Une entrevue d'Hubert Aquin avec Aldous Huxley : Premier plan, 12 juin 1960.

Cet article présente une entrevue inédite d’Hubert Aquin avec l’écrivain britannique Aldous Huxley, réalisée dans le cadre de l’émission "Premier plan" du 12 juin 1960 à la télévision de Radio-Canada. L’analyse des contextes de production, de diffusion et de réception de l’entrevue, située dans le corpus des grands entretiens réalisés en 1960 par Hubert Aquin, permet de mieux saisir l’impact de la carrière journalistique sur la formation intellectuelle de l’écrivain, du militant politique et de l’homme des médias. La réémergence du patrimoine médiatique aquinien, grâce à la nouvelle accessibilité de plusieurs dizaines de documents audiovisuels à l’Université de Montréal, est finalement soulignée, laissant entrevoir de nouvelles perspectives d’études de l’œuvre.

Estructura temática en Brave New World de Aldous Huxley

[ES] El propósito del presente estudio es establecer una aproximación a la estructura temática dominante en Brave New World, la obra más polémica de un escritor controvertido. Nuestro análisis se centra en el primer y en el último capítulo de la novela, de modo que podamos establecer una comparación entre los elementos destacables en la presentación de este nuevo mundo y su evolución hasta el ambiente pesimista que domina el último capítulo. Por medio del análisis de estos dos capítulos, se hallará la estructura temática que domina en la obra. Para ello, recurriremos a un análisis estadístico del sustantivo, una categoría abierta que permite la inclusión de nuevos vocablos, que se llevará a cabo utilizando una herramienta informática que nos permitirá hallar los sustantivos específicos de cada capítulo y aquellos que presentan una frecuencia homogénea. Se trata, por tanto, de un estudio lexicométrico, basado en el recuento de vocablos. La unidad de estudio de nuestro análisis será la forma gráfica en relación al contexto del que surge, motivo por el cual nos centraremos en estudiar las concordancias, que nos serán de gran utilidad a la hora de señalar los campos estilísticos presentes en la obra. Los vocablos homogéneos y específicos marcarán los rasgos particulares de la obra y del autor, así que nos acercaremos a un análisis estilístico. Dado que la estilística no se centra solo en hallar lo que es propio de un autor y su obra, esto es, el estilo, podremos estudiar otros aspectos relevantes en una obra literaria, como son la psicología personal del autor a través de sus palabras, su percepción de la sociedad del momento y la presencia de esta en su obra, aspectos todos ellos que configuran el imaginario del autor.

Aldous Huxley: Kontrapunkt des Lebens [Rezension]

Jos.

Psychedelic Culture

This exhibition catalogue essay provides an introduction to psychedelic culture during the postwar period. It describes the early use of LSD in psychiatric circles and its conception as a psychotomimetic substance. It then considers its use by literary figures such as Aldous Huxley and followers of the Beat Generation. Timothy Leary's role as an LSD philosopher is also explained as is the rise of the Hippies and the ensuing counterculture. This culture produced a range of cultural forms such as music, fashion, graphic design and other visual arts that were informed by hallucinations experienced under the influence of LSD. It concludes with a description of the end of the Hippie movement in the 1970s.

Histórias do futuro e a arte do pensar-contra: utopia, esperança e pessimismo distópico

A protagonista do presente trabalho, a Utopia, a arte do pensar-contra, foi apresentada e definida, nas sendas da Filosofia da Esperança de Ernst Bloch, como uma consciência antecipadora que não se conforma com o está-aí das coisas, com a realidade fática; e como um logos, linguagem-ação que cria furos no tempo saltando para-adiante, para o topos-outro. Negativa e Esperançosa, ela representa a verdade-de-fora: não é o irreal, pois existe. E a existência do topos de fora, o topos-outro, se justifica pelo fato de que a vida e o mundo não são sistemas fechados, porque seus horizontes estão em aberto: atravessados por possibilidades, ainda-não-são. Contra o que é estático, o que é fatal e fático, se posiciona o sonho utópico, abrindo espaços no fluxo do mesmo. Ao fazê-lo, cria duas frentes reciprocamente reais: o aqui-e-agora de quem sonha e o aqui-e-agora do sonho, o u-topos. Assim, tanto seu caráter de projeção ao porvir quanto, na sua base, o descontentamento com o atual, revelam seu comprometimento com o presente. Negando e afirmando a história, transformou-se em conteúdo e, sobretudo, forma, de Morus a Fourrier, de Marx a Orwell. E é por comprometer-se com o futuro, o presente e o passado, que, nos tempos sombrios do início do século XX, ela subverte a si mesma e faz vir ao mundo sua versão pessimista: a Distopia. Articulando e fazendo dialogarem as obras distópicas de Orwell, Aldous Huxley e Jerome K. Jerome com os pensamentos de Adorno, Marcuse, Horkheimer, Hannah Arendt, Karl Kraus e Walter Benjamin, tentamos encaminhar a pergunta originária da nossa pesquisa: é possível uma utopia pessimista? Será este pessimismo, ainda, uma Utopia?

Realidad virtual : usos y limitaciones en la educación superior.

Parte de la relación del hombre con la tecnología, según la han estudiado Aldous Huxley, Isaac Asimov, Ray Bradbury y Alvin Toffler. Seguidamente, se adentra en la relación entre Tecnología y Educación, donde examina la interacción usuario-computadora. También aborda la Realidad Virtual y el Espacio Cibernético. Realiza un estudio de Internet: su historia, sus elementos y conceptos más importantes, los usos de la Realidad Virtual y el camino hacia la Universidad Virtual, con las experiencias mexicanas en este campo. La segunda parte está dedicada a comparar dos instituciones mexicanas de Educación Superior en el área de la Comunicación y Periodismo en el uso, reflexión y conocimiento de las nuevas tecnologías: El Proyecto Universidad Virtual del sistema del Instituto Superior y de Educación Superior de Monterrey (ITESM) y la Escuela de Periodismo 'Carlos Septién García'.

The future of lean construction: a brave new world

Lean construction is considered from a human resource management (HRM) perspective. It is contended that the UK construction sector is characterised by an institutionalised regressive approach to HRM. In the face of rapidly declining recruitment rates for built environment courses, the dominant HRM philosophy of utilitarian instrumentalism does little to attract the intelligent and creative young people that the industry so badly needs. Given this broader context, there is a danger that an uncritical acceptance of lean construction will exacerbate the industry's reputation for unrewarding jobs. Construction academics have strangely ignored the extensive literature that equates lean production to a HRM regime of control, exploitation and surveillance. The emphasis of lean thinking on eliminating waste and improving efficiency makes it easy to absorb into the best practice agenda because it conforms to the existing dominant way of thinking. 'Best practice' is seemingly judged by the extent to which it serves the interests of the industry's technocratic elite. Hence it acts as a conservative force in favour of maintaining the status quo. In this respect, lean construction is the latest manifestation of a long established trend. In common with countless other improvement initiatives, the rhetoric is heavy in the machine metaphor whilst exhorting others to be more efficient. If current trends in lean construction are extrapolated into the future the ultimate destination may be uncomfortably close to Aldous Huxley's apocalyptic vision of a Brave New World. In the face of these trends, the lean construction research community pleads neutrality whilst confining its attention to the rational high ground. The future of lean construction is not yet predetermined. Many choices remain to be made. The challenge for the research community is to improve practice whilst avoiding the dehumanising tendencies of high utilitarianism.

Working and fighting for progress, for prosperity, for society : brave new business worlds before and beyond corporate citizenship

One of the things that many of us working in corporate citizenship tend to do is to assume that we are actually creating new agendas. Sometimes we do but, more often than not, other thinkers have been there before us. One such man worth revisiting in his extensive writings of over 60 years ago is Aldous Huxley, probably most famous to many for his novel Brave New World. This paper looks briefly at some of the things Huxley had to say that are relevant to our current thinking about the 'soul' of business and its relations to CSR and corporate citizenship.

Fictional endstates

Studies the intellectual in power striving to realise the universal State or Empire. Examines this theme through the medium of four fictional narratives: Yevgeny Zamyatin's We, Aldous Huxley's Brave new world, Arthur Koestler's Heart of darkness, and George Orwell's Nineteen eighty-four. The hypothesis of the inquiry is that all four of these texts provide fictional redescriptions of a crisis of confidence in the Enlightenment ideal of progress.

A prosa de Chico Buarque em Fazenda modelo

Pós-graduação em Letras - FCLAS

O processo de compreensão de texto de ficção científica na década de 30: Admirável Mundo Novo à luz da teoria semiótica

This paper is result of an analysis of the Brave New World by Aldous Huxley, made based on the perspective of discursive semiotics. For both, the elements of the generative course of meaning were applied, particularly those in works of Barros (2001) and Fiorin (2000). In view of that each of the three levels (elementary, narrative and discourse) of semiotics approach are considered capable of independent descriptions, we sought through the (re) construction of meaning of specific parts of the work and also the relationship of its thematic route with the time it was composed, found that, as a result of this work, the relationships between fiction and reality and thus the relevance of the work of Aldous Huxley

The power of language and the language of power in M. T. Anderson’s Feed and Gary Stheyngart’s Super Sad True Love Story. A comparative analysis

The aim of my dissertation is to analyze how selected elements of language are addressed in two contemporary dystopias, Feed by M. T. Anderson (2002) and Super Sad True Love Story by Gary Shteyngart (2010). I chose these two novels because language plays a key role in both of them: both are primarily focused on the pervasiveness of technology, and on how the use/abuse of technology affects language in all its forms. In particular, I examine four key aspects of language: books, literacy, diary writing, as well as oral language. In order to analyze how the aforementioned elements of language are dealt with in Feed and Super Sad True Love Story, I consider how the same aspects of language are presented in a sample of classical dystopias selected as benchmarks: We by Yevgeny Zamyatin (1921), Brave New World by Aldous Huxley (1932), Animal Farm (1945) and Nineteen Eighty-Four (1949) by George Orwell, Fahrenheit 451 by Ray Bradbury (1952), and The Handmaid's Tale by Margaret Atwood (1986). In this way, I look at how language, books, literacy, and diaries are dealt with in Anderson’s Feed and in Shteyngart’s Super Sad True Love Story, both in comparison with the classical dystopias as well as with one another. This allows for an analysis of the similarities, as well as the differences, between the two novels. The comparative analysis carried out also takes into account the fact that the two contemporary dystopias have different target audiences: one is for young adults (Feed), whereas the other is for adults (Super Sad True Love Story). Consequently, I also consider whether further differences related to target readers affect differences in how language is dealt with. Preliminary findings indicate that, despite their different target audiences, the linguistic elements considered are addressed in the two novels in similar ways.