I den här uppstatsen undersöker jag temat manipulation. Jag tittar på vad det har för inverkan på berättelsers utformning samt om det finns andra teman som ofta kombineras med manipulationstemat. Min utgångspunkt är Karin Boyes Kallocain och därifrån kommer jag dra paralleller till William Shakespeares Othello och Aldous Huxleys Brave New World. Genom att vända mig till just de här två berättelserna får jag en inblick i såväl genretillhörighet som temats utveckling över tid. Uppsatsens teoretiska utgångspunkt är C.G. Jungs teori om det kollektiva omedvetna med mänskliga grundläggande urbilder som återkommer i arketyper. Resultatet är ett grundläggande händelseförlopp och en insikt om den djupare mänskliga samhörighet som berättelsernas hjältar först inte vågar tro existerar.

This essay analyzes and tries to untangle the meaning and intention of dystopian literature, by analyzing two novels (Neal Shusterman‟s “Unwind” and Aldous Huxley‟s “Brave New World”). From this analysis, whether or not the futures portrayed in dystopian literature relate to our own future is riddled out, furthermore the importance of the authors‟ intention is debated and a conclusion is reached. As the dystopian future unravels, ethnicity, gender, class and sexual orientation, to mention a few factors, find their own place in the new world; this essay tries to establish their roles in the new society. When discussing the characters in the novels, Bourdieu‟s theories on fields, habitus and social capital are used to figure out what they are competing for and in what ways they struggle for the reward. Furthermore, the development of dystopian imagining is discussed and its function as a reflection of contemporary society and the state of science. Delineating the roles of social classes in dystopias is an important task in figuring out whether social power still reduces minorities depending on class or gender. Our antiquated morals and ethics aren‟t suitable anymore and need to be reformed; this is discussed based on dystopian literature and the image of the future. Furthermore, this essay gets into detail with the reduction of man and by what means we are enslaved and made to believe in the faux utopias. In the end, the conclusion reached is that dystopian literature delivers a hefty and important point that needs to be heeded and used as a rare look into the future.

This thesis describes critically two famous controversial novels, one by an English author, the other by an American, in such a manner that an emotionally and intellectually secure teacher will be able to draw from these findings in order to teach either of these literary works confidently.

This paper aims to show how Brave New World, a dystopia by Aldous Huxley, has strong postcolonial traces within it. Edward Said's concept of Orientalism and Gayatri Spivak's analyses of Bertha Mason, the fictional representation of the colonial female subject in nineteenth-century English literature, tie up the similarities in how the Reservation and Linda are portrayed within the book. Comparing Gayatri Spivak's theories with Huxley's writings adds a new perspective to the novel. This essay will also include a close reading of the book and aims to unveil how specifik events concerning Linda and the part of the world referred to as "the reservation" are in link with "Orientalism", "othering" and feminism. The argument will be that both Linda and "the reservations" description in the novel are in frame with British imperialistic writings and male patriarchy.

AbstractThis essay discusses the concepts of eugenics and social caste in Brave New Worldin relation to Aldous Huxley, from a biographical perspective. The essay analyzes how events and personal relationships of Aldous Huxley have influenced the depiction of the concepts social caste and eugenics in his novel Brave New World. Using sources which recount the travels and the personal encounters that Aldous Huxley made throughout his life, this essay makes comparisons and draws conclusions as to how these eventsand relationshipshave affected the depiction of social caste and eugenics in Brave New World

Esta dissertação propõe uma leitura do romance Admirável Mundo Novo (1932) de Aldous Huxley sob a luz dos conceitos de Zygmunt Bauman da Modernidade Líquida. A narrativa ocorre em uma Londres futurística no século 26, no ano 2540 de nossa Era Comum, ou – na narrativa no ano 632 AF (Após Ford). Subjacente ao cenário distópico de avanço tecnológico e organização altamente desenvolvida, porém, os temas discutidos no romance remetem à circunstância do tempo e lugar de sua produção, o início dos anos 1930, em um contexto de desenvolvimento industrial, tensão política e crise econômica. Nesta pesquisa, eu busco a resposta para a seguinte pergunta: “De quais maneiras a ficção de Huxley antecipa o tipo de sociedade seus leitores vivem no tempo presente, três-quartos de século após sua publicação? Com ajuda das teorias do Professor Zygmunt Bauman, eu construo minha interpretação das metáforas encontradas no romance, que prognosticam as atuais condições de capitalismo de mercado livre, consumismo, obsolescência programada que determinam a ética, a estética e a forma de pensar de nosso tempo presente. As hipóteses de Bauman concernem a liquidez do mundo atual, no qual nada deve durar muito. Esta premissa gera um grande número de consequências, tais como: fragilidade dos laços humanos, pensamento crítico superficial e supremacia dos contatos virtuais sobre ocontato de fato entre as pessoas. A dissertação está dividida em quatro capítulos. No primeiro, eu contextualizo o conceito de distopia. No segundo, eu trago a contextualização necessária sobre o tempo, a obra e o autor. No terceiro, eu introduzo os conceitos de Bauman sobre modernidade sólida e líquida e os conecto com o estudo de Admirável Mundo Novo. No capítulo IV, apresento minha leitura da obra. Ao final da pesquisa, espero encontrar respostas para a questão proposta estabelecendo inter-relações entre os aspectos ficcionais do romance e os traços sociais de nosso tempo atual. / The present thesis proposes a reading of Aldous Huxley’s Brave New World (1932) in the light of Zygmunt Bauman’s concept of Liquid Modernity. The plot of the novel unfolds in the futuristic London of the 26th century, in the year 2540 of our Common Era, or – in the narrative – in the year 632 AF (After Ford). Underlying the dystopian scenario of technological advancement and highly developed organization, however, the themes discussed in the novel actually address the circumstances of the time and place of its own production, the beginning of the 1930’s, in a context of developing industrialization, political tension, and economic crises. In this research, I pursue the answer to the following question: “In what ways does Huxley’s fiction anticipate the kind of society its readers would be living in at our present time, three quarters of a century after its publication?” With the help of Professor Zygmunt Bauman’s theories, I build my interpretation of the metaphors found in the novel, that prognosticate the current conditions of free-market capitalism, consumerism, programmed obsolescence, that determine the ethics, the aesthetics and the ways of thinking of our present times. Bauman’s assumptions concern the liquidity of the contemporary world, where nothing is meant to last long. This premise generates a number of consequences such as overconsumption, frail human bonds, superficial critical thought, and supremacy of online over factual contacts among people. The thesis is devised in three chapters. In the first, I contextualize the concept of dystopia. In the second, I bring the necessary contextualization about the time, the work and the author. In the third, I introduce Bauman’s concepts of solid modernity and liquid modernity and connect them with the study of Brave New World. Finally. In Chapter IV, I present my reading of the novel. At the end of the research, I expect to find the answers to the posed question by establishing critical interrelations between the fictional aspects of the novel and the social features ongoing in our present time.

This research presents a deconstructive analysis of Aldous Huxley’s 1932 novel Brave New World. As a literary work, it is most commonly considered a dystopian visualisation of the future of modern civilisation. This essay reveals a more ambiguous reading of Brave New World by deconstructing and presenting the aspects of the novel which pertain to the classification of the novel as both dystopian and utopian simultaneously. This conclusion of ambiguity is presented to negate any notion that the novel can be classified as a definitive representation of either a utopian or a dystopian portrayal of the future.

This comparative analysis of four different German-language versions of Aldous Huxley’s Brave New World (1932) shows the correlation between political and socio-cultural circumstances, as well as ideological differences, and translations of the novel. The first German translation was created by Herberth E. Herlitschka in 1932, entitled Welt – Wohin? Two further versions of it were released in 1950 and 1981. In 1978, the East German publisher Das Neue Berlin published a new translation created by Eva Walch, entitled Schöne neue Welt. My thesis focuses on the first translations by both Herlitschka and Walch, but takes into account the others as well. The methodological basis is Heidemarie Salevsky’s tripartite model. With its focus on author and work, commissioning institution and translator, it was developed as a tool to determine the factors influencing the process of literary translation. Within this framework, the translations are contextualized within the cultural and political circumstances of the Weimar and German Democratic Republics, including an historical overview of the two main publishers, Insel and Das Neue Berlin. With reference to letters between Herlitschka and his publisher Anton Kippenberg at the Insel Verlag, secured from the Goethe und Schiller Archiv (Stiftung Weimarer Klassik), titles and subtitles as paratextual elements of the Herlitschka versions are examined. An overview of Lawrence Venuti’s and Hans Vermeer’s approaches to the notions of domesticating and foreignizing provides further theoretical tools to assess the translations. Venuti rejects the technique of domesticating translation as, in his opinion, it constitutes an act of violence against the source language, which is contrast with Vermeer’s perspective, according to which the alternatives are equivalent. In Vermeer’s opinion, both the domesticating as well as the foreignizing translation do not destroy the source culture. Another fundamental theoretical principle is Otto Kade’s claim that the affiliation of a translator to a certain social system and identification with a certain ideology are evident in his or her work. The thesis includes a study of the afterwords in the East German versions, which display an intent to create distance between the society of the novel and that of the translator. These paratexts function as a tool for censorship and at the same time as a means to circumvent it. Chapters 1-4 and 16 is selected for intensive analysis. It becomes obvious that the different socio-political situations influence the outcome of the translations. One of the most striking differences between them, Herlitschka’s translocation of the original setting, is identified as a parodistic device. An analysis of the themes of gender, race and sexuality further answers what kinds of factors influenced the process of literary translation, what kinds of modifications appear and what causes them. Herlitschka’s work displays a tendency to intensify traces of misogyny and racism, and to tone down descriptions of sexuality, phenomena which could not be found in Walch’s text. The conclusion links to Margaret Atwood’s introduction to the most recent Canadian edition of Brave New World and identifies the examination of the two key German translations of the novel as an extension of her argument, pointing to the novel’s relevance for contemporary times, transcending geographical and linguistic borders to include readers in all modern societies and cultures.

This comparative analysis of four different German-language versions of Aldous Huxley’s Brave New World (1932) shows the correlation between political and socio-cultural circumstances, as well as ideological differences, and translations of the novel. The first German translation was created by Herberth E. Herlitschka in 1932, entitled Welt – Wohin? Two further versions of it were released in 1950 and 1981. In 1978, the East German publisher Das Neue Berlin published a new translation created by Eva Walch, entitled Schöne neue Welt. My thesis focuses on the first translations by both Herlitschka and Walch, but takes into account the others as well. The methodological basis is Heidemarie Salevsky’s tripartite model. With its focus on author and work, commissioning institution and translator, it was developed as a tool to determine the factors influencing the process of literary translation. Within this framework, the translations are contextualized within the cultural and political circumstances of the Weimar and German Democratic Republics, including an historical overview of the two main publishers, Insel and Das Neue Berlin. With reference to letters between Herlitschka and his publisher Anton Kippenberg at the Insel Verlag, secured from the Goethe und Schiller Archiv (Stiftung Weimarer Klassik), titles and subtitles as paratextual elements of the Herlitschka versions are examined. An overview of Lawrence Venuti’s and Hans Vermeer’s approaches to the notions of domesticating and foreignizing provides further theoretical tools to assess the translations. Venuti rejects the technique of domesticating translation as, in his opinion, it constitutes an act of violence against the source language, which is contrast with Vermeer’s perspective, according to which the alternatives are equivalent. In Vermeer’s opinion, both the domesticating as well as the foreignizing translation do not destroy the source culture. Another fundamental theoretical principle is Otto Kade’s claim that the affiliation of a translator to a certain social system and identification with a certain ideology are evident in his or her work. The thesis includes a study of the afterwords in the East German versions, which display an intent to create distance between the society of the novel and that of the translator. These paratexts function as a tool for censorship and at the same time as a means to circumvent it. Chapters 1-4 and 16 is selected for intensive analysis. It becomes obvious that the different socio-political situations influence the outcome of the translations. One of the most striking differences between them, Herlitschka’s translocation of the original setting, is identified as a parodistic device. An analysis of the themes of gender, race and sexuality further answers what kinds of factors influenced the process of literary translation, what kinds of modifications appear and what causes them. Herlitschka’s work displays a tendency to intensify traces of misogyny and racism, and to tone down descriptions of sexuality, phenomena which could not be found in Walch’s text. The conclusion links to Margaret Atwood’s introduction to the most recent Canadian edition of Brave New World and identifies the examination of the two key German translations of the novel as an extension of her argument, pointing to the novel’s relevance for contemporary times, transcending geographical and linguistic borders to include readers in all modern societies and cultures.

Esta dissertação propõe uma leitura do romance Admirável Mundo Novo (1932) de Aldous Huxley sob a luz dos conceitos de Zygmunt Bauman da Modernidade Líquida. A narrativa ocorre em uma Londres futurística no século 26, no ano 2540 de nossa Era Comum, ou – na narrativa no ano 632 AF (Após Ford). Subjacente ao cenário distópico de avanço tecnológico e organização altamente desenvolvida, porém, os temas discutidos no romance remetem à circunstância do tempo e lugar de sua produção, o início dos anos 1930, em um contexto de desenvolvimento industrial, tensão política e crise econômica. Nesta pesquisa, eu busco a resposta para a seguinte pergunta: “De quais maneiras a ficção de Huxley antecipa o tipo de sociedade seus leitores vivem no tempo presente, três-quartos de século após sua publicação? Com ajuda das teorias do Professor Zygmunt Bauman, eu construo minha interpretação das metáforas encontradas no romance, que prognosticam as atuais condições de capitalismo de mercado livre, consumismo, obsolescência programada que determinam a ética, a estética e a forma de pensar de nosso tempo presente. As hipóteses de Bauman concernem a liquidez do mundo atual, no qual nada deve durar muito. Esta premissa gera um grande número de consequências, tais como: fragilidade dos laços humanos, pensamento crítico superficial e supremacia dos contatos virtuais sobre ocontato de fato entre as pessoas. A dissertação está dividida em quatro capítulos. No primeiro, eu contextualizo o conceito de distopia. No segundo, eu trago a contextualização necessária sobre o tempo, a obra e o autor. No terceiro, eu introduzo os conceitos de Bauman sobre modernidade sólida e líquida e os conecto com o estudo de Admirável Mundo Novo. No capítulo IV, apresento minha leitura da obra. Ao final da pesquisa, espero encontrar respostas para a questão proposta estabelecendo inter-relações entre os aspectos ficcionais do romance e os traços sociais de nosso tempo atual. / The present thesis proposes a reading of Aldous Huxley’s Brave New World (1932) in the light of Zygmunt Bauman’s concept of Liquid Modernity. The plot of the novel unfolds in the futuristic London of the 26th century, in the year 2540 of our Common Era, or – in the narrative – in the year 632 AF (After Ford). Underlying the dystopian scenario of technological advancement and highly developed organization, however, the themes discussed in the novel actually address the circumstances of the time and place of its own production, the beginning of the 1930’s, in a context of developing industrialization, political tension, and economic crises. In this research, I pursue the answer to the following question: “In what ways does Huxley’s fiction anticipate the kind of society its readers would be living in at our present time, three quarters of a century after its publication?” With the help of Professor Zygmunt Bauman’s theories, I build my interpretation of the metaphors found in the novel, that prognosticate the current conditions of free-market capitalism, consumerism, programmed obsolescence, that determine the ethics, the aesthetics and the ways of thinking of our present times. Bauman’s assumptions concern the liquidity of the contemporary world, where nothing is meant to last long. This premise generates a number of consequences such as overconsumption, frail human bonds, superficial critical thought, and supremacy of online over factual contacts among people. The thesis is devised in three chapters. In the first, I contextualize the concept of dystopia. In the second, I bring the necessary contextualization about the time, the work and the author. In the third, I introduce Bauman’s concepts of solid modernity and liquid modernity and connect them with the study of Brave New World. Finally. In Chapter IV, I present my reading of the novel. At the end of the research, I expect to find the answers to the posed question by establishing critical interrelations between the fictional aspects of the novel and the social features ongoing in our present time.