Dystopian societies appear in many artistic works, particularly in stories set in the future.
Few, if any, have made a similar impact on politics. Television and the cinema have familiarised many millions of viewers on both sides of the Atlantic with the menacing face of Big Brother and the nightmare of a supposedly communist Oceania.
The novel has served as a sort of an ideological super-weapon in the cold war. As in no other book or document, the convulsive fear of communism, which has swept the West since the end of the Second World War, has been reflected and focused in But the super-weapons are genuine feats of technology; and there can be no discrepancy between the uses to which they may be put and the intention of their producers: Some of its features may be torn out of their context, while others, which do not suit the political purpose which the book is made to serve, are ignored or virtually suppressed.
Nor need a book like be a literary masterpiece or even an important and original work to make its impact. Indeed a work of great literary merit is usually too rich in its texture and too subtle in thought and form to lend itself to adventitious exploitation.
As a rule, its symbols cannot easily be transformed into hypnotising bogies, or its ideas turned into slogans. The words of a great poet when they enter the political vocabulary do so by a process of slow, almost imperceptible infiltration, not by a frantic incursion.
The literary masterpiece influences the political mind by fertilising and enriching it from the inside, not by stunning it. This is not a fair description: Orwell lacks the richness and subtlety of thought and the philosophical detachment of the great satirist.
His imagination is ferocious and at times penetrating, but it lacks width, suppleness and originality. The lack of originality is illustrated by the fact that Orwell borrowed the idea ofthe plot, the chief characters, the symbols and the whole climate of his story from a Russian writer who has remained almost unknown in the West.
That writer is Evgenii Zamyatin, and the title of the book which served Orwell as the model is We. A few words about Zamyatin may not be out of place here: Zamyatin belonged to an older generation: He participated in the revolutionary movement, was a member of the Russian Social Democratic Party to which Bolsheviks and Mensheviks then still belongedand was persecuted by the Tsarist police.
|Latest From The Hartmann Report||Dystopia is utopia's polarized mirror image. While utilizing many of the same concepts as utopia—for example, social stability created by authoritarian regimentation—dystopia reads these ideas pessimistically.|
|Science Fiction/Fantasy Authors of Various Faiths||A Dystopia is the opposite of a Utopia:|
In Zamyatin viewed the new revolution with cold and disillusioned eyes, convinced that nothing good would come out of it. The assertion that Orwell borrowed the main elements of from Zamyatin is not the guess of a critic with a foible for tracing literary influences.
He wrote an essay about it, which appeared in the left-socialist Tribune, of which Orwell was Literary Editor, on 4 Januaryjust after the publication of Animal Farm and before he began writing The essay is remarkable not only as a conclusive piece of evidence, supplied by Orwell himself, on the origin ofbut also as a commentary on the idea underlying both We and Orwell himself produced in his essay a succinct catalogue of those horrors so that his essay reads now like a synopsis of They live in glass houses In this technological refinement is brought in as well as the helicopters from which the police supervise the homes of the citizens of Oceania in the opening passages of the novel.
For the main motif of his plot Orwell is similarly indebted to the Russian writer.
This is how Orwell defines it: The authorities announce that they have discovered the cause of the recent disorders: The nerve centre responsible for imagination has now been located, and the disease can be cured by X-ray treatment.
D undergoes the operation, after which it is easy for him to do what he has known all along that he ought to do — that is, betray his confederates to the police. In both novels the act of confession and the betrayal of the woman the hero loves are the curative shocks.
Orwell quotes the following scene of torture from Zamyatin: She looked at me, her hands clasping the arms of the chair, until her eyes were completely shut. They took her out, brought her to herself by means of an electric shock, and put her under the bell again.
This operation was repeated three times, and not a word issued from her lips. It was a frightening pain, because he could not see what was happening, and he had the feeling that some mortal injury was being done to him.Inter-religious utopias.
The inter-religious utopia is similar to multiculturalism where real world cultures have successfully worked together to create a wider society based on shared values. A transparent ideology of God and religion used in inter-religious utopias is commonly stated by many people as their view of God manifesting within a community.
 In more extended. Brave New World is a novel written essay new and brave world in by Aldous Huxley and published in . · A+ Student Essay. Brave New World is a dystopian novel written in by English author Aldous Huxley, and published in Methods of Control in and Brave New World "All the news that we see fit to print": corporate ownership of the US media Media Dostoevsky’s and Orwell’s Anti-Utopia.
The Hell of Nineteen Eighty-Four. Orwell and me (Essay). Let us talk about a peculiar literary genre called anti-utopia or dystopia. You have probably read or heard of such works as “” by George Orwell, “Brave New World” by Aldous Huxley or “We” by Yevgeny Zamyatin.
It is a popular genre that developed to its peak in the 20th century, when the political situation was highly unstable on a global scale. In , the society is created for the good of an elite few, whilst in Brave New World there is a genuine attempt to create a utopia which becomes intolerable to an outsider (the savage).
The society depicted in under this definition would be described as a dystopia whilst Brave New World's would be an anti-utopia. Brave new world, , and We: an essay on Anti-Utopia: (Zamyatin and English literature) Request This.
Author Brown, Edward J. (Edward James), Title Brave new world, , and We: an essay on Anti-Utopia: (Zamyatin and English literature) / E. J. Brown. Format Book.