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 correspondence offers a counterpoint to the recent article of Dov Greenbaum and Mark Gerstein defending the pertinence of GATTACA 25 years after its release. I develop three arguments for not being enthusiastic about dystopian representations in the ethical, legal, and social discussion of genetic technologies and genomic sciences.

This article argues that sociologists have much to gain from a fuller engagement with dystopian literature. This is because the speculation in dystopian literature tends to be more grounded in empirical social reality than in the case of utopian literature, and the literary conventions of the dystopia more readily illustrate the relationship between the inner life of the individual and the greater whole of social-historical reality. These conventional features mean dystopian literature is especially attuned to how historically-conditioned social forces shape (...) the inner life and personal experience of the individual, and how acts of individuals can, in turn, shape the social structures in which they are situated. In other words, dystopian literature is a potent exercise of what C. Wright Mills famously termed ‘the sociological imagination’. (shrink)

Regardless of its ontological status and seemingly subsidiary role, the beyond—real, oneiric, imaginary, or otherworldly—constitutes, I intend to argue, an indispensable and complementary component of any dystopian reality. Paradoxically, it may be claimed that what lies outside a given dystopia—beyond its impassable boundaries—determines, ultimately, whether we deal with the Orwellian or the Hollywood type of "bad world."1 Contrary to the latter, the former systematically compromises and eliminates one kind of the beyond after another, leaving its inhabitants with neither space nor (...) time nor discourse that could allow them to imagine that they are behind the confines of dystopia. No matter how far Winston Smith... (shrink)

This essay seeks to exploe the nature and effects of the new Post-Industrial Revolution as epitomized by the digital universe, the fusion of synthetic biology and cybenetics, and the promise of genetics, engendering new hopes of a techno-utopian future of material abundance, new virtual worids, human-like robots, and the ultimate conquest of nature. Central to this prefect is the quest for transcending human limitattons by changing human nature itself, consciously directing evolution toward a posthuman or transhuman stage. Less well understood (...) is the utopia-dystopia syndrome illuminated by ttw dystopian imagination refracted in science-fiction literature in such famous twentieth-century dysopias as Yevgeny Zamyatin's We, Aldous Huxley's Brave New World, and George Orwell's 1984, cautioning that utopias may lead to their opposite: dystopia, totalitarianism, dictatorship. The thrall of techno-utopia based on technology as a prosthetic god may lead to universal tyranny by those who wield political power. The essay concludes that what humanity needs is not some unattainable Utopia but rather to cherish and nurture its God-given gifts of reason, free will, conscience, moral responsibility, an immortal soul, and the remarkable capacity of compasston to become fully human. (shrink)

Although utopian and dystopian elements are a prominent characteristic of twenty-first-century British plays, there is still a significant research gap on these works, as the conference's organizers, Merle Tönnies and Eckart Voigts, pointed out in their introductory remarks. Bringing together drama and theatre studies, cultural studies, and political sciences/sociology, Tönnies and Voigts agreed to convene a conference to address this topic in an interdisciplinary and comprehensive manner. It was originally intended to take place at the Centre for Interdisciplinary Research at (...) the University of Bielefeld in April 2020, which would have provided a space to bring together not only different... (shrink)

The significance of utopian thought for education can be made evident through reconceptualizing utopia and approaching it alongside the notion of dystopia. Awareness of dystopian elements of reality radicalizes the kind of critique that assists utopian thought and makes engagement with it more pressing. Awareness of the lurking danger of future dystopia goes hand in hand with a utopia that is cautious and vigilant of its own possible turn into catastrophe. If education is not just an institution of the unreflective (...) socialization and social integration of the young immersed in technicist and prudentialist goals, if it is about futurity and vision of a better world, it has to rely on, and renegotiate, utopian thought. Yet, all this presupposes a new descriptive account of the self and the world that breaks with the kind of anthropology and ethics that generated a particular conception of utopia as impossible and purely oneiric. (shrink)

In this article Paul Warmington examines the dystopian analyses pervading recent work by David Blacker, John Marsh, and Pauline Lipman. Their unsettling depictions of education under late capitalism bear witness to irreversible economic and environmental malaise, the colonization of education by neoliberalism, and the unsustainability of faith in education as the driver of economic security and social mobility. In reality, our education systems are now barely able to mask the fact that increasing numbers of people are being fitted for dispensability, (...) that is, elimination from the socio-educational mainstream. These three authors return neo-Marxist structural theory to us in chastened form. They acknowledge the lessons of cultural studies, feminism, and critical theories of race, but they are unafraid to suggest that correspondence, determinism, and pessimism may again need to enter our theoretical worldviews. However, their pessimism has political value. Rather than defeating us, it may become the imperative for political and educational change. (shrink)

"We live in dystopian times." With this striking statement, Adam Stock opens his latest work, Modern Dystopian Fiction and Political Thought: Narratives of World Politics. To support this temerarious contention, Stock explores the generic conventions and themes of dystopian novels of the early to mid-twentieth century, from which readers recognize dystopia as a specific genre of fiction that has achieved a "symbolic cultural value in representing fears and anxieties about the future". Hence, the study of dystopian narratives will help readers (...) to grasp "a richer and more nuanced view of politics, as well as achieving greater understanding of this literary genre".Noting the ubiquity of the word dystopia as... (shrink)

Maxwell J. Mehlman, Transhumanist dreams and dystopian nightmares: The promise and peril of genetic engineering, Baltimore: Johns Hopkins University Press, 2012, reviewed by Sheryl de Lacey.

This paper develops a critic on International Human Rights departing from the criticism directed to utopian discourses of political organization of society, as both of them share an evolutionist and ethnocentric foundation, namely, the universal and unconditionally valid reason. The idea is to undertake a serious criticism on reason, always potentially dystopian, in order to unravel the colonialist ethos and the civilizing character of current Public International Law leading discourse of Human Rights.

While utopians cannot produce what they can imagine, we can no longer imagine what we produce. It is increasingly the case that undergraduate teacher candidates find themselves enrolled in courses that have been developed “in partnership” with local school districts—districts adjacent to the actual universities where they are enrolled. Recently, one such partnership arrangement had a foundation of education professor and initial certification students oscillating between two school districts located in the same large suburban area. One side of town is (...) inhabited by mostly minority children in underfunded schools—commonly viewed as the “bad” district. The other side of town has the “better” district, as it .. (shrink)

Mark Doyle's Utopian and Dystopian Themes in Tolkien's Legendarium reads Tolkien's work through the history of utopian and dystopian thought. The aim of this new study is not to prove that Tolkien set out to write dystopian fiction or create a blueprint for a utopian society, but that utopian and dystopian societies and settings crucially inform his legendarium. By placing his study outside of its usual fantasy context, Doyle gives us a valuable societally focused and historicized contribution to both Tolkien (...) and utopian studies respectively, yet one occasionally marred by the author's own unexamined value judgments.The book examines several aspects of Tolkien's legendarium, from its utopian and dystopian literary... (shrink)

Diana Palardy's book is a remarkable work bringing contemporary Spanish interpretations of dystopia to a wider audience. Her work is incisive, thoughtful, and challenging in its analysis while remaining approachable. The text is broken into seven sections, each focusing on a particular narrative that provides a key element to Palardy's conclusion. Each section is delivered in manageable subsections that allow new readers to ease into the material while still providing for the rigor more familiar scholars will appreciate.The key themes of (...) the book are built around Palardy's position that an urban cultural studies approach is not only relevant but necessary, because "more dystopias take place in urban settings than... (shrink)

During the past decade, since the publication of Suzanne Collins's The Hunger Games,1 dystopian fiction for young adults has become an important contemporary genre.2 Like its adult counterpart, YA dystopian literature often engages with contemporary, global matters, including environmental destruction, societal inequality and segregation, and exploitation of the weak.3 Furthermore, many recent YA dystopias have featured strong female protagonists.4 These tenets are reflected in the two dystopian YA novels Exodus and Zenith,5 written by Scottish award-winning author of novels for children (...) and young adults Julie Bertagna, that are the subject of this article. Of particular pertinence is the novels'... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Brisbane: Utopian Dreams and Dystopian Nightmares by William (Bill) MetcalfLyman Tower SargentWilliam (Bill) Metcalf. Brisbane: Utopian Dreams and Dystopian Nightmares. Brisbane History Group Studies no. 11. Tingalpa: Boolarong Press, 2022. 297 pp. Australian $30.00 ISBN: 9781922643445.Bill Metcalf, the foremost scholar on Australian intentional communities, has discovered and written about a number of Australian utopias. In Brisbane: Utopian Dreams and Dystopian Nightmares he focuses on a subset of Australian (...) utopias, those written by people who lived in Brisbane plus one Brisbane architect who made designs for a future utopian Brisbane. One of the books, A Workingman’s Paradise: An Australian Labour Novel (1892), is well known, particularly in Australia. A second novel, The Adventures of Halek: An Autobiographical Fragment (1882) by John H. Nicholson, will be familiar to some readers. The others will be unfamiliar to most readers both in Australia and in the rest of the world. I learned of many of them through Metcalf ’s previous work and correspondence with him. Given this situation and the fact that a few of the books are only available in Australia, I have said something about all of them.The book begins with “A Brief Overview of Utopianism” (1–6), an introduction suitable for those unfamiliar with the subject, followed by “Overview of Brisbane in the 1880s and 1890s” (7–12), which gives all readers an initial context. The entire book is strong on context, particularly local context. The following nine chapters are on authors or coauthors of utopian texts and one artist. All the chapters begin with substantial biographical information about the authors, as well as their activities and the Brisbane context within which they lived, followed by a presentation and discussion of their utopias. [End Page 158]The first authors mentioned are William and Annie Lane, which immediately raised a question in my mind. The two works discussed, the racist “White or Yellow? A Story of the Race-war of A.D. 1908” by Sketcher (serialized in The Boomerang in 1888), and the socialist A Workingman’s Paradise by John Maurice Miller, have always been identified as written by William Lane—with no mention of Annie. Metcalf suggests, but with minimal discussion, that while “White or Yellow” was by William, Annie was the unacknowledged coauthor, perhaps even author, of A Workingman’s Paradise. So, I asked Metcalf about the attribution and in a substantial email of October 5, 2022, he laid out the argument, which is based in part on the work of a former student, John Kellett, published as “One-Woman-One Vote: Annie Lane, ‘Lucinda Sharpe,’ and the Female Franchise in Late-Nineteenth Century Queensland” (Hecate 30, no. 2 [2004]: 37–52).Lucinda Sharpe was the nom de plume of a weekly contributor to the newspapers published by William Lane. It has been believed that he wrote all the articles. Kellett, however, makes a strong case that Annie, who was a working journalist in Canada when she met William (also a working journalist), was Lucinda Sharpe. In particular, Kellett notes the extreme differences between William’s usual style and that of Lucinda Sharpe and compares it to material known to be written by Annie. Kellett concludes, based on the similarities between Lucinda and Annie and other evidence, that Lucinda was Annie. But Kellett is only concerned with the Lucinda Sharpe works and the way they presented the case for the franchise; he does not mention either of the works that Metcalf discusses.In his email to me, Metcalf expands on Kellett, saying thatWhile researching for this book I re-read The Workingman’s Paradise and again I was struck by how the sentence structure and language differs from William Lane’s usual work. Then I compared it to “Lucinda Sharpe,” and it was similar. I discussed this observation with John Kellett, now retired and living in Armadale, and he agreed. That led me to conclude that Annie Lane probably wrote The Working Man’s Paradise. Perhaps/probably with William’s input. The real giveaway is when William tries to write in a female voice, as in White or Yellow with the Cissie character, it is very stilted, “twee” and demeaning. When... (shrink)

In this paper I describe a future in which persons in advanced old age are cared for entirely by robots and suggest that this would be a dystopia, which we would be well advised to avoid if we can. Paying attention to the objective elements of welfare rather than to people’s happiness reveals the central importance of respect and recognition, which robots cannot provide, to the practice of aged care. A realistic appreciation of the current economics of the aged care (...) sector suggests that the introduction of robots into an aged care setting will most likely threaten rather than enhance these goods. I argue that, as a result, the development of robotics is likely to transform aged care in accordance with a trajectory of development that leads towards this dystopian future even when this is not the intention of the engineers working to develop robots for aged care. While an argument can be made for the use of robots in aged care where the people being cared for have chosen to allow robots in this role, I suggest that over-emphasising this possibility risks rendering it a self-fulfilling prophecy, depriving those being cared for of valuable social recognition, and failing to provide respect for older persons by allowing the options available to them to be shaped by the design choices of others. (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)

Physicians and other healthcare professionals are increasingly finding ways to use artificial intelligent decision support systems in their work. IBM Watson Health, for example, is a commercially available technology that is providing AI-DDS services in genomics, oncology, healthcare management and more.1 AI’s ability to scan massive amounts of data, detect patterns, and derive solutions from data is vastly more superior than that of humans. AI technology is undeniably integral to the future of healthcare and public health, and thoughtful consideration of (...) the legal, ethical and moral issues surrounding this technology is a must. The authors of the article, Responsibility, Second Opinions, and Peer-Disagreement—Ethical and Epistemological Challenges of Using AI in Clinical Diagnostic Contexts, provide an informed discussion of how AI-DSS may be used, both practically and ethically, to assist healthcare professionals in cooperative diagnostic processes2. The authors propose a process, whereby AI-DSS would provide a physician a second opinion, and when there is a mismatch between opinions, another physician would provide a third opinion. This approach maintains a ‘physician-in-charge’ perspective, and suggests that decision-making must ultimately be made by a person. This approach is also consistent with the ‘physician in-the-loop’ concept, such that even when increasingly autonomous AI-DSSs are put to use, physicians will still be providing checks and overseeing clinical decisions. The authors conceptualise AI as a replacement of human cognitive labour. That is, AI is used to supplant a human professional in particular functions …. (shrink)

It is impossible to ignore the enduring and sweeping popularity of young adult novels written with a dystopian, or even apocalyptic, outlook. Series such as Th e Hunger Games, Th e Maze Runner, and Divergent present dark and boding worlds of amplifi ed terror and societal collapse, and their vulnerable protagonists must answer constant environmental, social, and political challenges, or risk starvation, injury, and various formsof pain and suff ering. More frequently than not, the tensions of the dystopian YA universe (...) turn to the natural world, one of sustenance and renewal, for resolution. The continued popularity of dystopian fi ction written expressly for young adult readers requires critical examination, as teachers must prepare themselves to deal with the questions raised by these texts. Th e trend toward the dystopian seems like rather a bleak expression of political and social hopelessness, but it does off er certain insights into what young readers want from the world around them. Much of the appeal of the dystopian comes from imagining not just problems, but how to solve them. The ingenuity and resourcefulness displayed in dystopian YA novels is not only appealing, but becomes a bold and ultimately optimistic statement on the need for environmental and social sustainability. The optimal incorporation of dystopian YA into the English as a foreign language curriculum relies on the preparation of instruction as understood by Wolfgang Klafki in a mode and format that feels fresh and encourages student-led engagement, genuine multimodality, and an organic progression from the closed circle of the classroom to the open arena of adult civilization. (shrink)

Dystopias matter because they make us think. They help us to imagine and envisage how the present can change into something very nasty. … Dystopias thus interrogate the now and offer warnings and sometimes prophecies about the future; they are often the jeremiads of utopianism. But sometimes they offer glimmers of hope.One way of being anti-anti-utopian is to be utopian. It's crucial to keep imagining that things could get better, and furthermore to imagine how they might get better. … So (...) by force of will or the sheer default of emergency we make ourselves have utopian thoughts and ideas. This is the necessary next step following the dystopian moment, without which dystopia is stuck at a level of political quietism... (shrink)

American outlier writer William S. Burroughs was a creative force – an homme de lettres in his own right, yes, but as a cultural theorist as well, particularly his anticipation of what we now regularly call ‘a society of control’ or ‘a surveillance culture’, and, moreover, as a textual embodiment as well. That is, Burroughs was as much a media theorist and performance artist as he was a traditional literary figure, what we generally call a writer, or novelist, although he (...) lauded those latter categories. Through such multimodality he offered critiques of a ‘control society’ and of ‘thought control’ by a media that strips us of volition. In his lectures on Michel Foucault delivered at the Université de Paris VIII in the 1980s, Gilles Deleuze detailed Burroughs's influence on both philosophers with his critique of our ‘control societies’, a term they adopted from him. These critiques of what Burroughs calls ‘thought control’ were and currently remain inseparable from his emergence as a performance artist, such embodiment of his art readily available amid our own image-obsessed electronic revolution. That is, the products of this period are currently being recirculated through commercial media outlets and through multiple open access formats to suggest – to confirm – that the artist whom many another ‘outsider’ has called ‘the Priest’ and who saw himself as a ‘cosmonaut of inner space’ and ‘a technician of consciousness’, this dystopic modernist author, visionary science fiction writer, and aesthetic weapons maker was one of the major media artists, social critics, cultural theorists and literary figures not only of his but of our ‘postpersonal’ time. Michel Foucault closes The Order of Things by imagining a time when ‘man will be erased, like a face drawn in sand at the edge of the sea’. The closing image was crafted some fifteen years before Foucault met Burroughs in New York in 1975, but in the 1960s Burroughs, too, was already imagining and theorising the disappearing author and a post-human, media-dominated world. Such lines of thought suggest parallel trajectories that Deleuze will see as bridging philosopher and artist if not philosophy and art. (shrink)

Each month brings new scientific findings that demonstrate the ways in which human activities, from resource extraction to carbon emissions, are doing unprecedented, perhaps irreparable damage to our world. As we hear these climate change reports and their predictions for the future of Earth, many of us feel a sickening sense of _déjà vu_, as though we have already seen the sad outcome to this story. Drawing from recent scholarship that analyzes climate change as a form of “slow violence” that (...) humans are inflicting on the environment, _Climate Trauma_ theorizes that such violence is accompanied by its own psychological condition, what its author terms “Pretraumatic Stress Disorder.” Examining a variety of films that imagine a dystopian future, renowned media scholar E. Ann Kaplan considers how the increasing ubiquity of these works has exacerbated our sense of impending dread. But she also explores ways these films might help us productively engage with our anxieties, giving us a seemingly prophetic glimpse of the terrifying future selves we might still work to avoid becoming. Examining dystopian classics like _Soylent Green _alongside more recent examples like _The Book of Eli_, _Climate Trauma_ also stretches the limits of the genre to include features such as _Blindness_, _The Happening_, _Take Shelter_, and a number of documentaries on climate change. These eclectic texts allow Kaplan to outline the typical blind-spots of the genre, which rarely depicts climate catastrophe from the vantage point of women or minorities. Lucidly synthesizing cutting-edge research in media studies, psychoanalytic theory, and environmental science, _Climate Trauma _provides us with the tools we need to extract something useful from our nightmares of a catastrophic future. (shrink)

ABSTRACT Dystopian settings are often dominated by fear and despair. As instruments and symbols of fear, guns, especially deployed in gendered ways, reinforce the dystopian setting. This article explores how guns and gender roles are represented in three dystopian novels and three dystopian films. Examining how phallocentric aggression and toxic masculinity shape how guns are wielded by a number of characters in several of these films and novels, the article also suggests how critical dystopias offer insights into the conditions that (...) create dystopia and impede alternative and better futures. By providing interpretive interventions into the constructions of the specific dystopian settings and the deployment of guns, the article offers new insights into the interface between gender, guns, and dystopia. (shrink)

Volume 52, Issue 9, August 2020, Page 931-936.

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)

In Dystopia: A Natural History, Gregory Claeys observes that the collectivist ethos is one of the common features of both utopia and dystopia. The crucial difference is that in utopia cooperation is free and voluntary, whereas in dystopia it takes the form of what Leszek Kołakowski has called compulsory solidarity, that is, solidarity imposed by means of coercion and thus deprived of its actual value.1 And yet, just as dystopia and utopia may well be two sides of the same coin, (...) dystopian compulsory fraternity is often counterbalanced by voluntary cooperation within an actual social system or a textual representation thereof. This is precisely what happens in the social science fiction of Janusz A. Zajdel... (shrink)

Since March of 2020, the world has been brought to its knees by unscientific and unethical mandates. These mandates have destroyed the world economy and the lives of countless innocent individuals. The “cure” that has been offered by medical bureaucrats and politicians has been more deadly than the disease (COVID-19). The imposition of ludicrous lockdowns, mask-wearing, coerced vaccination, and vaccine passports have not only proved to be ineffective, but also much more harmful than SARS-CoV-2 and all its variants. COVID-19 has (...) a recovery rate of close to 99% for most of the world’s population, however, despite this, institutions and power-hungry individuals have trampled upon our civil liberties and ignored our inalienable human rights. It is precisely as Thomas Paine famously stated: “The greatest tyrannies are always perpetrated in the name of the noblest causes.” -/- Many lives have been gratuitously lost because of the administration of deadly medical treatments, and the rejection of effective treatments that follow genuine science. In the process, informed consent has been disparaged and desecrated. For over two years, we were instructed to “trust the science,” but the “science” advocated by medical bureaucrats and greedy politicians was the reason why the world was turned upside-down. In the face of these crimes against humanity, justice will only be brought by real courts and real judges, but this will require the awakening of a critical mass. This book serves as an instrument for this awakening. (shrink)

Aldous Huxley’s Brave New World is a famous dystopia, frequently called upon in public discussions about new biotechnology. It is less well known that 30 years later Huxley also wrote a utopian novel, called Island. This paper will discuss both novels focussing especially on the role of psychopharmacological substances. If we see fiction as a way of imagining what the world could look like, then what can we learn from Huxley’s novels about psychopharmacology and how does that relate to the (...) discussion in the ethical and philosophical literature on this subject? The paper argues that in the current ethical discussion the dystopian vision on psychopharmacology is dominant, but that a comparison between Brave New World and Island shows that a more utopian view is possible as well. This is illustrated by a discussion of the issue of psychopharmacology and authenticity. The second part of the paper draws some further conclusions for the ethical debate on psychopharmacology and human enhancement, by comparing the novels not only with each other, but also with our present reality. It is claimed that the debate should not get stuck in an opposition of dystopian and utopian views, but should address important issues that demand attention in our real world: those of evaluation and governance of enhancing psychopharmacological substances in democratic, pluralistic societies. (shrink)

In this article, we argue that Ted Chiang’s short stories offer a realist philosophy of technology, one that charts a third course between the techno-pessimism and techno-optimism that characterize the history of philosophizing about technology and much of the speculative fiction about it. We begin by surveying the history of utopian and skeptical approaches to technology in philosophy and speculative fiction. We then move to discuss two of Chiang’s recent stories and use them to articulate the author’s techno-realism. Chiang’s view, (...) as it is developed in these stories, has three features: First, technology is not merely an agent of de-skilling, it can also promote self-knowledge and insight. Second, technology is not only an agent of alienation it can also provide succor and psychological relief. Finally, technology does not necessarily remake us into new beings with new capacities and needs. In many cases, it just gives us further avenues to be what we already were - to act on the tendencies and pursue the needs we always had. (shrink)

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. -/- The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated by optimism (...) and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products. (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)

The modern tendency to treat all Greek Golden Age textuality as apolitical and escapist has contributed to the ongoing neglect of the first Western educational text, Hesiod's Works and days. Most commentators have missed the interplay of utopian and dystopian images in Hesiodic poetry for lack of the appropriate conceptual framework. Once the escapist prejudice is overcome, the Hesiodic text appears as the first extant Occidental coupling of political utopianism with emancipatory ethico-political education. Once freed of its dated metaphysical-theological resonances, (...) Hesiodic utopianism is compatible with a renewed political and ethical education for cosmopolitanism and justice because the embarrassingly detailed and teleological element of temporal modern utopias and the equally embarrassing rigid architecture of spatial utopias are absent. There is no strict utopian prediction and the message for change is articulated for the whole of humanity. (shrink)

In Survive and Resist: The Definitive Guide to Dystopian Politics Shauna L. Shames and Amy L. Atchison aim to give the readers an insight into various key concepts in political science by analyzing some of the world's most famous dystopian fictional works. Among them are George Orwell's 1984, Margaret Atwood's The Handmaid's Tale, but also more recent novels such as Scott Westerfield's 2005 Uglies Trilogy. In separate chapters, the authors draw on a wide array of concepts in political philosophy to (...) confront real-life and fictional dystopias. The book makes for an excellent introduction to political theory that is highly approachable to dilettantes.The book consists of eight chapters, a preface, an introduction, an... (shrink)

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 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)

The attributes and representative spirit of a culture, era, or community, as manifested in its attitude and aspiration, hold the concept of ethos. Likewise, every civilization has its own unique ethos; however, at present, it is shared through multiple globalized dynamics such as—media, technology, and other connectivities. The communication gaps have been filled with unique mediums; people are more open to new things, and comforts have increased dramatically. Nevertheless, despite such liberal and contemporary facts, we have encountered several problems and (...) value degradation in every aspect of human life. Service and leadership, art and aesthetics, ethics and morality, politics and society, science and law, and many other realms of human endeavour have been filled with much more complexity and crisis than before. It provokes intellectuals to rethink contemporary civilization and inspires the present critical research on top. Practically surrounded by all such challenges and selecting a few of them, this paper aims to address the complexities and stepping stones in the path of leadership, holistic ethics, and human well-being from philosophical perspectives while presenting a dystopian picture of contemporary reality and continuously following the critical method. Additionally, the conclusion and uniqueness of this paper locate within the fundamental questions raised in the present composition regarding the above-selected themes and an emphasis on the renaissance of inclusive ethics and virtuous leadership. (shrink)

“When I use a word,” Humpty Dumpty said in rather a scornful tone, “it means just what I choose it to mean—neither more nor less.”“The question is,” said Alice, “whether you can make words mean so many different things.”“The question is,” said Humpty Dumpty, “which is to be master—that’s all.”The predilection for idiosyncratic, arbitrary, or even playful use of key concepts of any discipline, attended by the apparently natural tendency toward “humpty-dumptyism,” makes it possible to produce a plethora of brilliant (...) generalizations, paradoxes, bons mots, and suchlike. All these invariably contribute to the successful autopoiesis of that discipline, as there is always something—to quote Bishop Joseph Hall, the author... (shrink)