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Gerald Heard (1889-1971) was an influential figure among the intelligentsia of the 1930s, once described by E.M. Forster as “one of the most penetrating minds in England.” However, he remains an ill-defined footnote, a marginal figure whose influence and reputation, although acknowledged, remains unexamined. This dissertation examines his life and work, and considers the role which Heard, as a generaliser and public intellectual, played in the intellectual landscape of the 1930s. Central to Heard’s philosophy was a belief that society was in need of a spiritual and psychological force which could allow isolated individuals to participate in community with one another. Heard’s solution to bring about this evolution of consciousness would prove to be partly psychological, partly mystical and partly down to the product of a particular way of living. The first chapter outlines Heard’s philosophy in detail. Subsequent chapters are structured so as to provide a loose biographical chronology, each focussing on a different phase of Heard’s career and examining the development of his thought. Running throughout the dissertation is a consideration of Heard’s role as a public intellectual. It was as a popular ‘generaliser’ of thought that Heard found his public, and the limited degree of success he found as a man of action could be seen to be a natural limitation of the role he had constructed for himself. Chapter II focuses on Heard’s time as personal secretary to Sir Horace Plunkett, father of the Irish Co-Operative Movement, and how the ideals of this movement can be seen to inform his developing ideas of human community. Chapter III looks at Heard’s role as a broadcaster with the B.B.C., where he became a noted populariser of science, firmly establishing himself as a public figure and cultural authority. It is arguably this increased public profile which provided Heard with a ‘public’ to whom he could address his ideas. Chapter IV, drawing on archival material from Dartington Hall, considers Heard’s role as a lecturer at Dartington School, and more importantly his first experiment to establish a small ‘group’ for meditation in an attempt to discover the mystical and psychological basis for a co-operative society. Chapter V examines his career as an outspoken pacifist, where he would advance his arguments for a radical reorganisation of society as a practical solution to the question of peace and further attempt to become a man of action.

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

Literacy theory, a multi-disciplinary, late-twentieth century endeavor, examines the acts of reading and writing as cognitive and social processes, seeking to define the relationship between reading and writing and other social and cognitive - especially linguistic - acts. As such, literacy theory intersects with discussions of public and individual education and reading habits that surface with the rise of the mass reading public. This dissertation analyzes scenes of reading and writing in the fiction of Virginia Woolf, E. M. Forster, D. H. Lawrence and Aldous Huxley as implicit authorial discourses on the function of literacy, including properties of written language and the social consequences of literate acts. It argues that reading and writing form important thematic concerns in Modernist fiction, defines fiction that theorizes about reading and writing as "literacy fiction," and proposes fictional dramatizations of literate activity as subjects for literacy theory. Chapter I argues that early twentieth-century Britain is an important historical site for intellectual consideration of literacy because near-universal access to education across social classes influences an increase in middle and working class readers. Woolf's Mrs. Dalloway provides a test case for the analysis of scenes of reading because her democratic concern with education is well established in the scholarly literature. Chapter II argues that in "The Celestial Omnibus" and "Other Kingdom," Forster critiques use of literacy as cultural capital. Chapter III argues that Forster's A Room with a View and Howards End portray the dangers of naive reading and the difficulties of autodidacticism for the working class, respectively. Chapter IV argues that Lawrence's "Shades of Spring" and Sons and Lovers introduce the theoretically unexplored topic of literacy's influence on intimate relationships. Chapter V argues that Huxley's Brave New World responds to the Modernist discourse on literacy by addressing the restriction of individual literacy by the State and elite intellectuals. The conclusion summarizes Modernist representation of literacy, states the significance of the methodology and its further applications, and refines the definition of literacy fiction. Because Modernist writers scrutinize the relationship between external forces and the individual psyche, their anxiety-tinged portraits treat both cognitive and social functions of literate acts.

The early twentieth century saw the beginning of modern environmentalism. Intellectuals dreamed up solutions to the world’s problems and hoped for a better future being made possible by advances in science and technology. However, Aldous Huxley produced Brave New World which, as this essay argues, mocks the enthusiasm of his intellectual peers. The dystopian novel depicts a future in which technology dehumanizes the population, and uses a great deal of animal imagery to make this point. This essay analyses the use of animal imagery from an ecocritical perspective arguing that the “pathetic fallacy” is reversed. By examining the use of biotechnology and central planning in the novel, and applying the ecocritical perspective that humanity and nature are part of a whole, this essay argues that society resembles a farm for human animals, which is partly expressed by Huxley’s use of the image of a bee colony. The argument is presented that Huxley satirizes his environmentally concerned peers by depicting a totalitarian state which, though unconcerned with environmental issues, echoes the eco-fascist methods proposed by the author’s friends and family.

Aldous Huxley´s Brave New World describes how a totalitarian power has taken control over both body and mind of the whole population. A hierarchical caste system, where a person´s role in society is predetermined long before birth, maintains stability together with brain-washing methods and propaganda. Huxley expressed his fears of what might happen if science was used for the wrong purposes, and wrote his futuristic novel Brave New World in the beginning of the 1930s, inspired by the turbulent world around him. It was a time preoccupied with race and classification of populations, which ended in the disastrous Holocaust. Huxley´s novel is equally important today when eugenics is on the comeback and democracy is challenged by nationalist and populist movements. This essay will consist of a close reading of Brave New World, analyzed from the perspective of the theories of French philosopher Foucault. He launched his concept of biopower in the 1970s, where he linked a negative use of controlling citizens with state racism. The focus of this essay will be to explore how biopower and racism are used by the totalitarian state in the novel to maintain control of the population. The argument will be made that racism, internal division and exclusion are vital tools to achieve that purpose.

[pt] Este trabalho tem como objetivo central analisar comparativamente três dos principais romances distópicos escritos na primeira metade do século XX: We (1924) de Yevgeny Zamyatin, Brave New World (1932) escrito por Aldous Huxley e 1984 (1949) escrito pelo romancista e jornalista inglês George Orwell. Não se trata aqui de pensar apenas em como essas obras foram moldadas por um ou outro conjunto de pressões históricas, mas sim procurar refletir especialmente se e como essas obras também podem possuir uma dimensão propositiva comum a todas elas. Elabora-se, a partir desse esforço, a categoria de estética do prognóstico, no interior do próprio pensamento crítico e ensaístico de Aldous Huxley. Partindo da obra de Huxley e posterioremente testando a força dessa categoria de estética do prognóstico frente aos dois outros romances, fomos capazes de perceber como a ficção opera a construção de uma encenação que pretende ser mais do que mera encenação. Pretende ser ela mesma uma espécie de realismo do futuro, chamado por nós de realismo distópico. Mas esse realismo não encontra o ponto máximo de sua representação da realidade na literatura ao profetizar (prognosticar) os meios pelos quais a sociedade do futuro irá se desenvolver, mas sim nas tópicas centrais à construção de seus protagonistas: o amor e a morte. / [en] This work is mainly aimed at comparing three of the main dystopian novels written in the first half of the twentieth century: We (1924) by Yevgeny Zamyatin, Brave New World (1932) written by Aldous Huxley and 1984 (1949) written by the english novelist and journalist George Orwell. We re not only interested to think of how these works were shaped by either set of historical pressures, but rather trying to reflect especially if and how these works may also have a common propositional dimension to all of them. Draws up from that effort, the category of the aesthetic of prognosis, built inside the critical and essayistic thought of Aldous Huxley himself. Starting from the work of Huxley and then testing the strength of this category of aesthetic of prognosis compared to the other two novels, we were able to understand how fiction works to build a staging that aims to be more than mere acting. Want to be itself a kind of realism of the future, called by us the dystopian realism. But this realism did not find the peak of its representation of reality in literature prophesying (predicting) the means by which the society of the future will develop, but on the construction of the central protagonists issues: love and death.

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Made available in DSpace on 2015-05-14T12:40:03Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 816611 bytes, checksum: 4117bbf74011ab28c0f0fccd2227f005 (MD5) Previous issue date: 2014-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work analyzes Erico Veríssimo as a translator of Point counter point (1928) by Aldous Huxley in Globe Publishing House. His translation, Contraponto (1934), is analyzed in the context of translation and ideology of Vargas Age, a nationalist and authoritarian government. The methodology is developed via cultural transferences, and it intends to comprehend the trajectory of Erico Veríssimo as a translator and remake the translation process of Point counter point. The profile of the translator Veríssimo is initially traced through his first experiences at Globe Magazine, where he published rapid translations, inventing pseudonyms for them. Later on, he published translations of books internationally known and the translation process occurred in an elevated and more elaborated standard. The route and the choice of Contraponto translation initially presented an editorial audacity of Veríssimo, who risked commercially, once the literary work was dense and the author was not known in Brazil. However, it was a decisive point to the translator Veríssimo and to the divulgation of Huxley in Brazil. Contraponto became a best-seller and an editorial milestone. It was published in the Nobel Collection, which brings to the ordinary reader and the intellectuals of that epoch the translation of literary works of international repercussion, raising and enriching culturally its public. The editorial policy of Globe in translating the world classics is linked to the nationalist ideals of Vargas in valuing the role of vernacular language and the education in the search for an identity for the Nation. In a selective textual analysis from the concepts of specific cultural items in translation by Aixelá and the Theory of Polisystems, it is highlighted that translation is marked by conservation strategy (repetition), in a tendency of adequacy. The translation of Veríssimo permits the visualization of marks of foreign culture. Moreover, it does not nationalize cultural specificities, adding new information to the reader. With the concepts of translation and ideology brought by Lefevere, it is understood that rewriting can be inspired by ideological motivations. Therefore, it could be associated that Contraponto approaches ideological questions related to fascism, linking them to Vargas Age, with which had totalitarian similarities. / Este trabalho analisa Erico Veríssimo enquanto tradutor na Editora Globo da obra Point counter point (1928), de Aldous Huxley, intitulada Contraponto (1934), no contexto da tradução e ideologia no Regime Vargas, governo autoritário e nacionalista. A metodologia é desenvolvida via transferências culturais, buscando compreender a trajetória de Erico Veríssimo como tradutor e refazer o processo tradutório da obra de Huxley. O perfil do tradutor Veríssimo é traçado inicialmente através de suas primeiras experiências na Revista do Globo, onde lançava no mercado traduções rápidas, inventando pseudônimos para as mesmas; e, posteriormente, com a publicação de traduções de obras de renome internacional, onde o processo tradutório ocorria num padrão elevado e mais elaborado. O percurso e a escolha da tradução Contraponto representam inicialmente uma ousadia editorial de Veríssimo, arriscando-se comercialmente, uma vez que a obra era densa e o autor desconhecido no Brasil; e, de fato, foi um ponto decisivo para Veríssimo tradutor e para a divulgação de Huxley no Brasil. Contraponto foi sucesso de vendas e um marco editorial, publicado na coleção Nobel, que levava ao leitor médio e aos intelectuais da época as traduções de repercussão internacional, formando e enriquecendo culturalmente seu público. A política editorial da Globo de traduzir os clássicos mundiais coaduna com os ideais nacionalistas de Vargas de valorizar o papel da língua vernácula e da educação na busca da identidade da Nação. Numa análise textual seletiva a partir dos conceitos dos itens culturais específicos em tradução trazidos por Aixelá e da teoria de polissistemas, destacamos que a tradução é marcada pela estratégia de conservação (repetição), numa tendência à adequação. Sua tradução permite a visualização das marcas da cultura estrangeira, não nacionaliza especificidades culturais, acrescentando informações novas ao leitor. Com os conceitos de tradução e ideologia advindos de Lefevere, entendemos que a reescritura pode ser inspirada por motivações ideológicas, logo podemos associar o fato de Contraponto tratar de questões ideológicas ligadas ao fascismo com o Governo Vargas, que possuía semelhanças totalitaristas.