INFERNAL ARCHITECTURES. DYSTOPIAS AND SOVIET UTOPIAS IN THE NOVEL DOOMED CITY, BY ARCADI AND BORIS STRUGATSKY
Dystopia or negative utopia is a subgenre that English literature has made famous, particularly since the works of George Orwell (1984, 1948) and Aldous Huxley (Brave New World, 1932). However, it is often overlooked that the first modern anti-utopia belongs to a Russian author, Evgueni Zamiátin: th...
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| Format: | Online |
| Language: | spa |
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2018
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| Online Access: | https://revistas.unc.edu.ar/index.php/astrolabio/article/view/19545 |
| _version_ | 1802292371930480640 |
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| author | Del Percio, Daniel Clemente |
| author_facet | Del Percio, Daniel Clemente |
| author_sort | Del Percio, Daniel Clemente |
| collection | Portal de Revistas |
| description | Dystopia or negative utopia is a subgenre that English literature has made famous, particularly since the works of George Orwell (1984, 1948) and Aldous Huxley (Brave New World, 1932). However, it is often overlooked that the first modern anti-utopia belongs to a Russian author, Evgueni Zamiátin: the novel We (My, 1922), a late modernity product. This work established the paradigms that would characterize henceforth dystopia. In 1968, the brothers Arcadi and Boris Strugatsky, leading figures of Soviet science fiction in those years, will rework from these bases a city no longer dystopian but infernal and obscurely irrational, axis of his novel Doomed City (Grab obrechonni), a Dystopia already in postmodern key, taking it to an authentic (and unresolved) statement about the nature of evil. From a theoretical framework that links the evolution of negative utopias with science fiction, our hypothesis implies that this novel, a curious synthesis of science, politics, esotericism and literature, defines a new type of dystopian work. The landscape of ruins that it implies, so valued to science fiction after the fall of the Berlin Wall, becomes a system of synecdoches that represents, from the aesthetics of the fragment, a deep nihilism where postmodernity takes the form of an abyss. |
| format | Online |
| id | oai:ojs.revistas.unc.edu.ar:article-19545 |
| institution | Universidad Nacional de Cordoba |
| language | spa |
| publishDate | 2018 |
| publisher | Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
| record_format | ojs |
| spelling | oai:ojs.revistas.unc.edu.ar:article-195452018-06-30T09:58:08Z INFERNAL ARCHITECTURES. DYSTOPIAS AND SOVIET UTOPIAS IN THE NOVEL DOOMED CITY, BY ARCADI AND BORIS STRUGATSKY ARQUITECTURAS INFERNALES. DISTOPÍAS Y UTOPÍAS SOVIÉTICAS EN LA NOVELA CIUDAD MALDITA, DE ARCADI Y BORIS STRUGATSKY Del Percio, Daniel Clemente Distopía Ciencia Ficción Soviética Arcadi y Boris Strugatsky Ciudad maldita Posmodernidad Dystopia Soviet Science Fiction Arcadi and Boris Strugatsky Doomed City Postmodernity. Dystopia or negative utopia is a subgenre that English literature has made famous, particularly since the works of George Orwell (1984, 1948) and Aldous Huxley (Brave New World, 1932). However, it is often overlooked that the first modern anti-utopia belongs to a Russian author, Evgueni Zamiátin: the novel We (My, 1922), a late modernity product. This work established the paradigms that would characterize henceforth dystopia. In 1968, the brothers Arcadi and Boris Strugatsky, leading figures of Soviet science fiction in those years, will rework from these bases a city no longer dystopian but infernal and obscurely irrational, axis of his novel Doomed City (Grab obrechonni), a Dystopia already in postmodern key, taking it to an authentic (and unresolved) statement about the nature of evil. From a theoretical framework that links the evolution of negative utopias with science fiction, our hypothesis implies that this novel, a curious synthesis of science, politics, esotericism and literature, defines a new type of dystopian work. The landscape of ruins that it implies, so valued to science fiction after the fall of the Berlin Wall, becomes a system of synecdoches that represents, from the aesthetics of the fragment, a deep nihilism where postmodernity takes the form of an abyss. La distopía o utopía negativa es un subgénero que ha hecho famoso la literatura inglesa, particularmente desde las obras de George Orwell (1984, de 1948) y Aldous Huxley (Brave New World, de 1932). Sin embargo, suele pasarse por alto que la primera antiutopía moderna pertenece a un autor ruso, Evgueni Zamiátin: la novela Nosotros (My), de 1922, producto de una modernidad tardía. Esta obra estableció los paradigmas que caracterizarían de ahí en más formalmente a la distopía. En 1968, los hermanos Arcadi y Boris Strugatsky, principales referentes de la ciencia ficción soviética en aquellos años, reelaboraron a partir de estas bases una ciudad ya no distópica sino infernal y oscuramente irracional, eje de su novela Ciudad maldita (Grab obrechonni), una distopía ya en clave posmoderna, llevándola a un auténtico (e irresuelto) planteo sobre la naturaleza del mal. A partir de un marco teórico que vincula la evolución de las utopías negativas con la ciencia ficción, nuestra hipótesis implica que esta novela, curiosa síntesis de ciencia, política, esoterismo y literatura, define un nuevo tipo de obra distópica. El paisaje de ruinas que implica, tan caro a la ciencia ficción posterior a la caída del Muro de Berlín, se vuelve un sistema de sinécdoques que representa, desde la estética del fragmento, un profundo nihilismo donde la posmodernidad adquiere la forma de abismo. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2018-06-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículos revisados por pares application/pdf https://revistas.unc.edu.ar/index.php/astrolabio/article/view/19545 Astrolabio; No. 20 (2018): A CIEN AÑOS DE LA REVOLUCIÓN RUSA; 74-90 Astrolabio; Núm. 20 (2018): A CIEN AÑOS DE LA REVOLUCIÓN RUSA; 74-90 Astrolabio; n. 20 (2018): A CIEN AÑOS DE LA REVOLUCIÓN RUSA; 74-90 1668-7515 10.55441/1668.7515.n20 spa https://revistas.unc.edu.ar/index.php/astrolabio/article/view/19545/20082 |
| spellingShingle | Distopía Ciencia Ficción Soviética Arcadi y Boris Strugatsky Ciudad maldita Posmodernidad Dystopia Soviet Science Fiction Arcadi and Boris Strugatsky Doomed City Postmodernity. Del Percio, Daniel Clemente INFERNAL ARCHITECTURES. DYSTOPIAS AND SOVIET UTOPIAS IN THE NOVEL DOOMED CITY, BY ARCADI AND BORIS STRUGATSKY |
| title | INFERNAL ARCHITECTURES. DYSTOPIAS AND SOVIET UTOPIAS IN THE NOVEL DOOMED CITY, BY ARCADI AND BORIS STRUGATSKY |
| title_alt | ARQUITECTURAS INFERNALES. DISTOPÍAS Y UTOPÍAS SOVIÉTICAS EN LA NOVELA CIUDAD MALDITA, DE ARCADI Y BORIS STRUGATSKY |
| title_full | INFERNAL ARCHITECTURES. DYSTOPIAS AND SOVIET UTOPIAS IN THE NOVEL DOOMED CITY, BY ARCADI AND BORIS STRUGATSKY |
| title_fullStr | INFERNAL ARCHITECTURES. DYSTOPIAS AND SOVIET UTOPIAS IN THE NOVEL DOOMED CITY, BY ARCADI AND BORIS STRUGATSKY |
| title_full_unstemmed | INFERNAL ARCHITECTURES. DYSTOPIAS AND SOVIET UTOPIAS IN THE NOVEL DOOMED CITY, BY ARCADI AND BORIS STRUGATSKY |
| title_short | INFERNAL ARCHITECTURES. DYSTOPIAS AND SOVIET UTOPIAS IN THE NOVEL DOOMED CITY, BY ARCADI AND BORIS STRUGATSKY |
| title_sort | infernal architectures dystopias and soviet utopias in the novel doomed city by arcadi and boris strugatsky |
| topic | Distopía Ciencia Ficción Soviética Arcadi y Boris Strugatsky Ciudad maldita Posmodernidad Dystopia Soviet Science Fiction Arcadi and Boris Strugatsky Doomed City Postmodernity. |
| topic_facet | Distopía Ciencia Ficción Soviética Arcadi y Boris Strugatsky Ciudad maldita Posmodernidad Dystopia Soviet Science Fiction Arcadi and Boris Strugatsky Doomed City Postmodernity. |
| url | https://revistas.unc.edu.ar/index.php/astrolabio/article/view/19545 |
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