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1
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AI vs HS, czyli obawa przed kolejną detronizacją. O złośliwych sztucznych inteligencjach, które homo sapiens nękały

100%
Nijakowski L. M.
Przegląd Humanistyczny
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2015
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vol. 59(3 (450))
155-166
PL
The article discusses representations of artificial intelligence (AI) in popular culture, mainly in the movies. The author focuses on AI turning against a man, seeking his extermination or enslavement. The paper investigates cinematic concepts of the birth of AI in the context of technological singularity. In these works which present maturing of AI we may observe that often its motives and aims which we assess as sinister are, in fact, the reaction to human actions. Emotional nature of AI and its irritating interactions with less intelligent and reasonable people has been revealed. The author discusses sources of genocidal plans, and separately examines tensions caused by AI representations in androids. In the light of the analysis, AI is a screen on which phantasms related to the tensions in the global risk society are projected. The anxiety of AI rebellion is an emanation of our loss and fear in technicized world. The popular culture conceals a worrisome fact that we are responsible for potential disaster.
2
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Illness as a metaphor. Around the somatisation of politics in „2084. La fin du monde” (2015) of Boualem Sansal

75%
Rachwalska von Rejchwald J.
Lublin Studies in Modern Languages and Literature
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2019
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vol. 43
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issue 1
DE
Der Artikel enthält Zusammenfassungen nur in Englisch und Französisch.
EN
The aim of this paper is to present the interrelationship between politics and the representation of the patient’s body (pathography) in the novel of the Algerian contemporary activist and writer Boualem Sansal. In his novel, 2084. La fin du monde, whose title refers directly to Orwell’s work, Sansal creates a vision of a world dominated by religious totalitarianism. The purpose of this paper is to show how the affected body of the main character (and its recovery) becomes both a metaphor of opposition to the totalitarian system and a central structural, semantic and rhythmic figure of the text.
FR
La problematique de l`article se situe a l`intersection du politique et du somatique. La presente etude se propose d`analyser le roman de Boualem Sansal "2084.La fin du monde" (2015) comme exemple d`une pathographie litteraire qui reconfigure le theme de la maladie a la fois en metaphore et en dispositif structurel du roman.
3
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The Rhetoric of Healthcare Inequality in Capitalist Classed Societies: Blomkamp’s and Romanek’s Dystopian Visions

63%
Gacka J.
Res Rhetorica
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2018
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vol. 5
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issue 1
52-63
EN
The future of democratic societies has been widely debated among futurologists, including the possible ways medicine could advance, changing the lives of individuals and communities. Yet, what seems a reasonable question to ask is – how the unequal access to healthcare might perpetuate social and economic divisions and turn democracy into tyranny. This paper advances a rhetorical analysis of the reciprocal relations between healthcare and the classed capitalist system as portrayed in two dystopian pictures: Mark Romanek’s Never Let Me Go (2010) and Neill Blomkamp’s Elysium (2013). The realities depicted in these movies, as well as their narratives, vary considerably; however, they both present medical advancements as means of and reasons for maintaining or perpetuating social inequality. The two dystopias also warn us of some possible dangers posed by the incompatibility of the capitalist mindset with morality and ethics, presenting corruption in healthcare systems as a result of the class conflict.
PL
Chociaż futurolodzy powszechnie dyskutują na temat kierunku rozwoju medycyny i jego potencjalnego wpływu na jednostki i społeczności, rzadziej pojawia się pytanie o dostępność medycyny w przyszłości. Niniejszy artykuł analizuje wzajemne relacje między opieką społeczną a systemem kapitalistycznym ukazane w dystopiach Nie opuszczaj mnie (2010) Marka Romanka i Elizjum (2013) Neilla Blomkampa. Oba filmy przedstawiają wynalazki medyczne jako sposób i powód utrzymywania i pogłębiania nierówności społecznych. Wspomniane dystopie ostrzegają przed potencjalnymi zagrożeniami płynącymi z niespójności kapitalistycznej mentalności z moralnością i etycznością i prezentują deformację systemów opieki zdrowotnej jako rezultat konfliktu klasowego.
4
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Podróże współczesnego Guliwera – ślady utopii i dystonii w Smutku tropików C. Lévi-Straussa

63%
Gajos R.
Laboratorium Kultury
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2012
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vol. 1
112-121
PL
Artykuł śledzi różne poziomy, na których funkcjonować może utopijność w Smutku tropików. Poziomem pierwszym byłby poziom świata przedstawionego, czyli świat „dzikich” i obcych kultur, z którymi dane było się zetknąć Levi-Straussowi. Czy w zestawianiu tego co Tu i Tam, Levi-Strauss dokonuje porównania marzeń człowieka Zachodu i człowieka „dzikiego”?Stawiając pytanie prościej: czy kultury zamieszkujące Amerykę południową i Indie (oraz stronice książki Levi-Straussa) mają utopie? Drugi poziom to poziom przedstawienia, czyli pytanie o konstruowanie egzotycznych światów Smutku tropików za pomocą pewnych konwencji charakterystycznych dla utopii bądź dystopii. Natomiast na poziomie najwyższym, autor zadaje pytanie o utopijność samej teorii Levi-Straussa. Rozważania prowadzą do wniosku, iż dzisiaj utopia teorii Levi-Straussa jest już nieaktualna, lecz odegrała swoją rolę w procesie dziejowym najpierw będąc marzeniem, które trzeba realizować, a później stając się rzeczywistością, z której trzeba się wydostać. Pozostał po niej jedynie ślad, którego trwałość zależy od tego, ile osób chociaż przez chwilę postanowi nim podążać wzdłuż morza wolnej gry i nieograniczonej semiozy.
EN
The article follows different levels, which the utopia in Tristes Tropiques can function on. The first one would be the level of the world presented, i.e. the world of the “wild” and foreign cultures that Lévi-Strauss met. Does Lévi-Strauss, comparing things Here and There, liken dreams of the man of the West with those of the “wild” man? Making the question clearer: do the cultures existing in Southern America and India (as well as on the pages of Lévi-Strauss’s book) have utopias? The second level is the one of the presentation, i.e. a question about constructing the exotic worlds of Tristes Tropiques by using particular conventions characteristic for utopias or dystopias. On the highest level the author asks whether the theory of Lévi-Strauss is utopian. Deliberations lead to the conclusion that today the Lévi-Strauss’s theory of utopia is out-of-date, but it played its role in the history, at first being a dream which must be realized, and later becoming a reality that must be escaped. There is only a trace, whose durability depends on how many people will decide to follow it along the sea of free existence and unlimited semiosis.
5
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Le monde tel qu’il sera en l’an 3000 d’Émile Souvestre : un miroir des peurs suscitées par le capitalisme industriel

63%
Mary N.
Quêtes littéraires
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2021
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issue 11
87-98
EN
Le monde tel qu’il sera en l’an 3000, written by Émile Souvestre in 1845, is known as the first French dystopian novel. To give his fellow citizens a warning, the author projects into the future, an exacerbated contemporary situation. This journey through time is part of a vast debate that opposes not only utopias and dystopias, but also the social and political sciences. Le monde tel qu’il sera... can thus be understood as a refutation of the ideological constructions which are based on an unshakeable faith in the future. Influenced by Saint-Simon, Souvestre considers that technical progress can lead to the ideal city only if it is combined with moral progress, to which he aims to contribute by demonstrating to his contemporaries the appalling consequences of the providentialism that dominates the mid-19th century
FR
Le monde tel qu’il sera en l’an 3000, écrit par Émile Souvestre en 1845, est volontiers considéré comme la première dystopie française. Il inaugure en effet cette pratique qui consiste à projeter dans le futur une situation contemporaine exacerbée de manière à lui donner valeur d’alarme. Or, ce voyage dans le temps participe d’une tradition qui voit utopies et dystopies s’interpeller et se poser en interlocutrices des sciences sociales et politiques. Le monde tel qu’il sera… peut ainsi être appréhendé comme une réponse aux constructions doctrinales qui manifestent une foi inébranlable en l’avenir. Car, comme Saint-Simon, Souvestre considère que le progrès technique ne peut mener à l’avènement de la cité idéale que s’il est conjugué à un progrès moral, auquel il entend contribuer en montrant à ses contemporains les conséquences désastreuses à long terme de la doxa providentialiste qui domine ce milieu du XIXe siècle.
6
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Grušův Mimner a jazyk paradoxu

51%
Jelínek J.
Česká literatura (Czech Literature)
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2016
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vol. 64
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issue 4
550-567
EN
This study focuses on the prose work of Jiří Gruša Mimner aneb Hra o smrďocha (Atmar tin Kalpadotia) (Mimner or Play about a Stinker). It is based on an interpretation of an imaginary ''Calpadotia'' as a ''state of mind'', and attention is focused in particular on ''Calpadotian'', the fictitious language of the totalitarian society, and especially the steps whereby the gradual adoption of the rules of this language play a role in the disintegration of the protagonist's personality. The key to understanding the role of the fictitious language in the novella is found in the unusual way in which Calpadotian structures reality, both with its more subtle differentiation of individual concepts and in particular with its polysemy. This indicates how the usage of the same term for phenomena that Western readers do not consider to be associated helps to characterize Calpadotian society, which gradually assimilates the chief protagonist, as alien and incomprehensible to the point of absurdity. At the same time it works with the idea that such emphasis on the role of language opens up more general questions on its extraordinary nature. The study also compares polysemy in Calpadotian with polysemy in totalitarian Newspeaks and in natural languages, taking into account their literary usage. In polysemy and the association of the apparently inassociable the study seeks the source of the unease which the prose evokes, as well as the source of the paradox and the alienation which makes it a manifestation of artistic resistance to a dystopian society.
CS
Studie se věnuje próze Jiřího Gruši Mimner aneb Hra o smrďocha (Atmar tin Kalpadotia). Vychází z interpretace smyšlené Kalpadocie jako „stavu duše“ a obzvláštní pozornost věnuje kalpadočtině, fiktivnímu jazyku totalitní společnosti, zejména pak postupům, kterými se postupné přijímání pravidel tohoto jazyka podílí na rozkladu hrdinovy osobnosti. Klíč k porozumění úloze fiktivního jazyka v novele pak nachází v neobvyklosti, se kterou kalpadočtina strukturuje skutečnost – a to pak jak jemnějším rozvrstvením jednotlivých pojmů, tak zejména polysémií. Ukazuje, jak využívání stejného termínu pro jevy pro západního čtenáře nesouvisející, napomáhá charakterizaci kalpadocké společnosti, kterou je hlavní postava postupně asimilována, jako cizí, nepochopitelné až absurdní; zároveň pracuje s myšlenkou, že taková zdůrazňování role jazyka otevírá obecnější otázky jeho nesamozřejmosti. Studie dále srovnává polysémii v kalpadočtině s polysémií v totalitních novořečech a v přirozených jazycích, s přihlédnutím k jejich literárnímu využití. V polysémantičnosti a spojování zdánlivě nespojitelného pak studie hledá zdroj tísně, kterou próza vyvolává, zároveň však i zdroj paradoxu a ozvláštnění, který z ní činí projev uměleckého vzdoru vůči dystopické společnosti.
7
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Literární dystopie a pokusy o její vymezení ve světovém a českém kontextu

51%
Pavlova O.
Slovo a smysl - Word & Sense
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2018
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vol. 15
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issue 30
110-127
EN
This article deals with anti-utopian and dystopian literature, development of the genre and attempts at its definition. The first part contains a description of attributes characteristic of the genre: newspeak, the petrified world, and the division of the world into two fields (Us vs. Them). The author then devotes attention to previous theoretical definitions of dystopia and anti-utopia, including an historical mapping of research in foreign, mainly English studies: works by George Woodcock, Fred Polak, Mark Hillegas, Krishan Kumar, Lyman Tower Sargent and others. The survey of research in the Czech academic field is based on texts by Milada Genčiová, Daniela Hodrová and Petr Hrtánek. In conclusion, the author describes the differences between anti-utopia and dystopia, their delimitation as specific genres, proceeding primarily from the theory of petrified worlds. She also stressess the importance of a political reading of the dystopian and anti-utopian literature based on the close relation between the real world and fiction in this genre.
8
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Violence et effondrement dans la fiction insulaire francophone contemporaine : l’île comme dystopie ? (Alfred Alexandre, Les Villes assassines ; Nathacha Appanah, Tropique de la violence)

51%
Neau J.
Quêtes littéraires
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2021
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issue 11
206-218
EN
Western imagination has often portrayed islands as heavenly places, or even utopias. However, contemporary island narratives often put violence, social inequalities, as well as climate issues and topics of exile at the heart of their narrative. The districts of "Gaza" and "West Eden" in Alfred Alexandre’s novel Les Villes assassines (2011) and in Nathacha Appanah’s Tropique de la violence (2015) are indeed depicted as zones of extreme precarity. This article examines the relevance of the conceptual category of “dystopia” for addressing certain tropes of French-speaking island literature. The link between dystopia and the popular notion of “collapse” shall lead us to examine new modes of representation of contemporary islands in these two novels, particularly when discussing the prevalent topics of slums and undocumented immigrants.
FR
L’imaginaire occidental a souvent dépeint les îles comme des endroits paradisiaques, voire des utopies. Or, on constate que les récits contemporains des îles, c’est-à-dire écrits par des auteurs eux-mêmes habitants des îles, placent la violence, les inégalités sociales, les enjeux climatiques et les problématiques de l’exil au cœur de leurs dispositifs narratifs. Les quartiers d’« Eden Ouest » et de « Gaza » dans le roman du Martiniquais Alfred Alexandre (Les Villes assassines, 2011), et dans celui de la Mauricienne Nathacha Appanah (Tropique de la violence, 2015) inscrivent ces thématiques au cœur de représentation spatiale. De l’utopie, serions-nous passés à la dystopie ? Cet article examine la pertinence de ces catégories conceptuelles pour aborder certains tropes de la littérature insulaire francophone, en l’associant notamment à la notion en vogue d’« effondrement » et de contre-exotisme, s’attachant en particulier à la représentation du quartier insalubre et au thème de l’immigration clandestine.
9
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L’écriture dystopique boudjedrienne à l’aune de la théorie postcoloniale

51%
Achheb L.
Quêtes littéraires
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2021
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issue 11
196-205
EN
This article examines the relationship between Rachid Boudjedra's dystopian writing and postcolonial theory exploited in his novel L’Escargot entêté ("Stubborn snail”). This particular work represents postcolonial Algerian literature and therefore stands as an emblem of hybrid aesthetics. The hybridity employed by the author - which is nothing but a utopian concept of postcolonial theory - ends up shattered in the text, thereby generating a dystopian work. To achieve this effect, the writer mixes realistic and fantastic genres, only to create a split between them, to perpetuate the image of dystopia. He uses misinformation to form cracks in the novel's intertextuality, imploding the hybridity of the writing from within. Finally, he tries to liberate Algerian literature, to separate it from French literature, creating a breach between "the periphery" and "the center".
FR
Cet article porte sur le rapport entre l’écriture dystopique de Rachid Boudjedra et la théorie postcoloniale dans son roman L’Escargot entêté. Cette œuvre fait partie de la littérature algérienne postcoloniale et se trouve, par conséquent, être l’emblème d’une esthétique hybride. L’hybridité dont use l’auteur, et qui n’est autre qu’un concept utopique de la théorie postcoloniale, finit par se briser dans le texte, générant par là une écriture dystopique. Pour ce faire, l’écrivain mélange les genres réaliste et fantastique, puis y crée une scission pour perpétuer l’image de la dystopie. Il utilise des informations erronées pour créer des fissures dans l’intertextualité du roman, en faisant imploser l’hybridité de l’écriture de l’intérieur. Enfin, il tente de libérer la littérature algérienne qu’il veut séparer de la littérature française, créant une brèche entre « la périphérie » et « le centre ».
10
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Fiction (post-)apocalyptique et usages critiques de l’histoire: "Malevil" (1972) de Robert Merle

51%
Lévêque L.
Acta Universitatis Lodziensis. Folia Litteraria Romanica
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2022
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vol. 17
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issue 1
231-243
EN
Under the deep impression of the 20th century’s worst excesses and sheer horror, Robert Merle, an engaged, humanist novelist, comes to question the humanity of man. As a popular novelist he imprints this reaction on fashionable genres, such as science fiction and dystopia, in which dolphins Fa and Bi are more informed than the humans (An Animal Endowed with Reason/ The Day of the Dolphin 1967), a species that is not really worth perpetuating (The Protected Men/ The Virility Factor, 1974). In 1972, in Malevil, Merle veers towards post-apocalyptic fiction, imagining a nuclear catastrophe that has brought man back to a primary condition; it is a situation that allows him to conceive of the political and moral crisis at the heart of the city. Beyond this classical revealing function, though, the crisis heuristics brings Merle face to face with the blind spots of his ideological reference, so that the text eventually puts in a crisis situation the very progressive positions exhibited by the author, curbing the text to the reactionary positions of a Bajavel in Ravage/ Ashes, Ashes (1943).
FR
Marqué par les dérives d’un XXe siècle tombé dans les pires excès et dans l’horreur nue, Robert Merle, romancier humaniste et engagé, en vient à questionner l’humanité de l’homme. Chez cet écrivain populaire, cela passe par l’inscription dans les genres en vogue de l’anticipation ou de la dystopie où les dauphins Fa et Bi sont plus avisés que les humains (Un animal doué de raison, 1967), espèce qui ne mérite pas forcément de se perpétuer (Les hommes protégés, 1974). En 1972, avec Malevil, Merle sacrifie à la littérature post-apocalyptique et imagine qu’une catastrophe nucléaire a ramené l’homme à une condition primaire, situation qui lui sert à penser la crise politique et morale au cœur de la cité. Mais, au-delà de cette classique fonction révélatrice, l’heuristique de la crise confronte Merle aux points aveugles de son référentiel idéologique et le texte met finalement en crise jusqu’aux positions progressistes affichées par l’auteur, rabattant le roman sur les positions réactionnaires qu’un Barjavel développe dans Ravage (1943).
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