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Khalutornykh, Olga, and Maria Maksimova. "On the prognostic and modeling functions of the social utopias of Russian cosmists." Socium i vlast 4 (2021): 50–57. http://dx.doi.org/10.22394/1996-0522-2021-2-50-57.
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Introduction. The article is focused on analyzing the utopian direction of Russian cosmism and its influence on the Soviet cosmonautics and the development of society in the USSR. This philosophical theory was created in the period that made it possible to incorporate the applied aspects of utopia into scientific and technological progress and thereby embody a number of steps towards the outer space exploration. The authors have developed criteria and parameters for assessing the utopian component of the Russian cosmism theories, which made it possible to bring this construct to a higher level of abstraction and thereby create a working model for conducting such studies in the context of other utopias of models. The purpose of the article is to show the influence of the Russian cosmism utopia on the cosmonautics development in the USSR, develop empirical criteria for evaluating the phenomenon. Achieving the goal required solving the following tasks: 1) considering and analyzing the subject matter of the cosmism utopia; 2) developing parameters for assessing the impact of utopia on the development of the social system; 3) applying the developed parameters to assess the impact of utopian ideas on the development of the Soviet cosmonautics system. Methods. Developing the theoretical model for assessing social utopias, as well as considering and analyzing the cosmism utopia, required the use of structural-functional and systems analysis. The research was conducted within the framework of a synergistic paradigm. Scientific novelty of the research. The article conceptualizes the concept of utopia. It is shown that most of the definitions of utopia as a socio-political ideal focus on the limitations of its existence: utopia cannot be embodied, often has an unscientific character, does not correlate with the real state of the system, i.e. definitions of utopia are often reduced to the negative format. The authors believe that the influence of utopia on society, as a rule, is positive. It is noted that, along with limitations, utopianism has certain unique essential features that qualitatively affect the social projects implementation. Utopia in the systemic understanding acts as a complex of ideas influencing the development of the system, being both internal (since it is created artificially and consciously by the very elements of the system) and an external factor of influence. Unlike Plato’s eidos, the projection of which is reality, utopia is created inductively, but after its creation it again “descends” to the level of reality, since it begins to influence the social model in which it was created. Results. The article discusses the prognostic and modeling functions of the social utopias of Russian cosmists. It has been proved that one of the essential functions of the Russian cosmism utopias is the formation of an ideal type, towards which, in a historical perspective, the real social system begins to strive. It is convincingly demonstrated that utopia acts as a cognitive support and inevitably forms the canvas along which society begins to move, defining the utopian model as an attractor, although such a goal is not always formulated when creating a utopia. This relationship makes it possible to assess the degree of influence of utopian ideas on the formation of reality in each specific case, which, in turn, provides an opportunity to answer the question of how and to what extent the utopian ideal type participates in determining the characteristics and parameters of a real social system. Conclusions. It was found that the social utopia of cosmists as a cognitive concept is an important effective factor influencing the development of the space industry in the USSR. The parameters adopted in the study allow us to describe the measure of its influence as both an internal and an external factor on the development of the society in which it is implemented. The validity of perceiving the utopia of cosmists as a construct with a certain life cycle, the main part of which is the period of functioning, is stated. During this time period, utopian theory can have a significant impact on the actual development of society from various angles.
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Zvjagintseva, M. M. "UTOPIC IDEAS IN RUSSIAN ARCHTECTURE IN CULTURAL ASPECT." Proceedings of the Southwest State University 21, no. 4 (August 28, 2017): 32–38. http://dx.doi.org/10.21869/2223-1560-2017-21-4-32-38.
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Utopia is one of the most stable archetypical cultural concepts because it reflects the mankind’s desire to improve their world, find a better way of social organization and return to the paradise lost. The idea of the “general welfare domain” had been present in myths and religions of different peoples long before the term “Utopia” appeared as such. Utopian ideals were extremely typical of the European culture due to its extroversion and the aspiration for a more rational existence. Utopia demonstrates a number of very typical features including commonality, special isolation, timelessness (absence of historical times), autarchy (self-sufficiency, independence from the outer world, etc. including the separation from people), urbanism, regimentation and globality. Since XVI-XVII centuries the image of an ideal society has shaped as a city on an island. As a city quite often looks like an ideally transformable space, architectural Utopia plays a very specific role: it personifies the social Utopia. City-planning interpretation of Thomas Moor’s ideas presented a big interest for his contemporaries. Later there were many projects of “ideal” cities that were developed by Italian Renaissance architects. The XVIII century was marked by the appearance of Utopian socialist philosophy. A part of its supporters used to think that metropolitan cities could make a sound foundation for the development of industrial civilization, others advocated the networks of small independent communities. In Russia the first belletristic Utopias appeared in the XVIII century. They continued West-European traditions and preserved all traits of a classical Utopia, however, they acquired national color. All of them pictured an ideal future society that was embodied in new city types. Russian architectural Utopias are closely connected with social processes that predetermined the development of European culture in general. National Utopian architecture had its prime time after the revolution when architects got opportunities to implement their bold ideas
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Ehre, Milton. "Olesha's Zavist': Utopia and Dystopia." Slavic Review 50, no. 3 (1991): 601–11. http://dx.doi.org/10.2307/2499856.
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Utopia and dystopia designate the human dream of happiness and the human nightmare of despair when these are assigned a place (topos) in space or time. Since narrative literature "is essentially an imitation not of persons but of action and life, of happiness and misery," Utopian and dystopian inventions are mere extremes of literature's ongoing story. In realistic fictions, although social circumstances may range from the incidental to the decisive, the story of the movement to happiness or unhappiness is usually told in terms of individual achievement and failure. In the Utopian and anti-utopian scheme deliverance or damnation depend on the place where one has found oneself, whether it is "the good place" or "the bad place." Although Utopias are allegorical constructs of the rational mind, attempting to bring order to the disorder of life, their denial of what is for the sake of what ought to be makes them a species of fantasy literature–a dream of reason.
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Boelens, Rutgerd. "Rivers of Scarcity. Utopian water regimes and flows against the current." Alternautas 9, no. 1 (July 28, 2022): 14–53. http://dx.doi.org/10.31273/an.v9i1.1152.
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Utopians organized space, nature and society to perfection, including land and water governance -- rescuing society from deep-rooted crisis: “The happiest basis for a civilized community, to be universally adopted” (Thomas More, 1516). These days, similarly, well-intended utopian water governance regimes suggest radical transformations to combat the global Water Crisis, controlling deviant natures and humans. In this essay I examine water utopia and dystopia as mirror societies. Modern utopias ignore real-life water cultures, squeeze rivers dry, concentrate water for the few, and blame the victims.
But water-user collectives, men and women, increasingly speak up. They ask scholars and students to help question Flying Islands experts’ claims to rationality, democracy and equity; to co-create water knowledges and co-design water governance, building rooted socionatural commons, building “riverhood”.
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Götzelmann, Michael. "Stitching time and space: The functions of temporal comparisons in utopias and beyond." Time & Society 30, no. 4 (November 2021): 581–97. http://dx.doi.org/10.1177/0961463x211046149.
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No literary genre seems to be more popular to transport the hopes and fears of humans than the genre of utopia. With the temporalization of Utopia in the 18th century temporal gaps where opened, that had to be somehow closed to explain the reader their present and the fictive future. The means of choice to close the temporal gap is the temporal comparison. On the basis of a corpus of utopian fiction, several thousand temporal comparisons were identified, to find an answer on the question what functions the temporal comparisons fulfill. With the five centuries of modern utopian fiction in mind, also questions about the narration techniques within the history of the genre had to be raised (utopia/dystopia/temporalization) and what these changes do with the temporal comparisons. On the basis of this preparatory work, this article proposes two prototypes of temporal comparisons—the synchronization of different temporalities and the actualization of memory.
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Meireis, Sandra. "Micro-utopias in architecture." SAJ - Serbian Architectural Journal 10, no. 1 (2018): 13–24. http://dx.doi.org/10.5937/saj1801013m.
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In recent years, new formats of socially engaged architectural practices have become increasingly present in the urban space. Projects of temporary use, mostly erected by transdisciplinary working collectives, have become part of a broader trend, marking a social turn in architecture. In this paper, these practices are understood as a concrete aesthetic and political phenomenon that brings about alternative forms of social coexistence: micro-utopias arise against the backdrop of urban NEO-liberalisation processes. The history of utopia, and particularly the utopian tradition in architecture, facilitate to put this argument forward.
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Gikandi, Simon. "ON UTOPIAN THINKING: LITERATURE AND THE IMAGINATION OF THE FUTURE TO COME." Journal of Language and Communication 9, no. 1 (February 14, 2022): 1–10. http://dx.doi.org/10.47836/jlc.9.1.01.
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The concept of utopia, which seems to have lost its conceptual power in the second half of the twentieth century, is increasingly returning to the center of debates on the relationship between literature and social change. Utopian thinking is now seen as a fundamental space for coming to terms with the present age—an age defined by pandemics, environmental destruction, and the threat to the narrative of freedom. But how do we go about rehabilitating utopia—itself a product of the long history of European domination—and make it adaptable to our postcolonial situation? How can the utopic be harnessed as an alternative way of imagining postcolonial futures? And is it capable of restoring idealism as a horizon of our expectations and as a precondition for freedom? Drawing on texts from the discourse of decolonization debates about utopian thinking in works of postcolonial literature and neo-Marxist criticism, my paper will address some of the ways in which the imaginative is asked to sustain the idea of an alternative society in moments of crisis and atrophy.
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Privalov, Roman. "Is the Future Soviet? USSR-2061 and the Reality of Utopia." Praktyka Teoretyczna 41, no. 3 (October 15, 2021): 193–228. http://dx.doi.org/10.14746/prt.2021.3.10.
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USSR-2061 is a Russian futuristic online project that imagines a new USSR a century after Gagarin’s journey into space. This article connects the project to Soviet space utopianism and the nostalgia that followed it, while seeing USSR-2061 and its artefacts in the light of utopian studies. In particular, the project’s hesitation with regard to utopianism and its thirst for realism are situated within a classical utopian problem of how to achieve real, not only imaginary, transformations. Such realism generally coincides with Levitas’ (2013) framework of utopia as a method, and, as the analysis shows, it hinders the construction of “an image of a future” at which the project aims. Instead, the resulting narratives and visions commonly overlap with the official Russian political discourse that makes use of Soviet nostalgia, or fall into retrofuturistic replications of commonly satirized Soviet discourses. However, a different way of constructing utopia is also present in USSR-2061, even if it is never highlighted. To make utopia possible in anti-utopian times, one might need to rethink its place of possibility or topos. Theoretically, such an alternative is presented in connection to Latour’s (2017) Terrestrial, a place with agency that in utopian terms presupposes a transgression of the boundary between the real and imaginary, the political and cultural. In the same line, the paper argues that USSR-2061 might attempt the construction of a new utopia through rethinking space. This might be fostered through the inclusion of cosmist ideas such as those of Vladimir Vernadsky and Alexander Chizhevsky, whose intersections with Latourian framework have previously been observed.
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Crosthwait, George. "The Afterlife as Emotional Utopia in Coco." Animation 15, no. 2 (July 2020): 179–92. http://dx.doi.org/10.1177/1746847720937443.
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This article situates the Pixar computer animation Coco (dir. Lee Unkrich and Adrian Molina, 2017) within a recent selection of afterlife fictions and questions why such narratives might appeal to our contemporary moment. The author’s response is structured around the idea of utopia. In Coco, he identifies several conceptions of utopic space and ideals. The afterlife fiction places characters and viewers in a reflexive location which affords them the opportunity to examine their lives as lived (rather than in death). Transplanting Richard Dyer’s work on classic Hollywood musicals as entertainment utopia to a contemporary animated musical, the article proposes that such a film can be seen as adhering to a kind of ‘new cinematic sincerity’. Coco’s particular depiction of The Day of the Dead fiesta and the Land of the Dead has its roots in the Mexican writer Octavio Paz’s poetic and romantic treatise The Labyrinth of Solitude (1950). A comparison between these two texts suggests that willing encounters with death can be connected to an openness to transitional states of being. Through close readings of key musical sequences in Coco, the author demonstrates how the properties of the musical are combined with animation aesthetics (baby schemata, virtual camera) to lead viewers into their own utopian space of heightened emotions and transition.
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Vallury, Raji. "The Potentiality of the Utopian Literary Imagination; Or, Can an Aesthetic Ontology Be a Politics?" Paragraph 39, no. 3 (November 2016): 287–304. http://dx.doi.org/10.3366/para.2016.0202.
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My article analyses the political power of the utopian imaginary through the concepts of actuality, potentiality and possibility. Tracing the tensions of a critical model of utopia as both a form of thought and a form of the sensible, it links Louis Marin's concept of the utopic imaginary as a common sensorium that is reconfigured through the play of a mobile figure with Jacques Rancière's formulation of the partition of the sensible. Studying the critical reception of Melville's Bartleby in Deleuze, Rancière and Agamben, it proposes that the space of literary potentiality, where the past could not have been or retains its possibility to be otherwise, where the actual can not be and the potential and the possible have a right to be and exist, forms the spatio-temporal configuration of the utopian (and dystopian) imaginary of literature. Potentiality offers a key to understanding the politics of the ontology constructed by (utopian) aesthetics.
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Zavarkina, Marina. "UTOPIA AS AN ANTI-UTOPIA (ANDREY PLATONOV'S SHORT NOVEL BREAD AND READING)." Проблемы исторической поэтики 19, no. 2 (May 2021): 326–52. http://dx.doi.org/10.15393/j9.art.2021.9402.
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The article analyzes A. Platonov's novel Bread and Reading, which is the first part of an unfinished trilogy called Technical Novel. Different approaches to the analysis of the writer's anti-utopian strategy are considered, and certain terms related to the intra-genre typology of his works, which are still the subject of controversy in Platonov studies, i.e., utopia, anti-utopia, metautopia, dystopia, and cacotopia are clarified. The article offers a new perspective on this problem and concludes that the short novel is characterized by a complex conflict between utopia and anti-utopia, namely, utopian consciousness is embodied in the form of anti-utopia, which leads to the ambivalence in meaning and the appearance of internal antinomies. This mainly revealed in the title of the story, the epigraph, a special type of plot situation and the character system structure. Platonov's work is characterized not only by the problem of the relationship between man and nature, but also that of between man and technology, which becomes a part of the anthropological worldview and acquires human features. Platonov's characters dream of a time when technology, nature and man are in a harmonious relationship, helping each other overcome universal entropy. The motif of construction sacrifice, traditional in the poetics of Platonov's works, plays an important role in the story: it is premature and shameful to think about personal happiness in the world of socialism that has not yet been built, without enough “bread and reading.” The work reflects Platonov's own hopes and doubts, and if the “principle of hope” (E. Bloch) is the main principle of utopian consciousness, then the writer's doubt becomes the main feature of his anti-utopia strategy. On the one hand, this makes it difficult to identify the genre of the short novel Bread and Reading (utopia or anti-utopia), on the other, it does not lead to an “imbalance” of forces, but, rather, to a meek awareness of the place of man in the world and his limited capabilities. An important role is also played by the fact that The Juvenile Sea was supposed to become the second part of the trilogy, and Dzhan may have made up the third part: the three works not only complement, but also “explain” each other. In the finale of Bread and Reading, the characters remain focused on the “distant,” as they stay in the same utopian dream space. Likely never having found a way out of the “impasse of utopia,” Platonov leaves Technical Novel unfinished.
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Chiari, Sophie. "Shakespeare’s Utopias Redefined." Moreana 51 (Number 195-, no. 1-2 (June 2014): 44–62. http://dx.doi.org/10.3366/more.2014.51.1-2.6.
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This paper aims at exploring the dramatic utopias staged by Shakespeare in order to reassess the playwright’s ambivalent use of geography and to better understand the function of his imaginary landscapes. I therefore briefly comment upon eight overlapping categories of Shakespearian utopias before studying one of them, i.e. Navarre’s academic utopia, in more detail. Indeed, in Love’s Labour’s Lost, the King significantly banishes all feminine presence from his “little academe”, which is all the more ironical as the real King of Navarre was considered as a womanizer by Shakespeare’s contemporaries. I will then argue that in fact, the playwright uses King Ferdinand’s utopia in order to rehabilitate women and promote a form of Babelian universe instead of the closed, protecting space of his library.
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Gomel, Elana. "Recycled Dystopias: Cyberpunk and the End of History." Arts 7, no. 3 (July 30, 2018): 31. http://dx.doi.org/10.3390/arts7030031.
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While cyberpunk is often described as a dystopian genre, the paper argues that it should be seen rather as a post-utopian one. The crucial difference between the two resides in the nature of the historical imagination reflected in their respective narrative and thematic conventions. While dystopia and utopia (structurally the same genre) reflect a teleological vision of history, in which the future is radically different from the present, post-utopia corresponds to what many scholars, from Fredric Jameson and Francis Fukuyama to David Bell, have diagnosed as the “end of history” or rather, the end of historical teleology. Post-utopia reflects the vision of the “broad present”, in which the future and the past bleed into, and contaminate, the experience of “now”. From its emergence in the 1980s and until today, cyberpunk has progressively succumbed to the post-utopian sensibility, as its earlier utopian/dystopian potential has been diluted by nostalgia, repetition and recycling. By analyzing the chronotope of cyberpunk, the paper argues that the genre’s articulation of time and space is inflected by the general post-utopian mood of global capitalism. The texts addressed include both novels (William Gibson’s Neuromancer, Neal Stephenson’s Snow Crash and Matthew Mather’s Atopia) and movies (Blade Runner, Blade Runner 2049 and Ex Machina).
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Lochrie, Karma. "Provincializing Medieval Europe: Mandeville's Cosmopolitan Utopia." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 592–99. http://dx.doi.org/10.1632/pmla.2009.124.2.592.
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The excellence of things is in the middle.—Aristotle, quoted in MandevilleUtopia has always been about place, the Greek roots of this word squinting wryly at the dual possibilities of a “happy place” and “no place.” Even generically, the term utopia implies its own place, not as ambiguously poised between the ideal and “the not at all” but as a point of origin—a sign of incipient modernity—to which the medieval becomes “no place for utopia.” Utopia thus marks both the geographic space of possibility and difference and the genealogical space of transition from premodernity to modernity, so the historical narrative goes. Like most historical narratives with a fondness for originary designs, this one has the effect of provincializing the Middle Ages as that time before modernity when utopianism was not possible, or alternatively when it was possible only as a religious ideal that differed fundamentally from early modern secular utopianism and Thomas More's seminal text. The Middle Ages is relegated in histories of utopia to the realm of “the before”—before secularism, before modernity, before geography. Medieval antecedents of early modern utopianism are shunted off into that “inert, sealed off space before the movement of history.” The Middle Ages is out of step with modernity to the same extent that it is out of place in utopian studies. The irony of the “middleness” of the Middle Ages is that, contra Aristotle, it is marked not by excellence but by the inertia of premodernity—it is the “excluded middle,” if you will.
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Bermudez Brataas, Delilah. "The blurring of genus, genre, and gender in Margaret Cavendish’s utopias." Sederi, no. 29 (2019): 35–59. http://dx.doi.org/10.34136/sederi.2019.2.
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The Blazing World was the first utopia in English written by a woman, and likely, the first science fiction text in English. Yet it was not Margaret Cavendish’s only utopic text. The separatist spaces of her plays, and the virtual communities of her epistolary collections, were earlier utopias that contributed to her construction of Blazing World. Cavendish established the characteristics of utopian literature through the transgression of categories and hybridity. I consider her blurring of genus, genre and gender in two of her utopic texts, Sociable Letters and Blazing World, and her strategic development of the blurring of these categories.
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Staggs Kelsall, Michelle. "From a Stark Utopia to Everyday Utopias." Volume 60 · 2017 60, no. 1 (January 1, 2018): 575–606. http://dx.doi.org/10.3790/gyil.60.1.575.
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This article considers the emergence of the Business and Human Rights agenda at the United Nations (UN). It argues that the agenda can be seen as an example of the UN Human Rights Council attempting to institutionalise everyday utopias within an emerging global public domain. Utilising the concept of embedded pragmatism and tracing the underlying rationale for the emergence of the agenda to the work of Karl Polanyi, the article argues that the Business and Human Rights agenda seeks to institutionalise human rights due diligence processes within transnational corporations in order to create a pragmatic alternative to the stark utopia of laissez-faire liberal markets. It then provides an analytical account of the implications of human rights due diligence for the modes and techniques business utilises to assess human rights harm. It argues that due to the constraints imposed by the concept of embedded pragmatism and the normative indeterminacy of human rights, the Business and Human Rights agenda risks instituting human rights within the corporation through modes and techniques that maintain human rights as a language of crisis, rather than creating the space for novel, everyday utopias to emerge.
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Zaharijević, Adriana, and Predrag Krstić. "Filozofska fantastika: mišljenje utopijskih prostora i prostor za utopijsko mišljenje." Issues in Ethnology and Anthropology 12, no. 2 (August 30, 2017): 641. http://dx.doi.org/10.21301/eap.v12i2.14.
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The main question of this article is why imagine other worlds. In addition to shedding light on the motivation, we also examine the imaginative processes, their resources and the associative arrangements available to imagination in the construction of new worlds. We see ‘other worlds’ as both utopian and as fantastic spaces, following the hypothesis that the space of fantasy is never entirely free. We place particular emphasis on the space and time of utopia, and on the aspect of the novelty. The paper is divided into four parts. The first takes into account the path to the other world, or the methodical problem of imagination. The second wants to portray the other world, or the limitations to imagining something entirely different and new. The third part inquires about the cost of utopian thinking: what is lost in the process, what is sacrificed to its flattening gestures? Finally, despite all these limitations, in the fourth part we consider the significance of utopian thought for social theory.
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Lira Carmona, José Alejandro. "Alfombrismo: Ephimeral Art Utopia." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 245–58. http://dx.doi.org/10.32891/jps.v5i4.1386.
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The way in which we experience public space is closely related to the sociocultural and environmental conditions of the context. Similar to the garden – in the strict philosophical sense- Traditional Tapestry ephemeral art represents a utopia; it stands for an aesthetic theory of beauty and a vision of happiness. Traditional ephemeral art is conceptualized as a utopian space where diverse elements, people, as well as a wide variety of activities converge; those are the ones who transform reality through cultural expression, exploring habits and values which pursue a common goal in a livingly way, and improve social coexistence. Tapestry ephemeral art temporarily and actively transforms their surroundings. It is in that public space where it is embraced that a dialogue is modelled; a dialogue where not only formal appearance but also designing constructive one converge, as an artistic, philosophical, and spiritual expression of its community itself. Such artistic intervention allows physical proximity; in a whole overview vision of urban context, design displays Mexican art values and transforms public space. The greater the proximity, the greater the change in the scale of the work, therefore, it is possible to feel immersed in the piece and identify the natural material, which in its arrangement and place, reveals the garden utopia –symbol of harmony between itself and the atmosphere portrayed in a living work of art. Nowadays, the isolated streets in many different parts of the world reflect a universal reality which urges a re-connection with the natural environment to which we belong, as well as a transformation of the sociocultural interactions that emerge from responsibility, equality and the common good.
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Bogumil, T. A. "SIBERIA AS AN ANTI-UTOPIA IN A.V. RUBANOV’S DILOGY “CHLOROPHYLIA” AND “LIVING EARTH”." Siberian Philological Forum 12, no. 4 (November 30, 2020): 64–77. http://dx.doi.org/10.25146/2587-7844-2020-12-4-65.
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Statement of the problem. The main focus of the article is on the problem of interaction between space (Siberia) and culture (utopian tradition) that constitutes the range of interests for researchers of a Siberian text, in a broader sense, of any local text, as well as for representatives of geocultural and geopoetic approaches. The objectives of this study are to identify works in which (anti) utopia is geographically localized in Siberia, with the exception of the already sufficiently studied topic of Belovodye; to characterize the functions of the Siberian locus in the artistic world of A.V. Rubanov’s dilogy “Chlorophylia” and “Living Earth”. Research results. As a result, a line of succession of the utopian tradition was outlined: from F.V. Bulgarin through A.K. Gastev to the novels of A.V. Rubanov. Conclusions. It was revealed that in A. Rubanov’s dilogy the space of Siberia consistently changes its functions: it exists in opposition to Moscow, to the center and the synecdoche of Russia; it is a colony and a condition for the existence of the Moscow utopia; it is a place of exile and post-apocalyptic “savagery” as the basis of a potential revival; it is a proper utopian city, an alternative capital.
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Moriarty, Michael, Diana Knight, and Gilles Philippe. "Barthes and Utopia: Space, Travel, Writing." Modern Language Review 93, no. 3 (July 1998): 841. http://dx.doi.org/10.2307/3736566.
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Anderson, Kristine J. "Women, Space and Utopia, 1600-1800." Utopian Studies 17, no. 3 (January 1, 2006): 576–79. http://dx.doi.org/10.2307/20718873.
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Anderson, Kristine J. "Women, Space and Utopia, 1600-1800." Utopian Studies 17, no. 3 (January 1, 2006): 576–79. http://dx.doi.org/10.5325/utopianstudies.17.3.0576.
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Mustafa, Wael. "Paradise in Hell: Mapping Out Ustopian Cartographies in Margaret Atwood’s MaddAddam Trilogy." SAGE Open 11, no. 4 (October 2021): 215824402110615. http://dx.doi.org/10.1177/21582440211061571.
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The paper examines Margaret Atwood’s MaddAddam trilogy from the fertile lens of cartographical studies of space. Initially, it explores the relationship between cartography and Atwood’s literary oeuvre. Then, it draws upon Foucault’s theory of heterotopia to consider its relevance to Atwood’s Ustopia. It seeks to fill in the gap in the critical studies written on Atwood’s ustopian trilogy. The paper explores how Atwood has diegetically constructed ustopian cartographies in which dystopian spaces are permeated with heterotopic locations of utopian resistance. It attempts to elucidate that the diachronic analysis must be complemented by a synchronic analysis of space. It develops the hypothesis that the ustopian cartographies of the spaces occupied by the characters in Atwood’s MaddAddam trilogy have resolved the tension between utopia and dystopia. By theorizing the cartographies of her ustopia, Atwood establishes herself as a literary cartographer.
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Biskupovic, Consuelo. "From rural haven to civil political project: utopian ideals and environmental protection in the precordillera, Santiago, Chile." Journal of Political Ecology 22, no. 1 (December 1, 2015): 183. http://dx.doi.org/10.2458/v22i1.21084.
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This article describes the origin and development of local political culture in the La Florida commune (Lo Cañas neighborhood), located in the foothills of the Andes, on the edge of Santiago, Chile. It presents an ethnography of la Red, a civil association created in 2006 to 'protect' the foothills from real estate development. First, this work analyses how nature's destruction is experienced as a threat to the way of life and utopian project of residents and Red members. The construction of the neighborhood is intimately related to the configuration of this political project. Different ideals of what the environment means were studied in order to analyze the construction of, and the engagement with, this space. Through this case study, we consider two different utopias: the community project as a common savoir-vivre in the precordillera and, later, the creation of a civil-political project aimed at producing political changes and maintaining a way of life.Keywords: Collective action, environmental protection, precordillera, Santiago, utopia.
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Pomarański, Marcin. "Science and Technology in Russian Cosmic Utopias from the Beginning of the Twentieth Century: Konstantin Tsiolkovsky and Alexander Bogdanov." Utopian Studies 33, no. 1 (March 1, 2022): 36–53. http://dx.doi.org/10.5325/utopianstudies.33.1.0036.
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ABSTRACT The beginning of the twentieth century was a period of an intense development of technological utopia. The advancement of the natural sciences at that time provided scholars and thinkers with a new perspective and a better tool for getting to know the universe. Thanks to this, utopian visions created at that time were more daring and ambitious than their predecessors. It is no coincidence that the first cosmic utopias were created at this time, positioning ideal communities outside the earth. Russian authors Alexander Bogdanov and Konstantin Tsiolkovsky stand out among the creators of such utopias. These two renowned scientists, considered pioneers in their respective areas, presented within the span of slightly more than a decade surprisingly similar visions, one of them taking place on Mars and the other in the cosmic space. What sets the two narratives apart is the role they attribute to science and technology. Regardless of the fact that both utopias are characterized by a high level of scientific development and technological advancement, the scientific-technological factor is a vital determinant of the idealized community in only one of them. The key to understanding this discrepancy may be found in the works of British writer H. G. Wells.
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Cohen, Richard A. "MENAS, SAKRALIZUOTA ERDVĖ IR UTOPIJA." Religija ir kultūra 5, no. 1 (January 1, 2008): 7–23. http://dx.doi.org/10.15388/relig.2008.1.2795.
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Monoteistinės religijos oponuoja erdvę sakralizuojančiai stabmeldystei, taip pat mitologinam pasauliui, kurio dalis visa stabmeldystė yra. Menas, tiek monoteizme, tiek mitologijose, yra neutralus šios opozicijos atžvilgiu. Judaizmo pavyzdys pasitelkiamas parodyti, kaip dvi „sakralizuotos erdvės“ – antikinė šventykla Jezuralėje ir vedybinis guolis namuose – reprezentuoja ne vietos sakralizavimą, o etiškumo sustiprinimo būdu įvykdytą vietos pakeitimą ekstrateritoriniu u-topos.Pagrindiniai žodžiai: Levinas, menas, sakralumas, judaizmas, seksualumas, utopia.“ART, SACRED SPACE AND UTOPIA”Richard A. Cohen SummaryMonotheist religions oppose the idolatry which makes space sacred and the mythological world upon which all idolatry depends. Art, used by monotheisms and mythologies, is neutral in this opposition. The example of Judaism is invoked to show how two apparently “sacred spaces,” the ancient Temple in Jerusalem and the conjugal bed of the home, represent not sacralizations of places but displacements through the intensification of an ethical extra-territorial u-topos.Keywords: Levinas, Art, sacred, Judaism, sexuality, utopia.
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Novikov, Stepan, and Eliza Gimazutdinova. "The vertical cities: reality or utopia of the future." E3S Web of Conferences 274 (2021): 01014. http://dx.doi.org/10.1051/e3sconf/202127401014.
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Growth of population affects the increase in demand for development of new areas. The article discusses current problems and trends in the development of vertical cities of the future. The last decade has seen the consolidation of the urban environment and the transition of urban planning from horizontal to vertical. The structure of future vertical cities minimizes land use and contributes to solving environmental problems and de-urbanization. The authors analyze the origin of «utopia» word and its meaning in the concepts of utopian cities since ancient times. The formation of a comfortable vertical city is a utopia aimed at turning it into the reality of the future. A general analysis of space-planning and architectural solutions of modern concepts helped to formulate the basic principles of creating a vertical city. The identified criteria of the architectural space will allow humanity to live in a comfortable environment, including the period of forced critical conditions. During the research, we presented a hypothesis of the emergence of vertical cities in the world and in Russia. The study can become the basis for forecasting the processes of urbanization and deurbanization, also as a concept creation for the development of a sustainable model of the future vertical city.
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Stroud, Christopher, and Quentin E. Williams. "Multilingualism as utopia." AILA Review 30 (December 31, 2017): 167–88. http://dx.doi.org/10.1075/aila.00008.str.
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The challenge of contemporary South Africa is that of building a (post)nation of postracial equity in a fragmented world of a globalized ethical, economic and ecological meltdown. In this paper, we seek to explore the idea of multilingualism as a technology in the conceptualization of alternative, competing futures. We suggest that multilingualism is understood in terms of how encounters across difference are mediated and structured linguistically offer a space for interrupting colonial relationships. Furthermore, we argue that multilingualism should be approached as a site where colonial power dynamics of languages and speakers are troubled, and where the potential for new empowering linguistic mediations of the mutualities of our common humanity with different others are worked out.
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Gedalin, M., and M. Balikhin. "Climate of utopia." Nonlinear Processes in Geophysics 15, no. 4 (July 7, 2008): 541–49. http://dx.doi.org/10.5194/npg-15-541-2008.
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Abstract. Climate is usually considered to depend on a large number of parameters, this being essentially a functional in multi-dimensional parameter space. We propose a low-dimensional model of a climate where the temperature field on a thermally conducting planet depends on the external energy input and very limited number of internal parameters, like thermal conductivity and reflectivity. Equilibrium temperature and quasistatic variations of climate following slow variations of the energy input are studied. The single phase model exhibits adiabatic behavior and stability with respect to small axisymmetric perturbation. The two phase model shows a non-trivial response to the variations of the external parameter. History dependence, global instabilities and hysteresis behavior characterize the surface temperature evolution.
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Vera Reyes, María. "Memory and Utopia." Theory Now. Journal of Literature, Critique, and Thought 4, no. 2 (July 30, 2021): 249–53. http://dx.doi.org/10.30827/tn.v4i2.21075.
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In Memory and Utopia, Manus O’Dwyer offers a new insight into Valente’s poetics. Contrary to the view that Valente detached his verse from any kind of social or political commitment, O’Dwyer claims that the notions of void and self-negation are key to understand his desire to make his lines reach a broad community and recover the memory of the dead. The author delineates Valente’s poetic career on the basis on the identification between desolation and the Francoist dictatorship. Valente’s verse points at a new nothingness, but not with the selfish aim to enjoy an isolation from reality. Quite on the contrary, in his poems and essays, the non-place or desert, together with other poetic motifs that have been previously analysed from an erotic perspective, allows the poet to portray an impossible community that accepts all those who have been denied participation in the discourse of History. It is only by means of a language that has not been corrupted by the institutional discourse that the poet can draw the map of that utopian, literary space.
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Ursić, Sara. "Between Utopia and Non Place – Contemporary Suburban Space." Drustvena istrazivanja 24, no. 3 (December 1, 2015): 345–65. http://dx.doi.org/10.5559/di.24.3.02.
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Cornea, Serban. "User-Focused Public Space(M)UTOPIA in Denmark." Architectural Design 78, no. 1 (January 2008): 80–83. http://dx.doi.org/10.1002/ad.614.
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Gabriel, Nicholas, and J. M. Joko Priyono Santosa. "PENDEKATAN ARSITEKTUR KOSMOLOGI BALI DAN PRAGMATIC UTOPIA DALAM MERANCANG KONSERVASI TERUMBU KARANG DI PULAU NUSA PENIDA." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 3, no. 2 (February 3, 2022): 3145. http://dx.doi.org/10.24912/stupa.v3i2.12371.
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The life of the marine ecosystem is starting to be threatened by the natural phenomena that occur, destroying marine life and coral reefs. The destruction of coral reefs begins with the occurrence of bleaching. This phenomenon can quickly kill coral reefs extensively in less than a year and cause the death of marine life in coastal ecosystems. The theory adopted uses the concept of Balinese cosmology and pragmatic utopia in responding to the challenge of going beyond ecology and responding to the context of the surrounding environment. The selected program is a conservation function and a gallery for visitors to explore the space within the site. This project creates a new formula for balancing traditional theory with the utopia of the future. The concept of Balinese cosmology is applied in the layout of the space according to the beliefs of the Balinese people. This project is expected to be a hope and a public space that conveys the experience of spatial space bringing people into a different dimension, appreciating the exploration process. Become a project that can influence visitors psychologically on the importance of the survival of marine ecosystems. Keywords: Coral reefs; Conservation; Cosmology; Pragmatic Utopia; Spatial space AbstrakKehidupan ekosistem laut mulai terancam dengan fenomena alam yang terjadi membuat biota laut beserta terumbu karang hancur. Kehancuran terumbu karang dimulai dari terjadinya bleaching. Fenomena ini dapat dengan cepat membunuh terumbu karang secara luas kurang dari setahun dan menyebabkan kematian biota laut pada ekosistem pesisir pantai. Teori yang diangkat menggunakan konsep kosmologi Bali dan pragmatic utopia dalam menjawab tantangan untuk malampaui ekologi dan menanggapi konteks lingkungan sekitar. Program yang dipilih merupakan fungsi konservasi dan gallery untuk pengunjung menjelajahi ruang dalam site. Proyek ini menciptakan formula baru dalam menyeimbangkan teori tradisional dengan utopia masa depan. Konsep kosmologi Bali diterapkan dalam tata letak ruang sesuai kepercayaan masyarakat Bali. Proyek ini diharapkan dapat menjadi harapan dan ruang publik yang menyampaikan pengalaman ruang spasial membawa manusia kedalam dimensi yang berbeda, menghargai proses eksplorasi. Menjadi proyek yang dapat memengaruhi psikologis pengunjung akan pentingnya kelangsungan hidup ekosistem laut.
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Bonnet, R. M. "Next 50 years of space research." Proceedings of the International Astronomical Union 4, S257 (September 2008): 3–9. http://dx.doi.org/10.1017/s1743921309029020.
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AbstractForecasting the next 50 years of space research is a dangerous game and a somewhat irresponsible action. Fortunately, the past 50 years have evidenced what remains in the realm of realism and of the feasible and what definitely belongs to the realm of utopia. Nevertheless those who, like me today, take the risk of forecasting such a relatively long time trend are sure of one thing: to be wrong!
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Pleshivtsev, Alexander, and Tatiana Pakunova. "Formation and development of technotopia as a concept of the figurative and stylistic direction of innovative architectural activity." E3S Web of Conferences 244 (2021): 05015. http://dx.doi.org/10.1051/e3sconf/202124405015.
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Purpose: to analyze the modern display of utopian ideas in architectural activity for the development of innovative directions of organization and forming of the object environment, to identify and define the features of technotopia as a figurative and stylistic direction that combines idealistic and pragmatic principles in architectural creativity. Methods and materials: empirical and theoretical methods of analogy and abstraction focused on analyzing the properties, possibilities and conditions that determine the features of utopian ideas displayed in architectural creativity. A method of generalizing the experience of theoretical knowledge and development in the implementation of innovative technological solutions for architectural objects. Results: A two-level structure of signs of utopia in architectural creativity was developed. An algorithm for transforming ideas about an ideal world is proposed, taking into account the possibilities of practical implementation of technological priorities in architectural activity. The properties of technotopia as a figurative and stylistic direction characterizing the features of the practical implementation of technological priorities of architectural activity have been confirmed. Conclusions: The study of the nature of utopias is one of the key topics and opportunities for the development of promising figurative and stylistic directions in architectural creativity. The fundamental idealistic (utopian) principle of architectural creativity is capable of evolution through integration with the results and possibilities of technological progress of various fields of knowledge. Technological priorities in the organization of architectural space make it possible to significantly expand the possibilities of traditional compositional techniques in solving applied and practical problems of architectural activity.
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Suweleh, Fadlun. "Karakteristik Heterotopia Ruang Kafe dalam Al-Karnak Karya Najib Mahfudz: Analisis Other Space Michel Foucault." ATAVISME 23, no. 2 (December 18, 2020): 135–46. http://dx.doi.org/10.24257/atavisme.v23i2.645.135-146.
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Hal menarik yang menjadi ciri khas tulisan Najib Mahfudz selain politik adalah keberadaan latar tempat kafe yang nyaris tak pernah alpa dari karya-karyanya. Penelitian ini bertujuan menggambarkan karakteristik heterotopia ruang kafe dalam novel Al-Karnak (1974, 2008) karya Najib Mahfudz. Penelitian ini menggunakan metode kualitatif. Data penelitian ini berupa kalimat atau dialog antartokoh yang berhubungan dengan kafe dan ruang heterotopia. Dengan menggunakan konsep other space Michel Foucault, penelitian ini menemukan adanya karakteristik heterotopia pada ruang kafe Karnak dalam novel Al-Karnak karya Najib Mahfudz. Sebagai karya memorial, Al-Karnak menggambarkan kafe Karnak dengan sangat kompleks. Kompleksitas tersebut erat kaitannya dengan realitas sosial masyarakat Mesir pasca perang Juni 1967. Kafe Karnak mampu merepresentasikan kondisi masyarakat Mesir yang menanggung beban distopis sekaligus menginginkan kehidupan utopis pada masa itu. Penelitian ini melihat bahwa karakteristik heterotopia yang ditemukan dalam kafe Karnak berkontribusi dalam memproduksi ruang lain, yang direfleksikan melalui imajinasi serta realitas tokoh-tokoh dalam novel.Kata kunci: heterotopia; kafe; ruang lain; utopia[Heterotopia Characteristics of Café in Najib Mahfudz’s Al-Karnak: Michel Foucault’s Other Space Analysis] The interesting thing that characterizes Najib Mahfudz’s works besides politics is the existence of café setting which is almost never neglected from his works. This study aims to describe the heterotopia characteristics of the café space in the novel Al-Karnak (1974, 2008) by Najib Mahfudz. This study uses a qualitative method. The data in this study are in the form of sentences or dialogues between figures related to cafes and heterotopia spaces. By using the concept of other space by Michel Foucault, this research found the characteristics of heterotopia at Karnak café space in Al-Karnak novel by Najib Mahfudz. As a memorial work, Al-Karnak describes Karnak café so complexly. The complexity is closely related to the social realities of the post-war June 1967 Egyptian society. Karnak café is able to represent the conditions of Egyptian society who bear the burden of dystopian as well as want a utopian life in those days. This research then sees that the heterotopia characteristics found in Karnak café can contribute in producing ‘other spaces’ which are reflected through the imagination and reality of the characters in Al-Karnak novel.
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Payne, Kenneth. "Astrofuturism: Science, Race, and Visions of Utopia in Space." Utopian Studies 16, no. 1 (2005): 99–102. http://dx.doi.org/10.2307/20718711.
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Payne, Kenneth. "Astrofuturism: Science, Race, and Visions of Utopia in Space." Utopian Studies 16, no. 1 (2005): 99–102. http://dx.doi.org/10.5325/utopianstudies.16.1.0099.
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FFRENCH, P. "Review. Barthes and Utopia: Space, Travel, Writing. Knight, Diana." French Studies 52, no. 2 (April 1, 1998): 235. http://dx.doi.org/10.1093/fs/52.2.235.
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Meerzon, Yana. "Performance, Space, Utopia: Cities of war, cities of exile." Performance Research 19, no. 3 (May 4, 2014): 186–87. http://dx.doi.org/10.1080/13528165.2014.935201.
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Crouch, David, and Gavin Parker. "‘Digging-up’ Utopia? Space, practice and land use heritage." Geoforum 34, no. 3 (August 2003): 395–408. http://dx.doi.org/10.1016/s0016-7185(02)00080-5.
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Beckwith, Naomi. "SAYA WOOLFALK’S UTOPIA: SENSATION AS A SPACE FOR CRITIQUE." Nka Journal of Contemporary African Art 2009, no. 25 (2009): 150–57. http://dx.doi.org/10.1215/10757163-2009-25-150.
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Beckwith, N. "SAYA WOOLFALK'S UTOPIA: SENSATION AS A SPACE FOR CRITIQUE." Nka Journal of Contemporary African Art 2010, no. 25 (March 1, 2010): 150–57. http://dx.doi.org/10.1215/10757163-2010-25-150.
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Mascetti, Yaakov. "Women, Space and Utopia, 1600–1800 by Nicole Pohl." Scriblerian and the Kit-Cats 43, no. 1 (2010): 87–89. http://dx.doi.org/10.1353/scb.2010.0013.
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McAuley, Jenny. "Women, Space and Utopia, 1600-1800 - By Nicole Pohl." Journal for Eighteenth-Century Studies 32, no. 1 (March 2009): 121–23. http://dx.doi.org/10.1111/j.1754-0208.2008.00066.x.
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Butler, Chris. "Inhabiting the Ruins of Neoliberalism: Space, Catastrophe and Utopia." Law and Critique 30, no. 3 (September 27, 2019): 225–42. http://dx.doi.org/10.1007/s10978-019-09247-6.
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Li, Zhi. "From Literature to Image—Aesthetic Features of Space Megastructure Cities in American Sci-Fi Movies." International Journal of Languages, Literature and Linguistics 7, no. 3 (September 2021): 116–21. http://dx.doi.org/10.18178/ijlll.2021.7.3.297.
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The concept of Space megastructures is originated from science fiction novels. They symbolize the material landscape form of a comprehensive advancement of intelligent civilization after the continuous development of technology. Space megacity is actually an expansion process of human development in the future. It is not only a transformation of space colonization but also a mapping of self-help homeland. Therefore, it is a symbol of technological optimism and a future utopia in the context of technology. In contemporary times, sci-fi movies use digital technology to translate the giant imagination in literature into richer digital image landscapes. Space giant cities are one of the most typical digital images with spectacle view, which reflects the impact of American sci-fi movie scene design on the landscape and preference that human will be living in the future. The aesthetic preferences and design principles of the future picture, and the aesthetic value of science fiction as a medium of imagination are revealed. The aim of this article is to explore the digital design style of space megastructure with utopia sense in science fiction movies, and analyzes its aesthetic connotation.
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Morgan-Russell, Simon. "St. Thomas More's Utopia and the Description of Britain." Cahiers Élisabéthains: A Journal of English Renaissance Studies 61, no. 1 (May 2002): 1–11. http://dx.doi.org/10.1177/018476780206100101.
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Utopia presents two distinct worlds that occupy the same textual space while insisting upon the impossibility of their doing so. We can neither separate them entirely nor bring them into accord, so that the intellectual gratification of radical discontinuity is as impossible to achieve as the pleasure of wholly integrated form. We are constantly tantalized by the resemblances between England and Utopia… and as constantly frustrated by the abyss that divides them. (Greenblatt, 22)
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McMains, Juliet. "Queer Tango Space: Minority Stress, Sexual Potentiality, and Gender Utopias." TDR/The Drama Review 62, no. 2 (June 2018): 59–77. http://dx.doi.org/10.1162/dram_a_00748.
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The queer tango movement is an international alliance of tango practitioners who seek to denaturalize the link between gender and the division of labor in a tango partnership. The queer tango space provides participants, particularly female practioners, with relief from minority stress, access to LGBTQ sexual potentiality, and experiments in gender utopia.
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Khalifa, Mahmoud. "Intimate Others: Utopia and Heterotopia in the Reluctant Fundamentalist and the Submission." British Journal of Translation, Linguistics and Literature 2, no. 4 (December 5, 2022): 13–22. http://dx.doi.org/10.54848/bjtll.v2i4.43.
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The Submission and The Reluctant Fundamentalist invest in the strategic ambivalence that characterizes heterotopias. Steering away from trauma studies I concentrated on the possibilities the concept of heterotopia offers to understanding the multilayered content and symbolism of the two post 9/11 novels. Heterotopia as a Foucauldian concept established spaces that are ‘other’ in relation to a normal space. I extend that other space to include Muslims as belonging to a heterotopic garden from which they challenge an Islamophobic and divisive discourse that is affiliated to power and uses the popular media and grievances of the 9\11 families to further cut off Muslims from contribution to mainstream society.