TITLE:  ”Fuck society” SUB-HEADING: Mr. Robot som samtida dystopi. AUTHOR: Petra Stråle. EXAMINER: Johan Nilsson. LEVEL: BA Thesis.SUBJECT: Media and communication science. INSTITUTE: Department of Humanities, Education and Social Sciences University of Örebro.PURPOSE: The thesis purpose is to examine how the television series Mr. Robot can be viewed as an dystopian work of fiction that depicts our present society. METHOD: Content analysis. RESULT: The results indicates that the television series Mr. Robot can not be categorized as a classical dystopia, but does, however, contain dystopian elements and is connected to different forms of dystopia, like the critical dystopia and the proto-dystopia.

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This novel manuscript explores the connections between art, the city of Calgary, and political complacency. Legislated into the school and job chosen by her high school career test results, a law student attends a party at a heritage house in Calgary and takes a tour through the rooms, hoping to encounter a lost acquaintance. In this world, careers are divided into five ambiguous "Fifths" (labour, service, secondary service, small business, and corporate science) none officially more valuable than any of the others. "Fifth Fifths", though, are the best paid, their post-secondary educations heavily subsized. The characters adhere unquestioningly to the ideology of the government in power (as Albertans historically have done), though they resent their lack of choice and recognize injustice. They, like most of the characters featured in popular Calgary history books, are the ones ultimately benefiting from the system. / English

Examining links between Huxley's <i>Brave New World</i> and Buddhism, with particular emphasis on the story of Siddhartha Gautama.

Examining links between Huxley's <i>Brave New World</i> and Buddhism, with particular emphasis on the story of Siddhartha Gautama.

This thesis explores the depictions of the relationship between utopia and ideology by looking at metaphors of the wall in of utopian and dystopian science fiction, such as Ursula K. Le Guin’s The Dispossessed, George Orwell's Nineteen Eighty-Four and the Strugatsky brothers' Roadside Picnic. The wall is an image symbolising the ambiguity between ideology and utopia: the wall could be perceived to be the barrier protecting utopia while it is in fact the symbol for ideological restrictions and containment which are generating dystopia. The thesis looks at how these novels engage with the theme of the wall: it is used as an image altering history, constricting space and as a linguistic barrier. The characters' presence in and experience of the worlds is restricted by the ideological walls, and an alternate reality is created. The thesis looks at how the novels create such alternate, ideological realities and how the wall becomes the entity altering time, history, space and language. This alternate reality is used as an image of stability, but this takes on negative connotations: it becomes a constrictive force, embodying Fredric Jameson's idea that science fiction creates images of “world reduction”, caging the characters' desires, disabling the utopian impulse. The thesis therefore instigates the possibility of utopia: the wall negates all possibility of change and denies the hopes of the utopian impulse; however the characters' desire to regain humanity by destroying the ideological walls offers hope and opens up utopia, thus concluding that utopia is change and progress.

Reading The Catcher in the Rye as dystopian fiction requires critical responsibility to evaluate the ethicality of the protagonist's sense of others and self, to assess the moral nature of the novel's dystopian world, and to evaluate the protagonist's agency or capacity to change his world or himself. The novel presents a multifaceted dystopia existing on multiple planes in the social dogma, the reality of the presented world, and Holden's mind before and after his paradigm shift. The dystopian aspects present in the novel highlight basic ideological systems as well as agency and action within the structure. The dystopian elements of the novel alter standards for ethical judgment. The ethical discussion shifts to focus on the possibility of agency, ability to change, and perceptions. Using these standards shows the dystopian-saturated world and reveals Holden as a changed character who transitions from unethical, complicit victim to ethical agent. The Catcher in the Rye provides a case study of corrupted societal structure and the possible outcomes for readers and critics. The dystopian genre expands through the inclusion of The Catcher in the Rye and extends the standards for ethical analysis to other dystopian novels.

My statement of purpose covers the story I have been writing as well as my journey on how I got to where I am today. The beginning is an introduction to the entirety of my work. From there, it goes into my personal life, and what inspired me to write in the first place. As it is read through, the reader will get hints of harsh times in life, the elements of history, and the inspiration of the literature of video games. With all of these elements combined, it explains the purpose of my writing being closely entwined with dealing with the roughness of situations, and finding a way to bust through despite the disadvantages dealt to someone.

The meaning of this essay is to look at how the narrative strategies, description of character and society differ between the two novels "This Perfect Day" and "Neuromancer". By looking at the different narrative techniques used by the authors and the results we can see why some of these strategies work very well in one novel but would not suit the other because of the contrasts in style it would produce.

Magister Artium - MA / There is the growing recognition that literary works are not independent, but have often been impacted on by various other media. Complex intersections arise between printed text and other media such as photography, film, music and visual arts. The central theoretical concept underpinning this thesis is a study of intermediality, which interrogates the various ways non-literary media are used as a resource or reference. This analysis will be explored in the novels of Lauren Beukes, and will focus on the intermedial meaning-making and influences of both analogue photography and digital visuality in the dystopian society of Moxyland (2008). Furthermore, it will examine visual art in Broken Monsters (2014) and delineate visuality in terms of “bodies”, as is evident in the depiction of ruin porn and contemporary art.