The rise in popularity in recent times of dystopian fiction is reflective of contemporary anxieties about law: the inhumanity of judicial-coercive machinery; the influence of corporate power; the lack of democratic imagination despite the desperate need for political reform; and the threat of order imposed through violence and victimisation. These dystopian texts often tell fear-inducing stories of law’s failure to protect; or of law’s unsuccessful struggle against unbridled power; or even sometimes of law’s ‘bastardised’ reconstruction. Indeed comics, with their visual (...) and narrative intricacies, thrive on dystopia as a key vehicle for contributing to collective notions of fear and trembling about the future. Yet, at the same time, these texts also contain within them the blueprints for hope—the idea that with transformation, heroic intervention, and/or faith in ‘justice’, the law will ultimately prevail. Law’s ability to be transformed is thus simultaneously portrayed as society’s downfall, AND as the key to enlivening humanity. This article attempts to understand this schismatic role of law as presented in the recent dystopian comic book series From Above by Australian creator Craig Bruyn. In this series set in futuristic Melbourne, where law has given way to an unaccountable corporate rule, the social divide is made manifest by the absence of ‘order’, ‘law’ and ‘justice’ in certain segments of society, and yet hope in law’s return is ever-present. The paper will interrogate expectations of law and justice that is mediated through the complex interaction of fear and hope, and contextualise this within current contemporary anxieties. (shrink)

This article examines two recent examples of feminist dystopias: Louise Erdrich’s Future Home of the Living God and Leni Zumas’s Red Clocks. True to their genre, these novels act as w...

This paper explores the tension between pragmatism and utopia, especially in the concept of "realistic utopianism". It argues that historically, the pragmatic and gradualist rejection of utopia has been anti-utopian in effect, notably in the case of Popper. More recent attempts to argue in favour of "realistic utopianism" or its equivalent, by writers such as Wallerstein and Rorty are also profoundly anti-utopian, despite Rorty's commitment to "social hope". They co-opt the terminology of utopia to positions that are antagonistic to radical (...) alterity. But this is not a necessary response to the utopia/pragmatism tension: Unger, who is explicitly opposed to utopia, in fact proffers a more sympathetic resolution based on the merits of vision, social improvization and collective learning. These may lie closer to the core of the utopian project as a vehicle for the education of desire than Unger himself recognizes. (shrink)

This article explores Mary Shelley’s Frankenstein as an “object of care” for use in examining the relationship between creativity and responsibility in the sciences and beyond. Through three short sketches from different disciplinary lenses—literature, science and technology studies, and feminist studies—readers get a sense of the different ways scholars might consider Shelley’s text as an object of care. Through an analysis and synthesis of these three sketches, the authors illustrate the value of such an object in thinking about broad cultural (...) issues. The article acts as a kind of boundary object by creating distinct, yet overlapping narratives from an object that is owned by many social worlds. The three sketches reveal Frankenstein as a thoughtful consideration about what it means to care for, or fail to care for, one’s creation, rather than as a cautionary tale about the evils of scientific hubris. Although infrastructures at universities often prevent interdisciplinary dialogue, the article concludes that purposeful boundary objects created around objects of care like Frankenstein can help build bridges and create shared meanings for new interdisciplinary spaces. (shrink)