Titlebook: ‘Brave New World‘: Contexts and Legacies; Jonathan Greenberg,Nathan Waddell Book 2016 The Editor(s) (if applicable) and The Author(s) 2016

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Shivani Bhalerao,Pallavi Chavanrt and culture. Although Jerome Meckier noted in 2000 that Huxley’s essays should be ‘required reading’ for students of . (1932), scholars have given scant attention to the novel’s periodical context.. Yet Huxley’s . essays—which envision pleasure as an ‘appalling’ toxin and the comfort of modern so

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Rajendra Kumar Behera,Sunil Kumar Dhal about the start of life and about test-tube fertilization and what it makes possible. The novel begins with the Director of Hatcheries and Conditioning introducing a group of students to the fertilization room, and it is specifically when the Savage sees its product, that is the workforce of cloned

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M. Sree Devi,Vempalli Rahamathullaose religio-economic basis is Fordism, the ever more expedient mass production of people and goods, no one bothers to explain the absence of automobiles. None of the central characters—Bernard Marx, Helmholtz Watson, Lenina Crowne, and surely not John the Savage—has seen a ‘flivver’; only the Direct

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M. Sree Devi,Vempalli Rahamathullaeanings are intertwined the concept of utopia is always, in all its iterations, an unstable one. For on the one hand it denotes an ideal, a belief in perfectibility and thus a drive towards its realization, while on the other hand it secretes within itself a recognition that it posits an unattainabl

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Book 2016er from new angles the historical contexts in which the book was written and the cultural legacies in which it looms large. The volume affirms Huxley’s prescient critiques of modernity and his continuing relevance to debates about political power, art, and the vexed relationship between nature and h

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ars consider from new angles the historical contexts in which the book was written and the cultural legacies in which it looms large. The volume affirms Huxley’s prescient critiques of modernity and his continuing relevance to debates about political power, art, and the vexed relationship between na