Joseph de Maistre Les Soirees de Saint-Petersbourg (1821) |
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: joseph de maistre |
Stephen King On Writing: A Memoir of the Craft (2000) |
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: stephen king |
David W. Sisk Transformations of Language in Modern Dystopias (1997) |
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The dystopian writer is, perhaps, the most disillusioned reader within the utopian tradition.
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Instead of ignoring the realities of human experience, dystopian writers rub their reader's noses in them "by taking us on a journey through hell, in all its vivid particulars. It makes us live utopia, as an experience so painful and nightmarish that we lose all desire for it".
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Real goodness requires freedom to choose between good and evil. Burgess presents this problem to us in stark terms, forcing us to understand that choice, not goodness, is the essential quality of freedom. Burgess reminds us that freedom is a terrifying ideal, which demands that individuals must be able to choose evil as readily as good.
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Dystopian writers rely on a didacticism of fear by playing on readers's apprehensions--including fears of political repression, encroachments on personal liberties, and threats to physical security. It is much more effective to capitalize on a reader's existing fears (rational or otherwise) than intellectually to persuade that same reader of a utopian scheme's practicality. While both utopian and dystopian fiction work toward a didactic purpose, dystopia's lessons are more readily taught because they are more limited and more easily achieved. A successful utopia, by definition, must offer answers for society's problems: a successful dystopia need only identify those problems and extrapolate one of them to monstrous proportions.
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A game that one cannot lose is no longer a game: the possibility of loss must remain, and as that possibility increases, the thrill of victory increases as well.
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: david w. sisk |
Thomas More Utopia (1516) |
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: thomas more |
Michel Foucault Surveiller et punir: Naissance de la prison (1975) |
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: michel foucault |
Slavoj Zizek Looking awry: an introduction to Jacques Lacan through popular culture (1991) |
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: slavoj zizek |
Louis Aragon Une vague de reves (1924) |
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I am no longer the bicycle of my senses, a grindstone honing memories and encounters.
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And then I grasp chance within me, I grasp all of a sudden how I surpass myself: I am chance, and having formed this proposition I laugh at the thought of all human activity. This would certainly be a glorious moment to die, this certainly is the moment when the ones who simply leave one day with a clear gaze do kill themselves.
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Yet sometimes such a visitor, influenced by fashion, would lay claim to Idealism himself. Then it would become apparent that what I had before me was yet another shame-faced realist, like so many well-meaning men these days... By abandoning the commonplace notion of reality for the concept of reality within they believe they have made a great leap forward - but their idol, the Noumenon, has been exposed as a very mediocre piece of plaster. Nothing can make people like this understand the true nature of reality, that it is just an experience like any other, that the essence of things is not at all linked to their reality, that there are other experiences that the mind can embrace which are equally fundamental such as chance, illusion, the fantastic, dreams. These different types of experience are brought together and reconciled in one genre, Surreality.
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Absolute nominalism was dazzlingly exemplified in surrealism and it gradually dawned on us that the mental substance described above was, in fact, vocabulary itself. There is no thought outside words: the whole surrealist experience evidences this proposition.
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Surreality, the state where these concepts are fused by the mind, is the shared horizon of religion, magic, poetry, dreaming, madness, intoxication and this fluttering honeysuckle, puny little life, that you believe capable of colonizing the heavens for us.
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: louis aragon |
Sylvia Brinton Perera Descent to the Goddess (1981) |
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Unfortunately, all too many modern women have not been nurtured by the mother in the firs place. Instead, they have grown up in the difficult home of abstract, collective authority--"cut off at the ankles from earth," as one woman put it--full of superego shoulds and ougts. Or they have relation to the identified with the father and and their patriarchal culture, thus alienating themselves from their own feminine ground and their personal mother, whom they have often seen as weak or irrelevant.
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It is precisely a woman who has a poor relation to the mother, the one through whom the Self archetype first constellates, who tends to find her fulfillment through the father or the male beloved.
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Constricted, the joy of feminine has been disintegrated as mere frivolity; her joyful lust demeaned as whorishness, or sentimentalized and materialized.
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Too often there is no distinction felt between the unmothered woman's need for the mother and her need for a male partnership. Perhaps because so many women were nourished by the patriarchal animus of the caretaker, or because they found their brothers and fathers warmer or more valuable, they continue to seek strength and mothering from men and their own animus, even devaluing feminine nurturance when it is available for themselves.
Ereshkigal's stake feels the anti-receptive emptiness of the feminine with feminine yang strength. It fills the eternally empty womb mouth, and gives a woman her own wholeness, so that the woman is not merely dependent on male or child, but can be unto herself as a full and separate individual.
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Our culture has clearly discouraged women from claiming impersonal feminine potency. The concept is considered monstrous; thus women are encouraged to be docile and to "relate with Eros" to sadistic paternal animus figures, rather than to claim their own equally sadistic-assertive power.
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: sylvia brinton perera |
Erich Fromm Psychoanalysis and Religion (1950) |
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: erich fromm |
(1912) |
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Mircea Eliade Le Mythe de l'eternel retour: archetypes et repetition (1949) |
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: mircea eliade |
William James The Varieties of Religious Experience: A Study in Human Nature (1902) |
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: william james |
Nick Hornby The Polysyllabic Spree (2004) |
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: nick hornby |
Umberto Eco, Jean-Claude Carriere N'esperez pas vous debarrasser des livres (2009) |
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: - umberto eco jean-claude carriere |
Kurt Vonnegut God Bless You, Dr. Kevorkian (1999) |
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: kurt vonnegut |
Gustave Flaubert Dictionnaire des idees recues (1913) |
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: gustave flaubert |
Emil Cioran Cahiers 19571972 |
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: emil cioran |
Thomas Kuhn The Structure of Scientific Revolutions (1962) |
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: thomas kuhn |
Marcel Proust Contre Sainte-Beuve (1954) |
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: marcel proust |
Paul Lafargue Le droit a la paresse (1883) |
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The Greeks in their era of greatness had only contempt for work: their slaves alone were permitted to labor: the free man knew only exercises for the body and mind. And so it was in this era that men like Aristotle, Phidias, Aristophanes moved and breathed among the people; it was the time when a handful of heroes at Marathon crushed the hordes of Asia, soon to be subdued by Alexander. The philosophers of antiquity taught contempt for work, that degradation of the free man, the poets sang of idleness, that gift from the Gods.
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Jehovah the bearded and angry god, gave his worshipers the supreme example of ideal laziness; after six days of work, he rests for all eternity.
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Our epoch has been called the century of work. It is in fact the century of pain, misery and corruption.
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Work, work, night and day. By working you make your poverty increase and your poverty releases us from imposing work upon you by force of law. The legal imposition of work gives too much trouble, requires too much violence and makes too much noise. Hunger, on the contrary, is not only a pressure which is peaceful, silent and incessant, but as it is the most natural motive for work and industry, it also provokes to the most powerful efforts. Work, work, proletarians, to increase social wealth and your individual poverty; work, work, in order that becoming poorer, you may have more reason to work and become miserable.
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To fulfill his double social function of non-producer and over-consumer, the capitalist was not only obliged to violate his modest taste, to lose his laborious habits of two centuries ago and to give himself up to unbounded luxury, spicy indigestibles and syphilitic debauches, but also to withdraw from productive labor an enormous mass of men in order to enlist them as his assistants.
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: paul lafargue |