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)

Despite the stereotypical, outsider view of Thailand as a thriving hub of international sex tourism, traditional and local constructions of Thainess instead privilege the position of the ‘good’ Thai woman—a model of sexual propriety, demure physicality and aesthetic perfection. This is the image of femininity that is heralded by Thailand's Tourist Authority and by government agencies alike as a marketable symbol of cultural refinement and national pride. But this disturbing ‘utopian’ construction of femininity might for some be considered a (...) class='Hi'>dystopia shaped by forms of power centred on elite urban rule. In mainstream definitions of Thainess, the monstrous and grotesque inverses of ‘good’ womanhood are located in the ‘dystopian’ visions of rural-based folk traditions that abound with malevolent female spirits and demons, and in the contemporary Thai horror films that draw on these tropes. Adopted by Thai feminists and by street protestors in Bangkok at times of recent political unrest, portrayals of a ‘monstrous-feminine’ have been adopted as central to a carnivalesque strategy of response and resistance to elite discourses of control. Such forces serve to symbolically disturb and destabilise middle-class constructions of a Utopian vision of Thainess with Bangkok as its cultural core. This paper examines instances of how and why the counter-strategy of primitivism and monstrosity has developed, and the extent to which it translates ‘dystopian’ expressions of female sexuality in new imaginaries of ‘dystopia’ as a space of liberation from stultifying cultural and political norms. (shrink)

Abstractabstract:This article examines Harold Ramis’s 2005 noir comedy The Ice Harvest as the critically dystopian counter-panel to his beloved 1993 film Groundhog Day, a film frequently discussed within the paradigm of utopia. While starkly different in genre, tone, and reception, the two films comprise a dialectical dyad that registers the historical transition from the utopian cultural effervescence of the early 1990s to the tragic foreclosure of imaginative horizons and the dystopian transformation of economic, political, and social landscapes in the new (...) millennium. In The Ice Harvest, the author argues, this is achieved through a strategic reactivation of film noir as a variant of the critical dystopia. (shrink)

This article examines two recent examples of feminist dystopias: Louise Erdrich’s Future Home of the Living God and Leni Zumas’s Red Clocks. True to their genre, these novels act as w...

This article analyzes selected short stories in Cecelia Ahern’s thirty-narrative collection Roar to see how the perspectives of posthuman and postfeminist critique can be incorporated via the common dystopic umbrella into the mainstream female readership of romance literature. The dystopic worlds created by Ahern in Roar portray inequality and power imbalances with regard to gender and sex. The protagonists are mostly middle-aged women whose family and personal lives are either regulated by dystopic realities or acquire a “dystopic” dimension, the solutions (...) to which are provided by, among other tropes, “posthuman” transformations. Roar introduces other-than-human elements, mostly corporeal alterations, in which the female bodies of Ahern’s characters become de-formed and re-formed beyond androcentric systems of value. The article raises the question of whether feminist and, to some extent, “posthuman” approaches, need to be popularized in such an abridged way as Ahern does in her volume. The answer depends upon the identification of the target audience and their expectations. Ahern’s Roar represents popular literature intended to be sold to as many readers as possible, regardless of their education, state of knowledge, etc. Viewed from that perspective, what some critics could perceive as the collection’s structural weaknesses constitutes its utmost marketing asset. The essay argues that despite not being a structurally innovative work of art, Ahern’s book fulfils the basic requirements of the popular fiction genre, intermittently providing some extra, literary gratification and popularizing rudimentary elements of the posthuman and postfeminist thought. (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 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)

I am grateful to the editor of this journal for the opportunity to respond to Tom Moylan's comments on my Dystopia: A Natural History. There are some serious misapprehensions about my arguments in Moylan's treatment, as well as a failure to engage with some of the central themes of the book. Substantial differences also clearly exist between my approach and Moylan's approach to the subject of dystopia and indeed to scholarly engagement in general. Illuminating these further might well (...) assist students of the subject to further explore the relevant issues.Moylan is chiefly a student of science fiction rather than dystopian fiction as such. His two books are mainly concerned with the period from the 1970s... (shrink)

There is a growing tendency to hyperbolize the U.S.-Mexican borderlands as a “dystopian zone of terror.” Dystopian borderlands hyperbole is double-edged. It can be used to create virulently racist mischaracterizations of borderlands life, and it can be used critically, as Alicia Gaspar de Alba and Sayak Valencia use it in Desert Blood and Capitalismo gore, to draw attention to structural forms of violence that imperil the borderlands on a daily basis. Desert Blood and Capitalismo gore exemplify a tendency in borderlands (...) literature to hyperbolically magnify borderlands crises of violence, misogyny, exploitation, and racism to all-encompassing dimensions. That magnification serves to highlight historical and structural conditions that have created and perpetuated those crises. The borderlands in Desert Blood and Capitalismo gore are hyperbolically reimagined as dystopias of neoliberal patriarchal violence. Gaspar de Alba and Valencia hyperbolize those dystopias to critique and ultimately abolish them. (shrink)

The article offers a critical reflection on the distance that separates us from an objectification of memory, its historiographical reconstructions and their different targets. At the basis of this enterprise, lies the belief that grasping the nuances and unveiling the ideological mechanisms of narrative reconstructions amounts to critically reflecting on the conditions that enable the narrative objectifications of the past filtered through by memory. To verify this theoretical assumption, the article elaborates on two key research tools that Umberto Eco has (...) employed throughout his life and that permeated his overall work, i.e. the categories of use and interpretation, and applies them to the treatment of the Middle Ages as a historiographical object, to show how medievalism can be an interpretive tool that allows understanding the contemporary age and its hermeneutic and ideological distortions, its fears, its media representations. (shrink)

Our reproductive imaginaries have changed considerably in the XX century. This cultural change can be described as a transition from Utopia to Dystopia. Plato imagined that in his perfect State women and children were in common, and that adequately matched couples would yield a perfect breed. On the contrary, Thomas More’s Utopia (1516) is based on a modern liberal view of the family, where divorce is allowed and relationships are free. Tommaso Campanella’s The City of the Sun (1602) understands (...) relationships exactly in terms of a eugenic policy. Francis Bacon’s New Atlantis (1626) also conceives of generation as a public good. Aldous Huxley’s Brave New World (1934) creates a vision of reproduction as a total nightmare. The whole process of reproduction has been taken into control by an ideology. We must distinguish liberal utopias from totalitarian ones, which evolve into dystopias. (shrink)

This article offers an analysis of texts which were written in 1802-3 and published in 1812 under the title Panopticon versus New South Wales, namely Jeremy Bentham’s first two letters to Lord Pelham and A Plea for the Constitution, arguing that, in his attempt to show the superiority of his Panopticon plan over the transportation scheme, the reformer depicted New South Wales as a Gothic dystopia. ‘Gothic’ is here understood as a literary genre, an ideological term and a critical (...) tool. Bentham upset the conventional cartography of his time by showing that the ‘archaic’ or ‘barbarian’ practices that Gothic novels located in Catholic Europe were actually present in British penal policies. In addition to drawing on the rhetoric and the dichotomies which underlay the Gothic novels published during his lifetime, Bentham anticipated scenarios – such as reverse colonization and contamination – which would be explored in Victorian fiction. By extrapolating in dystopian fashion from trends which were present in the British body politic, Bentham’s Australian writings show how a historical period may be haunted by its future potentialities. (shrink)

The essence of life in an oligarchy like George Orwell presents in '1984' is that freedom of choice is virtually non-existent. But what happens when so many trivial and meaningless choices inundate a culture such as our own and freedom itself becomes devalued? In 'A Do-It-Yourself Dystopia', through a variety of essays, Steven Carter addresses this and other issues in a wide-ranging search for hidden oligarchies of the American self.

This paper discusses Eastern European Marxists’ consideration of science and technology concerning aesthetic dimensions. Different from most of Western Marxists who take negative or dystopian attitudes towards modern science and technology from the aesthetic utopian perspective, those Marxists who come from countries such as Hungary, Yugoslav, Poland, Czechoslovakia, East Germany, Bulgaria or Romania, which once belonged to the socialist camp, under the influence of Soviet and Western culture, pay attention to the complicated tension between science-technology and aesthetics. In this paper, (...) I probe into these notions by reading György Lukács, Budapest School, Romanian theorists and the Yugoslav Praxis Group, which are divided into four key points: basic nature of science in contrast with arts; modern tension of culture between science and arts; the possibility of scientific aesthetics; and development of arts in the world of technology. There is a dialectical understanding of science and technology here which contributes to contemporary recognition of science and technology from the point of view of neo-humanism, not only in aesthetics but also human existence. This is relevant to theoretical reflection on the present and future Chinese socialist aesthetics. (shrink)

How can dystopian futures help provide the motivation to change the ways we operate day to day? _Futures Beyond Dystopia_ takes the view that the dominant trends in the world suggest a long-term decline into unliveable Dystopian futures. The human prospect is therefore very challenging, yet the perception of dangers and dysfunctions is the first step towards dealing with them. The motivation to avoid future dangers is matched by the human need to create plans and move forward. These twin motivations (...) can be very powerful and help to stimulate the fields of Futures Studies and Applied Foresight. This analysis of current Futures practice is split into six sections: * The Case Against Hegemony * Expanding and Deepening a Futures Frame * Futures Studies and the Integral Agenda * Social Learning through Applied Foresight * Strategies and Outlooks * The Dialectic of Foresight and Experience. This fascinating book will stimulate anyone involved in Futures work around the world and will challenge practitioners and others to re-examine many of their assumptions, methodologies and practices. (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)

The Journal of Medical Ethics can sometimes read part Men Like Gods and part A Brave New World. At times, we learn how all controversies can resolved with reference to four principles. At other times, we learn how “every discovery in pure science is potentially subversive”.1 This issue is no exception. Here, we can read about the utopia of gene editing, manufactured organs, and machine learnt algorithmic decision-making. We can also read about the dystopia of inherited disorders from edited (...) germlines, the testing of xenotransplants on braindead patients, and misdiagnosis by artificial intelligence. What we see in the three papers that I will foreground here is the application of medical ethics to avoid the dystopia while preserving the promises of medical science. But as I seek to explain here, our ability to address the controversies that we anticipate in medical science depend on our ability to refine our understanding of what medical ethics requires of us now. From the diagnosis of eye diseases from fungus images to predicting the risk of imminent risk of suicide attempts, machine learnt medical decision making has, in some high profile instances, outperformed clinicians in medical diagnosis and treatment recommendations. While clinician and machine learnt diagnoses will both involve degrees of uncertainty and fallibility, Thomas Grote2 asks us to consider is how much weight a clinician ought to give an algorithmic diagnosis which she disagreements with. Since a clinician is held to account for …. (shrink)

The figure of the intellectual looms large in modern history, and yet his or her social place has always been full of ambiguity and ironies. Between Utopia and Dystopia is a study of the movement that created the identity of the universal intellectual: Erasmian humanism. Focusing on the writings of Erasmus and Thomas More, Hanan Yoran argues that, in contrast to other groups of humanists, Erasmus and the circle gathered around him generated the social space—the Erasmian Republic of Letters—that (...) allowed them a considerable measure of independence. The identity of the autonomous intellectual enabled the Erasmian humanists to criticize established customs and institutions and to elaborate a reform program for Christendom. At the same time, however, the very notion of the universal intellectual presented a problem for the discourse of Erasmian humanism itself. It distanced the Erasmian humanists from concrete public activity and, as such, clashed with their commitment to the ideal of an active life. Furthermore, citizenship in the Republic of Letters threatened to lock the Erasmian humanists into a disembodied intellectual sphere, thus undermining their convictions concerning intellectual activity and the production of knowledge. Between Utopia and Dystopia will be of interest to scholars and students interested in Renaissance humanism, early modern intellectual and cultural history, and political thought. It also has much to contribute to debates over the identity, social place, and historical role of intellectuals. (shrink)

The postphenomenological framework of concepts—and especially the version utilized by the founder of this school of thought, Don Ihde—has proven useful for puncturing others’ totalizing or otherwise overgeneralizing claims about technology. However, does this specialization in deflating hype leave this perspective unable to identify the kinds of technological patterns necessary for contributing to activist interventions and political critique? Put differently, the postphenomenological perspective is committed to the study of concrete human-technology relations, and it eschews essentialist and fundamentalizing accounts of technology. (...) Do these commitments render it incapable of providing general assessments of our contemporary technological situation? It is my contention that this perspective can indeed be useful for these kinds of critical projects. To do so, we must go beyond Ihde’s personal tendency to utilize postphenomenology mostly for deflating others’ hype, and explore this perspective’s distinctive potential for identifying ways that technologies can become set within problematic patterns of usage and design. My suggestion is that the postphenomenological notion of “multistability” can play a helpful role in these efforts, especially when combined with a conception of local, rather than totalizing, stabilizations of human-technology relationships. (shrink)

Abstractabstract:The concept of “boring dystopia,” a term coined by Mark Fisher, describes the banal and mildly coercive signs that are prevalent in contemporary neoliberal society. It is characterized by a pervasive sense of boredom, banality, and total alienation, which arises from the depletion of social connections caused by free-market fundamentalism and consumer culture. For the author, Edward Hopper’s paintings embody this sense of dystopia, as they depict deserted cityscapes and isolated figures, creating a vision of a society where (...) human connection and interaction have broken down. The COVID-19 pandemic response has further highlighted the erosion of empathy and compassion under neoliberal capitalism, making Fisher’s call for collective action and the creation of new forms of community and solidarity even more urgent. Edward Hopper’s haunting art reminds us that we are already living in a dystopia, and that it is crucial to confront this dystopian reality and imagine new possibilities for the future. (shrink)

Num tempo em que os média, assoalhados pelas novas tecnologias, começam a deixar de cumprir a sua função mediadora e de teatro das operações sociais, tem lógica falar do esgotamento da utopia em favor da distopia. Não tem mais sentido abordar a utopia democrática, quando o poder apenas pretende garantir o lealismo do cidadão, a fidelidade acéfala no altar do politicamente correcto. O sistema categorial que caracterizava o espaço público em parte do século XX, espaço simbólico de democracia em acção, (...) perdeu toda a significação. Consumismo, fidelidade do cidadão, desempenho são as noções que agora fazem sentido e ganham significância, num mundo que caminha para a insignificância. (shrink)

Old age often brings with it chronic conditions that make it difficult to handle the activities of daily life. In the United States, unpaid family caregivers, predominantly women, provide most of this care. I explore why this situation has come about and persists and further ground my image of a dystopian future in neoliberalism, the policymaking process, and contemporary politics. I then offer an ethical and policy foundation for an alternative approach to providing needed long-term care services and make provisional (...) suggestions for actions that ought to be taken now and in the near future to avoid this dystopian future. (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)

Bryan Caplan’s Myth of the Rational Voter is deeply ideological and conceptually confused. His book is shaped by pro‐market and pro‐expert biases and anti‐democratic attitudes, leading to one‐sided and conclusion‐driven arguments. His notion that voters are rationally irrational when they hold anti‐market and anti‐trade beliefs is incoherent, as is his idea that sociotropic voting can be explained as the rational purchase of a good self‐image.

In recent years, the metaverse—some form of immersive digital extension of the physical world—has received much attention. As tech companies present their bold visions, scientists and scholars have also turned to metaverse issues, from technological challenges via societal implications to profound philosophical questions. This article contributes to this growing literature by identifying the possibilities of two dystopian metaverse scenarios, namely one based on the _experience machine_ and one based on _demoktesis_—two concepts from Nozick (_Anarchy_, _State_, _and Utopia_, Basic Books, 1974). (...) These dystopian scenarios are introduced, and the potential for a metaverse to evolve into either of them is explained. The article is concluded with an argument for why the two dystopian scenarios are not strongly wedded to any particular theory of ethics or political philosophy, but constitute a more general contribution. (shrink)

Purpose. The aim of this piece is to study the manifestations of humanistic pursuits in a literary fiction work. The main interest is related to the interpretation of those existential and sociocultural concepts that underlie the dystopian novel by Lois Lowry. The theoretical basis of the study is based on works on phenomenology and the theory of reader reception. The method of phenomenology is a descriptive method: the phenomena of consciousness cannot be reduced to limited cognitive forms, and therefore language (...) and means of description are important along with their ability to reveal consciousness through phenomena. Originality of the study lies in the investigation of the humanistic aspect of a dystopian society, depicted in the modern literary fiction. The main attention is focused on the phenomenological identification of existential ideas and their manifestation in the literary characters of the given work. The conclusions speak about the tendencies of humanization and dehumanization of a man and society in the context of philosophical, ethical and aesthetic issues, which are the most important and urgent problems of our time. The current study finds out that in the modern dystopian literature and philosophy, the main subject of attention is a human. This human is perceived and depicted as a phenomenon that cannot be grasped by the notions of intimation and essence. The human is a creature whose freedom presupposes a constant departure from nature and habitual reality to the realm of transcendent through the desire to comprehend his or her certain way of existence. (shrink)

The principal aim of my essay is to provide a selective description and positive evaluation of the development of Andrei Platonov's views in the 20th century from utopian communism through disillusioned cynicism to what I will call humanistic communalism. Now considered in Russia as one of its greatest writers, he articulated various highly significant ideas and issues – primarily philosophical but also political and psychological – concerning the viability of living within an indifferent, non-moral universe, an unprogressive, indeed oppressive, sociopolitical (...) system, and a recurrently tragic, ineluctably contingent life-world. As a result of this not uncommon intellectual and existential journey, Platonov mapped out a way of hopeful, enriching living based upon creative activity and upon communal relationships—for example, of friendship and love, supplemented by a resolute combination of patience and endurance. (shrink)

Long before Prospect Theory and Loss Aversion Theory, Thomas Hobbes’s account of self-interest and risk assessment formed the basis of a powerful argument for the benefits of negative appeals. Dismissing the pursuit of highest and final goods as inherently incapable of yielding collective action, Hobbes proposed a method focusing instead on the highest evil, something that individuals with different goals could agree on as a barrier to their respective pursuits. In his own theory, that evil was violent death in the (...) dystopian setting of his notorious state of nature. The staying power of Hobbes’s memorable image itself validates Hobbes’s rationale and offers important reminders regarding the limits of utopian appeals to collective action. (shrink)

Using selections from writers like Margaret Atwood, Octavia Butler, Marion Zimmer Bradley, Karen Joy Fowler, Ursula K. Le Guin, James Tiptree jr., and many others, this collection shows how the imagined worlds of science fiction create hold experiments for testing feminist hypotheses and for interpreting philosophical questions about humanity, gender, equality and more. Four main themes: Part 1, 'Human nature and reality', concentrates on whether there is an intrinsic difference between males and females. Part 2, 'Dystopias: the worst of all (...) possible worlds', portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Part 3, 'Separatist utopias: worlds of difference', assembles stories that scrutinize both the virtues and vices of separatism. In Part 4, 'Androgynous utopias: worlds of equality', the authors create worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. (shrink)

Plato’s Republic and More’s Utopia served as models for most of the literary utopias written between the seventeenth and nineteenth centuries. Towards the end of the nineteenth century, dystopian novels began to displace their positive counterparts. Five dystopian fictions published between 1891 and 1949—Jerome’s “The New Utopia”, Wells’s The Sleeper Awakes, Zamyatin’s We, Huxley’s Brave New World, and Orwell’s Nineteen Eighty-Four—exhibit many common themes, such as isolation, totalitarianism, technology in service of the state, rigid social organization, uniformity and social control. (...) In the twenty-first century, some of these characteristics of fictional dystopian societies have become realities in the form of unseen technological surveillance and control. Nevertheless, utopia lives on as an ideal, for instance in philosophical transhumanism. (shrink)

The book explores the possibilities and limitations of dystopian imagination, asking if visions of horrific futures help us decide upon the best course of action, or if they paralyse us and prevent us from engaging in social transformation.

In the year 2016, fourteen books regarding utopia were published in the United Kingdom, while none was published in Ireland. Taking the year 2017 into consideration, four titles have been published in the United Kingdom, while none has been published in Ireland so far as well. With this review I aim to see how influential utopia has been as a subject in the United Kingdom and Ireland and how significant the number of publications has been. From what I could see (...) in my research, the most active publisher regarding utopian studies has been Routledge, having published seven of the previously mentioned eighteen U.K. titles. The other titles are dispersed throughout other publishers such as, for example, Cambridge... (shrink)