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Cultural Implications of a “Brave New World”

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Aldous Huxley’s “Brave New World” relates an imaginary society in which freedom is dead, morality is forgotten, and male’s future is bleak indeed. His work uses many parallels that can be drawn to society’s culture today, possibly even serving as a forecast of the future 500 years from now. With that said, a close appearance will be taken into numerous of Huxley’s styles within a “Brave New World” to best determine the impacts of his fictional society in regards to current cultural patterns, and trends for the future.

Huxley’s “Brave New World” is set far into the future, in 632 AF, or 2540 AD.

Outlined in this severe, Huxley has liberated himself from any boundaries of contemporary literature and opened up the doors for a future totally of his making, with his own guidelines, and own utopian forecasts. For, written in 1931, Huxley was essentially creating a society some 600 years into the future, one in which he has actually developed a ‘negative paradise’– [a society] in which utopian dreams of the ‘old reformers’ have been realized, only to turn out to be problems” (Booker, 16), which, with the Utopian books of his time, was his very objective. With that said, Huxley’s work need to be”read mainly as a warning versus runaway industrialism and as an anticipation of coming developments in Western consumer society “( Booker, 20). Even more, in a direct parallel from Huxley’s work to contemporary society, industrialism could, very quickly, take the exact same turn in an attempt to create a better, more stable economy. The story itself is a frightening version of the future that could be, all the while consisting of social and cultural problems of the early 1900’s. The cultural impact of the Industrial Transformation alone highlights a major theme within

the work that the world is moving at too fast a speed for survival tempered by the loss of intellectual individuality. In Huxley’s world, reproduction has no usage as it is simpler, and more cost-effective, to essentially create new people via a hatchery procedure. Sex is no longer the ways for reproduction however has been relegated the role of satisfaction, where any guy can have any woman, and there are no relationships based upon such intimacy. There are no psychological ties to household, loved ones, or good friends, and death is accepted as the natural cycle of

life, not to be mourned, but not truly to be thought about either. Huxley’s world is separated into a large caste system: with Alphas, Betas, Gammas, Deltas, and Epsilons. In this society, the upper-castes are offered more time in the hatchery to develop intelligence and physical expertise, whereas the lower castes are basically poisoned to have lower intelligence and lesser physical endowment. Huxley’s work of these plot conditions marks his greatest style: that of the loss of specific identity.

In his”brave brand-new world,” individuals are mere products of development, relegated into their castes, who live out their lives as they are supposed to, never ever questioning, never ever wondering, never living. With this basis, Huxley started the” reinforcement of preferred habits by benefit rather than by penalty”(Fjellman, 3), with the “[ prediction] that we may be tamed rather by desire and satisfaction”( 3). Then, perhaps for balance, Huxley introduces the character of Bernard Marx, a psychologist and an Alpha Plus.

Despite his caste rank, Bernard is an outcaste in their society, based mostly on his physical condition, which socially marks him as a lower caste due to the fact that of his smaller size. Bernard, obviously, succumbs to a Beta Plus, Lenina, who is up until now in the social doe that she can not even question her own actions and is tormented by her”buddies “for not being promiscuous enough. When it comes to Lenina, Huxley” booked especial bile for the woman of the species, whose existence provokes much more heated rhetoric”(Higdon), and her character the ultimate parody of the female species. Further, Huxley”offers an incredibly sexist vision which recommends– if it does not straight-out state– that only Alpha guys are capable of being unhappy, of being unorthodox, of being rebels. Only once, in a remark by Mustapha Mond, does the work suggest that ladies can become as problematic to the State as males and suffer exile for their unorthodoxy”(Hidgon). This rebel nature and ability to see the world for the reality of what is can be seen “through the actions and ideas of its four male rebels: Bernard Marx, Helmholtz

Watson, John the Savage, and Mustapha Mond– each of whom has been driven in one method or another to concern and to rebel versus the not-to-be-questioned worths of the Fordian/Freudian world of 632 A. F. Each of these men has actually wandered alarmingly far into unorthodoxies that threaten the community, identity, and stability of the World State”(Higdon). From this basis, Bernard is the first male character to begin his rebellion when he understands that there is something very wrong within their society– that everybody has actually been provided “memories”from the hatchery based upon subliminal recommendations and not actual events. Additionally, lots of critics refer to this rebel nature as Huxley’s “reaction to early movie theater … [it] was significant in its implications, recognizing movie theater’s stimulation of the body in addition to the mind and picturing cinema’s potential to be either an instrument of social and political reform or a medium of cultural degeneracy “(Frost). Indeed, Huxley thought about music an effective medium, once writing that”‘the darkness of the theater, the dull music induce in the audience a type of hypnotic state'”(Frost ), precisely like Huxley’s soma does to the characters. Even more, Huxley’s narrative kind”[ shows] the person in society, serves to heighten the sense of his vulnerability and vulnerability”( Ferns, 132 ). Moreover, Huxley’s world” is an unsettling, loveless and even ominous location. This is due to the fact that Huxley enhances his’perfect ‘society with features computed to alienate his audience. Usually, reading BNW elicits the very exact same troubling feelings in the reader which the society it portrays has notionally overcome– not a sense of happy anticipation. [Huxley himself] explains BNW as a’headache ‘”(Pearce). Undoubtedly, Huxley composes in his Forward that his work is”a book about the future and, whatever its artistic or philosophical qualities, a book about the future can interest us just if its prophecies look as though they might possibly come true” (Huxley, ix ). For his part, Huxley prevents any real technological advancements (like computer systems, aviation, or perhaps the evolution of the automobile)within “Brave New World,”rather concentrating on the advancement of the human being and the social cultural developments that 600 years into the future might bring. More, Huxley writes

that the “only scientific advances to be specifically explained are those involving the application to people of the outcomes of future research in biology, physiology, and psychology “( ix-x ). Indeed, in choosing this form, Huxley has developed a society that could exist in the very future– and not one 600 years far-off. Further,”it is just by ways of the sciences of life that the lifestyle can be radically altered … the people who govern the Brave New World might not be sane … however they are not madmen, and their aim is not anarchy but social stability. It remains in order to achieve stability that they carry out, by scientific ways, the supreme

, personal, actually revolutionary transformation” (x). With this epiphany, Huxley made, for the first time, a purely utopian society in which it is not the technological advances that relegate the future of mankind, but it is mankind themselves who make it for themselves, for the excellent or for the bad. And it is this ideal that makes a frightening presumption for the future of humanity. 500 years into the future, undoubtedly Huxley’s world might come into fulfillment, but, in a lot more frightening realization, Huxley’s world might come into society gradually, and within a duration of years, the present society, in an effort to develop a more safe and steady life for its inhabitants, might instead transform into the dystopian world forecasted in a” Brave New World. “In General, Aldous Huxley, in a”Brave New World”demonstrates a dystopian future in which humanity is subjugated by the very essence of being human. Where enjoyment is a type of strengthening penalty and sex is nothing more than an activity of the popular. The future that Huxley forecasts is, in truth, a fact that every society might yet face. For, in removing the technological advances that mark numerous utopian works, Huxley has offered the story over to human nature itself. And, in every future, there lies a culture where stability is the goal– and because suitable, a”Brave New World”is not so far advanced, after all. Works Cited. Booker, Keith M. The Dystopian Impulse in Modern Literature: Fiction as Social Criticism. Westport, CT: Greenwood Press, 1994. Fjellman, Stephen M. Vinyl Leaves: Walt Disney World and America. Stone, CO: Westview Press, 1992. Frost, Laura.”Huxley’s Feelies: The Movie Theater of Experience in Brave New World. “Twentieth Century Literature, 52. 4(2006): 443+. Higdon, David Leon.” The Justifications of Lenina in Huxley’s Brave New World. “International Fiction Evaluation,(2002): 78+. Huxley, Aldous. Brave New World. New York: Bantam Books, 1958.

Ferns, Chris. Telling Paradise: Ideology, Gender, Kind in Utopian Literature. Liverpool, England: Liverpool UP, 1999. Pearce, David. “Aldous Huxley: A Brave New World.” (2008 ). BLTC Research. 26 June 2009.

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