In this major new work by one of the leading writers on Utopian Studies, Ruth Levitas argues that a prospective future of ecological and economic crises poses a challenge to the utopian imaginary, to conceive a better world and alternative future. Utopia as Method does not construe utopia as goal or blueprint, but as a holistic, reflexive method for developing what those possible futures might be. It begins by treating utopia as the quest for grace, through a hermeneutics that recovers (...) the utopian meaning in our culture, explored through colour and music. Moving from the existential to the social, it draws on H.G. Wells's claim that the creation of utopias is the distinctive and proper method of sociology, and on the tentative reappearance of utopia in contemporary social theory. It proposes a constructive method, the Imaginary Reconstitution of Society. This fusion of explicitly normative social theory and analytic critique rehabilitates utopia as an integral part of sociology, and offers a means of collective engagement in shaping a better tomorrow."--Publisher's description. (shrink)

This introduction to a special issue of Thesis Eleven devoted to science fiction begins by exploring the way the genre has been handled by German and French critical theory and their Anglophone equivalents. It proceeds to a discussion of the historical sociology of the genre and, thence, to an account of what it terms the dialectic of science fiction endangerment. Finally, it concludes with a brief overview of the various contributions to the issue.

Critical thought on immersive theatres is gathering in pace with many arguments centred on explorations of audience/performer interaction and the unique relationship these theatres create. Within this paper I look beyond these debates in order to consider the implications of immersive theatres within contemporary culture, with the aim of furthering the ways in which immersive theatres are presently being framed and discussed. Theatre and science fiction have shared a somewhat limited relationship compared to their burgeoning usage within other forms of (...) entertainment. This paper focuses on how the conceits of science fiction are being staged within this theatrical setting. Primary focus is given to Punchdrunk’s… and darkness descended (2011) and The Crash of the Elysium (2011–2012). This is considered alongside The Republic of the Imagination’s (TROTI) Cerebellium (2012–14), an original narrative created for the performance which has been subsequently developed over a three-year period to date. This discussion is presented and framed through my personal experience as both a performer in Cerebellium and (later) as audience member. The particular use of dystopian narratives and alternate worlds is given consideration, with reflection on the way these works destabilize and call into question the audience’s sense of self either through their ability to survive or understand their sense of self. By making evident the spectrum of practice, I endeavour to delve further into identifying and de-mystifying immersive theatres and their differences to conventional theatre. (shrink)