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Perfect Worlds offers an extensive historical analysis of utopian narratives in the Chinese and Euro-American traditions. This comparative study discusses finally the rise of dystopian writing – a negative expression of the utopian impulse – in Europe and America (Zamyatin, Huxley, Orwell, Bradbury, Atwood) as well as in China (Lao She, Wang Shuo, and others). The author observes that the utopian imagination thrives in a context of secularization. It appears that in the twentieth century the distinction between utopia and dystopia is blurred as a result of the increasing autonomy of the reader. Fokkema argues that in modern times utopianism in China and in the West has developed in opposite directions, each appropriating attitudes from the other culture which originally were considered alien. Perfect Worlds biedt een uitgebreide historische analyse van utopische verhalen in de Chinese en Euro-Amerikaanse traditie. Verschillende hoofdstukken gaan onder meer in op de kritiek van Thomas More op Plato, de Europese oriëntalistische speurtocht naar utopieën in China, Dostoevsky’s reactie op Chernyshevsky’s What Is to Be Done, Wells’s Modern Utopia en zijn interview met Stalin, Chinese schrijvers die hun Confucianistische utopie construeren, en sporen van het Daoisme in het gedachtengoed van Mao Zedong en zijn politiek van de Grote Sprong Voorwaarts en de Culturele Revolutie. Deze vergelijkende studie bespreekt tenslotte de opkomst van dystopische fictie – een negatieve representatie van de utopische impuls – in Europa en Amerika (Zamyatin, Huxley, Orwell, Bradbury, Atwood) alsook in China (Lao She, Wang Shuo en anderen). De auteur constateert dat de utopische verbeelding tot bloei komt in een context van secularisering. In de twintigste eeuw heeft de toenemende autonomie van de lezer tot gevolg dat het onderscheid tussen eutopie en dystopie vervaagt. Tenslotte betoogt Fokkema dat in de moderne tijd de utopie in China en in het Westen een tegengestelde ontwikkeling heeft doorgemaakt, waarbij elk van de twee culturen zich elementen van de andere cultuur heeft eigen gemaakt die oorspronkelijk als vreemd werden beschouwd.

Focusing on the broadly conceived principle of hospitality, the essay offers an analysis of Joshua Barnes's Gerania, a highly original but little-studied late seventeenth-century utopia set in India and featuring the Pygmies as utopians and Homer as their lawgiver. It is argued that Barnes's utopia offers a radical alternative to the policy of closure and isolation adopted in early modern utopian commonwealths. Its peculiar construction results in the unique openness of the narrator's discourse to an alien word and of the ideal world to outsiders, their outlandish beliefs, rules and artifacts.

This article discusses Charlotte Perkins Gilman's Herland (1915) as a work of medical fiction and partial sex education manual that engages in conversation with various Progressive-era reproductive health discourses, especially scientific sex education theory and the birth control movement. Sex education at the fin de siècle often drew upon biological texts rather than anatomical or medical texts as a way to teach reproductive health during a period of censorship under Comstock Law. Gilman's use of satire rescripts this popular comparative biology approach to sex education by using entomology rather than plant or animal biology. Through satirical inversion, parthenogenesis functions as a defense for female body autonomy—or “voluntary motherhood”—and access to birth control. Although Gilman was sincere in her feminist argument for basic reproductive rights, a feminist disability studies reading of satire in Herland reveals a eugenics approach that eliminates impaired or disabled bodies from utopia.

This paper examines the new wave of Chinese science fiction as both a subversion and variation of the genre's utopianism of the earlier age. Wang Jinkang's Ant Life (2007), Liu Cixin's China 2185 (1989), the Three-Body Trilogy (2006-2010), and the short story \"The Micro-Era\" (1999) are the main texts this paper studies. Their reflections on utopianism speak to the post-1989 changing intellectual culture and political economy. This paper argues that the new wave of Chinese science fiction contains a self-conscious effort to energise the utopian/dystopian variations rather than a simple denial of utopianism or a total embrace of dystopian disillusionment, and this is particularly represented in Liu Cixin's novels. The paper also provides some preliminary thoughts on the vision of a post-human future depicted in Liu Cixin's science fiction.

This article examines utopianism in contemporary China through the short stories “Taking Care of God” and “Taking Care of Humans” by best-selling science fiction author Liu Cixin. It argues that these stories constitute an ethical resistance to the shortcomings of the capitalist world order into which China has merged during the reform period. Read as a continuation of the modern Chinese utopian tradition as well as a reaction to contemporary trends, these stories offer an articulation of hope that a more just social order can yet be achieved despite the seemingly intractable problems facing the world today.

Consuming Utopia builds on critical insights into consumption and utopianism developed in two previous books by the author to elaborate what it means to read utopian fiction (including dystopian and anti-utopian) from the critical perspective of cultural studies. With a critical focus on social practices of reading rather than on the text itself, John Storey advances a timely and relevant contribution to existing debates on utopian fiction, offering new insights into how we might understand the politics of utopian fiction. Finding readership and readers indispensable to the act of producing politics beyond the text, Storey argues that if utopian fiction has a 'politics', it is determined by those who, in actuality, pick up books and act on what they read, rather than readers proposed by textuality. By engaging with seminal concepts in cultural studies, this book shows how reading utopian fiction works to make the meaning of such texts material and social, and therefore available for politics. An essential addition to the literature on utopian fiction, this book will be of great interest to scholars and students in the areas of cultural studies, literary studies, comparative literature, cultural politics, utopian studies, and political theory.

Wang Lixiong’s Yellow Peril (1991) represents the return of political fiction of the future not seen in China for decades. Chan Koonchung’s The Fat Years (2009) brings the imagination to a full dystopian vision. Reading the two novels side by side, this paper argues that Chinese fiction of the future in the early 1990s responded to the country’s struggle for direction when the bloody crackdown of the Tiananmen protest wiped out collective idealism in society. In the twenty-first century, such fiction is written in response to China’s rapid rise as one of the world’s superpowers, bringing to domestic society a seemingly stabilised order that has deprived it of intellectual vision.

This article argues that constructivists committed to reflexivity should be students of the future. It notes that both conventional and critical approaches do not sufficiently engage with the problem of future uncertainty in the process of identity formation and neglect its behavioural implications. Against this backdrop, the article regrounds constructivism in a temporal ontology and the argument that humans, in the face of contingency, seek to establish visions of a meaningful future. It discusses how visions, as utopias and/or dystopias, define possibilities of being and thereby provide actors with a sense of direction, and it differentiates between \"robust\" and \"creative\" visions to highlight two ways in which such possibilities are manifested. In doing so, the article encourages constructivists to become more attentive in identifying the visions which enable and bind creative agents in the process of realization.