Dystopias

Industrial Activity: Kraftwerk's Radio-Activity as dystopian sonic template.
Radio-Activity (1975) deals with the most dystopian themes the pioneering German electronic group ever addressed. It was released shortly before the emergence in Britain of what became known as industrial music. The paper will argue that the more sonically radical and conceptually dystopian elements of the album were a strong precedent for industrial music and the way in which it used electronically-generated sound and noise. The minimalistic electronic percussion, oscillator and voltage sounds, shortwave radio recordings and collages of sampled voices deployed by Kraftwerk here can be directly compared to industrial's use of noise as a texture, within and against a pop format. The use of these sonic elements to explore dystopian and ambivalent subject matter is also relevant here. Geiger Counter manipulates the fears surrounding radiation and The Voice of Energy features an alienated, electronically processed vocal that gives voice to fears of technological domination. The use of simulated and actual radio sounds and news reports on News has parallels with the near-contemporary work of the British group Cabaret Voltaire and their use of similar materials and themes, for instance on the early track Baader Meinhof.  While Kraftwerk took this sample-based technique no further, it would become a key stylistic trope of industrial music. Uranium is a chilling soundscape that coldly dramatises the lethal potential of the element, and uses electronic sound to communicate a sense of ominousness. Another important parallel to be considered is the use of sonic and conceptual ambivalence. The album was the group's most controversial, with some seeing it as being uncritical of, or even consciously aestheticising nuclear power. This overlooked Kraftwerk's documentary ambition to present tone pictures of everyday technological life, as well as their sly irony. The presenation of extreme and disturbing subject matter in industrial has generated even more severe criticism, with many being disturbed by its sonic-conceptual ambivalence. With these questions in mind, Radio-Activity will be compared with examples from groups such as Cabaret Voltaire, Throbbing Gristle, Clock DVA and others, illustrating some of the related approaches that appeared in the wake of the album. Both Kraftwerk and these artist consciously used what were then the still-alienating potentials of electronic sound,  manipulating and ambivalently exploring technophobia and the darker side of late 20th Century ideas of (post)-industrial progress. Due to the controversy generated by its apparent “over-identification” with nuclear power, it has been relatively overlooked and is seen as less influential than those before and after it, yet it did exert a hidden influence as what Slavoj Žižek terms as a “vanishing mediator” between the approaches informing the elektronische musik of the Cologne School (which Kraftwerk members were fully aware of) and industrial. From there the still under-narrated industrial's effect on subsequent forms including Electronic Body Music (EBM), New Beat, Techno and certain strains of electronica can be traced, expanding our understanding of Kraftwerk's stylistic and conceptual influence further than previously.

This thesis seeks to verify the hypothesis that: man has always tried to achieve the ideal in tangible, physical forms; (art, architecture etc) but consistently fails to do so due to the imperfect nature of material reality. The researcher proposes to look at this vicious cycle as a complete process, utopia as the initial thought and dystopia as the desired final result, to embrace the complete reality brought on by trying to achieve a utopia and leaving enough space in its physical representation for a dystopia to emerge. Utopias grow into dystopias.

The article focuses on the psychological dimensions of readers’ engagements with young adult climate change fiction. It argues that that the embodied simulation of a fictional climate-changed world can offer much more than simple entertainment or escapism. Instead, it has the potential to impact teenagers’ understanding of the social, economic, and ecological risks associated with climate change and to give them a better sense of the vulnerability of their current lives and lifestyles. By way of example, the article draws on research in cognitive literary studies, neuroscience, and the psychology of fiction to examine the narrative strategies of Paolo Bacigalupi’s YA cli-fi novel Ship Breaker. It demonstrates how the novel’s depiction of a dystopian future cues both negative emotions and more positive emotions in in order to warn about the future risks of climate change and still make the reading experience pleasurable for young readers.

In today"s communities, the needs and demands of human beings are increasing day by day. At the same time, innovation and development in every field which guide the future of humanity is proceeding. To meet various needs and desires of increasing population, there should be a solution which could provide overwhelming challenges and meet the demands of civilizations. As a result, the idea of mechanization had appeared. Inventors, who put forward the idea of mechanization, defended that; by mechanization there would be great convenience for people to respond their demands. In briefly, mechanization is based on performing mechanical operations, which provides completing task in a short time period. By these principles, machines have started to meet the needs of increasing population easily in every corner of life. Machine has become the fundamental necessity for all mankind, because it assures concrete solutions for individuals by responding their needs quickly. The concept of mechanization and machines could be perceived as only "ordinary, programmed devices which has mechanical parts" by narrow-minded individuals; however in real world of mechanization, machines have impacts in various areas. Mechanization gives direction to life of mankind with all aspects. In other words, humanity is surrounded by machinery in every subject of life.

In this piece, I approach the relationship between the paradigm of imbricated crises pertaining to the second decade of the twenty-first century and its contemporaneous dystopian literature. I focus particularly on how dystopian literature forges a sense of closure that attempts to give meaning through the construction of imaginary memories of how crises came and went, or came and stayed. Dystopian tales provide the troubled reader of its time with a sense of narrative continuation and a substitute for closure. For my analysis, I draw on a corpus of literary works from around the world, which includes The Queue, by Basma Abdel Aziz; Station Eleven, by Emily St John Mandel; The Emissary, by Tawada Yōko; Severance: A Novel, by Ling Ma; China Dream, by Ma Jian; Ansibles, Profilers and Other Machines of Wonder, by Andrea Chapela; and The Ministry for the Future, by Kim Stanley Robinson.

The last decade has seen the rise of data capture culture. This culture has been most visible, and widely analysed, within the realm of social media; but it is not unique to that form. This article reconceptualises video games as apparatuses for data capture. We situate games within a broader economic and cultural shift towards a new 'accelerated' form of neoliberalism where individual choice and agency are pre-filtered and personalised by algorithms based on user data history. Through a survey of the changing role of data in video gaming, this article critically maps a new paradigm for a reimagined games industry driven by a logic of data capture. Gaming promises a unique opportunity for data capture capitalists to mine and commodify player preferences, behaviours and instinctual responses. Arguing that play is a process of uncovering hidden logics, we offer a framework for resisting the data capture hegemony. This is not simply a discussion of gaming, rather this is an attempt to outline the conditions of possibility for a critique of globalised digital culture in which populations are profiled, processed and punished by hidden algorithms of the market that are optimised to construct and reward accelerated performances of neoliberal subjectivity.

Aún en sus momentos más prolíficos, el cine argentino le ha sido esquivo a los géneros y la ciencia ficción ha sido uno de los más relegados. Algunos de los factores que han incidido en este fenómeno son una marcada preferencia por el realismo, algunos prejuicios con respecto al cine de entretenimiento y, sobre todo, los elevados costos de producción que traen aparejados algunos de esos géneros. Sin embargo, en los últimos veinte años, el avance de las tecnologías digitales y el consecuente abaratamiento de los costos de producción han fomentado un creciente surgimiento de estas propuestas en nuestro país.
La ciencia ficción es quizás uno de los géneros populares que mejor ha reflejado las ideas, los temores colectivos, las paranoias y las transformaciones políticas y culturales propias de su universo de referencia. Al situar las historias narradas en un espacio/tiempo “otro”, las obras de sci-fi  instauran una distancia entre el universo narrativo y su universo de referencia. Esto ha convertido al género en un medio ideal para la crítica social indirecta o velada. Hacia fines de la década de 1960, en consonancia con las diversas revoluciones sociales y políticas que se sucedieron como reguero de pólvora tanto en Occidente como en el Tercer mundo, el cine de ciencia ficción se vio beneficiado de una corriente renovadora que incorporó, en dosis variables, una mirada crítica hacia la realidad circundante. La Argentina debió esperar hasta la vuelta de la democracia para beneficiarse de ese aire de cambio. Fue entonces que algunos jóvenes directores descubrieron que el potencial de este género para metaforizar la realidad circundante, a través de la construcción de universos y situaciones fantásticas resultaba ideal para revisar diversos aspectos de nuestro pasado reciente y, sobre todo, de la última dictadura militar. Estos cineastas concordaron en la imposibilidad de representar las experiencias vividas durante ese oscuro período de una manera realista. Sus películas mantienen con la realidad “una relación a veces distante, casi siempre oblicua y figurada en varios grados, desde la más directa relación metonímica, hasta formas más complicadas de alegoría y metaforización”.
Esto explica que la mayoría de las películas analizadas tengan la forma de una anti-utopia o distopía. La distopía es un proyecto de “sociedad alternativa donde se niega algún valor muy importante en la concepción del autor, lo cual la hace decididamente indeseable”. En el caso de las películas estudiadas en este artículo, ese valor vulnerado podría ser la libertad, la vida, la memoria o la propia identidad, es decir, los mismos valores que fueron sistemáticamente negados durante los oscuros años del Proceso. Sin embargo, la distopía puede adquirir, también, el valor de “una caricatura de la sociedad actual, lograda mediante la extrapolación de algunas de sus tendencias y su reducción al absurdo”

Terre fertile en paralittératures, familière des littératures de l’imaginaire, la Belgique semble paradoxalement peu représentée dans la veine utopique. Si en France le récit d’anticipation moderne se constitue en prolongement, souvent négatif, de l’utopie narrative d’Ancien Régime, la situation est plus difficile à déterminer pour la Belgique, où cette écriture n’a pas acquis de véritable visibilité auctoriale ou éditoriale et paraît loin de constituer un genre autonome. On reconnaît plus volontiers à la littérature belge d’expression française ses particularités, tôt développées, dans les domaines du fantastique et de la science-fiction. Il s’agit assurément d’esthétiques voisines, mais il ne faudrait pas les confondre. Roger Bozzetto a insisté pour considérer le fantastique et la fiction spéculative comme « deux genres spécifiques avec des origines, des généalogies et des visées différentes » , tandis que Darko Suvin a proposé des critères distinguant l’utopie de la science-fiction . Sous la désignation de « littérature utopique »  peuvent se regrouper des œuvres qui ont en commun les caractéristiques de la fiction prospective ou conjecturale associées à un traitement rationnel, généralement centré sur des préoccupations sociétales. Une telle définition repose à la fois sur des traits narratifs (cadre spatio-temporel d’anticipation), figuratifs (représentations de la collectivité humaine) et logiques (lien de vraisemblance entre monde fictif représenté et référence au réel). Ce numéro de la revue Textyles proposera un premier état des lieux de cette production hybride, disparate et peu considérée. Il associera, pour ce faire, des études de cas à une réflexion d’ensemble.

Since the earliest known works of literature three-thousand years ago, the vision for a better society, an ideal society, has driven and inspired cultures to improve their social conditions. These visions were written around themes of voyage and discovery, the classical age, and medieval Christianity, that culminated in Thomas More’s Utopia in 1516. Since More’s vision of the imaginary society on the island of Utopia, writers have envisioned practical societies that transform our economic, political, technological, and cultural infrastructures taking us to uncharted lands, distant planets, and unimaginable futures that challenge and alter our society’s foundations. These utopian, and sometimes dystopian, visions show us what our society could be like and how we could achieve it, for better or for worse. This exhibition will showcase a selection of these utopian and dystopian visions ranging from Plato’s Republic and Augustine’s City of God to Francis Bacon’s New Atlantis and Daniel Defoe’s Robinson Crusoe to H. G. Wells's War of the Worlds and Margaret Atwood’s The Handmaid’s Tale.

The study focuses on the republican murals painted on the walls of two cities, Belfast and Derry, in May 2009. The idea for the study was born during a trip to Northern Ireland during which I had the opportunity to observe the murals and to talk with some of the authors and with persons who had actually experienced
the events represented in the murals.
The nationalist murals have been studied by the author under different perspectives: language, iconography, political symbolism and social environment. Murals are, for sure, the community’s reaction to the British political and violent domination on Northern Ireland and they become instruments of rebellion representing
a collective request for freedom and independence. But they also represent a more complex phenomenon as they embody values and perspectives of the entire nationalist community in Northern Ireland. The study analyses the murals both as single artworks and as a collective phenomenon.A strong focus is given at all the political and social themes represented in the murals and at the different linguistic and iconographic styles of communication
as well as how different themes and styles combine. The nationalist murals are also examined under an artistic perspective with a special focus on the figure of the “artista armato”, the artist as a warrior that uses art as an instrument for communicating higher, collective (moral, social, religious, political) values. This
perspective brings the author to draw and analyse a parallel between the phenomenon of nationalist murals and Futurist art: a comparison based on the themes represented in the artworks, on the placing of the art pieces and on the social role of the artists.
If words, pictures and colours used in the nationalist murals become, as analysed in the study, the voice of the Catholic community in Northern Ireland, a voice not so often listened in the EU, it becomes crucial to understand what the artists
want to communicate, why and how. This study aims also to open up to a new research perspective based on a multidisciplinary approach through the integrated use of semiotics and semantics in ethnography in order to offer a more complete and holistic interpretation of the phenomenon of the Northern Irish republican
murals.

The article focuses on the origins of the concept of dystopia in literature. The word "dystopia" was discovered in extracts from the anonymous 1747 poem "Utopia: or Apollo's Golden Days," enclosed in a letter to the editor in the September 1748 issue of "The Gentleman's Magazine." The poem envisages Ireland as a "dystopia" before the Earl of Chesterfield's arrival there as lord lieutenant of Ireland. The variety of meanings of the word dystopia are examined. The opposition of "utopia" and "dystopia" is also discussed.

Abstract from EBSCOhost Connection:

http://connection.ebscohost.com/c/articles/48752721/dystopia-earlier-eighteenth-century-use
ACCESSION # 48752721

https://academic.oup.com/nq/article-abstract/57/1/86/1182435/Dystopia-An-Earlier-Eighteenth-Century-Use?redirectedFrom=fulltext
https://doi.org/10.1093/notesj/gjp235
https://www.scribd.com/document/75299474/Dystopia-Usage

Praca licencjacka napisana pod kierunkiem dra prof. WZ Paula Wilsona …………………………………………………… data i podpis promotora Łódź, 2013 This thesis is dedicated to my supervisor, Paul Wilson. I would like to thank him for patience and his hard work. He was motivating and inspiring me throughout the process of writing this paper, and that is why work with him gave me satisfaction and was a real pleasure.

a comprehensive philosophical reformulation); The Nuclear Thing (an analysis of the radioactive object of the imagination); The Trail of the Screaming Forehead (a critique of nihilistic egoism); Bitter Heritage (a historicophilosophical reflection on culture and crisis in 19th-century New Orleans); Axxon N (interpreting David Lynch films as critique of domination); and a second volume of The Anarchist Moment. His areas of research include dialectical thought, psychoanalytic theory, ecological philosophy, anarchist, utopian, and libertarian thought, surrealism, the social imaginary, cultural critique, Buddhist, Daoist and Zen philosophy, the critique of domination, and the crisis of the Earth. An archive of his texts (currently 374) can be found at

Usually read as an example of contemporary dystopian (or speculative) fiction, the tensions of posthuman/transhuman philosophies and those of the contemporary notion of the-apocalyptic novels can be, in fact, understood as an attempt to undermine and, also, problematise what the posthuman projects of technological capitalism intend and how it can be possible (if at all) to develop an understanding of a posthuman Anthropocene through the creation of the Crakers, bioengineered hominids created to repopulate the planet after the pandemic known as The Waterless Flood.

At its simplest, power is a social relation between two agents who may usefully be called the “principal” and the “subaltern” (Steven Lukes). The issue of sexual and national power politics is a wide ranging and crucial topic in Margaret Atwood’s work. In an essay published in 1973, entitled ‘Notes on Power Politics’, she stated that power “is our environment”, and that power struggles pervade our lives, not only in the public spheres of politics and war, but also in the private sphere of love and personal relationships.  This chapter is an exploration of how the pervasiveness, private and public dimension and necessity of power are articulated in a selection of works by Margaret Atwood, from her early poetry to her latest novels, with a particular emphasis on her dystopias, including The Testaments (2019), her long-awaited sequel to The Handmaid's Tale.

Artykuł stara się sproblematyzować, w jaki sposób myślenie o czasie i jego doświadczenie zmieniło się w drugiej połowie XX wieku oraz odpowiedzieć na pytanie, czy współcześnie można wciąż posługiwać się kategorią przyszłości. W tym celu autor przywołuje koncepcję mitologii przyszłości włoskiego myśliciela Franco „Bifo” Berardiego, autora książki „After the Future”, przygląda się nihilistycznemu nurtowi „no future” obecnemu w latach 70. oraz analizuje nieodłącznie związany z przyszłością nurt fantastyki naukowej w literaturze.

The rise of dystopian fiction in the past forty years is revealing of sociopolitical anxieties of the present, many of which can be interpreted as consequences of a capitalist form of organization. Through those narratives, literature has the power to make explicit such tensions, especially those now brought together by the contemporary perception of the Capitalocene. The objective of this paper, thus, is twofold: to discuss the possibilities of acknowledging dystopian fiction as an autonomous genre, and to examine how it exposes the ever-dynamic machinations of capitalism. To that end, several examples from modern and contemporary dystopian novels in English are presented and discussed.

Comte met Clotilde in 1844 and fell in love with her. She died shortly afterwards in 1846. Comte emphatically declared that without Clotilde his conception of universal religion, based on "sound philosophy" and inspired by Aristotle and Saint Paul, would not have come to being. 8 The church would be built in Rio de Janeiro by Brazilian members of the Positivist Church. It was on their initiative that in 1902 the Chapel of Humanity, a miniature copy of the temple, would be built in Paris, in the building where Clotilde de Vaux lived. 9 Comte was planning for its future relocation to Istanbul, formerly Constantinople. 10 The temple does not significantly differ from a traditional church, with its nave, aisles, and apse. In any case, positivist masses were to be said in Roman-Catholic churches until society was ready to accept the new worship. 11 Here we can observe a reference to the Catholic tradition and Marian devotions. Comte is thought to have been particularly inspired by Raphael's Madonna, yet it is more likely that the feminine model for the beloved Humanity was Clotilde de Vaux.

Tribute to Vladimir Dedijer (Belgrade, February 4, 1914 - Tivoli, New York, 30 November / 1 December 1990), twenty-five years since he had passed away.
Vladimir Dedijer was a reporter in the Yugoslavia’s newspaper Politika (Belgrade) and it’s special correspondent from Slovenia, Scandinavia, Poland and England during the 1930ties, translator (from English to Serbian) of The Good Earth, three volumes novel by Pearl Buck, as well as translator (from English to Serbian) of some of Walt Disney’s comics; during the Spanish Civil War, Vladimir Dedijer was Politika ’s war reporter from the battlefield of the Segunda República Española, the Second Spanish Republic, and it’s Popular Front government in Catalonia and the Basque Country in 1936.
Vladimir Dedijer was a Yugoslav partisan since 1941, three times wounded Yugoslav partisan officer and a man of a particularly sensitive diplomatic missions of the Supreme Headquarters of the National Liberation Army of Yugoslavia (officially the National Liberation Army and Partisan Detachments of Yugoslavia) lead by Supreme Commander Marshal Josip Broz Tito during the WWII, and a man of a particularly sensitive diplomatic missions of the Yugoslav government and the Yugoslav Communist Party after the WWII.
Vladimir Dedijer is the author of The War Diary 1941 - 1944, chronicler and historian of the Yugoslav War of Liberation and Revolution; he was a member of the Yugoslav delegation to the funding meeting of the UN and permanent Yugoslav delegate in the Committee on Economic, Social and Humanitarian Affairs of the UN; he was a man from the very top of the Yugoslav government, one of the closest associates of Josip Broz Tito and his biographer, doctor of law, historian and university professors who was excluded from public life after the political and judicial processes in the „Đilas - Dedijer case” 1954 - 1955; he was erudite and polyglot who was fluent in several languages; as university professor, he taught modern history at Oxford University, Harvard, MIT, Ann Arbor, Brandeis, etc.
Vladimir Dedijer was founding and  permanent member, chairman of session, and president of the International War Crimes Tribunal aka the Russell’s Tribunal (founded in 1966 by Bertrand Russell, Jean-Paul Sartre and Vladimir Dedijer); he was a regular member of the Serbian Academy of Science and Arts, Belgrade, and the chairman of it’s Committee for the collection of materials on the genocide against the Serbs and other peoples of Yugoslavia in World War II.
Vladimir Dedijer was a great worker, a great author, a great fighter, and a great traveler – he was “a poet and a revolutionary”,  as Judy Stone said in 1971. As a great guardian of the historical truth, Vladimir Dedijer is the author of an entire library of books without which it is impossible to understand world history, Serbian and Yugoslav history particularly – Dnevnik 1941 - 1944, I-III (The War Diary 1941 - 1944, I-III), 1945, 1946, 1950; Josip Broz Tito. Prilozi za biografiju (Tito Speaks: His Self-portrait and Struggle with Stalin), 1953; The Road to Sarajevo (Sarajevo 1914), 1966; Istorija Jugoslavije (History of Yugoslavia), co-author with I. Božić, S. Ćirković, M. Ekmečić, 1972; Sarajevo 1914, I-II, 1978; Interesne sfere. Istorija interesnih sfera i tajne diplomatije uopšte, a posebno Jugoslavije u Drugom svetskom ratu (The Spheres of Interest. The History of Spheres of Interest and Secret Diplomacy in General, and especially of Yugoslavia in World War II), 1980;  Novi prilozi za biografiju Josipa Broza Tita, I-III (New Contributions to the Biography of Josip Broz Tito, 1-3), 1980, 1981, 1984; Vatikan i Jasenovac-Dokumenti (Vatican and Jasenovac-Documents, Jasenovac. Das jugoslawische Auschwitz und der Vatikan, The Yugoslav Auschwitz and the Vatican), 1987, 1988, 1992… etc.
Vladimir Dedijer was a great martyr also, one of the world's most significant human rights activists and guardian of the rights of the oppressed people in the second half of the 20th century.
Vladimir Dedijer was a Serb from Herzegovina - Serb “from the bottom of the vat”, as he spoke - a Yugoslav and a citizen of the world, who was traveling across the mine stage of the world affairs as a free man, self-conscious and sovereign, because he knew who he was, where he came from and where he was going, because he knew that one who wants “to win, must be an artist and a conspirator, have a talent for fighting and suffering, be a martyr and a conspirer, a man of Western manners and an outlaw rebel in same time”, as it was advised by Vladimir Gaćinović, a friend and a comrade of Vladimir Dedijer’s father Professor Jevto Dedijer PhD.

O Conto da Aia (2006), de Margaret Atwood, publicado pela primeira vez em 1985, é um romance distópico que apresenta uma teocracia totalitária que assume o poder nos Estados Unidos em um período em que a fertilidade humana está comprometida. Nesse cenário, as mulheres são divididas em diferentes castas, tendo seus direitos e deveres delimitados aos seus papéis sociais. Uma dessas castas são as Aias, mulheres que supostamente são férteis e que são designadas a diferentes casas de homens ligados ao governo e uma vez ao mês devem manter relações sexuais com eles na tentativa de gerar um filho para aquela família. No romance, as Aias são cuidadas e mantidas sob observação em um ambiente onde o cuidado com o corpo torna-se fundamental, no entanto, não há o reconhecimento desse corpo como sujeito, ou seja, as Aias são um corpo-objeto que deve ser conservado, mas, quando atingido o objetivo, podem ser descartadas. De acordo com Marisa Mello de Lima (2013), os estudos acerca do corpo na contemporaneidade observam-no como vetor das manifestações performáticas do sujeito, o corpo ganha espaço para além de sua funcionalidade, de modo que as influências de imagem, escolhas e construção social colocam o corpo no foco de uma performatividade que está diretamente ligada a posição do sujeito na sociedade. Nessa perspectiva, observa-se que em O Conto da Aia, embora haja uma valorização do corpo, o sujeito-mulher é anulado na casca das Aias, colocando-as como objetos reprodutivos e descartáveis em circunstâncias adversas ao esperado socialmente. Logo, a performance de sujeito-mulher e mulher-mãe é anulada, enfatizando a manutenção dos corpos a partir da desperformatização do sujeito, ou seja, anulação do corpo como espaço performático dos sujeitos, para o desempenho de uma ‘performance-objeto’. Nesse trabalho, pretendemos discutir a importância do corpo nas discussões de performance e reconhecimento de sujeito a partir da ausência imposta pelas Aias e subversão de algumas personagens do romance.

Dystopie und Staat für die Reihe Staatsverständnisse im Nomos-Verlag Dystopien stellen uns auf erzählerische Weise staatliche, quasi-staatliche und nichtstaatliche Herr-schaftsstrukturen in ihrer Schrecklichkeit vor. Sie erfreuen sich großer Beliebtheit und werden in verschiedenen Medien produziert und konsumiert, etwa in Literatur, Film und Computerspiel. Ent-sprechend werden sie auf akademischem Niveau vor allem in den auf diese Medien bezogenen Dis-ziplinen rezipiert: Literaturwissenschaft, Filmwissenschaft, Games Studies usw. Doch Dystopien stellen auch einen wichtigen Beitrag zum gesellschaftlichen Diskurs dar. Daher sollten sie auch auf Interesse in der Politikwissenschaft und der Soziologie stoßen-und zu einem fruchtbaren Dialog zwischen den verschiedenen Disziplinen einladen. Um diesen interdisziplinären Diskurs zu doku-mentieren und weiterzuführen, ist daher ein Sammelband geplant, der verschiedene Perspektiven auf die Dystopie versammelt und sich insbesondere auf den Staat konzentriert. Es sollen dabei mehrere Fragen zum Verhältnis von Dystopie und Staat bearbeitet werden. Eine (unvollständige) Liste der Fragen bzw. Fragenkomplexe könnte lauten: • Wie wird in Dystopien der Staat beschrieben? Reale Staaten werden in der Fach-und Sach-literatur auf eine bestimmte Art und Weise dargestellt, sodass ein interessiertes Publikum Wis-sen über sie erwerben kann. Wie unterscheiden sich die Darstellungsweisen des Staates in fikti-onaler und nichtfiktionaler Literatur? Können Strukturen und verallgemeinerte (und daher abstrakte) interpersonale Beziehungen erzählt werden, oder müssen sie wissenschaftlich be-schrieben werden? Wie wird dabei für die jeweilige negative bzw. kritische Wertung gesorgt? In der politischen Publizistik kann durch den Einsatz von Rhetorik dieselbe Ordnung als "gut" und als "schlecht" dargestellt werden. Gibt es ähnliche Rhetoriken bzw. erzählerische Strate-gien, die eine fiktive Ordnung dystopisch erscheinen lassen, obwohl man dieselbe Ordnung, anders erzählt, auch utopisch erscheinen lassen könnte? Hier sind auch generell Überlegungen interessant, die die unterschiedlichen Möglichkeiten der Staatsdarstellung in unterschiedlichen Genres und Medien reflektieren (etwa in Zeitungen, Büchern, Flugblättern, Gedichten, Lie-dern und Bilder, aber dann auch in Filmen und Computerspielen). • Es gibt Dystopien, in denen der Staat der "Bösewicht" ist-die primäre Bedrohung der Frei-heit und Würde der Protagonisten resultiert dann aus den Strukturen oder Anwendungsweisen der politischen Herrschaft. In modernen Gesellschaften bietet aber nicht nur das politische System Ordnung. Auch andere Teilsysteme stiften Ordnung und ermöglichen mithin Machtmiss-brauch oder sogar systematische Ungerechtigkeiten: Wirtschaft, Recht, Wissenschaft, Religion usw. Daher erstaunt es nicht, dass es auch Dystopien gibt, in denen gerade nicht der Staat der "Bösewicht" ist, sondern z.B. die Herrschaft der Konzerne, religiöse Fanatiker, wissenschaft-lich begründete Technologie usw. Reale politische Systeme können von den Sozialwissenschaf-ten auf ihre Beziehungen zu den anderen gesellschaftlichen Teilsystemen untersucht werden. Doch wie wird das in den Dystopien dargestellt? Wie hängen in der fiktionalen Literatur die Übel der Politik (Unterdrückung), der Wirtschaft (Ausbeutung), der Technologie (Entfrem-dung, Überflüssigmachung des Menschen), der Religion (Dogmatismus) und anderer Systeme zusammen? Wie kommen dabei außergesellschaftliche Systeme ins Spiel, insbesondere die Öko-logie? Was bedeutet das für die Rolle des Staates in Dystopien? Kann er sogar als "Retter" auf-treten? Ist der Staat überhaupt zentrales Thema der Dystopien, oder um was geht es in ihnen?

This speculative parable is set exactly 600 years after the European invasion of Australia, telling this story through an analog of extraterrestrial invasion. I hope that it may be used in Australian courses to disrupt and expand perspectives on Aboriginal history, justice, and sovereignty.

Com a ascensão do governo de Bolsonaro, evidenciou-se que as humanidades estão enfrentando um período de grande desvalorização. Entendido por muitos como estudos inúteis e/ou de difícil compreensão, as áreas de humanas parecem perder cada vez mais o seu espaço frente aos estudos tecnicistas e/ou de exatas, tanto dentro do espaço acadêmico como fora dele. Em contrapartida, observa-se que discussões acerca de questões políticas, sociais e culturais permanecem presentes em outros meios, sendo o abordado neste artigo, a literatura distópica infanto-juvenil. A partir da discussão de Marjorie Perloff (2005) acerca da crise das humanidades em uma perspectiva estadunidense, propõe-se uma análise acerca da influência da literatura distópica infanto-juvenil no Brasil para permanência de debates humanísticos em espaços não acadêmicos, como uma forma de reinventar os modos de discussão a partir do viés literário. Para tanto, será discutida a influência no atual governo para a desvalorização desse ensino, bem como os outros meios de tornar essas discussões possíveis em espaços menos elitizados, utilizando autores que tratam do gênero distópico, principalmente Clayes (2010), bem como fontes que permitem observar a ascensão do gênero no país. Conclui-se que a literatura distópica infanto-juvenil possui um papel importante na formação dos novos leitores brasileiros. Palavras-chave: distopia; literatura distópica infanto-juvenil; humanidades, governo Bolsonaro.