Edited By Artur Blaim and Ludmila Gruszewska-Blaim
On Utopia, Adaptation, and Utopian Film Analysis: Artur Blaim And Ludmiła Gruszewska-Blaim
On Utopia, Adaptation, and Utopian Film Analysis
ARTUR BLAIM AND LUDMIŁA GRUSZEWSKA-BLAIM
Artistic projections of ideal states and societies in fictional texts can serve different functions and be put to a variety of uses. Apart from the obvious aesthetic function, such constructions have been often regarded as a relatively attractive way of promoting certain political, social, and economic ideas, and / or verbalising one’s objections to the existing order. Polish positivist thinker and educator Alekander Świętochowski observed, “Utopia as an ideal form of social relations is the most common element of the spiritual domain. It constitutes a part of all religious beliefs, moral and legal theories, systems of education, or poems, in short, of all knowledge and works offering normative models of human life” (7). During nearly half a millennium after the publication of Thomas More’s Libellus vere aureus, nec minus salutaris quam festivus, de optimo rei publicae statu deque nova insula Utopia, the aesthetic function of utopia has gradually been reduced in favour of attempts at its practical implementation, beginning with the French Revolution, through nineteenth-century utopian experiments in Europe and America (the founding of numerous intentional communities), to the establishment of such book-based states as the Soviet Union (the writings of Marx, Engels, Lenin, and Stalin), the Third Reich (Hitler’s Mein Kampf), Maoist China (Mao’s Red Book), or the Libyan Jamahiriya (Kadafi’s Green Book), which imposed allegedly perfect models on imperfect reality. At the same time, those ‘realised utopias’...
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