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21	Konec civilizace a Ostrov: Analýza utopického a anti-utopického světa v dílech Aldouse Huxleyho / Brave New World and Island: The Analysis of the Utopian and the Anti-Utopian World in Aldous Huxley´s Novels ERTELOVÁ, Jitka January 2016 (has links) The aim of this thesis is to analyse two novels written by Aldous Huxley an anti-utopian novel Brave New World (1932) and a utopian novel Island (1963). The examination of both Huxley´ s works is based on the analysis of literary genres. The thesis outlines difficulties concerning a precise definition of the terms "utopia," "anti-utopia," and "dystopia." The genesis of the genres is also briefly mentioned. The thesis also deals with both common and distinct features of the genres. Because of the purpose of the analysis regarding Brave New World and Island, the thesis includes Huxley´ s other works (essays and novels), dystopian novels Nineteen Eighty Four by George Orwell and We by Yevgeny Zamyatin and a utopian novel Men Like Gods by H. G. Wells.
22	Literary Speculations: Postmodern Dystopia and the Future of Books Corrie, Emily P 17 August 2012 (has links) This thesis identifies a trend in recent postmodern dystopian fiction for writers to metafictionally dwell on the place of literature in a future context. This trend springs from similar concerns present in the two most influential dystopian novels of the 20th century, Brave New World and Nineteen Eighty-Four. Yet, unlike Huxley and Orwell, for whom the marginalization of literature is merely one symptom of the hegemonic control oppressing these future societies, the postmodern writers I identify situate the book’s future disappearance at the epicenter of culture’s demise. In Gary Shteyngart’s Super Sad True Love Story (2010), electronic technologies have virtually eradicated print literature and the novel’s protagonist, Lenny, mourns the changes in social interactions he sees this shift in technology bringing about. In Jeanette Winterson’s The Stone Gods (2007), marginalized book-lovers see the devastation humanity continuously wreaks on the environment as a product of culture’s disdain for literature. postmodernism science fiction speculative fiction Gary Shteyngart Jeanette Winterson George Orwell Aldous Huxley David Mitchell Super Sad True Love Story The Stone Gods Cloud Atlas Dystopia
23	KATHERINE MANSFIELD AMONG THE MODERNS: HER IMPACT ON VIRGINIA WOOLF, D. H. LAWRENCE, AND ALDOUS HUXLEY Tarrant-Hoskins, Nicola Anne 01 January 2014 (has links) Katherine Mansfield among the Moderns examines Katherine Mansfield’s relationship with three fellow writers: Virginia Woolf, D. H. Lawrence, and Aldous Huxley, and appraises her impact on their writing. Drawing on the literary and the personal relationships between the aforementioned, and on letters, diaries, and journals, this project traces Mansfield’s interactions with her contemporaries, providing a richer and more dynamic portrait of Mansfield’s place within modernism than usually recognized. Hitherto, critical work has not scrutinized Mansfield in the manner I suggest: attending to representations of her as a character in other’s work, while analyzing the degree to which her influence on the aforementioned authors affected their writing and success. Albeit, her influence extends in vastly different ways, and is affected by gender and nationality. While Woolf’s early foray into Modernism is accelerated by Mansfield’s criticism of her work, several of Woolf’s texts – “Kew Gardens,” Jacob’s Room, and Mrs. Dalloway – are similar in certain respects to Mansfield’s work – “Bliss” and “The Garden Party.” A repudiation of Mansfield, personally, and a retelling of her work are seen in Lawrence’s The Lost Girl and Women in Love. Huxley’s Those Barren Leaves and Point Counter Point, contain characterizations of Mansfield that undermine her writing, and her person: both are affected by the mythical misrepresentation of Mansfield, created by Murry after her death, known as the “Cult of Mansfield.” Using Life Writing, this study asserts that Mansfield had impact on the writing of Woolf, Lawrence, and Huxley. Taking into account the many issues that surround the recognition of this, among them: gender politics, colonialism, marginality by genre, and personal relations – these all, to varying degrees, prevented critics from acknowledging that a minor modernist author played a role in the undisputed success of three major authors of the twentieth century. British Modernism Katherine Mansfield and Virginia Woolf Katherine Mansfield and D.H. Lawrence Katherine Mansfield and Aldous Huxley English Language and Literature Literature in English, British Isles
24	Teorie petrifikovaných světů na příkladu antiutopické a dystopické literatury / The Theory of Petrified Worlds on the Example of Anti-utopian and Dystopian Literature Pavlova, Olga January 2019 (has links) In my dissertation Theory of Petrified Worlds on the Example of Anti-Utopian and Dystopian Literature, I deal with anti-utopian and dystopian literature, which has been largely neglected by Czech scholarship. After the introduction to the issue I deal with the detailed analysis of the novel We by Yevgeny Zamyatin, after which I devote my attention to the theoretical definition of terms, including the historical mapping of previous research. I focus on the historical context of the emergence of the genres, including a deeper analysis of its beginnings, i.e. the development of utopian literature from Plato to William Morris and Herbert George Wells, and in detail describe the emergence of anti-utopian literature primarily as an opposition to utopian tendencies and its evolution into dystopia. A major part of the work deals with a specific semiotic analysis of the characteristic and constitutive features of the genres of anti-utopian and dystopian literature of the 20th and 21st centuries. This includes, among other things, the closed and petrified world of the novels, which gave the name to the presented theory, the strict division of society, the existence of newspeak, the characteristics of the main and secondary characters, as well as the social and political context of the analysed works. In...
25	Den nya generationen: Dystopisk reproduktion : En tematisk genusanalys av Karin Boyes Kallocain, Aldous Huxleys Du sköna nya värld och George Orwells 1984 Dunphy, Patricia January 2010 (has links) The three dystopian novels Brave New World by Aldous Huxley, Kallocain by Karin Boye and Nineteen Eighty-Four by George Orwell have been highly discussed amongst literary critics and scholars. Although these works are well-known, some themes have had very little or no recognition. Biological reproduction is a recurring subject in dystopian literature. Although it is not the main theme in the novels, it is a very important part in dystopian culture and dystopian society. By focusing on reproduction and the structure of gender roles in these three dystopias, I hope to bring to light something that's been in the shadows for a long time i.e. the women of dystopian society. I will address the role of nature and technology in terms of reproduction by using Pia Maria Ahlbäck's theory of the heterotopia. Later, I will discuss the problems and possibilities of the role of women in biological reproduction. Dystopia George Orwell Nineteen Eighty-four Karin Boye Kallocain Aldous Huxley Brave new world Reproduction Gender Gender roles Nature Technology Totalitarian Power Dystopi George Orwell 1984 Karin Boye Kallocain Aldous Huxley Du sköna nya värld Reproduktion Genus Könsroller Natur Teknologi Totalitär Makt
26	Obraz médií v britských dystopiích / Depiction of Media in British Dystopian Fiction Bakič, Pavel January 2013 (has links) The thesis aims to give an overview of the treatment of media in texts that have formed modern dystopian writing and to which new additions in the genre necessarily relate. This set of texts consists of George Orwell's Nineteen Eighty-Four, Aldous Huxley's Brave New World and When the Sleeper Awakes by H. G. Wells; first chapter substantiates this selection and proceeds to define the concepts of "media" and "dystopia". Second chapter is concerned with the understanding of history in dystopian societies and shows that the very concept of historicity is undesirable for a totalitarian state, which seeks to blur history and reduce it to a three-point schema "before the Event - the Event (revolution) - after the Event". Closer analysis then shows that the Event itself can be divided into a further triad that has to be completed in order to pass into eternal post-Event society. Third chapter describes the use of citizens as media and shows that while Huxley's society uses what Michel Foucault calls "biopower" to achieve this goal, Orwell's society rather uses the concept of "discipline". Fourth chapter turns to printed media a the privileged role they are ascribed in the novels: The authors see literature as an embodiment of individuality and, at the same time, as a guarantee of tradition established by an...
27	What is the Meaning of Meaningless sex in Dystopia? Leth, Corina January 2013 (has links) The aim of this essay is to provide an answer to the question "What is the Meaning of Meaningless sex in Dystopia?". It will show that meaningful concepts such as sexual satisfaction, pleassure, passion, love, bonding, procreation and family are handled as threats in dystopian societies described in well-known novels as We, Brave New World and Nineteen Eighty-Four . It will explain how the conflict between the collective and the individual influences peoples' sexuality. It will also show how leading powers in the three dystopian societies use different methods to remove the significanse and functions of sex. It will suggest meaningless sex is a means to control the masses in a collective and that meaningful sex is an act of rebelion against the state. / . Dystopia Dystopian societies meaningless sex state control collective uniformity individual family love procreation We Yevgeny Zamyatin Aldous Huxley Brave New World Nineteen Eighty-Four George Orwell Origin of Family Private Property and the State Karl Marx Friedrich Engels
28	The Germ Theory of Dystopias: Fears of Human Nature in 1984 and Brave New World Harris, Clea D. 01 January 2015 (has links) This project is an exploration of 20th century dystopian literature through the lens of germ theory. This scientific principle, which emerged in the late 19th century, asserts that microorganisms pervade the world; these invisible and omnipresent germs cause specific diseases which are often life threatening. Additionally, germ theory states that vaccines and antiseptics can prevent some of these afflictions and that antibiotics can treat others. This concept of a pervasive, invisible, infection-causing other is not just a biological principle, though; in this paper, I argue that one can interpret it as an ideological framework for understanding human existence as a whole. Particularly, I believe that authors of prominent 20th century dystopian novels applied the tenets of germ theory in order to explore the potential “pathogens” that furtively exist within the human mind. These pseudo-germs are various human tendencies that, when left “untreated” by governments, create nonnormative members of society. In the eyes of dystopian regimes, it is precisely this nonnormativity that poses a lethal threat, in that it challenges the continued existence of society with the current ruling body at the helm. In this paper, I trace love (both sexual and familial) and individuation (as a function of social hierarchy, recreational activities, and the use of language) as social disease-causing pathogens in George Orwell’s 1984 and in Aldous Huxley’s Brave New World. Dystopia Germ theory Aldous Huxley George Orwell Disability theory Projected political fiction Children's and Young Adult Literature Diseases Gender and Sexuality Literature in English, British Isles Literature in English, North America Medical Humanities Modern Literature Other Mental and Social Health Political Theory Social Control, Law, Crime, and Deviance Virus Diseases
29	Literary Laboratories: A Cautious Celebration of the Child-Cyborg from Romanticism to Modernism Lupold, Eva Marie 16 July 2012 (has links) No description available. American History American Literature Animals Art History British and Irish Literature Early Childhood Education Ethics European History Evolution and Development Families and Family Life Film Studies Gender Studies History Individual and Family Studies In children cyborgs donna haraway romanticism william blake songs of innocence and experience victorians henry james the turn of the screw carlo collodi the adventures of pinocchio aldous huxley brave new world orson scott card ender's game
30	Tacita Deans JG. Autorinnenfilm zwischen New Wave Science-Fiction und Land Art Rosen, Susanne 06 February 2025 (has links) Durch die Entwicklungen der Digitalisierung scheint 2013 die Obsoleszenz des analogen Filmmediums besiegelt. Während ein Großteil der Filmindustrie über die Flexibilität digitaler Filmaufnahmen erleichtert ist, betrauern KünsterInnen wie Tacita Dean den drohenden Verlust des analogen Mediums. Dem Anliegen, analogen Film in seinen intrinsischen Qualitäten zu erkennen, zu würdigen und zu erhalten, widmet die Künstlerin Arbeiten wie Kodak (2006) oder FILM (2011). Auch in Deans Film JG (2013) setzt sich die Künstlerin mit dem drohenden Ende des Mediums auseinander. Aufgrund seiner Rätselhaftigkeit und gesteigerten Polysemie nimmt der Film allerdings eine Sonderstellung in Deans Werk ein. Die vorliegende Arbeit sucht die Rätsel zu entziffern und zeigt auf, wie in JG dem Untergang des ‚Universums Film‘ über die Figur eines allegorischen Dramas Gestalt verliehen wird und wie über Fragmente des analogen Films ein Erinnerungsbild an die technischen und chemischen Bedingungen sowie strukturellen Eigenheiten des Mediums geschaffen wird, das allein für diejenigen in JG erkennbar wird, die mit dem Wissen um diese Bedingungen vertraut sind. In einem zweiten Schritt widmet sich die Untersuchung den Werken des britischen Science-Fiction-Schriftstellers J.G. Ballard und des US-amerikanischen Land-Art-Künstlers Robert Smithson, auf die sich Dean in JG bezieht. Über ‚close-reading‘-Analysen von Ballards The Voices of Time (1960) und Prisoner of the Coral Deep (1964) sowie Roberts Smithsons Spiral Jetty (1970) lässt sich zeigen, dass die Künstlerin Strategien zur Anwendung bringt, mit denen sie JG in unmittelbare Nähe zum Science-Fiction-Genre und zu Smithsons Land Art rückt, worüber es ihr gelingt, neben der zeitlichen auch die räumliche Dimension des Films, seine skulpturale Dimension, auf eindrückliche Weise auszustellen. / By 2013, the obsolescence of analog film seemed to be sealed as a result of progress in digitalization. While much of the film industry rejoiced in the greater flexibility provided by digital film, artists such as Tacita Dean mourned the impending loss of their analog medium. Tacita Dean had already dedicated works such as Kodak (2006) and FILM (2011) to the recognition, appreciation, and preservation of film in its intrinsic qualities. In her film JG (2013) the artist continues to deal with the impending end of the medium. JG’s enigmatic nature and heightened polysemy lends it a unique position in Dean’s œuvre. The Dissertation seeks to decipher the enigma JG and tries to show how the artist in JG confronts the impending loss of her medium. It is argued that she does this in two ways: through the figure of an allegorical drama reflecting the end of the 'universe of film’; and, secondly, through a collection of analog film fragments that, to those with the requisite knowledge, become recognizable as a commemorative picture of the technical and chemical conditions and structural characteristics of the medium. In a second step, the study is dedicated to works of British science fiction writer J.G. Ballard and American Land Art artist Robert Smithson on which Dean draws in JG. Through close-reading analyses of Ballard’s The Voices of Time (1960) and Prisoner of the Coral Deep (1964) as well as Robert Smithson’s Spiral Jetty (1970), it becomes clear that Dean employs strategies that bring JG into close proximity with the genre of Science Fiction and with Smithson’s Land Art. By these means she achieves an impressive demonstration not merely of film’s temporal but of its spatial, sculptural dimension. Kunst Kunstgeschichte Bildwissenschaft Film Filmchemie analoger Film Land Art New Wave Science-Fiction Kunstrezeption Kunstwahrnehmung 20. Jahrhundert 21. Jahrhundert Drama Allegorie LSD Salz USA Utah Kalifornien Großer Salzsee Geographie Geologie Paläontologie Tacita Dean Robert Smithson J.G. Ballard Nancy Holt Aldous Huxley JG Spiral Jetty Mono Lake The Voices of Time Prisoner of the Coral Deep art art history image science film analogue film image science film chemistry Land Art New Wave Science Fiction art reception art perception 20th century 21st century drama allegory LSD salt USA Utah California Great Salt Lake geography geology paleontology Tacita Dean Robert Smithson J.G. Ballard Nancy Holt Aldous Huxley JG Spiral Jetty Mono Lake The Voices of Time Prisoner of the Coral Deep 700 Künste AP 51400 AP 53900 AP 53970 ddc:700

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