Chères et chers collègues,
La situation sanitaire et les difficultés de fonctionnement de notre messagerie nous amènent à modifier notre calendrier. Vos propositions d’articles pourront nous parvenir jusqu’au 30 mai. Nous vous rappelons qu’il ne s’agit pour l’instant que de simples résumés.
C. Beaufils, J. Oltarzewska, F. Regard, C. Wrobel
Sillages Critiques Special Issue
Call for Papers
After Nineteen Eighty-Four: British Dystopias, from 1984 to the present day
1984 is the date in the future when the action in Orwell’s premonitory novel was supposed to take place. When people in the real world of 1984 came to realise that history had caught up with that originally fictional date, worried interrogations started to emerge as to whether Orwell’s fiction had actually come true. Whether we now lived in the dystopian world that the novel had foreseen, i.e. in the world of Big Brother – a world of omnipresent surveillance screens, greedily confiscated power structures, constant linguistic revisionary tactics, and ruthlessly utilitarian biopolitics. Orwell’s striking modernity was apparent to everyone, ordinary citizens and journalists, sophisticated literary critics and astute political thinkers, and of course shrewd artists of all sorts, including film directors and novelists. We did indeed live in ‘Dismaland’, as Banksy’s 2015 anti-amusement art installation (featuring fifty other dystopian artists) would much later make clear.