In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Utopia and Modernity in China: Contradictions in Transition ed. by David Margolies and Qing CaoArtur BlaimDavid Margolies and Qing Cao, eds. Utopia and Modernity in China: Contradictions in Transition. London: Pluto Press, 2022. 176 pp. Paperback, £19.99, ISBN 978 0 7453 4739 4In recent years, numerous publications have appeared focusing on the until now little known non-Western utopias and utopianism.1 Utopia and Modernity in China is a most (...) welcome addition, offering a highly informative survey of Chinese utopias and utopianism combined with an insightful discussion of their formative role in the making of modern China. The book consists of seven chapters introducing different aspects of the opposition of utopia and modernity as exemplified by various cultural productions and their impact on the social and political life of the country. Its publication has acquired a special relevance today not only due to China’s increasingly major role in the contemporary world, but also in connection with its official support of the [End Page 143] Russian invasion of Ukraine, contradicting its repeatedly declared adherence to the principles of international law and the ideals of national sovereignty, noninterference, and harmony in international affairs.Although the term utopia appeared in Chinese discourse only at the end of the nineteenth century, the idea of a radically better society has always existed in China, assuming different forms and shapes. The contributors to the volume trace the functioning of the broadly conceived phenomenon of utopian thinking in various domains of Chinese cultural, social, and political life, paying special attention to literary and cinematic works. The declared aims of the book are not only cognitive but also pragmatic as the editors believe that recent Chinese history involving “fundamental conflict of values,” the country’s experiences with economic systems that fail to supply the needs of the population, and the emergence of a society based on inequality, can be seen as highly relevant in the Western context also, to the extent that—as the editors convincingly argue—it “can provide English-language readers with a perspective useful for making sense of their own condition” (2).The editors see the opposition of utopia and modernity as less significant in the Western context than in China, where modernity became essential for preserving the integrity of the state torn by the conflict between the traditional values of nonconfrontation and continuity and the urgent need for significant change. Unlike in the West, where the dominant view of modernity was largely influenced by the Platonic model of the society in which the class of rulers was protected by the military class controlling the rest of the population, the Confucian model of social relations prevalent in China was based—at least in theory—on the principle of harmony rather than force. Other factors defining the Chinese variety of utopianism were Taoism, emphasizing the importance of nature and “The Way,” and Buddhism, advocating the limitation of needs and control of desires. The editors see this as “the reverse of the West’s view: for China, utopia (in the aspect of harmony) is the expectation, the desired normal, while modernity is the disrupter” (4) which is responsible for the predominance of the nostalgic utopia looking backwards to the idealized harmony of the past. The revolutions taking place in China in the twentieth century led to the decline of traditional ideals and brought with them experiments with the implementation of various Western ideologies, ranging from liberalism and democracy to socialism and communism. As a result, there are three main tendencies in the value system of contemporary China: orthodox communism, market-based liberalism, and [End Page 144] values derived from traditional Chinese culture. Nevertheless, the state continues to be generally seen in Confucian terms as an extension of the family based on moral authority rather than as “necessary evil.”The first chapter, “The Lure of Utopia: Reinterpreting Liang Qichao’s Xinmin Shuo, 1902–1906,” proposes a new perspective on the ideas of Liang Qichao, a highly influential early twentieth-century political activist, journalist, and intellectual, by focusing on the ways in which he advanced a utopian vision of the West as a radical alternative to the traditional Chinese social views. Liang... (shrink)

Abstractabstract:The aim of this article is to analyze the close relation between social theory (“sociological phenomenalism”) and the political ideology of the Polish thinker Edward Abramowski. Abramowski’s “applied sociology” involved: (1) the sociology of “fraternity,” examining basic forms of socialization; (2) combining social revolution with ethical self-improvement; and (3) the dissemination of “social laboratories” through the development of a network of cooperatives. As “experiments of the will,” the cooperatives allowed Abramowski to combine science, imagination, and ethics in a coherent project (...) of political utopia-building, extending the possible forms of community. Finally, the article shows that in Abramowski’s case, the meaning of utopia as an element embedded in a wide range of political practices derives from his vision of social science. Due to the influence that Abramowski’s thought had on political reality in Poland, the concept of “experimental” utopia entered the vocabulary of modern social sciences in Poland for good. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

Abstractabstract:The lullaby “The Meadow Song” in Suzanne Collins’s The Hunger Games trilogy provides a narrative fulcrum and plays a vital role in reinforcing these novels’ thematic concern. However, extant criticism has not given due attention to its utopian function. Drawing upon Ernest Bloch’s philosophy of music and other critics’ theories on green utopia, this article intends to argue that the lullaby fulfills the utopian function of fueling Katniss’s and other rebels’ utopian imagination to fight for a better world of justice, (...) equality, and freedom. It also posits that the green utopian community inspired by the lullaby in the last book of the trilogy functions not as an escapist pursuit, but as a micropolitical alternative in an era of global capitalism. (shrink)

Abstractabstract:This article investigates the presentation of state power and affective life in the anime series Yuki Yuna Is a Hero. Juxtaposing the portrayal of the recruitment of female bodies and affects into the defense of the sovereign with the historical context of Imperial Japan, this article elaborates how the series captures the sovereign violence that creates biopolitical subjects in everyday life. It then illustrates how the series appropriates and subverts the genre conventions of the magical girl (mahō shōjo) anime through (...) Giorgio Agamben’s idea of bare life and the state of exception. This subversion offers an opportunity to rethink the politics of disaster in contemporary Japan. Finally, this article probes into the utopian potential of the series by elucidating its affirmation of the relationality of life in an enchanted world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Trois récits utopiques classiques: Gabriel de Foigny, La Terre Australe connue; Denis Veiras, Histoire des Sévarambes; Bernard de Fontenelle, Histoire des Ajaoïens ed. by Jean-Michel RacaultAndrew CremerJean-Michel Racault, ed. Trois récits utopiques classiques: Gabriel de Foigny, La Terre Australe connue; Denis Veiras, Histoire des Sévarambes; Bernard de Fontenelle, Histoire des Ajaoïens. Saint-Denis (La Réunion): Presses Universitaires Indianocéaniques. 2020. 539 pp., illus. Paperback, €16. ISBN: 978 2 490596 24 (...) 9.M. Jean-Michel Racault, Emeritus Professor of the University of La Réunion and general editor of the Œuvres complètes of Bernardin de Saint-Pierre in progress under the Classiques Garnier imprint, is an acknowledged expert in utopian studies, and works edited and presented by him in this field will be justly welcomed with keen interest and appreciation. It inspires confidence [End Page 168] that this edition should be the fruit of many years’ study and find its origins in his two theses of 1981 and 1987 and articles of 1991, 2003, and 2010 (21 n. 21). The blurb announces this volume as bringing together “three major works of political thought of the end of the seventeenth century representative of ‘Louis XIV utopias,’” a label that could be supposed to imply an anti-absolutist outlook in the three writers. But Racault argues that the idea, as put forward by the late Myriam Yardeni in her 1980 study Utopie et révolte sous Louis XIV, that these classical utopias express revolt against the monarchy of Louis XIV should be treated in a nuanced way, even with serious reservations (7, 217–18).Racault writes with impressive depth and clarity and makes a superb guide, yet it by no means follows that these works are easy to interpret. Indeed, part of his achievement is to show they may not be so and to offer evidence to suggest that they may invite “multiple possible readings.” The blurb gives fair warning of irony, ambiguity, and contradictoriness, and states that the utopia of these experimental fictions can be inverted to become an “anti-utopia.” As Racault observes with admirable honesty in his preface, “Ambivalence, uncertainty, and a sense of complexity are in fact characteristics of these utopias, in which one sometimes has the impression that the author develops lines of thought that are ideologically incompatible and does not know himself on which side he stands” (19). Racault exemplifies this paradox by reference to Foigny’s hero, “a Pascalian libertin as well as a Christian deist” (19–20). One might be allowed to object that this is to offer the reader who seeks it no clear utopian vision, and that such ambiguity leads to confusion worse confounded; indeed, I am tempted to wonder if ambiguity here reveals subtlety of thought less than a mere lack of perspicuity. Racault makes the highly important point that a similar duality “penetrates the accounts of Veiras and Fontenelle and prevents one from seeing them as simple preludes to Enlightenment thought” (20). Two more vigorous quotations may suffice to convey the flavor of this argument of duality: “the deism of La Terre Australe connue can also be read as a critique of deism, the [...] democratic humanism of the Histoire des Ajaoïens includes a utilitarian system of colonial domination” (21). Again, “the ‘heliocratic’ Sevarambian system inspired by the empire of the Incas after Garcilaso de la Vega [?1501–36] is essentially a theocratic absolutism in the end not much different from the monarchy of Louis XIV. Ajao, on the other hand, has no monarchy, and no ministers” (460). As to this variety between the texts, another indication is that Foigny’s land is anarchical (but [End Page 169] well ordered!), whereas Veiras’s can be understood as embracing certain policies of Colbert (236 and n. 14, 292 and n. 46), to whose protégé Pierre-Paul Riquet, baron de Bonrepos (1609–80), Veiras’s account is dedicated (231–34, 306–7).This substantial but not overlong volume is tastefully adorned with attractive covers and five splendid and richly annotated plates of maps illustrating the subject of the “Imaginary Voyage” or “Extraordinary Voyage,” a term used in a... (shrink)

Author Rizwaan Sabir, as a then-MA student at Nottingham University, became known as one-half of the “Nottingham Two” following his arrest along with Hicham Yezza in May 2008. They were detained for six days without charge on suspicion of terrorism for the possession of a document titled the Al Qaeda Training Manual, which was freely available on the internet and from bookstores. Sabir had downloaded it from a US government website for use as primary source material in his proposed PhD (...) research on armed Muslim groups. But Sabir’s arrest, detention, interrogation, and release without charge takes up only about one-fifth of the pages; the remainder covers subsequent events revealing the extent of the surveillance to... Read More. (shrink)

Abstractabstract:The present article examines the utopian and theological politics of the Ikhwān al-Ṣafāʾ (Brethren of Purity). I focus on the Ikhwān’s elusive “virtuous city,” a harmonious and righteous community situated on a wondrous island, where residents work in unison toward salvation by deferring to one creed. This city’s imagery is intimately tied to principal theological dimensions of their work. Through the virtuous city, the Ikhwān utilize the imagery of estrangement to elucidate their theological position on the soul’s imprisonment in the (...) body. But there is another, subtler dimension to their utopianism. I argue that the Ikhwānian utopia serves as a juxtaposition to their Muslim society, which they thought was afflicted by credal divisions. Accordingly, their utopia seam-lessly weaves together a synthetic narrative about eschatology (i.e., the afterlife) and an empirical critique of their contemporary society. Additionally, this paper contributes to the development of scholarship on medieval Islamic utopianism. (shrink)

Abstractabstract:Thomas More’s Utopia represents not a pleasurable alternative world, but rather a debate on how to make life more pleasurable in the actual world. It involves a tussling with questions of truth in an age in which unifying transcendental answers were giving way to more instrumental solutions as demanded by the growth of mercantile city-states. This article traces the function of pleasure in Utopia as a dialectically mediating agent on the recognition that pleasure is available only in compromised form. For (...) More, solutions must be sought through the mind’s capacity to form agreeable relations out of contradictions. It implies assembling meaning from the perspectives Utopia provides, and a constant balancing and rebalancing process in search of an overall point of view that may give pleasure. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rethinking Utopia and Utopianism by Lyman Tower SargentWilliam James MetcalfLyman Tower Sargent. Rethinking Utopia and Utopianism. Ralahine Utopian Studies 26. Oxford: Peter Lang, 2022. 412 pp. Softcover, US$61, £53, €40. ISBN 978-1-80079-489-4.In the field of utopian studies, Lyman Tower Sargent is well known and respected globally. His new book, Rethinking Utopia and Utopianism, is well written, witty, and persuasively argued, reflecting on, and updating, his life’s [End Page (...) 137] work. It includes several previously published pieces, such as Sargent’s oft-cited “The Three Faces of Utopianism Revisited” (1994), along with his current thinking across the broad field of utopian studies.Sargent admits to naiveté when, as a young scholar in the 1960s, he set out to write a “history of utopian literature”—probably thinking it wouldn’t take long! This field, he soon found, ever expands the more one looks. Sargent continues to look for, and discover, examples from around the world—many of which he has made available online in Utopian Literature in English: An Annotated Bibliography from 1516 to the Present.1 But now, at eighty-two years of age, he accepts that this project will require “quite a few lifetimes, lifetimes that are not available to me, so I hope that others will take up these topics” (349).Sargent thinks utopianism is best understood as “social dreaming—the dreams and nightmares that concern the ways in which groups of people arrange their lives and which usually involve a radically different society” (7). Utopia, he points out, “expresses deep-seated needs, desires and hopes” (42). This, he asserts, is a universal phenomenon—part of being human—certainly not confined to the Western Christian tradition, as some scholars have argued.We must be careful, Sargent warns, not to equate utopia with perfection; utopias are about betterment, not perfection. He argues that equating utopia with perfection is a ruse employed “by those opposed to the idea that human beings can bring about significant social change and is intended to undermine that possibility” (323). Sargent argues that all humans “need the idea that a better life is possible” (325) and this is what utopianism provides.As someone who has spent much of my professional life studying intentional communities, I have always recognized that almost all such groups have an underlying utopian impulse. So I came to utopianism research as a subset of intentional communities research. Sargent, on the other hand, sees “communitarianism as a sub-category of utopianism” (85). He acknowledges that intentional community members are “trying to find better ways of living together, making decisions about all important aspects of life, whether it is political, economic, religious, or sexual.... They are actually doing with their own lives what literary utopias describe in words” (93). Perhaps our different paths are a bit like asking whether the chicken or egg came first?Sargent quite correctly observes that many intentional community members reject the label of “utopian” because they confuse it with the naïve, and unobtainable notion of perfection—and I have often observed the same. Nevertheless Sargent asserts “that continued utopian thinking is essential to the overcoming of [End Page 138] the dystopian reality of... the last century” (178). This, he argues, is why intentional communities are important test sites for enacting utopian dreams.In discussing dystopia, Sargent points out how utopian aspirations occasionally lead to the creation of dystopias. “The hopes of communism became the dystopia of Stalinism.... The utopian dreams of Pol Pot became the dystopia of Kampuchea” (172). “Utopian visions from Lenin to the Taliban that purported to have the potential of producing an enhanced life have been hijacked and turned into dystopias” (175). While acknowledging that some colonization schemes, particularly for New Zealand and South Australia, had a utopian angle, nevertheless those schemes generally created dystopia for the Indigenous peoples. “The original inhabitants’” idea of the good life “inconveniently did not include having their land stolen, being enslaved, and being slaughtered” (262).That reminds us that utopianism, like beauty, lies in the eye of the beholder. Sargent offers a wonderful personal example, “my utopia would include a strong right to die” whenever and however he... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Tyranny of Merit: What’s Become of the Common Good? by Michael J. SandelYoko NagaseMichael J. Sandel. The Tyranny of Merit: What’s Become of the Common Good? New York: Penguin Books, 2021. 272 pp. Hardcover, £9.99. ISBN 978-0-141-99117-7.Is a meritocratic capitalist society a utopia? The answer depends on who you are. A libertarian is likely to embrace the meritocratic credo that talent and effort deserve rewards, regarding their (...) success in a competitive market system as their own doing and even looking down on those who are not successful (25). A liberal may emphasize the need for a redistributive safety net and yet still promote meritocratic capitalism as utopian as we may ever achieve.1 Michael Young, who coined the term meritocracy in 1958, depicted an imaginary meritocratic society as a dystopia (116). In The Tyranny of Merit, Michael J. Sandel spends six out of seven chapters exemplifying the misery of not-being-a-winner in a meritocratic society.The Tyranny of Merit does a brilliant job at providing an “A-ha!” moment to anyone who has been compelled to accept, and to live with, the seemingly fair meritocratic rule of evaluating individuals, despite the frustrating awareness that something is not quite right. The author articulates exactly what’s wrong with meritocratic capitalism.The problem of meritocratic capitalism is, succinctly put, “merit drives out grace” (58). Meritocratic capitalism denigrates those who lack abilities or, worse, it humiliates those who hold jobs that are needed by the society but do not pay a lot (203). Meritocracy provides a justification for inequality that markets deliver by making people believe that their success is their own doing, not something they inherit (120, 125). However, distribution of income and wealth based on the natural distribution of talent and abilities on which the success depends is just as arbitrary as the distribution based on the [End Page 154] historical and social fortune such as class.2 This lack of gratitude and humility among those who are rewarded richly by the markets, Sandel points out, discourages the successful people from caring for the common good or those who are less fortunate than themselves (14, 59).Any mainstream introductory economics textbook would say that prices provide market participants with information about the scarcity of productive inputs and incentive to pursue their self-interests (utility and profits), resulting in markets’ delivering goods and services that best serve consumers’ needs and wants. These textbooks would also clarify that efficiency that markets deliver in allocating productive resources and goods does not imply that the outcomes are necessarily fair or equitable. What is not necessarily made explicitly clear, however, is that market prices do not represent moral values. Rawls, Hayek, and Friedman agreed with Knights in that a market price depends on supply and demand that depend on institutional settings such as property rights, taxation, and support for higher education; therefore, distributing according to the market outcome has “little or no ethical significance.”3 Sandel laments that, in reality, those who are marked by markets as lacking merits (via low pay) live with a sense of demoralizing, humiliating failure (185). The outcome is a lack of contributive justice; those who lack merits struggle to achieve the recognition and honor that they deserve for what they offer through their works (203).What is likely to be completely missing in introductory economics classes at universities is the emphasis on contributive justice. Contributive justice, in my view, is the most important concept introduced by The Tyranny of Merit. The author emphasizes that individuals should be given a chance “to win the social recognition and esteem that go with producing what others need and value” (206). The author challenges us to think again how we should value different types of occupations (191). Aren’t plumbers, social workers, and teachers just as important for society as bankers? Why should there be any prejudice against those who choose not to go to universities? (73). Economics should emphasize that we are not just consumers; we are (proudly?) producers as well. Chapter 3 of The Tyranny of Merit provides many examples of politicians embracing meritocratic policies based on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Adventures of Telemachus [1699] by François de Salignac de la Mothe-FénelonJean–Michel RacaultFrançois de Salignac de la Mothe-Fénelon. The Adventures of Telemachus [1699]. Translated with an introduction and notes by A. J. B. Cremer. London, Anastasis Books, 2022, 419 pp. Hardbound £24.50. Paperback £15. ISBN: 9781739798314.Fénelon’s 1699 novel The Adventures of Telemachus—or more precisely, the epic poem in prose—was one of the major bestsellers in many European countries (...) for nearly two centuries. The book inspired paintings, operas, fashions, and even wallpaper motifs. It gave birth to a literary subgenre, the “archeological novel,” such as Terrasson’s Sethos (1731) or Bernardin de Saint-Pierre’s L’Arcadie (1788), in which the action is located in an antique setting. Still part of French schools’ syllabi a century ago, this book mainly owes its survival today to highly specialized academic research, stimulated from time to time when an “Agrégation” program generates new publications, papers, and conferences, as happened in 2009–10. The situation is similar in English-speaking countries, if perhaps just a bit worse: new editions are scarce and generally based more or less on revised versions of eighteenth-century translations, such as those editions by John Hawkesworth’s (1768) or Tobias Smollett’s (1776).The publication by A. J. B. Cremer of an entirely new translation, featuring a close rendering of the French text into modern English and preserving the original’s formal dignity without resorting to a pastiche of the classical language, is therefore a landmark in the history of Fénelon’s reception, and in the valuation of Telemachus particularly. This edition, while intended for the general reader, includes most of what is expected of a scholarly edition. In a comparatively short introduction, the editor recalls the essential facts about the author’s background (as a descendent of high nobility) and about his ecclesiastic career, which was compromised by both his involvement in mystical spirituality (the quarrel over Quietism) and his critical attitude toward the absolutism of Louis XIV’s régime. [End Page 140]In fact, Fénelon’s appointment as Archbishop of Cambrai (1695) was a kind of exile. In 1689, however, he was appointed tutor to Louis XIV’s seven-year-old grandson, the young Duke of Burgundy, second in the line of succession to the throne after his father (though both died prematurely). Fénelon wrote for this boy The Adventures of Telemachus as an educative fiction in the tradition of the “mirrors of Princes.” Of course, such a book was not intended for publication, and when it appeared in 1699—strangely enough, in a fully legal manner and with a printing privilege—it was against Fénelon’s will and in a very faulty form, which was corrected in later editions. An editor today therefore faces solving some highly complex textual problems, and choosing between the manuscript traditions. Cremer’s translation is based upon Jacques Le Brun’s authoritative text, published in Fénelon’s Œuvres, tome II (Paris: Gallimard, “Pléiade,” 1997).1After surveying the critical reception of Telemachus, particularly in England, starting at the text’s first publication and reaching the present time, the introduction discreetly hints at an apparent trend, among some interpretations, toward Christian allegory. If the figure of Mentor obviously “represents Fénelon” in his tutorial role, Cremer notes, this character, also an incarnation of Minerva, embodies humanity and divinity simultaneously, and thus may be seen as a “Christ-figure,” with Telemachus as his disciple and Ulysses, with his pursuit of a never-ending quest, as the symbolic form of the Divine. These observations are not entirely new; they have been formulated before by various critics. The editor himself concurs with a well-known article by André Blanc that describes Fénelon’s neo-platonician turn of mind: for Fénelon there is no contradiction between Christian revelation and the pagan fables of classical mythology, which he considers prefigurations or allegories of Christianity.This interpretation is abundantly and convincingly confirmed in the editor’s annotations. While as expected the commentaries point frequently to Greco-Latin mythology or classical literary sources... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Brisbane: Utopian Dreams and Dystopian Nightmares by William (Bill) MetcalfLyman Tower SargentWilliam (Bill) Metcalf. Brisbane: Utopian Dreams and Dystopian Nightmares. Brisbane History Group Studies no. 11. Tingalpa: Boolarong Press, 2022. 297 pp. Australian $30.00 ISBN: 9781922643445.Bill Metcalf, the foremost scholar on Australian intentional communities, has discovered and written about a number of Australian utopias. In Brisbane: Utopian Dreams and Dystopian Nightmares he focuses on a subset of Australian (...) utopias, those written by people who lived in Brisbane plus one Brisbane architect who made designs for a future utopian Brisbane. One of the books, A Workingman’s Paradise: An Australian Labour Novel (1892), is well known, particularly in Australia. A second novel, The Adventures of Halek: An Autobiographical Fragment (1882) by John H. Nicholson, will be familiar to some readers. The others will be unfamiliar to most readers both in Australia and in the rest of the world. I learned of many of them through Metcalf ’s previous work and correspondence with him. Given this situation and the fact that a few of the books are only available in Australia, I have said something about all of them.The book begins with “A Brief Overview of Utopianism” (1–6), an introduction suitable for those unfamiliar with the subject, followed by “Overview of Brisbane in the 1880s and 1890s” (7–12), which gives all readers an initial context. The entire book is strong on context, particularly local context. The following nine chapters are on authors or coauthors of utopian texts and one artist. All the chapters begin with substantial biographical information about the authors, as well as their activities and the Brisbane context within which they lived, followed by a presentation and discussion of their utopias. [End Page 158]The first authors mentioned are William and Annie Lane, which immediately raised a question in my mind. The two works discussed, the racist “White or Yellow? A Story of the Race-war of A.D. 1908” by Sketcher (serialized in The Boomerang in 1888), and the socialist A Workingman’s Paradise by John Maurice Miller, have always been identified as written by William Lane—with no mention of Annie. Metcalf suggests, but with minimal discussion, that while “White or Yellow” was by William, Annie was the unacknowledged coauthor, perhaps even author, of A Workingman’s Paradise. So, I asked Metcalf about the attribution and in a substantial email of October 5, 2022, he laid out the argument, which is based in part on the work of a former student, John Kellett, published as “One-Woman-One Vote: Annie Lane, ‘Lucinda Sharpe,’ and the Female Franchise in Late-Nineteenth Century Queensland” (Hecate 30, no. 2 [2004]: 37–52).Lucinda Sharpe was the nom de plume of a weekly contributor to the newspapers published by William Lane. It has been believed that he wrote all the articles. Kellett, however, makes a strong case that Annie, who was a working journalist in Canada when she met William (also a working journalist), was Lucinda Sharpe. In particular, Kellett notes the extreme differences between William’s usual style and that of Lucinda Sharpe and compares it to material known to be written by Annie. Kellett concludes, based on the similarities between Lucinda and Annie and other evidence, that Lucinda was Annie. But Kellett is only concerned with the Lucinda Sharpe works and the way they presented the case for the franchise; he does not mention either of the works that Metcalf discusses.In his email to me, Metcalf expands on Kellett, saying thatWhile researching for this book I re-read The Workingman’s Paradise and again I was struck by how the sentence structure and language differs from William Lane’s usual work. Then I compared it to “Lucinda Sharpe,” and it was similar. I discussed this observation with John Kellett, now retired and living in Armadale, and he agreed. That led me to conclude that Annie Lane probably wrote The Working Man’s Paradise. Perhaps/probably with William’s input. The real giveaway is when William tries to write in a female voice, as in White or Yellow with the Cissie character, it is very stilted, “twee” and demeaning. When... (shrink)

Abstractabstract:Taking Yanis Varoufakis’s novel Another Now as a case study, this article introduces and makes an argument for a new concept in utopian studies: the postcritical utopia. It begins by making four claims: (1) that Varoufakis has written a utopian socialist novel; (2) that this represents a retrieval of a historical form of literature; (3) that the utopia at its center takes the form of a utopian blueprint; and (4) that two objections to this utopia, posed by one of its (...) main characters, complicate our understanding of Another Now, with implications for how we ought to classify it. It is then argued that Another Now’s combination of a systematic utopian blueprint with insights drawn from the tradition of the critical utopia qualifies it as a postcritical utopia. The latter concept is then considered in the context of utopian studies scholarship. (shrink)

Abstractabstract:Though the prospect seems a million miles away, interest in the end of capitalism has been as longstanding as it is utopian, but do we really understand what we mean when we speak of the end of capitalism? Maybe we have things the wrong way round, and in our understandable preoccupation with the future we fail to appreciate how prospective ends often lie in the past. While the expression might refer to practices, experiences, and real social relations, capitalism is a (...) conceptualization and as such is a synthetic product of the understanding. Between abstraction and the concrete, could the end of capitalism lurk somewhere in this activity? Might it be something we can experience but never know? Is our expectation of paradigmatic transformation counterproductive? Is there a role for utopias and utopianism in this, and if so what might that be? (shrink)

Abstractabstract:Marjorie Barnard (1897–1987) and Flora Eldershaw (1897–1956) were prolific Australian authors who co-wrote, under the pseudonym "M. Barnard Eldershaw," five novels and four works of nonfiction published between 1929 and 1947. Their final collaboration, a future fiction entitled Tomorrow and Tomorrow, first appeared in Melbourne in 1947 and was reissued by the London feminist publisher Virago in 1983. Lyman Tower Sargent's bibliography of Australian utopian fiction describes the novel thus: "Dystopia. Public opinion sampling used to limit liberty." This is a (...) reasonable enough shorthand description of the novel's frame narrative, set in the "Tenth Commune" located somewhere in what is now the Riverina district on the border of New South Wales and Victoria, at some time in the twenty-fourth century. This article will argue, however, that the Tenth Commune is closer to a flawed eutopia than an outright dystopia; and that the novel's truly dystopian content lies in its core narrative, Knarf's novelistic account of mid-twentieth century Australia, which culminates in a quasi-apocalyptic destruction by fire of the city of Sydney. The extraordinary violence of this account will be contrasted to the essentially nonviolent character of the Tenth Commune and both will be situated in relation to Barnard's growing involvement in the pacifist Peace Pledge Union. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Epistemological Warfare and Hope in Critical Dystopia by Emrah AtasoyClaire P. CurtisEmrah Atasoy. Epistemological Warfare and Hope in Critical Dystopia. Ankara: Nobel Bilimsel Eserler, 2021. vii+ 167 pp. ISBN: 978-625-7589-04-8This book is an application of the idea of critical dystopia to three understudied novels and the beginning of an argument about utopian desire itself. Emrah Atasoy, a prolific author who reviewed Turkish speculative fiction in a well-received 2021 (...) Utopian Studies article, is modeling a search for hope in dystopian texts. In this book, derived from his dissertation, he examines three British novels written in three different eras of the twentieth century: Katherine Burdekin's Swastika Night (1937), Anthony Burgess's The Wanting Seed (1962), and P. D. James's The Children of Men (1992). In each novel, Atasoy argues, the protagonists move from an ignorance that served the interest of the dystopian forces to a resistant knowledge that should be read as offering hope, both as resistance and as knowledge.The book is organized in a straightforward way, with an introduction, conclusion, and then three analytical chapters, one for each of the novels. The introduction is expansive, offering both brief surveys of the nature of utopia and dystopia and a recounting of a number of themes taken up by dystopian texts: education, politics, gender roles, family life, and more. Layered onto this is a discussion of theorizing around knowledge and power and the transition from ignorance to understanding. The chapters focused on the individual novels are all similarly expansive. Atasoy offers biographical information about the authors along with considerations of the primary social and political events to which the authors might be responding. The analyses of the novels focus primarily on the motivations of the protagonists, but interspersed in the plot summaries are narrative cul-de-sacs explaining particular textual details (for example, the discussion of Theo's choice of the Greek statue of Diadoumenos as allocation to leave a note for the Warden [James, 37]). These [End Page 519] little detours are often interesting but can be distracting from the primary analytic focus.The analyses themselves also cover a lot of territory. The middle section of the chapter on The Children of Men (118–34) includes discussions of power, eugenics, religion, sexuality, punishment, assisted suicide, and immigration. Each of these is used to elucidate modes of social and political control wielded by the Warden, but the sheer number of issues included in the fast-moving analysis left me wanting more. Atasoy's analysis of Quietus nicely captures the ways in which James has created a world where the elderly are both encouraged and manipulated to end their lives for the good of the whole. This discussion fits especially well with the larger focus of his analysis on modes of social engineering. Fewer themes and more close readings like this one would have deepened the reading experience. But for anyone beginning a project on one of these novels, this book is a good place to start.This book begins and ends with the interesting contention that times of catastrophe diminish the literary production of utopia, and potentially the capacity for hope itself. While the point of this book is not to defend this claim empirically, it is one worth considering for any scholar of utopia, or any person interested in the potential of future change for the better. The book may underplay the fact of twentieth-century literary utopias (there is a brief discussion of the feminist utopias written in the 1970s and 1980s), but it is surely correct that there is an imbalance in the production of utopia in favor of dystopia. Utopias are more challenging to construct and potentially (especially in this day and time) less formulaic than dystopia, which is an increasingly popular (and marketable) genre.Kim Stanley Robinson noted in a recent interview that "[utopias] shape people's conception of what's possible that could be good in the future."1 Atasoy's book offers the possibility that a close reading of dystopian texts might well help us uncover other ways of finding out what future good is possible. By extolling the value of finding the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Research on the Transformation of Contemporary Chinese Science Fiction by Zhan LingShaoming DuanZhan Ling. Research on the Transformation of Contemporary Chinese Science Fiction. Beijing: China Social Sciences Press, 2022, 324 pages, softcover, ¥ 118.00 ISBN: 978-7-5203-9465-9.Research on the Transformation of Contemporary Chinese Science Fiction is a laudable scholarly endeavor that provides reader with a unique interpretation of the representative works in contemporary China science fiction. Taking "transformation" as (...) the key word, this book outlines the development process and transformation features of science fiction since the founding of the People's Republic of China (i.e., new China). Starting with the investigation of the reasons for each transformation, this book combs the changes in the creative values, scientific views, and aesthetics of science fiction in more than seventy years. The book also aims to show the literary achievements of contemporary Chinese science fiction, affirm the academic values of "transformation" from the perspective of literary development history, and points out the existing shortcomings. This book will interest global scholars in literary studies, especially those in the field of Chinese science fiction studies. The detailed studies of contemporary Chinese science fiction by Zhan Ling connect her primary sources with wider temporal and spatial contexts. Zhan Ling approaches contemporary Chinese science fiction that was mostly unknown to the scholars of the twenty-first century, some of which were underestimated and even ignored for a long time.The book has an introduction, seven chapters, and a conclusion. The introduction briefly introduces the origin of Chinese science fiction. There was no category of "science fiction" in ancient Chinese literary tradition; it actually appeared in the late Qing dynasty. At that time, the Qing government was defeated miserably by Western powers in the two [End Page 521] "Opium Wars" and was forced to sign a series of unequal treaties with Western powers, which greatly damaged China's sovereignty and territorial integrity.In order to achieve the goals of "enriching the country and strengthening the army" and "learning foreign technology to counter foreigners," the Qing government decided to carry out the "Westernization Movement" (1861–95), calling on Qing officials to learn and use Western advanced science and technology and set up modern military, industry, and civilian enterprises. Science fiction, as a kind of literature directly linked with Western science and technology, had been introduced into China. In 1872 the Chinese version of Washington Irving's Rip Van Winkle was published in Shanghai Shen Daily, which opened the exploration of science fiction in Chinese literature. In 1904 Huang Jiangdiaosou (pen name) wrote the first Chinese science fiction, The Moon Colony. The intellectuals in the late Qing dynasty regarded science fiction as the literary practice of "saving the country through science" (6). Science fiction had contributed to the establishment of modern scientific consciousness for the pedantic people in the late Qing dynasty. The decline of the Qing dynasty was marked by the invasion and encroachment of the Western powers, which marked the formation of Chinese semicolonial and semifeudal society; This, in turn, contributed to the development of science fiction in China.The main body consists of seven chapters. Zhan Ling discusses the changes and transformations in the development of science fiction in contemporary China. The founding of new China marked the full rule of the Communist Party of China. In order to distinguish from the Kuomintang rule, the Communist Party called it "contemporary" after 1949. According to this "division," "contemporary science fiction" of the title refers to the science fiction published in mainland China after 1949. Compared with the past, science fiction in contemporary China has made great progress in quality and quantity (12).Zhan Ling divides the development of science fiction in contemporary China into four stages. The first phase was from 1949 to 1966. The second phase is from 1978 to 1984. The third phase is from 1985 to 1999. The fourth phase is the twenty-first century. The book tries to integrate the development history of contemporary Chinese science fiction into the development history of Chinese science fiction for research, and even puts contemporary Chinese science fiction into the development history of world science fiction [End Page 522... (shrink)

Abstractabstract:This article examines the connections between social perfectibility and individual identity through George Orwell's famous non-place "Oceania" in 1984 (1949). It is argued that "Ingsoc" Party members see reality filtered through "collective solipsism," which is a mirage that is superimposed upon the material state of affairs in individual perception by the augmentation of every individual's environment with constant feedback from the social superstructure. Thus, perceptions, memories, and possibly even personalities are constructed situationally as fit for the superstructure. Due to the (...) constantly intensifying regress of cognitive and material enabling factors, this "collective delusion" will detach itself from the material realm completely in 2050 when individual consciousness fully dissolves into Big Brother's super-mind. 1984 thus depicts a dystopian-utopian, "blackwhite" society on the "event horizon" to a "singularity," which will emerge when the state or collective becomes an absolute and no traces of private life remain. (shrink)

Abstractabstract:This article analyzes Claude McKay's last novel, Amiable with Big Teeth—recently discovered in 2017—as a piece of postcolonial utopianist writing. The novel participates in an important debate on the role of utopias and utopian writing as ideological mechanisms that perpetuate colonial structures such as the nation-state. Through a critique of the Popular Front project in the black community of 1930s Harlem, Amiable with Big Teeth vindicates local knowledges and the assessment of the specific conditions of the present—ever-changing and transformable—in the (...) development of strategies for resistance. As such, the spiritual role of Ethiopia for the community depicted, rather than constitute yet another national utopia, fulfills the same role as it did for the Jamaican Rastafarians: it is a mechanism for group self-assertion and the promotion of self-esteem that subaltern communities need in order to achieve full agency. (shrink)

Abstractabstract:Leviticus 25 details legislation for the regularized practice of economic relief in sabbatical and jubilee years. Earlier scholarship described the jubilee legislation as utopian in order to question its feasibility. In contrast, this article employs the term as a critical lens through which to better appreciate the shape and character of the jubilee legislation. Building on scholarship on utopian literature as well as work on the role of law in utopian literature, the author argues that the author of Leviticus 25 (...) employs distinctive economic practices, an idyllic description of Israelite society, and unique terminology and ritual practices for the jubilee in order to present its plausible utopian economic vision for Israelite society. This utopian legislation envisions a credible alternative to the existing practices of ancient Israelite society even if its specific historical context is difficult to determine and its specific statutes could be regarded as dystopian by some members of this society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Doughnut Economics: Seven Ways to Think Like a 21st-Century Economist by Kate RaworthYoko NagaseKate Raworth, Doughnut Economics: Seven Ways to Think Like a 21st-Century Economist. London: Random House Business Books, 2017. 372 pp. £20. ISBN 9781847941374.Question: Is this a book about utopia? Answer: Yes, indeed; it is a book about a twenty-first-century utopia represented by the Doughnut.The author presents a vision of a pragmatic utopia, represented by the (...) inside of her Doughnut that is both distributive and regenerative. According to the author, a distributive economy is "one whose dynamics tend to disperse and circulate value as it is created, rather than concentrating it in ever-fewer hands." A regenerative economy is "one in which people become full participants in regenerating Earth's life-giving cycles so that we thrive within planetary boundaries" (156).The emphasis on the fair distribution of income, wealth, and means of production is an ideal pursued by famous utopians, from perfectly equal distribution of everything in Thomas More's Utopia to very libertarian position of "whatever he has justly made he has a right to keep" by H. G. Wells.1 The distributive Doughnut community aims to enable individuals to be, in Amartya Sen's words, "healthy, empowered and creative—so that they can choose to be and do things in life that they value" (43). This ideal of individuals' rights to choose their life and to realise their ends is the centerpiece of libertarians' ideal society.2 The Doughnut, however, leans heavily toward democratic socialism. Arguments for redistributive measures such as a universal basic income and taxes on land and wealth put forward by the author go beyond promoting equal opportunity and emphasize the necessity of economic means to make the best out of the opportunities (164, 180, 200). [End Page 528]The issue of sustainability at the global level is a concept that does not appear in the classical utopian literature, even though the idea of living happily in perpetuity is very much the tenet of many classical utopian societies. Given the extent of the geographical knowledge that existed by the time Wells explored his idea of a utopia, he was no longer able to set it in some not-yetdiscovered place on Earth like his predecessors did—hence the adaptation of "another planet."3 But this setup had nothing to do with the concept of the ecological limit of Earth. Pre-nineteenth-century utopians would be familiar with the contents of the Doughnut's foundation, the inner shell that consists of the social and economic factors such as food, health, education, and housing. However, the outer shell of the Doughnut is very twenty-first century, enclosing the nine planetary boundaries of the Doughnut as a life-support system, such as ozone layer depletion, ocean acidification, biodiversity loss, and climate change (44–48).The author points out that we need to get a grip on understanding how we belong in the world. Instead of relying on the power of words as George Orwell's Thought Police, the author takes full advantage of the power of the visual, by drawing the Doughnut as a map for a new economy and society.4 If studying economics is tantamount to "mastering the mother tongue of public policy" (287), Doughnut Economics is a critical introduction to and the foundation of economic, environmental, and social policymaking.Rather than utopias as purely thought exercise by Plato or More, Raworth, like David Hume, presents a model of a utopia that is meant to be achievable.5 The economics of the Doughnut does not depend on any unrealistic assumptions of human nature. The author proposes means to reaching inside the Doughnut without abolishing the market system or private property rights. But a strong emphasis is placed on additional redistributive policies and regulations that are deemed critical toward sustainability. This position is consistent with that of the former chancellor of Germany who reportedly said that she "wanted as much market economics as possible, but as much state intervention as necessary."6 In promoting the open-source circular economy movement, the author wonders if it may seem "unfeasibly utopian" (231). Yet given the pace... (shrink)

Abstractabstract:Christianity is a religion with deep utopian undercurrents that find their articulation in narratives about a utopian past, a dystopian present and a utopian future. The natural world is also part of this utopian trend, most prominently in the form of the lost Garden of Eden. While both Western and Eastern Orthodox Christianity recognize nature as part of this past utopia, their views regarding its role in the dystopian present, the future utopian condition as well as the path toward it, (...) significantly differ, leading to quite different responses to the current ecological crisis. For Western Christianity, ecological questions are a matter of ethics, while for the Eastern Orthodox they are an ontological issue. Utilizing Bloch's ideas about "educated hope" and the distinction between abstract and concrete utopias, the article discusses these different positions and their possibility to change believers' attitudes toward nature and align their behavior with that of environmentalism and ecology. (shrink)

Abstractabstract:An overview of the importance of religion, particularly Christianity, has had in American life from the earliest explorations and settlements to the present day and the way that importance has been reflected in numerous religious utopias and dystopias. Positive utopias have been inspired by Christ's teachings and by Eden, heaven, and the millennium. Dystopias, found mostly in the twentieth and twenty-first centuries, reflect, on the one hand, a fear that Christianity is under threat, and, on the other hand, the fear (...) that fundamentalist Christians will impose their beliefs on the country. There have also been a number of Jewish utopias and anti-Semitic dystopias as well as a few Islamic utopias and a growing number of anti-Islamic dystopias based on the belief that Muslims want to impose Shari`a law on everyone. (shrink)

Abstractabstract:The article analyzes two recent German novels, Die Optimierer by Theresa Hannig and QualityLand by Marc-Uwe Kling, regarding their depiction of societies undergoing datafication and automation processes and argues that instead of conforming to more common dystopian visions as anti-individualist, the depicted societies are highly individualized in their engagement with social media. Even though the political and economic systems in both novels function differently, both claim that the already existing surveillance capitalism will be further entrenched and that instrumentarian power structures (...) will be established to shape the behavior of citizens for the system's benefits. The article reads the novels as warnings against instrumentarian mechanisms that are enhanced by processes of automation and algorithmic control. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Embodying Contagion: The Viropolitics of Horror and Desire in Contemporary Discourse ed. by Sandra Becker, Megen de Bruin-Molé, and Sara PolakLars SchmeinkSandra Becker, Megen de Bruin-Molé, and Sara Polak, editors. Embodying Contagion: The Viropolitics of Horror and Desire in Contemporary Discourse. Bangor, Wales: The University of Wales Press, 2021. PB, p. 288, ISBN 978-1-78683-690-8, GBP 45,-There is a trend in current humanities writing to point out its relation (...) to the ongoing COVID-19 pandemic, curious on the one hand as we normally do not address the day-to-day of our contemporary moment in time quite as immediately, reasonably needing a few years to position our thinking against the fickleness of the Zeitgeist. But, on the other hand, the pandemic has had such a profound impact on all the work we have been doing that it seems impossible not to mention—from projects cancelled or changed due to travel restrictions and lockdowns or to issues becoming so much more (or sometime less) important as our academic as well as social priorities shift. Embodying Contagion, a volume of collected essays, was already in the process of editorial work when the pandemic struck; in fact, it was already in the final round of edits (xiii). But how would you edit a collection on contagion narratives and not address the big one unfolding right then and there? So, in a way this volume is made even more timely because of its peculiar moment of publication, as the ongoing health crisis of COVID-19 is entering its next stage, and somehow the essays needed to position themselves against this historical backdrop—this, the experience of living through a contagion narrative, is then interwoven into the volume like a thread. [End Page 515]In terms of its original premise, the volume has not lost its pertinence; if anything, it is heightened. In a nutshell, the volume takes up the mantle from Priscilla Wald, who had coined the term "outbreak narrative" and expands it to the idea of "contagion" (1–2), discussing the "viropolitics of horror and desire" (2) linked to these contagions as metaphors and images to cope with social realities. As the editors attest, the fascination with contagion in our culture is omnipresent—more so after COVID-19—and can be read to determine our bodies as posthuman, existing "as shifting and sharing ecosystems rather than isolated and inviolate objects, contemporary culture unveils a seemingly endless series of new ways to be, to behave and to belong alongside other bodies" (3). Contagion narratives reveal our relational existence—through them, "we negotiate the boundaries between bodies that are welcome, bodies that must be confined or silenced, and bodies that must be eradicated" (4). It is this negotiation that is framed as key cultural work in the volume and that the ten essays interrogate—why do we use contagion to explore our relational selves, to each other and to our surroundings?In terms of structure, the essays are divided into two main parts with five essays each, framed by a preface from the inspirational Priscilla Wald, an introduction laying out the idea of the volume, and a centrally important epilogue that addresses the current pandemic and its impacts as a contagion narrative specifically. In her preface, Wald is adamant in sounding the alarm, or better yet sounding out a profound "I told you so" as she discusses how "woefully underprepared" (xvii) we were for the pandemic and how ignored contagions are politically—making clear in the process that the cultural work of these narratives is more pressing to recognize: "As these stories titillate us, they shape experience: who, what and where a culture locates its threats, its definitions of 'us' and 'them,' its response to other cultures and to the planet" (xvii).The first part of the volume, then, addresses "the role of epidemic fantasies in theory and reality" (4), meaning that news reporting, policy measures, or social media take up metaphors and imagery of contagion, generating meaning around these narratives. Consequently, in terms of its interdisciplinary approach, the chapters in this part of the volume are closely related to sociology and communication studies, as... (shrink)

Although to the readers of Utopian Studies Darko Suvin remains perhaps best known for his criticism of science fiction, much of his recent writing has fallen into the category of Marxist political epistemology. Of note are In Leviathan's Belly: Essays for a Counter-Revolutionary Time (2012), his analysis of former Yugoslavia in Splendour, Misery, and Potentialities: An X-ray of Socialist Yugoslavia (2017) as well as a number of shorter works on subjects that range from the Russian Revolution to George Orwell's Nineteen (...) Eighty-Four. For decades, Suvin has also written (about) poetry: he discussed verse already in the 1979 The Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre and his... Read More. (shrink)

Abstractabstract:This article revisits the utopian fiction of German science-fiction writer and poet Paul Scheerbart, considering the place of race and gender in his fantastical glass architectural spaces. This is primarily done through a reading of clothing and decoration in these texts, elements that are often explicitly mentioned in relation to women and people of color. Historical context concerning modernist paradigms, metaphorical interpretations of architectural glass, the connection between clothing and architecture, and the place of women in the Werkbund provides a (...) framework that serves to extrapolate the significance of some of Scheerbart's narrative elements, demonstrating the ways Scheerbart's philosophies both aligned with and departed from the modernist trends that were gaining force during his career. His constant self-contradiction, humor, and absurdist plots, however, undermine any notion that Scheerbart's fiction should be understood as straightforward polemics, and serve to complicate his position within the philosophical traditions he has been aligned with. (shrink)