1. (in literature)
Literary utopias have at least six purposes, although they are not necessarily separable. A utopia can be simply a fantasy, it can be a description of a desirable or an undesirable society, an extrapolation, a warning, an alternative to the present, or a model to be achieved.
2. (the core of utopia = hope for a better state and dystopia = that particular plan of hope is dangerous)
The utopian views humanity and its future with either hope or alarm. If viewed with hope, the result is usually a utopia. If viewed with alarm, the result is usually a dystopia. But basically, utopianism is a philosophy of hope, and it is characterized by the transformation of generalized hope into a description of a non-existent society. Of course, hope can often be nothing more than a rather naive wish-fulfilment, such as in some fairy tales (albeit most fairy tales turn into dystopias if carefully analysed). On the other hand, hope is essential to any attempt to change society for the better. But this raises the possibility of someone attempting to impose their idea of what constitutes a desirable future on others who reject it. Utopians are always faced with this dilemma when they attempt to move their dream to reality – is their dream compatible with the imposition of their dream; can freedom be achieved through unfreedom, or equality through inequality?
3.
For the utopian, human intelligence and ingenuity know no bounds; for the dystopian, human greed and stupidity know no bounds. And both appear to be right.
4. (role of utopianism)
The satire running throughout More’s Utopia is fundamental to both utopian traditions because one of the functions of most utopias is to hold the present up to ridicule and, in doing so, many utopias use a typical tool of satire, exaggeration.
5. (maybe the closest attitude to reality)
Wells is best described as a pessimistic utopian, a man who believed that it was possible to radically improve human life but doubted that the willpower to do so would be found. He never gave up hope, but he never stopped doubting either.
6. (views on sex in the 3 most important dystopian novels)
All three depict partially failed attempts to control the power of sexual desire. "We" licenses sexual behaviour in a way that is meant to meet individual needs; "Brave New World" insists on promiscuity; and "Nineteen Eighty-Four" severely restricts sex. And all three imply that this may be an area that even a totalitarian regime would not be able to control.
7. (starting point)
Dissatisfaction is the beginning of utopianism, and ultimately utopianism is about the transformation of everyday life;
8. (in christianity - Judith Shklar (1926–92)
utopia was a way of rejecting that notion of ‘original sin’
9. (important question)
A central issue for utopia is whether a better social order allows people to become better or better people create a better social order.
10. (maybe one of the best ideas)
When a utopia is designed as a realistic alternative, it is intended not as a society to be achieved in all its detail, but as a vehicle for presenting an alternative to the present. In this sense, a utopia is a mirror to the present designed to bring out flaws, a circus or funfair mirror in reverse, to illustrate ways in which life could be better, not necessarily the specific ways in which life should be made better.
11. (interesting idea)
He [Karl Mannheim] argued that the ideas we have, the way we think, and the beliefs that follow are all influenced by our social situation. In particular, he called the beliefs of those in power ideology and the beliefs of those who hoped to overturn the system utopia. In both cases, their beliefs hid or masked the reality of their positions. Ideology kept those in power from becoming aware of any weaknesses in their position; utopia kept those out of power from being aware of the difficulties of changing the system. And both kept the believers from seeing the strengths in the other’s position.
12. (ideology and utopia have opposite roles but one can become the other)
Ideologies and utopia are closely related. There is a utopia at the heart of every ideology, a positive picture – some vague, some quite detailed – of what the world would look like if the hopes of the ideology were realized. And it is possible for a utopia to become an ideology. The process by which utopia can become ideology is not entirely clear and undoubtedly varies from case to case, but it is likely that if a utopia is sufficiently attractive and powerful, it can transform hope and desire into belief and action to bring the utopia into being through a political or social movement. Most utopias do not go through this process and most that do fail. But if a utopia becomes a belief system that succeeds in coming to power in a small community, a country, or even a number of countries, it will almost certainly have become an ideology in the process.
13. (have Utopia but realize it is a fantasy, not completely achievable)
This approach avoids one of the great dangers of utopia – taking it too seriously. One needs to be able to believe passionately and also be able to see the absurdity of one’s own beliefs and laugh at them.
14. (conclusion - Utopias fail but they bring betterment)
Utopia is a tragic vision of a life of hope, but one that is always realized and always fails. We can hope, fail, and hope again. We can live with repeated failure and still improve the societies we build.