The collected volume Utopia/Dystopia: Conditions of Historical Possibility and Noir Urbanisms: Dystopic
Images of the Modern City are the results from research projects Shelby Cullom Davis Center for Historical Studies at Princeton University.
There is much talk of the dystopic
effects of our time, not enough about the system which lies beneath.
Furthermore, outside the classroom, the realm of popular (and profitable) young adult fiction has been dominated by the Hunger Games and Divergent trilogies, such that the dystopic
vision is a central trope of middle school America.
Allis Provost's future city in "Copper Ravens,'' a sequel to last year's "Copper Girl,'' is a dystopic
one but still within the realm of fantastical, with a gateway to the Otherworld, including elves and underground elemental magic.
Between the video I took of this encounter and the many examples of separate and unequal treatment between Israelis and Palestinians I saw, I felt like I was watching some dystopic
mashup of the pass laws Blacks faced in apartheid South Africa and the cruel humiliation of the Jim Crow South.
Here, the dystopic
lyrics in the song almost anticipate Tracie Morris's poems published almost exactly a century later.
scenario is deeply disturbing, but it doesn't have to be our destiny.
Jennifer Lawrence is utterly captivating in this excellent, albeit slightly repetitive, sequel to everybody's favourite dystopic
film about kids fighting to the death.
Thus, postmodern theorists and writers have insisted on dystopic
visions, pastiches, parodies, collages, schizophrenic perceptions and developed a stance against characters as heroes, as the impelling force of the narration in modern texts.
But Stephen King, in 11/22/63 - his time-travel Kennedy assassination novel - foresees Kennedy's survival, heralding a violently dystopic
The building does not subject us to the nostalgic sentimentality that so often accompanies contemporary craft production, nor does it foretell the dystopic
vaporization of labor in a postindustrial, neoliberal global economy.
It is set in a near dystopic
future, mostly in the city of Sydney.
It ends with a vision of a dystopic
future where you have weak infrastructure colliding with heavy weather, as we saw with Hurricane Katrina.
And the fairy tale's potential to dramatize and contest contemporary social mores is central to Sheila Rabillard's account of Grasses of a Thousand Colors, its appropriation of tropes and themes from "The White Cat," and Wallace Shawn's knowing redeployment of "the transformations which fairy tales undergo" (162) in the creation of a dislocating, dystopic
fantasy of sexual predation and ecological disaster.
Caught between the allure of what we already think we know and what we are faced with in terms of words, images, and ideas on a page, we too may struggle to find the balance between past knowledge (Teza's nostalgic memory) and future assumptions (Teza's utopic and dystopic