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This study is an examination of the rhetorical concept of the dialectic as it is realized in selected works of North American dystopian literature. The dialectic is one of the main factors in curtailing enlightenment rationalism which, taken to an extreme, would deny man freedom while claiming to bestow freedom upon him. The focus of this dissertation is on an analysis of twentieth-century dystopias and the dialectic of Fyodor Dostoevsky's Grand Inquisitor parable which is a precursor to dystopian literature. The Grand Inquisitor parable of The Brothers Karamazov is a blueprint for dystopian states delineated in anti-utopian fiction. Also, Dostoevsky's parable constitutes a powerful dialectical struggle between polar opposites which are presented in the following twentieth-century dystopias: Zamiatin's Me, Bradbury's Farenheit 451, Vonnegut's Player Piano, and Atwood's The Handmaid's Tale. The dialectic in the dystopian genre presents a give and take between the opposites of faith and doubt, liberty and slavery, and it often presents the individual of the anti-utopian state with a choice. When presented with the dialectic, then, the individual is presented with the capacity to make a real choice; therefore, he is presented with a hope for salvation in the totalitarian dystopias of modern twentieth-century literature.

Thesis (PhD (Philosophy))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: Utopie is dood. Daar is geen meer hoop dat die toekoms radikaal anders of moreel meerwaardig kan wees gemeet teen die hede nie. Om utopiese alternatiewe tot ons huidige samelewingsrangskikking te verbeel is onrealisties, en selfs gevaarlik. Daarom lewer die utopiese verbeelding vandag slegs distopieë – as ons vandag 'n andersoortige samelewing verbeel kan ons slegs dink dat dit 'n nagmerrie moet wees. Die resultaat is politieke apatie en 'n gewilligheid om onsself te versoen met die status quo. As teenvoeter vir die bogenoemde politieke apatie vra ek in hierdie proefskrif of dit vandag nog moontlik is om utopies te dink. Om hierdie vraag te beantwoord ondersoek ek eers die sogenaamde "einde" of "dood" van utopie. Utopie is vandag dood omdat die metafisiese onderbou daaran verdag geraak het, en omdat 'n utopiese gees aktief onderdruk word via 'n verskeidenheid ideologiese strategieë. Ten spyte van hierdie probleme is 'n andersoortige en postmetafisiese utopisme wel vandag moontlik, en die kontoere van hierdie nuwe utopiese rasionaliteit word nagespoor in die werk van eietydse filosowe soos Richard Rorty, Gianni Vattimo, Fredric Jameson, Slavoj Žižek en Jacques Derrida. In hulle werk herleef 'n utopiese gees wat nie meer gebonde is aan ons metafisiese filosofiese erfenis nie. Hierdie gees manifesteer ook nie (slegs) in die vorm van sketse van ideale samelewings nie, maar eerder as hermeneutiese praktyke wat die koms van sosiale alteriteit fasiliteer. Hierdie utopiese gees, in voeling met 'n postmetafisiese intellektuele klimaat, bied ek aan as 'n noodsaaklike voorwaarde vir sosiale hoop. / ENGLISH ABSTRACT: Utopia is dead. There is no hope today that the future will be radically different from, or ethically superior to the present. To dream up utopian alternatives to our society is unrealistic, even dangerous. It is no surprise, then, that the existing utopian imagination produces only dystopias – if we think at all of a radically different society, we can only imagine something nightmarish. The result: a political apathy and a willingness to reconcile ourselves with the status quo. To counter the abovementioned political apathy, I ask in this dissertation if it is still possible to think in a utopian fashion. In order to answer this question I start off by examining the so-called "end" or "death" of utopia. Utopia is dead today because of its questionable metaphysical foundations, and because of an active ideological repression of any utopian impulse. In spite of these problems a new and postmetaphysical utopianism is possible. The contours of this new utopianism can be extrapolated from the work of contemporary philosophers like Richard Rorty, Gianni Vattimo, Fredric Jameson, Slavoj Žižek and Jacques Derrida. In their work a utopian spirit is revived – a spirit no longer constrained by our metaphysical philosophical heritage. This spirit is manifested, not (only) in sketches of ideal societies, but rather in hermeneutic practices that facilitate the arrival of social alterity. I present this utopian spirit, in touch with a postmetaphysical intellectual climate, as a necessary condition for social hope.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This dissertation investigates the increase in Afrikaans novels set in the future at the time of publication in the period after 1999. The following seven Afrikaans futuristic novels were published in this time: Oemkontoe van die nasie (2001) by P.J. Haasbroek, Hotel Atlantis (2002) and Raka die roman (2005) by Koos Kombuis, Miskruier (2005) by Jaco Botha, Die nege kerse van Magriet (2006) by Barend P.J. Erasmus, Horrelpoot (2006) by Eben Venter and Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009) by Louis Krüger. These novels are discussed within the framework of dystopian literature since they all portray a future South Africa that is worse off than it was at the time of the novels’ publication. It is discussed whether the socio-political climate in South Africa after 1999 contributed to the increasing popularity of the dystopian genre in Afrikaans in this time. Dystopian literature in general comments on the present rather than the future. The social commentary in these novels is therefore also discussed. The following aspects of dystopian literature, as identified by critics such as Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent and Brian Stableford, is focused on in the analysis of the seven novels: the typical narrative in dystopian works; the distinction between the classical dystopia, critical dystopia and pseudo-dystopia; the connection between dystopian literature and apocalyptic literature, and common themes within dystopian literature (for example the control of language and the media, history and ecological issues). This dissertation highlights the similarities to as well as differences between the seven Afrikaans dystopian novels and typical dystopian works. It is also discussed how the context of a postcolonial and post-apartheid South Africa makes these novels unique. / AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die toename van Afrikaanse romans in die tydperk ná 1999 wat ten tyde van publikasie in ʼn toekomstige Suid-Afrika afspeel. Die volgende toekomsromans verskyn in hierdie tyd: P.J. Haasbroek se Oemkontoe van die nasie (2001), Hotel Atlantis (2002) en Raka die roman (2005) deur Koos Kombuis, Miskruier (2005) deur Jaco Botha, Eben Venter se Horrelpoot (2006), Die nege kerse van Magriet (2006) deur Barend P.J. Erasmus en Louis Krüger se Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009). Dié sewe romans word binne die raamwerk van distopiese literatuur bespreek omdat hulle voldoen aan Lyman Tower Sargent se definisie van ʼn literêre distopie: hulle beeld almal ʼn toekomstige Suid-Afrika uit waarin dit slegter gaan as die tyd waarin die romans gepubliseer is. Daar word ondersoek of die sosio-politiese konteks waarin die toekomsromans van ná 1999 verskyn, moontlik ʼn bydrae gelewer het tot die toename van hierdie tipe roman in die tydperk. Toekomsvoorstellings binne distopiese literatuur lewer dikwels eerder kommentaar op die tyd waarin die werke verskyn as op die toekoms. Daar word ondersoek of dit ook die geval is met die Afrikaanse distopiese toekomsromans van ná 1999. Na aanleiding van teorieë rondom distopiese literatuur deur kritici soos Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent en Brian Stableford word daar op die volgende aspekte van distopiese literatuur gefokus in die analise van die sewe romans: die handeling in tipiese distopiese werke; die onderskeid tussen die klassieke distopie, kritiese distopie en pseudo-distopie; die verband tussen apokaliptiese en distopiese literatuur en algemene temas binne distopiese literatuur (byvoorbeeld die beheer van die taal en media, die geskiedenis en ekologiese vraagstukke). In die bespreking word daar gewys op die ooreenkomste, maar ook die verskille, tussen die sewe Afrikaanse distopiese romans en tipiese distopiese werke. Daar word ook bespreek hoe die konteks van ʼn postkoloniale en postapartheid Suid-Afrika ʼn uniekheid verleen aan dié werke.

Intimate spaces play a key role in the development of human identity, constructing identity through an internalized experience of the house itself. Building on Bachelard's theories in The Poetics of Space, I argue that characters in Yevgeny Zamyatin's We and J.G. Ballard's The Drowned World gain a new awareness of self after experiencing nature as a substitute for the house. The emergence of a new identity occurs because nature offers protection from the forces that inhibit both D-503 and Keran's individual growth ; it offers the safety of the house that neither character is allowed in a private home : D-503 because of the panoptic space of the One state and Kerans due to the nature of the changing circumstances of the environment and his own biology that force him to accept his role as a "new" human and the jungle as "home". / by Megan Mandell. / Thesis (M.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Whisper was a reject, living in a world so polluted and damaged that many humans and animals alike were born with defects. She'd grown up in an outcast camp far from any village, and those who lived in the camp were like her: disfigured. But on her sixteenth birthday, Whisper's father came to take her back to the village where she was to fill her mother's vacated spot and perform duties for the family. Her job was to cook, clean, wash the clothes, and maintain the family property. At night she was chained to the doghouse. Her uncle decided that Whisper could make far more money for the family by other means. He escorted her to the city where he brought her to the Purgatory Palace which was full of people like her, people with disfigurements who had been abandoned by their families and lived in the city for one reason only -to beg for money. Whisper refused to beg, and instead used the violin she'd received from her mother, and played songs for the money she earned. This became tolerable for a time. But Whisper missed her forest home with an ache as cold as the city and she missed the other rejects from the camp in the woods. When she was accused of attacking a store attendant, she found herself in jail. She was rescued by Solomon, a man who had heard her songs on the street corners and said that she played as only a genius could. He offered her a place at The Conservatory of Music, where she would study the violin with him. Whisper accepted this offer but even though she was warm, safe, and played music every day, she did not fit in at The University and knew that she never would. This is a young adult novel about Whisper, trying to find a place in a world that doesn't accept her. It is a story of rejection, pollution and social status. Whisper discovers that through perseverance, friends and determination, anyone can find a way to fit.

Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2003. / Bibliography: p. 250-270. / Introduction -- Female subjectivity, abjection, and agency in Scenes of clerical life -- A questionable Utopia: Adam Bede -- Dystopia and the frustration of agency in the double Bildungsroman of The mill on the floss -- Abjection and exile in Silas Marner -- Justice and feminist Utopia in Romola -- Radicalism as Utopianism in Felix Holt, the radical -- The pursuit of what is good: Utopian impulses in Middlemarch -- Nationalism and multiculturalism: shaping the future as transformative Utopia in Daniel Deronda. / Within a framework based on Mikhail Bakhtin's dialogism and Julia Kristeva's theory of abjection, this thesis investigates how Utopian impulses are manifested in George Eliot's novels. Eliot's utopianism is presented first by a critique of dystopian elements in society and later by placing such elements in a dialogic relationship with utopian ideas articulated by leading characters. Each novel includes characters who are abjected because they have different ideas from the social norms, and such characters are silenced and expelled because society evaluates these differences in terms of its gender, class and racial prejudices. Dystopia is thus constituted as a resolution of the conflict between individual and society by the imposition of monologic values. Dialogic possibilities are explored by patterned character configurations and by the cultivation of ironical narrators' voices which enfold character focalization within strategic deployment of free indirect discourse. -- Eliot's early works, from Scenes of Clerical Life to Silas Marner, focus their dystopian elements as a critique of a monologic British society intolerant of multiple consciousnesses, and which consigns "other" voices to abjection and thereby precludes social progress by rejecting these "other" voices. In her later novels, from Romola to Daniel Deronda, Eliot presents concrete model utopian societies that foreshadow progressive changes to the depicted, existing society. Such an imagined society incorporates different consciousnesses and hence admits abject characters, who otherwise would have been regarded as merely transgressive, and thus silenced or eliminated. Abjected characters in Eliot's fiction tend also to be utopists, and hence have potential for positively transforming the world. Where they are depicted as gaining agency, they also in actuality or by implication bring about change in society, the nation and the wider world. -- An underlying assumption is that history can be changed for the better, so that utopian ideals can be actualized by means of human agency rather than by attributing teleological processes to supernatural forces. When a protagonist's utopian impulses fail, it is both because of dystopian elements of society and because of individual human weaknesses. In arguably her most utopian works, Romola and Daniel Deronda, Eliot creates ideal protagonists, one of whom remains in the domestic sphere because of gender, and another who is (albeit voluntarily) removed from British society because of his race/class. However, Romola can be seen as envisaging a basis for female advancement to public life, while Daniel Deronda suggests a new world order through a nationalism grounded in multiculturalism and a global utopianism. / Mode of access: World Wide Web. / v, 270 p

Thesis (Ph. D.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 204-214). Also available for download via the World Wide Web; free to University of Oregon users.

Issued also as thesis, Münster. / Includes bibliographical references.

Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 144-147).