged fear – even fear of death or illness – from their theoretical universe. However, while describing in detail ideal places, utopias also reveal, wordlessly, the lengthy list of fears troubling a given historical age. On the contrary, the many-sided universe of negative utopias, embracing dystopian as well as ant-utopian narratives, has brought the attention back (...) on fear, putting it at the centre of human experience. (shrink)

After the many meetings held in 2016 to commemorate the five hundredth anniversary of the publication of Thomas More's Utopia, it seems fitting that we should consider the relevance of its central themes to the idea of what Europe has come to represent in the past sixty years or so. This article will proceed by recalling More's leading ideas and then indicating how later thinkers, especially after 1800, moved some of these in a specifically European direction. After touching on some (...) key moments in the European utopian narrative, this article will briefly consider some discordant dystopian episodes in this story. Then it will turn to the present and to our prospects for the longer-term future, or, at any rate, the rest of the twenty-first century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Epistemological Warfare and Hope in Critical Dystopia by Emrah AtasoyClaire P. CurtisEmrah Atasoy. Epistemological Warfare and Hope in Critical Dystopia. Ankara: Nobel Bilimsel Eserler, 2021. vii+ 167 pp. ISBN: 978-625-7589-04-8This book is an application of the idea of critical dystopia to three understudied novels and the beginning of an argument about utopian desire itself. Emrah Atasoy, a prolific author who reviewed Turkish speculative fiction in a well-received 2021 (...) Utopian Studies article, is modeling a search for hope in dystopian texts. In this book, derived from his dissertation, he examines three British novels written in three different eras of the twentieth century: Katherine Burdekin's Swastika Night (1937), Anthony Burgess's The Wanting Seed (1962), and P. D. James's The Children of Men (1992). In each novel, Atasoy argues, the protagonists move from an ignorance that served the interest of the dystopian forces to a resistant knowledge that should be read as offering hope, both as resistance and as knowledge.The book is organized in a straightforward way, with an introduction, conclusion, and then three analytical chapters, one for each of the novels. The introduction is expansive, offering both brief surveys of the nature of utopia and dystopia and a recounting of a number of themes taken up by dystopian texts: education, politics, gender roles, family life, and more. Layered onto this is a discussion of theorizing around knowledge and power and the transition from ignorance to understanding. The chapters focused on the individual novels are all similarly expansive. Atasoy offers biographical information about the authors along with considerations of the primary social and political events to which the authors might be responding. The analyses of the novels focus primarily on the motivations of the protagonists, but interspersed in the plot summaries are narrative cul-de-sacs explaining particular textual details (for example, the discussion of Theo's choice of the Greek statue of Diadoumenos as allocation to leave a note for the Warden [James, 37]). These [End Page 519] little detours are often interesting but can be distracting from the primary analytic focus.The analyses themselves also cover a lot of territory. The middle section of the chapter on The Children of Men (118–34) includes discussions of power, eugenics, religion, sexuality, punishment, assisted suicide, and immigration. Each of these is used to elucidate modes of social and political control wielded by the Warden, but the sheer number of issues included in the fast-moving analysis left me wanting more. Atasoy's analysis of Quietus nicely captures the ways in which James has created a world where the elderly are both encouraged and manipulated to end their lives for the good of the whole. This discussion fits especially well with the larger focus of his analysis on modes of social engineering. Fewer themes and more close readings like this one would have deepened the reading experience. But for anyone beginning a project on one of these novels, this book is a good place to start.This book begins and ends with the interesting contention that times of catastrophe diminish the literary production of utopia, and potentially the capacity for hope itself. While the point of this book is not to defend this claim empirically, it is one worth considering for any scholar of utopia, or any person interested in the potential of future change for the better. The book may underplay the fact of twentieth-century literary utopias (there is a brief discussion of the feminist utopias written in the 1970s and 1980s), but it is surely correct that there is an imbalance in the production of utopia in favor of dystopia. Utopias are more challenging to construct and potentially (especially in this day and time) less formulaic than dystopia, which is an increasingly popular (and marketable) genre.Kim Stanley Robinson noted in a recent interview that "[utopias] shape people's conception of what's possible that could be good in the future."1 Atasoy's book offers the possibility that a close reading of dystopian texts might well help us uncover other ways of finding out what future good is possible. By extolling the value of finding the... (shrink)

The future has become a problem for the present. Almost every critical issue is now understood and experienced through the prism of the future since this is the primary focus for the playing out of crises. Senses of the Future offers a wide-ranging discussion of theories of the future. It covers the main ideas of the future in modern thought and explores how we should view the future today in light of a plurality of very different and conflicting visions. The (...) key contribution of this book is to bring together the different approaches with an account that is grounded in sociological and philosophical analysis as opposed to visions of the future that are inspired by extreme visions of catastrophe or approaches that see the future as only the continuation of the present. Given a revival of apocalyptical visions of the ‘end times’ and dystopian views of the future of human societies, there is urgent need for a new approach on how we should imagine the future. The author explores the future as a field of tensions that is revealed in narratives, utopian desires, hope, imaginaries, and social struggles concerning the potential possibilities of the present: the future does not just arrive; it has to be fought for. This book is an important contribution to a critical sociology of the future. It is both a work of reconstruction and critique grounded in a historical and philosophical hermeneutics of the future. Table of Contents Chapter One Introduction: Conflicting Visions of the Future Contested Visions of the Future Today Return to the Future Outline of the Chapters References Chapter Two When is the Future? The Problem of Time and the Human Condition Time in the Physical World: Lessons from Physics Has the Future already Begun? Time and History Time, Life, and the Human Condition: Biology, Evolution, and Culture Conclusion References Chapter Three Lessons from the Past: What Does the Past Tell Us about the Future? The Future in the Past Failed Societies and Civilizational Collapse Catastrophes and History Conclusion References Chapter Four Modernity and the Concept of the Future: Utopia, Progress, and Prophecy The Future as Expectation The Future as an Imaginary and the Emergence of Utopianism The Future as Possibility The Future as Experience Conclusion References Chapter Five Ideas of the Future in the Twentieth Century: Futurism, Modernism, Sociology, and Political Theory New Political Ideas of the Future after 1945 Responses to the Future: From Fear of the Future to Futurology Sociological Theory and the Future Conclusion: The New Sociology of the Future References Chapter Six Critical Theory and the Future: The Sources of Transcendence The Intellectual Origins of Critical Theory: A Brief Outline The Idea of the Future in the Critical Theory of the Early Frankfurt School Habermas and the Communication Paradigm The Responsibility Paradigm and Cosmopolitanism: Jonas and Apel Critical Cosmopolitanism and the Idea of the Future Conclusion: Cultural Models and the Future as Possibility References Chapter Seven Conclusion: In The Shadow of the Future Do We Need a Theory of the Future? Are we already in a New Historical Era? AI and a Posthuman Future Struggles for the Future References Index. (shrink)

In this article, I expand upon Slavoj Zižek’s “anamorphic” reading of Alfonso Cuarón’s Children of Men. In this reading, Zižek distinguishes between the film’s ostensible narrative structure, the “foreground,” as he calls it, and the “background,” wherein the social and spiritual dissolution endemic to Cuaron’s dystopian England draws the viewer into a recognition of the dire conditions plaguing the post-9/11, post-Iraq invasion, neoliberal world. The foreground plots the conventional trajectory of the main character Theo from ordinary, disaffected man to (...) self-sacrificing hero, one whose martyrdom might pave the way for a new era of regeneration. According to Zižek, in this context the foreground merely entertains, while propagating some well-worn clichés about heroic individualism as demonstrated through Hollywood’s generic conventions of an action-adventure/political thriller/science-fiction film. Zižek contends that these conventions are essential to the revelation of the film’s progressive politics, as “the fate of the individual hero is the prism through which … [one] see[s] the background even more sharply.” Zižek’s framing of Theo merely as a “prism” limits our understanding of the film by not taking into account its status as an adaptation of P.D. James’ The Children of Men. This article offers such an account by interpreting the differences between the film and its literary source as one informed by the transition from Cold War to post-9/11 neoliberal conceptions of identity and politics. To articulate the terms of this argument and its implications, I turn to another narrative depicting the identity and politics at the end of history, Francis Fukuyama’s infamous The End of History and the Last Man, published the same year as James’ novel, both offering meditations on the Cold War and speculations on its aftermath. Incorporating these two texts into Zižek’s anamorphic paradigm contributes to our understanding of the film’s message regarding the “state of things” during the post-9/11 era, as well as the Cold War era that preceded it, as perceived through the eyes of Theo adapted to suit the respective dystopian conditions of the novel and film. (shrink)

Utopias are embedded in contexts from which they derive meaning and significance. As a vehicle for speculation, intervention, and creativity, narrative utopia reflects the circumstances of its times, including its culture's relationship to the past. This article offers a survey of ways in which utopias engage with the problematics of historical memory both by looking to the past in the “real” world or in a mythical world and by positing fictional peoples with their own historical memory/ies, as instanced in legends, (...) libraries, works of art, and so on. The erasure or falsification of memory, on the other hand, appears as an important leitmotif of the dystopian imagination. By pointing out a variety of examples and issues, the article will attempt to bridge the existing gap between utopian studies and cultural memory studies. (shrink)

Abstractabstract:Marjorie Barnard (1897–1987) and Flora Eldershaw (1897–1956) were prolific Australian authors who co-wrote, under the pseudonym "M. Barnard Eldershaw," five novels and four works of nonfiction published between 1929 and 1947. Their final collaboration, a future fiction entitled Tomorrow and Tomorrow, first appeared in Melbourne in 1947 and was reissued by the London feminist publisher Virago in 1983. Lyman Tower Sargent's bibliography of Australian utopian fiction describes the novel thus: "Dystopia. Public opinion sampling used to limit liberty." This is a (...) reasonable enough shorthand description of the novel's frame narrative, set in the "Tenth Commune" located somewhere in what is now the Riverina district on the border of New South Wales and Victoria, at some time in the twenty-fourth century. This article will argue, however, that the Tenth Commune is closer to a flawed eutopia than an outright dystopia; and that the novel's truly dystopian content lies in its core narrative, Knarf's novelistic account of mid-twentieth century Australia, which culminates in a quasi-apocalyptic destruction by fire of the city of Sydney. The extraordinary violence of this account will be contrasted to the essentially nonviolent character of the Tenth Commune and both will be situated in relation to Barnard's growing involvement in the pacifist Peace Pledge Union. (shrink)

Over the past two decades, stories of world-ending catastrophe have featured prominently in film and television. Zombie apocalypses, climate disasters, alien invasions, global pandemics and dystopian world orders fill our screens-typically with a singular figure or tenacious group tasked with saving or salvaging the world. Why are stories of End Times crisis so popular with audiences? And why is the hero so often a white man who overcomes personal struggles and incredible obstacles to lead humanity toward a restored future? (...) This book examines the familiar trope of the hero and the recasting of contemporary anxieties in narratives like The Walking Dead, Snowpiercer and Mad Max: Fury Road. Some have familiar roots in Western cultural traditions yet many question popular assumptions about heroes and heroism to tell new and fascinating stories about race, gender and society and the power of individuals to change the world. (shrink)

Utopianism has found expression in several ways throughout history and has reflected the peculiarities of the cultural, political, social, and economic settings in which it has come about. Spain in the nineteenth and twentieth centuries has been no exception, because while the country has not occupied a significant place in the dominant historical narrative of utopias, recent research has begun to show that it was indeed where many tracts with utopian—and, by way of correlation, dystopian—content came on the scene. (...) Whether we look at the concept of utopia from a formal standpoint, in the sense of a specific literary genre, or we demand certain content features to discuss true utopias, we find that they thrived in.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature in MindH. G. Wells and the Evolution of the Mad ScientistAnne StilesIn 1893, H. G. Wells's article "Man of the Year Million" dramatically predicted the distant evolutionary future of mankind:The descendents of man will nourish themselves by immersion in nutritive fluid. They will have enormous brains, liquid, soulful eyes, and large hands, on which they will hop. No craggy nose will they have, no vestigial ears; their mouths (...) will be a small, perfectly round aperture, unanimal, like the evening star. Their whole muscular system will be shriveled to nothing, a dangling pendant to their minds.2The editors at Punch evidently found this prediction hilarious, publishing a poem and accompanying sketch ridiculing Wells's lopsided future humans (Figure 1, p. 318). But not everyone was laughing.As ridiculous as Wells's bodiless, large-headed "human tadpoles" may seem, they were based on the most rigorous evolutionary science of their day. Wells, a lower-middle-class academic prodigy, received a prestigious [End Page 317] Click for larger view View full resolutionFigure 1."1,000,000 A.D.," Punch, or the London Charivari, 25 November 1893, 250.[End Page 318]government scholarship to attend the Normal School of Science in South Kensington (later absorbed into the University of London). Though Wells left South Kensington in 1887 without earning his degree, he was greatly inspired by his biology teacher, famed physiologist Thomas Huxley. Wells absorbed Huxley's pessimistic take on late-Victorian evolutionary theory, particularly his emphasis on the inherent brutality of natural selection.Huxley's pessimism surfaces in Wells's dystopian scientific romances, which imaginatively probe the consequences of evolutionary theory run amok.3 Beginning with the eponymous mad-scientist villain of The Island of Dr. Moreau (1896) and continuing with alien invasion narratives like The War of the Worlds (1897–98) and The First Men in the Moon (1901), Wells depicts brains becoming steadily larger and more powerful as bodies grow smaller and more useless, emotions increasingly muted, and conscience all but silenced. Wells's nightmarish vision of the massively over-evolved brain unites these three works, as the ruthlessly intellectual biologist Moreau morphs into the amoral, top-heavy Martians and lunar inhabitants.Wells's malevolent mad scientists and extraterrestrials owe an intellectual debt not only to Huxley, but also to discussions of genius and insanity in late-Victorian issues of Mind (1876–present).4 The now-familiar trope of the mad scientist in fact traces its roots to the clinical association between genius and insanity that developed in the mid-nineteenth century. Authors like Scottish journalist and materialist philosopher John Ferguson Nisbet, English eugenicist Francis Galton, and Austrian Jewish physician Max Nordau—all of whose works were reviewed in Mind—argued that mankind had evolved larger brains at the expense of muscular strength, reproductive capacity, and moral sensibility.5 Wells drew upon these arguments in his fiction and even contributed his own article to Mind, a philosophical reflection on science entitled "Scepticism of the Instrument" (1904).In its unique role as "the first English journal devoted to Psychology and Philosophy." Mind was an ideal venue for an inherently interdisciplinary [End Page 319] subject like the clinical study of genius.6 The journal's first editor, George Croom Robertson, was particularly concerned that articles in Mind rise "above the narrowing influences of modern specialism."7 This disciplinary breadth attracted contributors from all fields, including fiction writers and literary critics like George Henry Lewes, Grant Allen, Andrew Lang, and, of course, H.G. Wells. During the same period, literary works probed ideas discussed in Mind, such as the nature of the soul, the possibility of free will, and the ramifications of biological determinism. In the four decades following its auspicious start, Mind provided a venue where scientists, philosophers and literary authors could find intellectual common ground.In this essay, the early fiction of H.G. Wells will serve as a case study of cross-fertilization between literature and scientific ideas discussed in Mind. The goals of this exploration are threefold: to gain a better understanding of the journal's history and influence; to investigate why Victorians associated genius with insanity; and to illuminate the shared... (shrink)

This article inserts Aldous Huxley's Brave New World into a bioethical conversation about the value of old age and old people. Exploring literary treatments of bioethical questions can supplement conversations within bioethics proper, helping to reveal our existing assumptions and clear the way for more considered views; indeed, as Peter Swirski has argued, literary texts can serve as thought experiments that illuminate the ramifications of philosophical ideas. This essay examines the novel's representation of a society without old people in conjunction (...) with ideas about aging and life narratives put forward by philosophers and bioethicists such as Ezekiel Emanuel, Gilbert Meilaender, and Alasdair MacIntyre. While critics, and Huxley himself, view the Brave New World as dystopian primarily because of its depiction of a totalitarian society where art, truth, and meaning are sacrificed to pleasure and distraction and where the ruled are programmed not to question the values of their rulers, the novel also makes clear that the excision of old age has significant political, moral, and emotional costs. (shrink)

Within educational philosophies that utilise the Heideggerian idea of ‘authenticity’ there can be distinguished at least two readings that correspond with the categories of ‘weak’ and ‘strong’ utopianism. ‘Strong-utopianism’ is the nostalgia for some lost Edenic paradise to be restored at some future time. Here it is the ‘world’ that needs to be transcended for it is the source of our inauthenticity, where we are the puppets of modernist-capitalist ideologies. ‘Authenticity’ here is a value-judgment, understood as something that makes you (...) a better person. The ‘inauthentic’ person is simply deceived. ‘Weak-utopianism’ is recognising the forces for change in the ‘everyday-immanent’ where we do not look to overcome the world but own it as ‘heritage’. ‘Authenticity’ here is an ontological choice, a modification of inauthenticity, not its opposite. The ‘cult of the authentic’ relates to the ‘strong utopianism’ where ‘authenticity’ has become fetishized, harking back to a purer, pre-modern state, untainted by the ideals of the Enlightenment and ethos of capitalism. ‘Authentic education’ is the overcoming of our environments and socio-historical contexts, opening up new horizons of meaning. The radical notion of freedom that this implies, where one is free from rather than free in the realisation of constraint, may also be another dividing line between the ‘strong’ and ‘weak’ readings, which lend themselves to a Messianic narrative. It will be argued that if ‘authentic education’ is understood through a ‘strong utopianism’ it actually re-enforces those very same dystopian ideals they look to overcome as characterised by ‘enframing’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Age and Ageing in Contemporary Speculative and Science Fiction by Sarah Falcus and Maricel Oró-PiquerasMariana Batista da CruzSarah Falcus and Maricel Oró-Piqueras, eds. Age and Ageing in Contemporary Speculative and Science Fiction. London: Bloomsbury, 2023. 248 pp., hardcover, $115.00. ISBN 9781350230668.The pervasiveness of questions of temporality, futurity, and immortality in science and speculative fiction opens new perspectives on aging and generationality. However, despite the potential of these genres (...) to illuminate alternative ways of thinking about the human being in time, there has been a clear tendency within the field of aging studies to favor the analysis of realist narratives. To be sure, Age and Ageing in Contemporary Speculative and Science Fiction does not venture into completely uncharted territory. Teresa Mangum's study of "rejuvenation narratives," Andreu Domingo's conceptualization of "demodystopias," and Sarah Falcus's analysis of generational anachronism in dystopian novels have attempted to fill related gaps in aging studies.1 Yet Sarah Falcus and Maricel Oró-Piqueras's edited collection of essays is the first extensive study of speculative and science fiction (SF) as cultural productions that encode prevalent concerns about age and aging societies.Focusing on texts from Europe, North America, and South Asia, with particular emphasis on the anglophone world, the scope of the collection is limited but its contributions are rich in the range of themes that they address. This broad variety, touching on questions of genre, immortality, bio-power, demographic change, temporalities, and transhumanism, renders the book relevant not only to those working within the field of aging studies, in [End Page 266] particular scholars of SF and those more generally interested in representations of futurities.The collection is divided into two parts: The first part consists of six essays, each of which analyzes a range of SF narratives and identifies "genre-based trends in the representation of age and ageing" (4); the second part presents five detailed case studies that consider specific SF texts. This structure suits the book's goal of mapping the intersections between studies of SF and aging studies. The first part illuminates recurrent patterns in the representation of aging in works of SF, while the cases analyzed in the second part demonstrate the range of creative and aesthetic possibilities that SF affords to reimagine human temporality. The two parts contain chapters on literary as well as audiovisual texts, including essays on film, TV, and a play. The latter are a valuable addition to the collection, not only, as the editors point out, due to "the importance of the visual medium to SF/speculative writing" (4), but also given the popularity and reach of these textual modes, which establish SF as particularly influential forms of cultural representation.The chapters in the first half of the book center around the topic of longevity, exploring narratives that capture hopes and anxieties connected to the possibility of prolonging human life. Teresa Botelho's essay on the opportunities that science fiction provides to reimagine humanity's "biological destiny" (10) opens the collection well, as it introduces topics that are further developed in subsequent chapters. Focusing on texts that construct transhumanist scenarios where enhancement technologies have made rejuvenation, immortality, or life extension tangible realities, this chapter considers how SF narratives have questioned the desirability and political implications of these changes to the human life span. Peter Goggin and Ulla Kriebernegg study age regression and progression as narrative devices to show how popular SF films and TV series have assigned meanings to old age and given expression to dominant concerns regarding aging. The narratives that they analyze have done little to subvert dominant cultural assumptions about old age, and older women in particular continue to be underrepresented in SF.Generationalism is the focus of Falcus and Oró-Piqueras's discussion of anglophone longevity narratives, one of the highlights of the first part of the book. This chapter examines literary and audiovisual texts that project future worlds where the aging process has been successfully halted or delayed: the novels Super Sad True Love Story by Gary Shteyngart (2010), The Postmortal by Drew Magary (2011), and Everything Belongs to the Future by Laurie Penny (2016), as well as the film... (shrink)

To treat The Walking Dead as if it were only a zombie apocalypse story is to miss the deep and fundamental questions about society that the story raises. By looking past the immediacy of the zombie threat that drives the main narrative of the story – survival – it is possible to tease out important questions about community, social organization, leadership, utopian and dystopian world building, and, most importantly, morality. By focusing on the communities that come together in The (...) Walking Dead, this chapter examines how societal questions of utopian and dystopian world building frame important questions about how society functions, how it ought to function, and what it will take to get us beyond the problems plaguing contemporary society. (shrink)

The Anthropocene debate is one of the most ambitious scientific programmes of the past 15 or 20 years. Its main argument is that, from a geological point of view, humans are considered a major force of nature, thus implying that our current geological epoch is dominated by human activity. The Anthropocene has slowly become a contemporary meta-narrative that seeks to make sense of the ‘earth-system’ as a whole, and one whose vision of the future is dystopian rather than progressive: (...) as the exploitation of the planet’s natural resources reaches tipping point, the very prospects of the continuity of human life are being questioned. This article aims to explore the implicit notions of the human – indeed of the anthropos – that are being mobilized in the Anthropocene debate. It will proceed in two stages: first, the article will spell out the main arguments of the Anthropocene debate with a particular focus on trying to unpack its implicit ideas of the human. Second, it will use my approach to philosophical sociology to highlight some of the limitations and contradictions of the ideas of agency, reflexivity and responsibility that underpin the Anthropocene debate. (shrink)

Through an analysis of Suzanne Collins’ The Hunger Games trilogy (2008, 2009, 2010), this text will consider the ways in which contemporary postfeminism can be read as a dystopic narrative. The protagonist of the novel (and the rest of the trilogy) is Katniss Everdeen, a young woman who through an ethics of care, disruption of the heteronormative script, and a critical posthuman embodiment offers an alternative to the dystopic present offered by postfeminism. In Katniss’ dystopian world, Collins constructs a (...) narrative that highlights the continued need for a feminist politics of engagement and activism that works against claims for neo-liberal individualism. (shrink)

One feature that classical apocalyptic writings commonly share is their eschatological dimension, their "sense of an ending"1—the end of the world, of time, of humanity. But whereas traditional apocalyptic texts were for the most part utopian, their tales of destruction followed by narratives of redemption, modern secular apocalyptic literature is largely dystopian, ending in pure devastation. According to some scholars, the very arrival of modernity, beginning with Cartesian philosophy and its inherent doubt, was apocalyptic in nature. In the (...) twentieth century, as Thomas Altizer has argued, no central literary work—from Rilke to Kafka and from Joyce to Beckett—managed to eschew the apocalyptic.2 Today, at the .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hope Draped in Black: Decolonizing Utopian StudiesCaroline Edwards (bio)What does utopian studies have to learn from critical race theory, Black studies, and ideas of Black futurity? While utopian scholars have begun unpicking the colonial entanglements of utopianism’s origins (particularly as a literary genre grounded in pelagic crossings to the New World that have advocated slavery, extractivism, and eugenics to name a few notable examples across the utopian canon), few, (...) if any, have incorporated the perspectives, aesthetics, and theoretical work of Black scholars themselves.1 The following are a few brief remarks organized around keywords (in a nod to Raymond Williams, a fierce advocate of utopian thinking) that attempt to sketch an answer to these questions, with a focus on my own area of utopian study: utopian literary and cultural production in the contemporary period.ProgressWe might start by considering the literary utopia’s most prolific period, from roughly 1880 to 1915. In a deluge of utopian narratives, many of them penned by amateur writers, we find the emergence of a genre that is thoroughly [End Page 498] rooted in industrialized progress. Whatever their perspective on capitalism and waged labor, these works privilege advanced industrialization as the primary means to eliminate poverty and disease, thereby liberating workers into automated futures of post-scarcity abundance. Examples include Edward Bellamy’s highly rationalized system of pneumatic delivery (Looking Backward: 2000–1887 [1888]), Mary E. Bradley Lane’s chemical production of food from waste products (Mizora: A World of Women [1890] 1999), H. G. Wells’s titanic hydro-powered engineering (Men Like Gods [1923]), Edward Bulwer Lytton’s lithic limitless energy, Vril (The Coming Race [1871]), or the ubiquitous electricity that powers Elizabeth Burgoyne Corbett’s clean city (New Amazonia: A Foretaste of the Future [1899] 2011), Alice Ilgenfritz Jones and Ella Marchant’s advanced Martian society (Unveiling a Parallel: A Romance [1893]), and Alexander Bogdanov’s advanced scientific culture on the red planet (Красная звезда [Red Star (1908) 1984]). Indeed, many notable dystopian novels begin with the same premise of highly automated societies that focus, rather, on the awfulness of life without purpose (Anna Bowman Dodd’s The Republic of the Future; Or, Socialism a Reality [1887], E. M. Forster’s “The Machine Stops” [1909], Kurt Vonnegut’s Player Piano [1952]). While they are far from uncritical of the telos of historical progress (most of the works highlight the class and gender inequalities of their own time), utopian novels in this period tend to view the utopian process as one of harnessing historical progress in a more equitable direction; they rarely question the Hegelian premise that history moves through contradictory forces in a dialectical series of stages.In his 2016 book Hope Draped in Black, Joseph R. Winters explores the lasting damage that ideas of historical progress have wrought on Black writers, artists, and thinkers. While notions of racial uplift are loaded with a linear narrative of Black progress such conceptions, he writes, “are mediated by melancholy, loss, and a recalcitrant sense of tragedy” (6–7). Building on Adorno and Horkheimer’s landmark critique in Dialectic of Enlightenment (1944) as well as the works of W. E. B. Du Bois, Winters notes thatmodern notions of progress and freedom are inherently flawed and problematic because they rely on and are intertwined with practices and conditions—capitalism, colonial expansion, racial hierarchies, endeavors, and incentives to usurp and possess that earth—that are harmful to non-Europeans, working-class bodies, women, and other groups.(2016, 8) [End Page 499]Examining the relationship between melancholy and hope in Black literary and aesthetic traditions, Winters explores how writers such as Toni Morrison and Ralph Ellison incorporate jazz into their works, using its discordant, improvisational structures to imagine time out of joint (the Derridean deferral of justice announced by the arrival of the specter of old King Hamlet, who returns) (Derrida 1994). Here, Winters writes, “the past can always haunt and disturb the present [so that] the present is always a site of potential breaks and ruptures that can signify both dislocation and pain as well as novelty and possibility” (2016, 25). If we are to contemplate the almost overwhelming task of decolonizing utopian studies, then... (shrink)

Contemporary critics have opined that the vision of dystopian texts has come true about the present situation rather than about the future. In today’s technologically driven world, where the gulf between speculative fiction and political reality seems to have narrowed, feminist dystopian fiction has gained immense popularity. These texts address gender ideologies and issues and often use current social conditions to demonstrate the sexism inherent in patriarchal societies. This article aims to analyse the novel Vox (2018) by American (...) writer Christina Dalcher within the framework of feminist dystopia to highlight the unbridled nature of violence used against women and the eventual emergence of the female body as the locus of self-articulation and resistance against the dystopian authority. It also demonstrates how the novel creates a narrative space within which the feminine body is transformed from a static object of representation to a potent subject of the text. (shrink)

Considering a number of recent works on the ideology and culture of Fascism, the article explores how the concept of utopia, as formulated by different thinkers, can prove useful in attempting to unlock some of the mechanisms through which Fascism sought to manipulate the imagination and the aspirations of Italians. It focuses on the written accounts of writers and journalists who reported on the supposed achievements of the regime both in Italy and in the newly established colonies. It examines the (...) cult of Rome, which was increasingly to become the symbolic language of Fascism, and explores how, in the writings of one journalist after another, the regime was represented as having recovered the powerful utopia of the ancient past. The article then looks at the kind of rhetoric that surrounded some of the most important building projects that took place in Italy in the 1930s. It suggests that the creation of a blueprint for an ideal society was central to this rhetoric and that the notion of the arrival in an earthly paradise was to form the master narrative for most representations of Mussolini's newly acquired African territories. The article then looks at some of the competing versions of utopia that were presented, albeit subliminally, in the official media of the time. It examines some of the dystopian images of the United States that were manufactured on the eve of the Second World War. It concludes by pointing to the violence and intolerance imbedded within the utopian project of Italian Fascism. (shrink)

ABSTRACT The phrase “ambiguous utopia” was coined by Ursula K. Le Guin in the subtitle of her novel, The Dispossessed: An Ambiguous Utopia. That work appeared when utopian narratives had been displaced by dystopian imaginaries. This article embarks on a comparative analysis of three short stories: Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas”, Angélica Gorodischer’s “Of Navigators”, and N. K. Jemisin’s “The Ones Who Stay and Fight”. Each author installs ambiguity at the center of (...) their open-ended utopian imaginaries as a way to challenge dogma, pessimism, and complacency. Le Guin interrogates the boundary between belief and knowledge to hold the threat of authoritarianism at bay. Gorodischer, a friend and contemporary of Le Guin, is considered a central figure of Argentine science fiction and fantasy. Her story imagines the discovery of a second Earth set in 1492 and highlights the need for utopianism to challenge the legacy of colonization. Finally, Jemisin’s story is a critical homage to “Omelas.” Jemisin shares the decolonial impetus of Gorodischer’s fiction, and she constructs Um-Helat on an explicitly antiracist foundation. Instead of walking away, her characters actively fight the creeping threat of intolerance while working toward that better place. (shrink)

Billy Wilder's classic film ‘Some Like It Hot’ prefigures Judith Butler's concept of performativity in relation to sex, gender and sexuality. Butler introduced this in Gender Trouble, demonstrating that sex, gender and sexuality are naturalized effects of citation and repetition. In that text she explains that denaturalization is visibly demonstrated by drag. Later in Bodies that Matter she argues that drag in ‘Some Like It Hot’ does not denaturalize heterosexuality, but rather fortifies it. What then for Butler divides denaturalizing drag (...) from non-denaturalizing drag? Butler locates denaturalizing drag in the film ‘Female Trouble’, where Divine's drag-queen persona satirizes gender in a hyperbolic performance. However, Butler misconstrues the cross-dressing performances in ‘Some Like It Hot’ as drag, which are better understood as instances of theatrical disguise. Narrative analysis reveals that all the characters in ‘Some Like It Hot’ function within a dystopian critique of heteronormativity. Because the film takes a performative view of sex, gender and sexuality, it can validate three queer couples who defy the strictures of heterosexual romance. Butler thus overlooks a discourse of critique and destabilization alternative to gay perspectives. Current developments in sexual politics, broadly conceived, track both Butlerian concepts of performativity and dystopian critiques of heteronormativity. (shrink)