反烏托邦作為大眾文化最具生產力和批判力的敘事傳統之一,在今天仍然較難進行系統的討論。其原因在很大程度上來自于命名攜帶的陷阱——反烏托邦敘事往往被認為是對烏托邦的諷刺和否定,或者模糊地意指"壞的地方"以對應烏托邦之"好的地方"。然而,若系統考察反烏托邦敘事,不難發現它早已溢出了烏托邦敘事的限定,直接回應著一系列現實論題,如女性主義、后人類主義、城市化問題、現代性、異化等。本文試圖回到"反烏托邦"的命名起點,嘗試通過分辨圍繞著反烏托邦的話語構成,來打開一定的討論空間。

Dystopia is one of the most critical narratives of the popular culture. To some extent, it is beyond interpretation because of its definition: it is well known that dystopia refers to a bad place while utopia means a good place; that is, dystopiais a negative utopia.But if we look into the works thatare called dystopias, it is obvious that they do not simply disavow what utopias insist.They also deal with various theses like feminism, post-humanism, modernity, etc. This paper focuses onthe emergence of dystopia from the beginning and tries to analyze its discursive formation.