Topic
Dystopia
About: Dystopia is a research topic. Over the lifetime, 2146 publications have been published within this topic receiving 15163 citations. The topic is also known as: cacotopia.
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TL;DR: In this paper , Houellebecq's "Soumission" re-examines the question of postsecular judgement as it has been treated by Judith Butler, Talal Asad, and Saba Mahmood.
Abstract: Abstract:With his 2015 novel, Soumission, Michel Houellebecq entered the debate, yet again, over the place of Islam in France, this time inspiring defences and condemnations of his depiction of a dystopian Islamic French future. This postsecular novel also intervenes in an academic debate within the field of postsecular studies: the question of passing judgement upon other cultures. In light of Houellebecq's novel, this article re-examines the question of postsecular judgement as it has been treated by Judith Butler, Talal Asad, and Saba Mahmood. Using Joshua Landy's idea of 'formative fiction', I show how the novel's blend of genres and thematic treatment of judgement invites readers to train their capacities to slow down their pace of judgement in order to consider the ethical ramifications of judgement itself. Landy's approach not only sheds light on an overlooked ethical dimension of the novel, it also reconciles the novel's form with its sensational content, revealing a common thread between Houellebecq's novel, Landy's formative approach, and postsecular studies.Abstract:À l'occasion de la sortie de son roman de 2015, Soumission, Michel Houellebecq participe, une fois encore, au débat sur la place de l'Islam en France, provoquant des réactions variées (défenses et condamnations) au sujet de sa représentation dystopique d'une France qui serait devenue musulmane. Ce roman post-séculier fait son intervention aussi dans un débat académique au sein du domaine des études post-séculières. Ce débat s'articule autour de la question des jugements portés sur des cultures différentes. À partir d'une analyse de ces problématiques dans le roman de Houellebecq, cet article réexamine la question du jugement post-séculier telle qu'elle a été considérée par Judith Butler, Talal Asad et Saba Mahmood. S'appuyant sur l'idée de 'formative fiction' développée par Joshua Landy, l'article explique comment le mélange de genres et la thématisation du jugement invitent les lecteurs à atténuer leurs jugements et considérer la portée éthique de l'acte de juger. Cette approche éclaire non seulement sur une dimension morale négligée du texte, mais aussi sur la consubstantialité entre la forme le contenu du roman, particulièrement suggestif. De plus, elle révèle un fil conducteur qui relie le roman de Houellebecq, l'approche formative de Landy, et la critique post-séculière.
TL;DR: This article examined the relationship between plastic matter and the queer in Roppongi and found that despite a near dystopian vision on India, Winkler's work also conveys a "queer desire" -a desire that cannot undo the effects of plastic's omnipresence or its participation in waste colonialism, but suggests ways of living with plastic.
Abstract: This paper examines the relationship between plastic matter and the queer in Roppongi. Requiem für einen Vater (2007) and Der Stadtschreiber von Kalkutta (2019), two texts by contemporary Austrian author Josef Winkler that depict the narrators’ travels to India and Japan. Two modes of critique within queer ecological theory are found to be fruitful for the analysis of Winkler’s text: a ‘queer as noun’ model focusing on queer people, here the narrator and his relationship to the environment, as well as the ‘queer as a verb’ critique, questioning and defamiliarizing foundational categories such as humanity and futurity. Based on Heather Davis’ invitation to imagine plastic, rather than biological children, as our planetary legacy, the function of plastic matter and its potential to question inside-outside dichotomies and divisions such as human vs human-made or waste vs nature are discussed. Despite a near dystopian vision on India, Winkler’s work also conveys a ‘queer desire’ — a desire that cannot undo the effects of plastic’s omnipresence or its participation in waste colonialism, but suggests ways of living with plastic. The work is permeated with what Davis calls ‘a queer ecological sensibility’, which instead of yearning for a pristine past offers a curious and openminded perspective on the present.
TL;DR: A better understanding the link between movie and architecture, it may be a better convey the complex concepts and ambitions for cities through architectural elements and signifiers.
Abstract: Cinematic architecture in the broadest terms, portrayed spaces as a scene, where it conceives and reads the built environment in terms of sequences. It explores the effect of futuristic architecture and highlight the significant role of cinematic architecture in the society. Both movies and architecture function as languages, with two components: the signifiers, which are the tangible forms of signs, and the signified, which are the concepts, thoughts, and ideals that the signifiers contain. Unfortunately, the world is experiencing fast changes as a result of the massive rise of technology and capitalism, and the cinema industry plays an important role in displaying these improvements, showing the up - coming future through various science fiction movies, that either operate as an alert system for transformation, with the majority of these depictions viewing futuristic architecture and urban design as a dystopian realm, a lack of how to manage the upcoming issues, and these visions may come to pass. This paper aims to recognize different technological approaches to create the cinematic architecture, presented in the science fiction movies. To achieve this aim, the paper will start with literature review, based on desk research, reviewing previous readings, then the paper will analyze two case studies, which are the Movie of Tron Legacy, 2010, and the Avatar movie, James Cameron, 2009. As a conclusion, a better understanding the link between movie and architecture, it may be a better convey the complex concepts and ambitions for cities through architectural elements and signifiers.
TL;DR: In this paper , the authors propose a nekronology of current trends in postcolonial apocalypse and auto-homicide to illustrate how the future is pillaging the present and argue that architectural abstractions like The Vessel colonise the present from the future, taunting the present with the excess wealth derived from perpetual economic growth.
Abstract: The following offers a novel approach to critiquing and contesting the chronology of colonial capitalism. By examining the spatio-temporality of The Vessel—the suicidal shrine to neoliberal development in the heart of New York’s Hudson Yards micropolis—this article illuminates heterodox notions of time, death, and economics. Borrowing from Achille Mbembe’s necropolitics, I develop this “nekronology” to illustrate how the future is pillaging the present. I argue that architectural abstractions like The Vessel colonise the present from the future, taunting the present with the excess wealth derived from perpetual economic growth. Developments such as the Hudson Yards and neighbouring High Line exemplify this wealth pollution—the unhealthy disposal of excess wealth in public places. I then investigate the nekronology of current trends in postcolonial apocalypse and auto-homicide. Finally, I examine the aesthetics of nekronological time wealth via an analysis of dystopian sci-fi films and the temporally emancipating art of Black Quantum Futurism.