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Satire and Dystopia: Two Genres?
Abstract
The paper discusses the relationship of the literary genres of satire and dystopia, arguing that dystopia is closer to satire than to utopia
... For example, during the development of the game, the girls that tested the videogame mentioned that they liked dystopian films and that they did not want to see their lives reflected in the game. Dystopian narratives use the device of displacement [7]. This method provides dystopias with a distorting mirror that can magnify an aspect of the present and show a possible, sometimes paradoxical, scenario with negative tones. ...
A development project was implemented to design an online adventure video game as a psychoeducational tool in the treatment of adolescent girls with depressive symptoms. The game design followed the narrative structure of the hero's journey and ideas from the cognitive behavioral and interpersonal psychotherapy models for depression. Fifteen adolescent in psychotherapy treatment tested the game. The majority of the players reported that the video game functioned well. Data about the in-game decisions is presented. The project offers some ideas on how to incorporate psychotherapeutic notions in digital ludic environments.
RESUMEN
Se implementó un proyecto de desarrollo para diseñar un videojuego de aventura en línea como una herramienta psicoeducativa en el tratamiento mujeres adolescentes con síntomas depresivos. El diseño siguió la estructura narrativa del viaje del héroe e ideas de los modelos psicoterapéuticos cognitivo conductual e interpersonal. Quince adolescentes en tratamiento psicoterapéutico probaron el juego. La mayoría de las jugadoras reportaron que el juego funcionó bien. Se presenta información acerca de las decisiones dentro del juego. El proyecto ofrece algunas ideas sobre cómo incorporar nociones psicoterapéuticas en ambientes lúdicos digitales.
The paper focuses on the dystopian elements of government as depicted in Orwell’s novel 1984. Generally, dystopia appears in the abuse of power, manipulation, exploitation, and injustice in man's attempt to achieve a perfect society. This paper deals with how dystopian literature depicts the flaws of those seemingly utopian societies in Orwell's 1984. It shows how people fall victim to the dystopian government policy and its games, exposing peoples’ lives to danger and even death. In brief, it shows the slow decay of life and self as reflected in dystopian literature which portrays a frightening vision of a revolutionary world, generally controlled by knowledge and a dictatorial ruling government that uses any possible means to utilize iron-handed power over its people; this is done through the discussion of how Orwell depicted the elements of dystopian government like family and sex, repression, religion, control of information, society, psychological manipulation, and technology in his novel.
ABTRACT
This paper seeks to illustrate how Chinese film director Feng Xiaogang constructs and delivers social commentaries in his New Year comedies The Dream Factory (1997) and Personal Tailor (2013). These two films are unique in terms of narrative strategy compared to his other New Year films. Both films turn on the premise of temporarily granting people’s wildest wishes, out of which arise multi-layered utopian and dystopian elements that I connect to Feng having made these two films shortly after his realist films were censored. Exploring these two films, I argue that Feng employs the carnivalesque as an alternative narrative strategy to perform subversive resistance, to counter monolithic and hegemonic discourses of Chinese modernity, and to expose social issues in the context of China’s tightening of censorship restrictions. A comparative study of these two films reveals their value as visual records of Chinese modernity over the course of a decade and as important facilitators or mediators of societal self-critique.
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