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Dystopian Fiction
Section 1: tithe origins of dystopian fiction
Dystopian fiction is an umbrella term. It includes narratives of apocalypse and
post-apocalypse, Climate fiction, and dystopian scenarios caused by pandemics.
The word “dystopian”: Origins
The term “dystopian” was first recorded in a commons debate in 1868, as noted in the official
UK parliamentary transcripts, when Victorian philosopher and MP John Stuart Mill used it to
criticize government plans he deemed “too bad to practicable”.
Stuart Mill thus coined this word, “dystopian”, as a proper antonym, i.e. the opposite, of the
world “utopian”, the latter meaning a “perfect society in which everyone is happy”.
The term “Utopia” originated from Sir Thomas More's 1516 work, Utopia, which introduced
the word into English, although the book itself was written in Latin. Derived from the geek
u-topos (“no place”), More’s use of the term suggests that utopias are too idealistic to exist
in reality.
By 1984, dystopian fiction had begun to capture the popular imagination in Anglo-American
societies. The “anniversary” of Orwell’s nineteen eighty four - marked new editions, a
film adaptation, and numerous commemorations and conferences- heightened public
interest in the genre’s compelling possibilities. In 1985, Margaret Atwood’s The
Handmaid’s tale further solidified the genre’s global appeal, attracting a wide and
diverse audience.
“George Orwell’s 1984 is the expression of a mood, and it is a warning. The mood it
expresses is that of near despair (jumpscare destiel) about the future of a man, and the
warning is that unless the course of history changes, men all over the world will lose their
most human qualities, will become soulless automatons, and will not even be aware of it”.
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Section 2: The dystopian genre in Popular Culture
The rise of fascism, in Europe, coupled with the industrialization of warfare, cast a lasting
shadow on the human conscience. Dystopian literature arose in early 20th century
America and Europe not as a product of fantasy, but as a reflection of experienced
reality. The world wars, the destruction of pastoral life, the rapid industrialization of cities,
and environmental degradation all contributed to making a dystopian future seem like a
plausible outcome.
Mary Shelley’s Frankenstein. Prologue
Frankenstein explore the deep and timeless questions surrounding science, morality and the
human condition. It challenges us to consider the outcomes of human ambition and the
ethical limits of scientific process.
Victor Frankenstein’s unchecked ambition echoes themes common in dystopian literature,
where uncontrolled scientific and technological progress often leads to unintended and
catastrophic outcomes of society.
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In the preface to Frankenstein, Mary Shelley reminisces on the unpredictable summer of
1816. During a particularly stormy evening spent reading ghost stories, Lord Byron
challenged the group to create their own tales of horror. Among those gathered, it was Mary
who took up the challenge with determination, devoting herself earnestly to crafting her
narrative.
On March 11, 1818, the novel Frankenstein or The Modern Prometheus was published
anonymously in three volumes. The edition included a preface written by Percy Shelley.
Walter Scott, a renowned novelist of the time, praised the work, commending the author’s
“extraordinary power of poetic imagination”.
In 1831, Frankenstein was significantly revised and included a new face by Mary Shelley
titled “the author introducing”. The edition presented a much darker perspective, providing a
stronger critique of the optimistic and idealistic view of romanticism.
More significantly, the novel presents a vision that sharply diverges from the idealistic view of
romanticism.
Victor Frankestein’s creation underscores the consequences of pursuing creativity and
scientific progress without ethical restraint.
Mary Shelley might have used her protagonist and his creation to demost that imagination,
when stripped of ethical principles, not only produces monsters but also leads to profound
existential horrors.
While many romantic writers praised the supremacy of knowledge and celebrated the human
intellect’s ability to uncover nature’s mysteries, they also revered acts of transgression -such
as defying social norms- as expressions of human greatness.
Mary Shelley condemns these obsessions as base and destructive, and instead promotes a
philosophy rooted in love, beauty, and humanistic values.
The novel’s original narrative structure, employing multiple narrators and varied
perspectives, is remarkably modern in its approach.
The Monster tells the story to Victor Frankenstein, then Victor to Captain Walter (the one
that writes the letters in the beginning) then Captain Walter to his sister.
Chapter IV
After mastering all the knowledge his mentors could provide, Victor considers returning to
Geneva. However, he becomes Knesset with a new experiment and, by a twist of fate,
discovers the terrible secret creating life.
The hidden chamber symbolizes the secretive nature of Victor’s experiments. Moreover, the
combination of human and animal parts used in creating the creature suggest the
emergence of a lesser being in the evolutionary hierarchy p. In his laboratory, Victor
Frankenstein g challenges fictional divine authority and subverts the conventional role of
women in reproduction.
Chapter V
Victor animates a massive eight-foot-tall figure, but the sight of his creation deeply unsettles
him. Overcome by his emotions, he abandons the creature, flees to his home, and hides in
his room. Exhausted, he falls asleep, only to awaken and see the monstruos looming over
his bed.
Victor, in his attempt to assume the role of god, mirrors Satan from Milton’s Paradise lost. In
this epic, Satan is depicted as a fallen archangel punished for his pride, vanity, and
relentless pursuit of forbidden knowledge. Similarly, Victor seeks to ursupes God’s position
as the creator and ruler of the universe, believing that his creation will surpass divine works
and banners unwavering devotion and admiration.
Chapter VII
While still in Ingolstadt, Victor receives devastating news from home: his youngest brother,
William, has been found strangled in a park. On his way back, Victor catches a glimpse of
the monster and becomes convinced he was responsible of William’s deaths.
In a dramatic turn, Victor's gaze falls upon the towering figure of the creature he created
nearly two years earlier, and he is instantly convinced that this being is the murderer of his
brother, William. Overwhelmed by guilt, Victor feels he has not only created a hideous and
repulsive creature but also unleashed a killer into the world.
The irony in Justine’s situation is profound: her name suggests ‘justice’ yet those who claim
to believe in justice, like Alphonse Frankenstein, suggest leaving her fate to the very system
that is blind to the truth.
Chapter X
The next morning, Victor climbs to the summit of Montanvert and, at noon, reaches its
awekinsopirng peak. Suddenly, he spots a peculiar and robust frigate advancing toward him
in the distance, and soon recognizes the dreaded silhouette of his own creation. Swiftly, the
monster stands before him, persuading Victor to listen to his own story.
Chapter XI
The monster narrates his own story: confused and fearful after being abandoned by Victor,
the monster begins a search for food and shelter. His journey takes him to a village, where,
instead of finding help, he is met with hostility and driven away by the village. Overcome with
fear, he eventually finds refuge in an abandoned hovel next to a small cottage.
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Obsession with knowledge and science: Victor becomes consumed by his studies,
particularly in natural philosophy and chemistry. His academic curiosity grows into an
obsession, leading him to devote two years to relentless research. This introduces the theme
of the dangers of unchecked ambition, and the pursuit of knowledge at all cost.
“From this day natural philosophy, and particularly chemistry, in the most comprehensive
sense of the term, became nearly my sole occupation. I read with ardor those works, so full
of genius and discrimination, which in squires have written on these subjects “.
This shows Victor’s obsession with his scientific studies, which soon consumes his entire
life.
Isolation and alienation: Victor isolates himself from his family, friends and nature, focusing
solely on his work. His social alienation is a key aspect of his character development and
introduces the idea that his restless pursuit of knowledge is dehumanizing and self
destructive.
Life and death: Victor becomes fascinated with the mysteries of life, pondering the question
“Where does life come from?” His curiosity leads him to study death, and decay, particularly
human anatomy, as he prepares to challenge the natural boundaries between life and death.
Chapter V: creation and responsibility.
Victor brings the creature to life. This scene is filled with anxiety and horror as Victor
witnesses the Creature’s first movement. The consequences of his unchecked ambition
become immediately apparent, as he recoils in disgust at what he has created.
The theme of playing God is introduced, as Victor experiences the thrill of creation, but he
quickly realizes the gravity of the responsibility he has taken on.
Gothic Elements:
The scene where Victor animates the Creature is rich with Gothic imagery, including the
dreary November night. The Gothic imagery is evident in the description of the stormy night.
Dreams and Nightmare: After bringing the creature to life, Victor has a vivid disturbing
dream where Elizabeth transforms into his dead mother. This dream reflects his hustle and
foreshadows the death and destruction that will follow his creation.
Chapter XII
The monster narrates his own story. Soon, the Monster notices a family of three living in
the cottages — an elderly man, a young man, and a young woman. He continues to observe
them closely and is deeply moved by the love and respect they show each other. Overtime,
he realizes they communicate through words and read from books. Longing to interact with
them and hoping that their kindness might lead them to overlook his deformities, the monster
begins to study their language with great determination.
Chapter XVI:
The monster narrates his own story: Though initially angry at Feliz for driving him away,
the monster soon realizes the dolly of his action from the previous day. Unfortunately, it is too
late to change his approach, as the De Lacey family has already left their cottage. Overcome
with rage, the monster sets the cottage on fire and sets off for Geneva, determined to find
Victor.
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Chapter XVI
The monster narrating his own story: in Geneva, the monster encounters young William
Frankenstein playing in the park. Tragically, he kills William and manipulates the situation to
frame Justin for the crime. As he finishes his story, the Monster pleads with Victor to create a
female companion for him.
Chapter XVII
Victor: “I do refuse it. Begone! I have answered you; you may torture me, but I will never
consent”.
Monster: “Instead of threatening, I am content to reason with you. I am malicious because I
am miserable. Have a care; I will work at your destruction, nor finish until I desolate you.
What I ask of you is reasonable and moderate; I demand a creature of another sex, but as
hideous as myself; the gratification is small, it is all that I can receive, and it shall content
me.”
Victor: “I was moved. I shuddered when I thought of the possible consequences of my
consent, but I felt there was some justice in his argument. His tale and the feelings he now
expressed proved him to be a creature of fine sensations”.
Chapter XXII
While in Paris, Victor receives a distressing letter form Elizabeth, in which she expresses
concern that his suffering might be due to his love for another woman. Troubled by her
suspicions, Victor reassures Elizabeth of this unwavering love and promises to reveal the
true reason of his anguish on their wedding day.
Chapter XXIII
Consumed by grief and fear, Victor returns to Geneva terrified that his father and brother
might have suffered the same fate as Elizabeth.
The monster never directly targets Victor: Mary Shelley masterfully creates a pattern that
reveals the complex relationship between Victor and his creation. While the story’s
progression remains unpredictable, it becomes clear that the monster's victims are always
Victor's closest relatives and friends, not Victor himself.
The monster's goal seems to be to inflict the same desolation and emptiness on Victor that
he himself feels, forcing Victor to face complete loneliness and isolation, ultimately
confronting the consequences of his cruelty and irresponsibility.
Victor transformations mirror Mary Shelley’s evolving perspective, which became
increasingly pessimistic as she revised the original 1818 version of the novel. Like some
later Victorian authors, she appeared to view her fictional characters as being subject to
indifferent forces that manipulate and control them.
Victor’s fate, much like the universe itself, seems predominantly shaped by chance. In a
personal letter from 1827, four years before she made significant revision to Frankenstein,
Mary Shelley wrote: the power of destiny I feel every day pressing mode and more on me,
and I yield myself slave to it.
Elizabeth’s death has attracted significant attention from critics and filmmakers, who
frequently use it to delve into the complexities of victors relationships with her, this scene is
notable explored in James Whale’s 1935 adaptation: the bride of Frankenstein, and more
recently in Kenneth Branagh’s Mary Shelley’s Frankenstein
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Chapter XXIII
Both Victor's grave mistake in exposing Elizabeth to the monster's anticipated attack and his
irrational decision “not to join her” until he precisely locates the monster raise serious
questions about Victor's true intentions. Sending Elizabeth along to her room is patently
absurd, as the only means of protecting her is to remain with her. Simultaneously, if Victor
genuinely believes that he is the monster’s intended victim, his entire idea of “rejoining”
Elizabeth appears ludicrous, considering that Victor must recognize his absolute inability to
defeat his foe.
Chapter XXIV
Walton, who is narrating through letters to his sister Margaret, describes Victor's final
moments and death. After Victor passes away, the monster unexpectedly appears aboard
Walton's ship.
When Walton confronts the monster about his vengeful actions, the monster argues that
Victor is the true villain.
Victor: scientist, limits of investigation/science, how irresponsible/responsible he was, what
he had in mind creating the monster. Victor obsessed in his studies, neglecting his family
and Elizabeth, to be successful.
Ethic, social prejudice, relationship between Victor and the monster.
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George Orwell’s 1984
It was first published in 1949, is set in a totalitarian society ruled by the party and its
enigmatic leader, big brother. The story follows Winston Smith, a disillusioned Party member
who secretly rebels against the oppressive regime.
Winston lives in Airstrip One, a province of the superstate of Oceania, where the Party
exercises total control over every aspect of life. The Party uses propaganda, surveillance,
and thought control to maintain its power and eliminate dissent.
Winston works at ministry of truth. However, he becomes increasingly disillusioned with the
regime. Winston’s life takes a turn when he meets Julia, a fellow party member with whom
he embarks on clandestine love affair. Together, they seek to undermine the party’s authority
by engaging in acts of rebellion and defiance.
Orwell’s 1984 serves as a serious warning about the dangers of totalitarianism, surveillance,
and the erosion of individiual freedom. The novel’s bleak and dystopian vision of a future
society remains a powerful and thought-provoking work that continuos to resonate with
readers worldwide.
Chapter 1:
On a cold day in April of 1984, a man named Winston smith returns to his home, a rundown
apartment building called Victory Mansions.
This, frail, and 39 years old, it is painful for him to walk up the stairs bc he has a varicose
ulcer above his right ankle. The elevator is always out of service so he does not try to use it.
In his apartment an instrument called a telescreen is on, pouring all sorts of propaganda in
favor of the Party. The telescreen is also used by the Thought Police to monitor the actions
of the citizens of Oceania.
Winston keeps his back to the screen. From his window he sees the Ministry of Truth, where
he works as a propaganda officer altering historical records to watch the Party’s official
versions of past events.
From a drawer in little alcove hidden from the telescreen, Winston pulls out a small diary he
has recently purchased is a secondhand store in the proletarian district, where the poor
workers live in desolate.
Winston begins to record his inner thoughts in his diary. Winston’s diary entry exemplifies his
desire and to oppose the Party’s total control.
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Doublethink
The idea of doublethink emerges as an important consequence of the Party’s massive
campaign of large-scale psychological manipulation. Simply put, doublethink is the ability to
hold two contradictory ideas in one’s mind at the time (war is peace)
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The Murders in the Rue Morgue
Pauline Dubourg: NO.
Pierre Moreau: ?
Isidore Musèt: No.
Henri Duval: ?
Odenheimer: no
Jules Mignaud: ?
Adolphe Le Bon: ?????
William Bird: ?
Alfonzo Garcio: No
Alberto Montani: ?
Paul Dumas: ?
Alexandre Etienne: ?
Important Things
- 2 voices: one gruff (Frenchman) and the other shrill (Foreigner).
- Murder weapon: Razor
- It was a kick murder
- The Motive
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- It wasn’t for the money
- The room had two windows and they were both locked from inside.
- The room was locked from the inside,
- Madame L’ body was inside the chimney and it was upside down. She was choked to
death. The murderer couldn’t get in from there because it was too small for
somebody to fit in.
- The murderer got inside and outside from the front window because one of them was
open.
- He could close the window after stepping out because the head of the nail was
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broken.
- The Sailor is the owner of the orangutan . Dupin knows it because he found a little
piece of the sailor in the room. The Sailor isn’t responsible for it.
- The killers were either in the room where they found the murder or the room next to
it. The rooms were locked from the inside and chimneys were too small.
- The only exit was the windows but they were nailed shut. One of the windows was a
sash window which consisted of two frames placed one above the other.
- The police concluded that the killer didn’t escape from the window. One of the nail
was broken
- The murder could climb up and down thanks to a lightning rod that was beside the
windows.
- The orangutan was locked inside a closet. He killed them to stop them from
screaming.
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- 2 examples of lambic words: Correct (stress on the second syllable cor-RECT), Allow
(stress on the second syllable al-LOW)
- 2 examples trochaic words: Table (stress on the first syllable TA-ble) Graden (stress
on the first syllable GAR-den)
- 2 examples of anapestic words: Intervene (in-ter-VEN), understand (un-der-STAND)
- 2 examples of dactylic words: Happiness (HAP-pi-ness), Elephant (EL-e-phant)
Number of feet
1: Monometer
2: Dimeter
3: Trimeter
4: Tetrameter
5: Pentameter
6: Hexameter
7: Heptameter
8: Octameter
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The following lines are an example of which meter?
- Happy the man whose wish and care. -Tetrameter
- A few paternal acres bound. -Tetrameter
- When the sessions of sweet silent thought - iambic pentameter
- I summon up remembrance of things past - iambic pentameter
- But I hung on like death - iambic pentameter
- Such waltzing was not easy -iambic pentameter
Practice Exam Essay:
Introduction:
