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Taylorism In Brave New World

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In any literary analysis the understanding of the era in which a particular work is written is essential for the understanding of the text in its entirety. Whether the work is fictitious or not, the concerns and anxieties that the historical context presents to society are often of singular importance. Particularly, in two works that marked the literature of the beginnings of the twentieth century and which established the canon of the genre of Dystopia, We by Evgeniy Zamiatin and Brave New World by Aldous Huxley, these influences are crucial for the development, the understanding in the context of the period, and the impact on the literary field. In this essay we will try to analyze the social, historical and cultural context of both novels, …show more content…
Huxley reflected in his futuristic vision of the world some of the contemporary events such as the great development of the cities, science and manufacturing and the introduction of taylorism in the factories and working areas. Both in Brave New World and We the idea of taylorism is carried to the extreme, not only being applied to the place of work and production but also to free time or even to sexuality. In both works we see that there is a similar idea of elimination of affective ties among people staying the sexual practice only as a form of entertainment in which partners can be easily replaced via either a request of a different person, as it is in We or just by a sexual practice with any other person, as it is in the case of Brave New World. Although sex continues to maintain its reproductive function in Zamiatin’s work, the children do not belong to their parents anymore, nor does the concept of “family” exists. In Brave New World the vision of sexuality is carried to the extreme being the normal procreation completely eradicated from the society being replaced by an artificial reproductive technology and …show more content…
Both We and Brave New World show a recession of beauty in favour of utility. The poetry becomes an instrument of control, being the idea of creation of beauty supressed. This can be related to the emergence of a particular type of propagandistic poetry, especially during the First World War. Both in Russia and England there are examples of this type of literary creation: poetry of war, patriotic slogans that exalted the countries, appeals to war or, in the case of the USSR, praises of the communist regime. Some distinctive authors of this kind of poetic creation could be Mayakovski in Russia or Owen in Great Britain. The concern here is evident: the political engagement in poetry becomes a restriction of art reinforced by the processes of censure to which the works of Huxley and Zamiatin were

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