Yevgeny Zamyatin

A brief analysis of the work "We" written by Yevgeny Ivanovich Zamyatin in 1921 is presented.
Corresponding to the science fiction genre, the work is recognized as one of the fundamental texts
in the descriptive approach of social dystopia. For this purpose, a summary presentation of the
author's life, with the aim of understanding the historical context of his work; Elements that are
characteristic of dystopia are identified as a derivation of a utopian society built under
technological fiction. Contrasting the elements present in the work that qualify it as a dystopia
novel. Special consideration must be given to the fact that reference is made to the constructive
mode of the work in which the official reality differs from the reality perceived by the characters
by drawing the true plot of the novel as the reader identifies with the reality of the characters

When mentioning the role of language in characterisation in the dystopian novel, we must remember that little has been written on this. It is almost as if there is general consensus that characters in dystopia are in themselves uninteresting, that they only serve an ideological/philosophical/political role, and that characterisation here is not elaborated, i.e. that these characters are psychologically “incomplete” for the simple reason that their authors see no need for this. The origins of this are found in the prejudice that “complete” and psychologically motivated characters are found in literary Realism, or at least something that resembles the style of Realism. Yet nothing could be further from the truth – it results from a transformation of aesthetic procedure, and it is required of the reader that he or she put in more effort in the novel’s reception.

The idea of making this interview available to the wider public stems from my awareness of its neglect in the academic literature written on "We." Of the so many academic papers and books that I read on "We" in particular, and the dystopian genre in general, only few writers have used this interview, the majority of whom, if not all, quote only one sentence from the whole interview—this sentence: “The novel is a warning against the twofold danger which threatens humanity: the hypertrophic power of technology and the hypertrophic power of the State.” I hope that the interview will shed more light on Zamyatin’s tragic story in general, and, most important of all, ignite a zest in his Scythian-like life and plays.

In this paper we will compare Zamyatin’s poetics of minimalism in We to Orwell’s poetics of documentary realism in 1984. Other works of dystopia will be considered between these two extremes, while we will show that the works of Andrei Platonov are a definite exception in the “landscape of dystopias”.

Aldous Huxley's seminal dystopian novel Brave New World (1931) imagines a totalitarian future where human individuality, deemed incompatible with social stability, is controlled by science and technology. Despite his claims to the contrary, Huxley's work was undoubtedly influenced by Yevgeny Zamyatin's utopian novel, We, written seven years earlier. Both works are satirical in nature, deal with conflicts between individuality and totalitarian politics and depict homogenous atmospheres and societal structures. The two works can also be read as stories of rebellion which explore the struggle of the human spirit against a cold, mechanized society While the two texts abound in similarities regarding setting and theme, they differ in allegorical intent. In We, a strong political commentary, Zamyatin expresses his views on the inevitable result of totalitarianism and the dehumanization of society caused by the rise of a machine culture. Less of a political work, Huxley's text is a philosophical commentary on social responsibility. With Brave New World, Huxley argues that attempting to solve the problems of the human condition through biological and psychological scientific advancement will ultimately destroy human individuality.

The naming of characters has always led to some interesting conjectures and its importance has been investigated by many scholars (R. Jakobson, R. Barthes, S. Chatman…). Although it is possible that the naming of characters is not motivated by either internal or external factors, that a name is nowhere an indication of characterisation, and that its meaning is entirely denotative is certainly a rare instance. The allusions which emanate from the correlation between the denotative and connotative meaning of names are often so great that they cannot remain uninvestigated, or merely left to the chance interpretations of the reader.

Handout version of a presentation at the 4th National Convention of the Popular Culture Association. Toronto, Ontario. March/April 1984, covering the theme of coming to consciousness (including revolutionary consciousness) in a range of eutopian, dystopian and somber SF works (and in Kurt Vonnegut Jr.'s _Slaughterhouse-Five_, which may be antiSF).

A Little Tractate On Dystopia 2001 is a sequence of "theses," many of which have one or more appended "glosses," grouped into sections. The section "Premises" (theses 1-3) leads to "A/ Epistemology and Utopia" (theses 4-13), "B/ Politics and Dystopia" (theses 14-24), and "C/ Ausklang on Agents: Who Are We? Where Are We Going To?" (theses 25-30).
Section A deals with defining, and justifying the definitions of, utopia as either eutopia or dystopia and anti-utopia. It sets up a schematized but historical typology, with many examples. These (sub-)genres are seen as different formal inversions of salient sociopolitical aspects of the writer's world, which have as purpose the reader's axiological reorientation. At its end, a supplementary toolkit is proposed consisting of the utopian locus, horizon and orientation, the combinatorics of which gives a second typology of: open-ended or dynamic utopia, closed or static utopia, heterotopia, and abstract or non-narrative utopia/nism.
Section B is subdivided into "B1: Introductory"; "B2: Disneyfication as Dystopia," which discusses Disneyland as a privileged way of organizing affective investment into commodifying which reduces the mind to infantilism; "B3: Fallible Eu/Dystopia," new subgenres of Science Fiction in the last 40 years. Section C talks about the agency of intellectuals in dystopian social horizons. Its final thesis concludes that all variants of dystopias and eutopias sketched above pivot on collective self-management enabling and guaranteeing personal freedom.
The essay concludes with a bibliography and a historical Table of Utopian Features ranging through 7 stages from More through Wells to Disneyland.

The Prefatory Reflections on Dystopia 2006 are a retrospect about some aspects of the above Tractate. Part 1 asks "Why talk about dystopia today, here?" and proposes both some first answers and backtracking to Zamyatin's ancestral masterpiece We for further illumination. This is done in part 2 by positing this text was written inside the centralized State Leviathan while we are today in a dominantly corporative capitalist Leviathan, which uses the State when necessary for internal and external enforcement. Part 3 asks why talk about all such matters under the guise of dystopia rather than in essays or pamphlets. It argues that fiction is not only historically important but has superior cognitive potentialities in its "thick" exploration of possible worlds and their interaction with narrative agents. It also justifies the term dystopia. Part 4 gives suggestions about the proper use of utopia/nism, which is an epistemological procedure for better understanding, not an ontological twin of an existing State or society to be literally instaurated.
A further bibliography accompanies these Reflections.

Utopias and dystopias are constructed according to the current social structure. While utopias represent better and more beautiful things, anxiety and pessimism are transmitted in dystopia. Within the scope of this study, social reality the relation ship in dystopias is examined by revealing gender relations and the phenomenon of consumption are discussed. At this point, the processes of gender relation and consumption fact are discussed. It is observed that social structure is driven by a production and consumption oriented process in the dystrophic works. Especially together with the industrial revolution, transformation of economic structure generated various concerns in social structure. This fear and insecurity ambience also reflected on dystopias. However, when recent history and modern-day conditions are considered, it is seen that anxieties indicated in dystopias have become possible in the context of social reality. Development in science and technology has become an important determinant in connection with guarding people and directing them to the consumption. Culture forms, human values and gender relations emerge as goods of consumption culture. In this process, women transform to something in means of consumption for commitment of freedom. In consumer society individual concept become prominent before masculinity and femininity. Individual transforms to a victim that is constrained with production and consumption and faces disidentification problem. The purpose of this study is to discuss identity problem of women in consumer society in the context of social realities.

Yazar Yevgeni İvanoviç Zamyatin anılarında, Ekim Devrimi’ni “her şeyin bilinmeyen çok uzaklara doğru hareket halinde ve kaymakta olduğu o korkunç ve neşeli 1917-1918 kışında” diye betimler ve şöyle devam eder: “Ve ansızın, bana o denli
hoş bir heyecan veren devrim, o anda, başını göğe diken büyük doğal olaylar gibi güçlü, kocaman, güvenli bir şeyin, hayatı yaşamaya değen kimi şeylerin varolduğunu duyuruyordu...1”

The Glass Fortress, based upon Yevgeny Zamyatin's We (first published in an English translation in 1924).
Story and lyrics by Alain Bourret, Music by Rémy Orts, 2015.
Review written by Dr. Willi Real. February 2015.
TELIC.
http://www.heliweb.de/telic/anzeigen.htm

A new literary tendency of the 21st century has reached a certain level where it encapsulates both the past and future of humans. We call this tendency “transhumanism”, and it endeavors to combine science and technology through the filtration of fantastic elements of literature to amalgamate the entity of man and the ideas of singularity and immortality. The selected three contemporary novels, namely Brave New World, Do Androids Dream of Electric Sheep? and The Transhumanist Wager brought a consolidation towards the initiated movement of transhumanism in literature. Therefore, in principal, the first aim of this article is to present how the basic logic of transhumanism embodied in the selected contemporary works. For this reason, a transhumanist analysis of works will be applied on them after an explanation of the different perceptions of transhumanism, since it is a fresh approach. A secondary objective of this text is to explain the idea of singularity and immortality in the 21st century to demonstrate the journey of this ever-lasting desire. The continuation of this longing from ancient times to our own is not something astonishing, but the way this desire maintains and manifests itself through science and literature is worth mentioning.

Persons pose philosophical problems of continuity and connection across two dimensions, time and space, that are not necessarily continuous or connected. By posing problems of continuity and connection, persons invite reflection on narrative and history, concerned with space as well as time, most attentive to their intersection in place.  Place and person weave time and space together in experiences of presence that are as spatial as they are temporal: we are present to as well as in, precisely because the " we " is that through which " I " am. Not continuity and connection alone, but identity and community, place and person. And memory. Present to time as well as in it, to be human is to be acquainted with time by traveling in it—with the abandon of the tourist, the abandonment of the captive, the gaze of the colonist, the sensitivity of the stranger.

Birinci tekil şahıs olarak alışılagelen, ruhbilimi tabiriyle de “bireyi öteki bilinçlerden ayıran unsur” olarak özelleştirilmeye gidilen “ben” adılı, bu iki tanım arasında kendini inşa etmeye çalışır. Bu oluşumda birey, mikro ölçüde ailesinden miras aldığı kimlik bilinciyle bir kişilik oluşturmaya çalışırken makro ölçüde ise bu kişiliğin asıl anlam kazanacağı sosyal yapı ile tanışır. Keza bu sosyal yapıyı salt bireyler değil, bireylerin arasındaki roller ve bireylerin temel davranış örüntülerini baz alan kurumlar oluşturur. Toplumla olan ilişkilerin temel dayanağı da toplumun en küçük yapıtaşına, aile kurumuna ilişkindir. Ailelerimizden salt bir kimlik bilinci değil, bunun yanı sıra çeşitli yaşam pratiklerini de alırız. Bu sürecin keskin hatları olmadığı gibi pragmatik çizgileri de yoktur. Ailenin niteliğine bağlı olarak eğitsel fonksiyonları da farklılaşır. İşlevselci bakış açısıyla “statü tayini”, ailenin temel fonksiyonlarındandır. Bu durum dinamik bir süreçten ibaret olsa da toplumda bulunacağımız ilk tabaka, ailemizin statüsüyle eş minvaldedir. Özne konumuna yerleşen bireyin düşünceleri de bu statünün yansımalarıyla şekillenecektir. Örnek olarak Ayn Rand’in, Rus Devrimi’ne ilişkin düşüncelerini ele alabiliriz. Üst-orta sınıf bir aileden olan Ayn Rand, bu devrim ile sosyal ve mali konumunu kaybetmiştir, düşüncelerinin oluşumunu da buraya dayandırmak mümkündür. Konuya ilişkin bir diğer örnek, Yevgeni Zamyatin olarak gösterilebilir. Zamyatin’in Bolşevik direnişine katılmasını, otobiyografilerinde uzun tasvirler ile yer verdiği doğup büyüdüğü küçük kasaba -Lebedyan- ile ilişkilendirmek mümkündür.
Bayraktar, İrem. "Totalitarizmin Benliğe Müdahalesi: “Ben” ve “Ego” Romanları". Noktasız Dergi. 4 (2021): 26-33.

The Precariat -The New Dangerous Class, o zamana kadar adını hiç duymadığım İngiltereli bir akademisyen olan Guy Standing'in makalesi. Kendi dilinde anlaşılması zor olmasının yanı sıra, terminolojik olarak da zorlayıcıyı bir makale. İlk okuma mücadelesi, yirmi -yirmi beş sayfayla sınırlı olan bir okuma olmanın ötesine geçemedi. Ancak yine de kendine tabii kılan bir yönü vardı. Sanıyorum bu tabiiyet Marx'ın meşhur ifadesinde karşılık buluyordu: "De te fabula narratur!" Bir diğer sebep, sınıfa dair yeni bir şeyler söylemesi itibariyle hem cezbedici hem de tartışmalarda rakibi amorf edecek harika bir fırsat sunuyor olmasıydı, bu boyutuyla da mükemmel bir argüman sağlıyordu Prekarya. Ve Tanıl Bora… 2014 yılında editörlüğünü üstlendiği bir kitabı daha bizimle buluşturdu. Tıpkı kazandırdığı onlarca eser gibi bu da su götürmez bir açıklıkta her sosyal bilimcinin içinde çok şey bulacağı mükemmel bir çalışmaydı.

Роман Замятина Мы возможно считать произведением, которое возвело на трон жанр антиутопии. Этим романом он ввел новые элементы, которые применяли многие другие авторы антиутопических романов, от которых в этом реферате указано на Хаксли и Оруэлла. Что касается стиля его писания, он отбросил наследие реализма и символизма и пошел путем нового направления – неореализма. По его мнению, новый стиль должен отличаться особым выражением, которое должно соответствовать переменам происходившим в обществе ХХ-го века. Так как главная особенность перемен быстрота, ее надо проявить как динамичность предложения, которое он разламывает многочисленными чертами. Хотя для него это качество является важным, оно не встречается у остальных представителей этого жанра. Самой распространенной характеристикой в антиутопических романах выделяется деиндивидуализация. У Замятина она выражена через имена его героев, которые состоят из буквы и цифры, что указывает на отсуствие индивидуальной окраски имени. Более общая характеристика деиндивидуализации, которую делят антиутопические романы, одежда героев. Как у Замятина, так и у Хаксли и Оруэлла, все герои одеты в одинаковую форму. Еще одна из характеристик, которая от Замятина перешла на его наследников, присутствие ирационального элемента в рациональном государстве. В каждой антиутопии возможно встретить государство, которое из-зо всех сил старается уничтожить ирациональность, и у которого это не получается. Определенные герои проявляют отклонение от рационалности и появление духа человечности, который раскрывает им глаза и они видят государство таким какое оно действительно. Каждое государство антиутопии ограничено стеной, с целью разделения порядка, существующего в пределах государства, и хаоса, владеющего вне стены. Стена, кроме порядка, обеспечивает счастье граждан государства, которое могла бы нарушить свобода с другой стороны стены. В антиутопических государствах свобода всегда жертвуется во имя счастья общества. Такие государства представители тоталитаризма, который осуществляется через контроль всех сфер человеческой жизни. В итоге антиутопические произведения высказывают тревогу о будущей возможной катастрофе. Роман Замятина произвел огромное впечатление не только на своих наследников, но и на правительство, которое в то время начинало строить изображение Единого Государства Замятина.

Paper delivered at the Session on "As We Approach 1984 Are We Approaching Nineteen Eight-four? The Popular Meaning of George Orwell"—Twelfth Annual Convention of the Popular Culture Association, Louisville, Thurs., 15 April 1982.

Applies Hannah Arendt on bureaucratic tyranny to NINETEEN EIGHTY-FOUR and other classic 20th-c. dystopias, stressing the idea of bureaucratic tyranny as "rule by Nobody" and the occurrence in my 20th-c. dystopian/SF literature of the literalization of "the apparat," the "bureaucratic machine."

Rus edebiyatında XIX. yüzyılın ilk çeyreğinde realizm akımı ortaya çıkar. Yüzyılın sonlarına doğru sembolizm akımı ile birlikte edebiyatta modernizm süreci başlar. 1910 ve 1920’li yıllarda ise edebiyatta çoğulculuk (plüralizm) görülür. Sembolizm, akmeizm, fütürizm, neorealizm, neoromantizm gibi pek çok akım; imajinizm, LEF (Sanatın Sol Cephesi), RAPP (Rus Proleter Yazarlar Birliği) gibi birçok edebiyat grubu; mezonin şiir ve santrifüj gibi edebiyat birlikleri bu yıllarda aynı anda varlıklarını sürdürürler.
Çoğulculuğun görüldüğü bu dönemde neorealizmin ortaya çıkışı, klasik gerçekçiliğin krizi ve realizm akımının yeni yüzyıl insanının dünya görüşüne uyum sağlama ihtiyacıyla bağlantılı olarak biçim değiştirmesi ile ilişkilidir. Neorealizm, modernist bir üslup eğilimidir. Akımın tarihsel gelişimi, Gümüş Çağ dönemindeki oluşum süreci, 1917-1920’li yıllardaki parlak dönemi ve 1930’lu yıllar olmak üzere üç döneme ayrılır. Neorealist sanat yönteminde realizm ve sembolizmin özellikleri bir arada görülür, ancak sembolizmin özellikleri daha ağır basmaktadır. Neorealizm akımı içerisinde realist ve sembolist yöntemlerin haricinde, empresyonist, ekspresyonist vb. yöntemler bir araya getirilmiştir.
Bu çalışmada, betimleyici ve karşılaştırmalı yöntem kullanılarak neorealizmin ortaya çıkışına, özelliklerine, tipolojisine, temsilcilerine, gelişim evrelerine ve neorealizm içindeki alt eğilimlere, başvurdukları edebî türlere ve üsluplara açıklık getirilmiştir. Neorealizm konusunda Türkiye’de neredeyse hiçbir bilimsel çalışmanın yapılmamış olması Rus Edebiyatı alanında ciddi bir boşluk teşkil etmektedir. Bu nedenle söz konusu çalışma, bundan sonraki araştırmacılar için bir ön adım niteliğindedir.

As important as determining what is morally right or wrong, or how to address moral dilemmas, an important question is all too often overlooked: “Why should I make the often inconvenient effort to do the right thing?” This may seem like a simple question with obvious answers, but our experiences as morally fallible beings teach us otherwise. Even when there is agreement concerning whether or not a particular situation or practice is
immoral, there is not always agreement about when we are obligated to address such moral problems, and whether making an effort to address a given moral problem would make a meaningful difference....the present work seeks to advance two key claims: (i) we should emphasize living virtuously, for in doing so we embrace the moral weight and creativity of our individual lives, namely to manifest change through our exemplification of core values such as justice, care, and moral courage; and (ii) life offers us many examples of the meaningfulness of individual virtuous lives, and the power they have to inspire broader
social change.

Digital Movement addresses the evolving ways in which movement and its technological mediation can inform creative thinking and embodied practices. In order to identify unique cross-disciplinary links within human movement research this book brings together experts from a number of creative disciplines including dance, theatre, sculpture, as well as computer and mathematical art, whilst offering an integration of scholarly perspectives from cultural, media and performance studies. Drawing also on historical and contemporary perspectives, the book argues that technology has become central to the way we understand and utilize movement material across a number of industries. Computer tools afford, amongst other things, customized ways to capture, sample, notate, animate, choreograph, visualize and sculpt movement. More importantly, computers also transform how we think about motion, or rather, how we think in motion-inviting us to do so collaboratively and holistically. Digital Movement shows that the technologization of human movement is a phenomenon that has the potential to have both enhancing and disturbing effects on our lives. This is an important study for all scholars and upper-level students of contemporary movement practice and performance.

Biagio D'Angelo Sob um céu dourado: utopia e arte medieval _______________________________ 76 Intervenção urbana: a experiência política ativista com arte, design e arquitetura ________________________________________________________________________ 158 Suzete Venturelli A Utopia se ocupa. Considerações sobre a obra de Jonas Staal _____________ 169 Walter Romero Menon Jr Tema livre Arte e educação estética do gosto: a beleza enquanto necessidade cultural? 184 Rafael Duailibi Maldonado Tensões Modernistas em Mário de Andrade, Tarsila do Amaral e Raul Bopp _ 212 Rita Lenira Bittencourt 6 VIS Revista do Programa de Pós-graduação em Artes Visuais da UnB V. 18, nº2/julho-dezembro de 2019 Brasília

Primera publicación por Tonos Digital. Revista de estudios filológicos.  ISSN 1577-6921
Número 30
26 de Enero 2016.

First publication by Tonos Digital. Revista de estudios filológicos.  ISSN 1577-6921
Number 30
26 January 2016

Peterson, E. 2016 Jan 26. LA PRESENCIA DE ELEMENTOS DE LA VANGUARDIA RUSA EN PROHIBIDA LA REPRODUCCIÓN DE JOSÉ RICARDO MORALES. Tonos Digital [Online] 30:0.

Disponible: http://www.tonosdigital.es/ojs/index.php/tonos/article/view/1435/835

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Ben.
Apollo Tapınağı’na altın harflerle “Kendini tanı.” yazılmıştı. Nasıl tanıyabilirdi insan, kendi kendisini? “Başkalarının aşkıyla başlıyor hayatımız / ve devam ediyor başkalarının hınçlarıyla” diyordu şair. Kendini tanımak ya da benliğini inşa etmek, ötekine muhtaçtı. Ben ve ötekinin diyalektiği hem birbirlerini gerektiriyor hem de birbirlerini dışlıyordu. Kalabalığın uğultusu onun sesini bastırıyordu, toplumun gölgesi onun üzerine düşüyordu: Ne “biz” öznesinin dışında kalabilen ne de “biz” öznesinin içinde kaybolabilen “ben”, kendisini inşa etmek zorundaydı. Noktasız Dergi, dördüncü sayısında “Ben” temasını ele alıyor.
Noktasız Dergi'nin dördüncü sayısı yayımda!

RESUMEN: Nosotros  cumple un siglo y, a diferencia de otras distopías, no existen muchos estudios en español sobre ella. En este trabajo se analiza la perspectiva de la ética retratada en la novela y en especial el conflicto entre libertad y felicidad como una dicotomía en la cual se privilegia a la felicidad sobre la libertad. Tras analizar las referencias a Kant en la obra, se concluye que es verosímil considerar que la postura
del escritor ruso se asemeja a la de la ética kantiana. Finalmente, se sostiene que la dicotomía entre libertad y felicidad es una falsa dicotomía.
ABSTRACT: Since a century ago when it has been written, We has not been the focus of  the  Spanish  critical  attention,  in  contradistinction  to  other  dystopias This work analyzes the perspective on ethics portrayed in the novel and especially the conflict between freedom and happiness as a dichotomy in which happiness is privileged over freedom. After analyzing the references to Kant in the work, it is concluded that it is plausible to consider that the position of the Russian writer is similar to that of Kantian ethics. Finally, it is argued that the dichotomy between freedom and happiness is a false dichotomy.

"Transparency" in US usage over the last few decades has been a positive term: a political goal for public policy to be made in public, and police practices kept in the open. The term is better seen as ambiguous. "The gaze" may make one the admired "observed of all observers," as Ophelia says of Hamlet, or an object of awe, embodying power and majesty, as Queen Elizabeth I presented herself to her court; alternatively, even for men the gaze may be upon one exposed, humiliated, and tortured as an Englishman upon a scaffold being drawn and quartered, or a condemned slave upon a high cross. Even so, transparency can work to expose official actions to view by ordinary citizens, but also allow surveillance of subjects by the State or allow exposure of ordinary people denied privacy by anyone with a mobile phone with a camera.

Even though Structuralist poetics never aspired to the production of value judgments, I show that by adopting some of the methods arising from two developments in linguistics in recent decades, it is possible to begin to speak of linguistic methods doing precisely that, i.e., making it possible to pass judgment on a text’s quality. The two linguistic tools shown in action here are Discourse Grammar and Genderlinguistics. Specifically, I will argue that Discourse Grammar allows us to identify point of view in a narrative and, by doing so, to detect infelicitous shifts in point of view — a potential sign of compromised quality in writing. I will also argue that active metaphors, as one type of poetic device capable of reflecting a gendered perspective, may also be inept when used in violation of that perspective, thus rendering a text unconvincing, and thereby compromising its quality in a different way.

Although the subgenre takes its name from Thomas More’s _Utopia_ (1516), the basic concept of utopian literature dates back much further, at least back to Plato’s Πολιτεία (The Republic) or Augustine of Hippo’s _De Civitate Dei_ (The City of God). Often misunderstood as a genre of literature that simply imagines a perfect society, utopia has almost always contained a self-critical aspect that is designed to satirize flaws and follies in the author’s present and often also the very idea of a perfectible human society in itself. As utopian writing has developed, especially in the twentieth and twenty-first centuries, a number of other related terms have sprung up – e.g., dystopia, negative utopia, meta-utopia, ecotopia, feminist utopia – that further subdivide the category, though not always in ways that clarify the distinctions among the types. Over the course of this semester, we will read a large sampling of works that have been described using these various labels in an effort to determine how and why they both resemble and depart from the classical models whose bloodlines they share.

As obras distópicas, embora publicadas no século XX, nos revelam um pensamento e um vislumbre de história que diz respeito ao que vivemos. Este trabalho tem como objetivo analisar os reflexos e paralelos que os livros "Nós", de Ievguêni Zamiátin e "O Conto da Aia", de Margaret Atwood exercem para com a sociedade. Para isso lemos os livros e nos enriquecemos com outras fontes de pesquisa como filmes, séries, resenhas, ensaios e artigos, procurando os seguintes aspectos: a questão coletivo/indivíduo, o direito à posse, a representação feminina e a liberdade dentro do seu contexto. Conseguimos encontrar as inspirações dos autores em diversos eventos históricos a partir do seu contexto e como os aspectos elencados foram descritos. No caso de "Nós" vê-se muita relação com a Revolução Soviética e a Guerra Civil-Russa; e com "O Conto da Aia" observou-se a influência da Revolução Iraniana de 1979, a colonização puritana das colônias britânicas (e decorrente Caça às Bruxas de Salém) e o Estado Novo em Portugal. Também encontramos alguns casos de intertextualidade com outras obras, no que se refere a "Nós", ele foi capaz de influenciar muito outros autores como George Orwell quando escreveu 1984; e em "O Conto da Aia" vemos na própria história a fundamentação na Bíblia, que torna-se a Lei dentro da narrativa. Concluindo, vimos como as distopias ainda têm papel fundamental hoje para a promoção de debates, como no caso de "O Conto da Aia" e os direitos reprodutivos/aborto, e sempre figuram nas listas de mais vendidos quando um governo de viés autoritário surge; imprimindo um ar de reflexão nessas situações um tanto excepcionais.

Escrever uma novela utópica requer um grau elevado de esperança, porém, o que
significa escrever uma distopia? Será somente desespero e falta de esperança? Não parece
ser necessário se alongar nessa idéia, pois, no século XX, várias distopias foram escritas,
e muitas se tornaram clássicos da literatura. Basta citar Brave New World (Admirável
Mundo Novo) e 1984 como exemplos.1
Mas o que torna Nós, de Zamyatin, único é sua trajetória.2 Sendo um livro conhecido,
só foi publicado na URSS em fins da década de 1980, no contexto de abertura e reorganização
do regime. As idéias contidas no livro parecem, à primeira vista, falar contra o sistema
a que o próprio Zamyatin era favorável, além de mostrar um certo caráter profético. Muito
do que se tem escrito a respeito da novela está nessa direção.

The smart city is often marketed and described as being predicated on flows of data and networks of information that make individual urban citizens ‘visible’ and ‘transparent’ through technological interfaces like the smartphone. This chapter takes as its starting point the urban imaginary produced by Soviet émigré Yevgeny Zamyatin, who prefigured the ‘transparent’ smart city in his 1921 novel We, the first book to be banned in the Soviet Union. This is contrasted to more contemporary notions of the smart city as presented in A Day Made of Glass, a 2011 short movie about smart glass, produced by Corning, a glass corporation. A Day Made of Glass was the first in a series of shorts that produced and performed the smart city as a frictionless environment of social and economic efficiency and harmony. The unifying and contextualising thread between the transparent dystopia in We and the flat, transparent utopia in A Day Made of Glass is Jacques Ellul’s work on the technological society ...