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2020 | 44 | 2 |

Article title

Free Speech and Digital Discourse in Nicola Barker’s "H(A)PPY"

Content

Title variants

Languages of publication

EN

Abstracts

EN
Nicola Barker’s H(A)PPY (2017) depicts a dystopian future in which all speech is monitored and regulated. Politically dubious topics are flagged, metanarratives like religion and history are censored, and even words expressing heightened emotional states are marked as dangerous. Barker uses innovative techniques to visualise the warping of language under conditions of totalitarian surveillance. In analysing Barker’s novel, this paper applies the findings of digital discourse studies to the novel’s content while arguing that its experimental techniques reflect a distinct break from the digital information stream. Barker’s innovations are a formal route to escape the deadlock of our current politics.
DE
Der Artikel enthält das Abstract ausschließlich in englischer Sprache.
FR
L'article contient uniquement le résumé en anglais.

Year

Volume

44

Issue

2

Physical description

Dates

published
2020
online
2020-07-14

Contributors

References

  • Barker, N. (2017). H(A)PPY. London: Heinemann.
  • Barry, K. (2018). H(A)PPY. The Goldsmiths Prize. Retrieved October 10, 2019, from https://www.gold.ac.uk/goldsmiths-prize/prize2017/happy/.
  • Coetzee, J. M. (1996). Giving Offense: Essays on Censorship. Chicago: University of Chicago Press.
  • Crystal, D. (2007). Language and the Internet. Cambridge: Cambridge University Press.
  • Dean, J. (2016). Crowds and Party. London: Verso.
  • Firchow, P. (1975). Science and conscience in Huxley’s “Brave New World”. Contemporary Literature, 16(3), 301-316.
  • Haldane, Ch. (1926). Man’s World. London: Chatto and Windus.
  • Huxley, A. (1932). Brave New World. London: Chatto and Windus.
  • Jansen, S. C. (1991). Censorship. Oxford: Oxford University Press.
  • Jordan, J. (2017, July 14). “H(a)ppy” by Nicola Barker Review – Visionary satire of a new information age. The Guardian. Retrieved June 14, 2020, from https://www.theguardian.com/books/2017/jul/14/happy-nicola-barker-review-science-fiction-dystopian-vision.
  • Kirby, A. (2009). Digimodernism. London: Continuum.
  • Lovink, G. (2008). Zero Comments. London: Routledge.
  • Marcuse, H. (1964). One-Dimensional Man. Boston: Beacon Press.
  • Marcuse, H. (2015). Liberation from the affluent society. The Dialectics of Liberation, 47-68. London: Verso.
  • Orwell, G. (1949). 1984. London: Secker and Warburg.
  • Ruland, R., & Bradbury, M. (1992). From Puritanism to Postmodernism. New York: Penguin.
  • Stoughton, C. (2018). Free speech and censorship on campus. HEPI: Occasional Paper, 21. Retrieved June 16, 2020, from https://www.hepi.ac.uk/wp-content/uploads/2019/06/Free-Speech-and-Censorship-on-Campus.pdf.
  • Tonkin, B. (2017, July 21). H(A)PPY by Nicola Barker — Everybody Hertz. The Financial Times. Retrieved June 16, 2020, from https://www.ft.com/content/3a758f6e-67de-11e7-9a66-93fb352ba1fe.
  • Wachter-Boettcher, S. (2017). Technically Wrong. New York: Norton.
  • Warnick, B. (1998). Rhetorical criticism of public discourse on the Internet: Theoretical implications. Rhetoric Society Quarterly, 28(4), 73-84.
  • Webster, H. C. (1934). Facing futility: Aldous Huxley’s really brave new world. The Sewanee Review, 42(2), 193-208.
  • Zamyatin, Y. (1924). We (G. Zilboorg, Trans.). New York: E.P. Dutton.

Document Type

Publication order reference

YADDA identifier

bwmeta1.element.ojs-doi-10_17951_lsmll_2020_44_2_99-112
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