Gotowa bibliografia na temat „Authoritarianism – fiction”

Empirically successful stories of both authoritarianism and democracy in materializing economic achievement as well as securing political stability may make some people confused in evaluating the two systems, whether they are suitable for humanism or not. There have been contested views on their virtues related to the preservation of human security as one of the most critical aspects of humanism. This study investigates which one of the two existing political regimes is more suitable for the sustainability of secured human security. Relying on the case of Indonesia, which experienced in adopting the two different political regimes, I argue that in the long run democracy is better and conducive for securing sustainable human security than authoritarianism. This study used a qualitative method enriched by diachronic approach. Keywords: authoritarianism; democracy; human security.

Abstract: In Hotel Minotauro (2013-2015), Doménico Chiappe combines creative fiction and non-fiction and makes use of digital media to rearticulate, reorient and deepen iconic narratives to make them resonate with contemporary Latin American cultural dilemmas: the actuality and legacy of authoritarianism and exploitation. Hotel Minotauro exemplifies the potential of digital media to reinvigorate and perpetuate classical discourses as expressions of Latin American reality.

Starting with George Orwell’s liberal problem of meaning, this article investigates liberalism as cultural structure and myth, drawing on the theory of civil sphere by Jeffrey C. Alexander and the science fiction novels of Ian M. Banks. Following Alexander, it is argued that liberal societies are built around a sacred core described by the cultural structures of the civil sphere, which are structures of meaning as well as feeling. Civil discourses and movements in liberal (and not so liberal) societies mobilize powerful sym-bols of the sacred and profane and are thus able to inspire an almost religious devotion. The article then continues to explore the meaning structure, cultural contradictions and possible future of the liberal order discussing Bank’s Culture series. These novels are set in the borderlands of “the Culture”, a galactic civili-zation and liberal utopia. It is precisely this utopian setting, which allows Banks to probe the internal dilemmas of liberalism, for example between pacifism and interventionism, while addressing issues of contemporary relevance, such as the liberal problem of meaning, the allure of authoritarianism or the social status of artificial intelligence. With their literary imagination, science fiction writers construct “a myth of the future” (Banks), which may often reflect the myths of their time, but which can also—as in the case of Banks—reflect on those myths, their implications and contradictions. Finally, the fictional possibilities of social order in science fiction can be a valuable source for our imagination as sociologists contemplat-ing the very possibility of social order.

ABSTRACT The phrase “ambiguous utopia” was coined by Ursula K. Le Guin in the subtitle of her novel, The Dispossessed: An Ambiguous Utopia (1974). That work appeared when utopian narratives had been displaced by dystopian imaginaries. This article embarks on a comparative analysis of three short stories: Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas” (1973), Angélica Gorodischer’s “Of Navigators” (1979), and N. K. Jemisin’s “The Ones Who Stay and Fight” (2018). Each author installs ambiguity at the center of their open-ended utopian imaginaries as a way to challenge dogma, pessimism, and complacency. Le Guin interrogates the boundary between belief and knowledge to hold the threat of authoritarianism at bay. Gorodischer, a friend and contemporary of Le Guin, is considered a central figure of Argentine science fiction and fantasy. Her story imagines the discovery of a second Earth set in 1492 and highlights the need for utopianism to challenge the legacy of colonization. Finally, Jemisin’s story is a critical homage to “Omelas.” Jemisin shares the decolonial impetus of Gorodischer’s fiction, and she constructs Um-Helat on an explicitly antiracist foundation. Instead of walking away, her characters actively fight the creeping threat of intolerance while working toward that better place.

In the modern, changing, uncertain world, life is becoming more and more complex and difficult. Only those who are well prepared for it will be able to function in this world. Thus, the article raises the question of whether teaching children democracy, liberation behaviour, participation, but also responsibility, is a fantasy, a fiction, or a whim, which teachers and researchers who seek, and parents who reject authoritarianism are often accused of, or whether it is a necessity of the modern times and an expression of an awareness that it is essential wisely to prepare the younger generation for life in contemporary society. In this paper the author also outlines the role of educational institutions that can and should be aware of this task and search for opportunities for the creation of conditions for the development of children’s democratic competences.

Eco-criticism is an emerging area of investigation in literary and critical studies aiming at the analysis of the role and representation of nature and environment in literary works. Eco-critics speak for nature which, they believe, is silenced, and oppressed by anthropocentric mindset and human lust for profit and comfort. Critique of modern industrial civilization and celebration of pre-colonial primitive cultures are the important concerns in the contemporary eco-critical discourse. Anarchism aims at the eradication of modern civilization, advocating the restoration of pre-modern and pre-egalitarian primitive mode of existence. Anarcho-primitivism, combining anarchists’ distrust for modern civilization and authoritarianism with primitivists’ interest in simple and primitive mode of living, involves a critique of modern industrial civilization, advocating a return to non-civilized primitive ways of life. Anarchist and anarcho-primitivist elements are perceptible in Lawrence’s post-war fiction which exudes his aversion for modern industrial civilization for its barrenness, decay and sterility, and its unspeakable damage to the natural environment, and his predilection for non- European primitive cultures and societies which, in comparison to dead European existence, present a better alternative with their vitality and healthier mode of existence. This paper, by adopting the qualitative research method and using the key concepts of the representative anarchist, primitivist and ecocritical thinkers as theoretical framework, has attempted to analyse anarcho-primitivism in Lawrence’s post-war fiction from ecocritical perspective. Keywords: Eco-criticism, Anarchism, Primitivism, Anarcho-primitivism, Future primitive

This study aims at discovering social desires and conflicts from subculture narrative multimedia. Since one of the primary purposes in the subculture consumption is vicarious satisfaction, the subculture works straightforwardly describe what their readers want to achieve and break down. The latent desires and conflicts are useful for understanding our society and realizing smart governance. To discover the social issues, we concentrate on that each subculture genre has a unique imaginary world that consists of inventive subjects. We suppose that the subjects correspond to individual social issues. For example, game fiction, one of the popular genres, describes a world like video games. Under game systems, everyone gets the same results for the same efforts, and it can be interpreted as critics for the social inequality issue. Therefore, we first extract subjects of genres and measure the membership degrees of subculture works for each genre. Using the subjects and membership degrees, we build a genealogy tree of subculture genres by tracing their evolution and differentiation. Then, we extract social issues by searching for the subjects that come from the real world, not imaginary. If a subculture work criticizes authoritarianism, it might include subjects such as government officials and bureaucrats. A combination of the social issues and genre genealogy tree will show diachronic changes in our society. We have evaluated the proposed methods by extracting social issues reflected in Korean web novels.

The subject of the article is Fuller’s concept of the (not) good law paradigm defined by three notions: “internal morality of law,” “natural law of a formal nature,” and “formal rule of law” — in the perspective of its application in the current legal order of the Republic of Poland. The discourse was conducted in two stages: on a general, theoretical, and axiological levels as well as on a detailed, practical, and praxeological ones. The epistemological level with its retrospective view bears resemblance of two models: bad law and good law. The first, encapsulated in literary legal fiction, describes eight cases (anti-values) of King Rex’s legislative failures. King Rex is monarch with authoritarian and conservative traits who excludes the system of government based on the proportional cohabitation of three powers — legislative, executive, and judicative — in favour of anocracy, which is a hybrid regime “suspended” between democracy and authoritarianism. The second is a remedy in the form of axiological contours, postulates (values) of good law: generality, promulgation, prospectivity, clarity, non-contradiction, reality, stability, and compliance. These principles of the formal rule of law, contained in the concept of “soft” jusnaturalism, are a specific professional and ethical code for the public authority which constitutes, executes, and applies the law. The practical-cognitive level refers to subjectively selected examples of abusing the good lawstandard in the Polish legal and administrative order. It shows the omnipotent and simultaneously dysfunctional executive power in the area of governance and administration, aimed at a radical reconstruction of the social and legal system.

Abstract: There exists a constant within the trajectory of Diamela Eltit’s contributions to New Chilean Fiction: the turn to the body’s revelatory capacity as a corporal archive of human existence. Simultaneously exploring and rejecting the confines of the traditional testimonial reliance on language, Eltit moves the reader to a re-consideration of the truth-telling function of the biological materiality of the body, placing imperfect corporalities on display as a means of speaking, even where the voice itself may falter. This essay locates Eltit’s move to the corporal within the trajectory of feminist criticism, the traumatic realities of the Chilean dictatorship and post-dictatorship periods, and the search for the recuperation of those bodily knowledges represented by the disappeared. Next, it turns to Eltit’s Impuesto a la carne as her most recent re-visioning of the importance of corporal textualities, whether or not the subject-matter of the body’s denunciation is connected to the dictatorship. Lastly, this essay reconsiders the rejective power of the traditional archive, analyzing the effect set models have on those who seek to tell their stories outside of the traditional testimonial model. I argue that the case of Diamela Eltit is an example of the way writers and producers of cultural texts which actively inscribe alternative memories of the past are resisting the authoritative power of the archive and subversively inscribing narrative memory onto bodily materialities, re-orienting the view of the corporal from an evidentiary showing to an active process of re-telling the past. Eltit’s novels, inscribed with her corporal textual model, give voice to survivors, articulating an alternate historical model for the archive, embracing the biological and making it speak against the rigid abuses of authoritarianism.

Thesis advisor: Stephen Pfohl
This work addresses the globally urgent need to understand the social origins of the recent surge in authoritarian and populist social movements across Europe and the Americas. It analyzes how themes of tribalism, confidence in medical science, and confidence in military violence changed over the years in the retelling of stories in popular culture. The focus is I Am Legend and Day of the Dead – two series of American film remakes of popular science fiction stories that feature pandemic disease and the threat of what are here referred to as “Diseased Others” – the transformed, humanoid Others who have caught the disease. The qualitatively-driven approach exhibits an original methodological contribution to the discipline of sociology, offering several innovations via the coding schemes used and an adaptation of grounded theory for multiple sample sets of films. The data consulted include transcriptions of dialogue from films, reviews in popular news sources, interviews with cast and crew, box office data, and data from the General Social Survey. Within these examples of “Diseased Others” science fiction, themes of tribal morality and confidence in medical science and the military have followed a discernible trajectory. This trajectory is of narrowing moral scope toward loyalty to one’s own in opposition to outside groups, and embracing military violence as a positive solution to threats to the “normal” population. In general, medical science is also increasingly positioned as dangerous and blameworthy (even if also capable of positive intervention). This trajectory thus displays a heightening of what are identified for the present study as three “elements of authoritarian populism”: tribalism, distrust of rational institutions, and willingness to resort to violence
Thesis (PhD) — Boston College, 2019
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Sociology

The purpose of this essay is to analyse several of the extreme dystopian elements found in the Warhammer: 40000 megatext and reveal how these elements display critique towards authoritarian policies and philosophy. I opted for a close reading of several texts and analysed several characters’ relationship to the galactic empire known as the Imperium of Man and found themes of suppression of thought, self-existential crises and wishes for freedom. Through my analysis of the megatext of Warhammer: 40000, I argue that it is the governance of the Imperium of Man that creates these humanitarian issues, and, while not an explicit reference, has been influenced by our own human history.
Syftet med denna uppsats är att analysera ett flertal dystopiska element som existerar i det fiktiva universumet Warhammer: 40000 och påvisa hur dessa element avslöjar kritik riktad mot auktoritär politik och filosofi. Jag valde en fördjupad läsning av ett antal texter och analyserade karaktärernas relation till det galaktiska imperiet Imperium of Man och fann områden vars fokus var förtryck mot yttrandefrihet, existensiella kriser och drömmar om frihet. I min analys av Warhammer: 40000 argumenterar jag att styrelseskicket som etablerats i Imperium of Man skapar dessa humanitära kriser, vilket till viss del blivit inspirerat av mänsklighetens egen historia.

Os romances A costa dos murmúrios (1988), A noite das mulheres cantoras (2011) e A manta do soldado (1998) constituem uma unidade temática na obra de Lídia Jorge. Neles está contemplada a tríade literatura-história-memória, perspectivada pela ótica das narradoras femininas que articulam suas memórias individuais às memórias dos eventos históricos portugueses ao longo dos mais de quarenta anos de ditatura. O presente trabalho analisará os testemunhos ficcionais das narradoras como condutores dessas narrativas, considerando a representação dos testemunhos dessas personagens tocadas em suas vidas pessoais pela trajetória nacional. Estes três romances evidenciam a preocupação social presente na obra da autora, revelando a consciência (ou não) de pertencimento nacional; o falseamento (e reconstrução) de identidades; o questionamento sobre o discurso oficial historiográfico; o esvaziamento do ser ou a busca pela sua constituição. A violência impetrada tanto pelo estado quanto pelos indivíduos, é denunciada entre as oposições e complementaridades que acontecem entre silêncio e som; eco e murmúrio; interdito e alarde
The novels A costa dos murmúrios, A noite das mulheres cantoras e A manta do soldado constitute a thematic unit in Lídia Jorge\'s work. They introduce the triad literature-history-memory by the perspective of female narrators, who articulate their own memories with the memories of Portuguese historical events throughout more than forty years of dictatorship. This thesis is going to analyse the fictional testimonies made by female narrators as a guide for the narratives, considering the representation of these character\'s testimonies affected on their own lives by the national trajectory. These three novels draw attention to the social criticism in the author\'s work, revealing the consciousness (or not) of belonging to a nation; the masquerade (and reconstruction) of identities; the doubt about the official historical discourses; the hollowness of the being or the search for its constitution. The violence required not only by the State, but also by individuals, is noticed in the oppositions and the correspondence between silence and sound; echo and murmuring; forbidden and clamorous

Orientador: Francisco Foot Hardman
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-22T18:32:06Z (GMT). No. of bitstreams: 1 Santos_FernandoSimpliciodos_D.pdf: 3482638 bytes, checksum: ddee43e4a6460bec65d9f060ea775d3b (MD5) Previous issue date: 2013
Resumo: O presente trabalho tem por objetivo analisar a maneira pela qual é desenvolvida a relação entre história, política e alegoria na tetralogia romanesca composta por O louco do Cati (1942), Desolação (1944), Passos perdidos (1946) e Nuanças (1981) e, principalmente, na trilogia constituída por Deuses econômicos (1966), Sol subterrâneo (1981) e Prodígios (1980), de Dyonelio Machado (1895-1985). Para a consecução de nossas hipóteses, por meio de uma apreciação que igualmente se vale da alegoria como método analítico, em primeiro lugar, o propósito é avaliar como os romances O louco do Cati, Desolação, Passos perdidos e Nuanças representam uma crítica sutil ou implícita, especialmente, contra a Era Vargas e contra o sistema econômico capitalista; e como essa característica tende a se tornar paulatinamente mais explícita, sobretudo na última narrativa. Em segundo lugar, nossa apreciação está dirigida ao estudo de Deuses econômicos, Sol subterrâneo e Prodígios, a fim de verificar de que modo esses romances ampliam e reforçam o questionamento à violência tirânica e ditatorial, acentuando as origens de suas mais remotas contradições sociais, políticas, econômicas e religiosas. Nesse sentido, num primeiro nível de interpretação dessa trilogia, constatamos uma indagação direta ao despotismo do imperador Nero; e, a partir de outro patamar significativo, averiguamos, em profundidade, que existe ao mesmo tempo um tácito julgamento que não está somente direcionado à Era Vargas, mas também endereçado à ditadura militar e ao imperialismo moderno. Além dessas questões, sublinhamos uma crítica (sempre subjacente aos romances) a respeito de certas questões político-religiosas que vigoravam no Rio Grande do Sul da época em que essas três composições foram publicadas, em especial ressignificando impasses, atinentes aos membros do Integralismo e representantes da Aliança Nacional Libertadora (ANL), bem como entre comunistas e capitalistas, em meio a outras especificidades. Nessas três obras, a alegoria interligada à metodologia apreciativa permite identificar a presença de um texto e de subtextos, à medida que detectamos um diálogo de cunho intertextual. Portanto, trata-se de reconhecer a existência, nas narrativas do autor, de uma passagem entre duas formas distintas de crítica. A primeira poderia ser considerada como "menos complexo"; e a segunda, como "muita mais expressiva". Sobretudo com o exame comparativo entre os romances O louco do Cati, Desolação, Passos perdidos e Nuanças e os livros Deuses econômicos, Sol subterrâneo e Prodígios, ainda procuramos sistematizar uma literatura dyoneliana, não apenas do cárcere, como também de suas "trágicas consequências". Assim, acreditamos que é possível assinalar como está organizada e rearticulada parte da poética de Dyonelio Machado através dos tempos, de modo que seja possível esquematizar, da mesma maneira, o percurso e as transformações pelas quais passaram certas fases de seu pensamento estético e artístico
Abstract: This work seeks to analyze the way the relation between history, politics and allegory is developed in the novel tetralogy made up of O louco do Cati [The Madman from Cati] (1942), Desolação [Desolation] (1944), Passos perdidos [The Lost Steps] (1946), and Nuanças [Nuances](1981); and mainly in the trilogy composed of Deuses econômicos [Economical Gods] (1966), Sol subterrâneo [Underground Sun] (1981) and Prodígios[Prodigies] (1980), by Dyonelio Machado (1895-1985). To test our hypotheses, we carried out an examination which also makes use of allegory as an analytical method. First, our purpose is to investigate how the novels O louco do Cati, Desolação, Passos perdidos and Nuanças represent a subtle or implicit criticism whose main targets are the Vargas Era and the capitalist economic system; and how such feature tends to gradually become more and more explicit, mainly in the last narrative. Second, our examination is focused on the study of Deuses econômicos, Sol subterrâneo and Prodígios, so as to check on how these novels expand and reinforce the questioning of dictatorial and tyrannical violence, and to point out its most remote social, political, economic and religious contradictions. In doing that, at the first level of interpretation of this trilogy, we see a direct inquiry into the despotism of Emperor Nero; and at another level, we notice a deeper lay of meaning, in which there is also a tacit judgment that is passed not only on the Vargas Era, but also on the military dictatorship and on modern imperialism. Besides those issues, we highlight a criticism - always underlying the novels - of some political-religious issues in Rio Grande do Sul which were current in that time when the three works were published. It especially imparts new meanings to stalemates between the members of the integralist movement and representatives of the National Liberation Alliance (ANL), as well as between communists and capitalists, among other things. In those three works, the allegory coupled with the appreciative inquiry method allows for identifying a text and subtexts, as we perceive a dialogue of intertextual nature. Therefore, studying the narratives of the author implies in recognizing the existence in them of a passage between two distinct forms of criticism. The first one may be considered as "less complex" while the second one can be seen as "much more expressive". We also seek to systematize the literature by Dyonelio Machado, not only the prison literature but also the literature on its "tragic consequences". That is done mainly through the comparative study between the tetralogy made up of the novels O louco do Cati, Desolação, Passos perdidos and Nuanças and the trilogy composed of Deuses econômicos, Sol subterrâneo and Prodígios. Thus, we believe it is possible to trace how part of Dyonelio Machado's poetics is organized and rearticulated throughout time, in a way that makes it also possible to outline the path and changes through which some phases of his aesthetic and artistic thinking passed
Doutorado
Teoria e Critica Literaria
Doutor em Teoria e História Literária

L’enjeu de cette thèse est d’examiner les aspects non fictionnels et épitextuels de Michel Houellebecq, Antoine Volodine, Jean-Christophe Rufin et Boualem Sansal en relation avec quatre de leurs fictions d’anticipation. Elle souligne dans une première partie leur rôle d’auteurs vigilants qui critiquent le libéralisme économique, pointent les dérives démocratiques et soulignent une dépression générationnelle. La deuxième partie se penche sur la dimension politique propre à la fiction de ces auteurs en explorant des mondes autoritaires complexes dans Globalia, Terminus radieux, Soumission et 2084 : la fin du monde. Enfin, la troisième partie examine comment ces fictions sondent la frontière entre l’imaginaire et la réalité, tout en développant l’idée que l’art de l’écriture peut forger de nouvelles formes d’autorité et raviver le concept d’utopie, offrant ainsi une perspective singulière sur la pensée politique contemporaine
The aim of this thesis is to study the non-fictional and epitextual aspects of Michel Houellebecq, Antoine Volodine, Jean-Christophe Rufin, and Boualem Sansal in relation to four of their spectulative fictions. In the first part, it emphasizes their roles as vigilant authors who criticize economic liberalism, point out democratic excesses, and underscore a generational depression. The second part looks at the distinctive political dimension of these author’s fiction, delving into complex autoritarian worlds in works like Globalia, Terminus radieux, Soumission, and 2084 : la fin du monde. Finally, the third part examines how theses fictions investigate the boundary between the imaginary and reality while developing the notion that the art of writing can forge new forms of authority and rekindle the concept of utopia, thus offering a unique perspective of contemporary pollical thought