Taylor Phillips ENGL 354 Dr. Candace Melzow December 5 !

"#3 Generic Descrip$ion %nalysis o& $he Modern %dolescen$ Dys$opian Drama 'n $he pas$ &i(e $o $en years $he )row$h o& $he dys$opian &ic$ion )enre in yo*n) ad*l$ li$era$*re has comple$ely s+yroc+e$ed. This no(el &alls *nder a new ca$e)ory o& li$era$*re $ha$ re(ol(es aro*nd a dys$opian socie$y a &emale pro$a)onis$ and some &orm o& *prisin) a)ains$ said socie$y. This paper aims $o per&orm a )eneric descrip$ion analysis o(er a proposed new )enre en$i$led $he Modern %dolescen$ Dys$opian Drama ,M%DD-. To do $his ' will be loo+in) a$ $hree speci&ic ar$i&ac$s. Uglies by /co$$ 0es$er&eld The Hunger Games by /*zanne Collins and Divergent by 1eronica 2o$h. ' will a$$emp$ $o see whe$her or no$ $he new )enre e3is$s i$s charac$eris$ics $ha$ de&ine said )enre and $he con$rib*$ion o& $he )enre $o rhe$orical $heory. '& $he M%DD does e3is$ $he classi&ica$ion as a )enre co*ld help )ro*p no(els $o)e$her &or &*r$her s$*dy4 $he e3is$ence o& $he M%DD co*ld also researchers s$*dy and *nders$and $he c*rren$ in$eres$s o& yo*n) people (ia pop*lar c*l$*re. % )eneral descrip$ion o& all $hree ar$i&ac$s will help con$e3$*alize wha$ a M%DD co*ld be as well as in$rod*ce $he $ype o& no(el ' will be $ryin) $o analyze. 'n chronolo)ical order $he &irs$ ar$i&ac$ is $he no(el Uglies by /co$$ 0es$er&eld. P*blished in !""5 Uglies &ollows $he s$ory o& yo*n) #56year6old Tally 7o*n)blood who li(es in a dys$opian /ea$$le 0ashin)$on 3"" years &rom now. 'n her socie$y $he )o(ernmen$ pro(ides e(ery$hin) incl*din) a special cosme$ic s*r)ery $ha$ e(ery yo*n) person recei(es on his or her #5$h bir$hday. This opera$ion $*rns $he

Phillips 2 yo*n) people in$o 8Pre$$ies9 le$$in) $hem mo(e across $he di(idin) ci$y ri(er $o en:oy a li&e &ree o& responsibili$ies or obli)a$ions. The main plo$ describes Tally as she rebels a)ains$ $he socie$y by becomin) &riends wi$h people who re&*se $he s*r)ery4 $he opera$ion is re(ealed $o ac$*ally al$er a person;s personali$y and chan)e bo$h $heir inside and o*$side charac$eris$ics. The res$ o& $he no(el concern Tally acciden$ally ca*sin) $he rebellio*s )ro*p $o )e$ ca*)h$ by $he )o(ernmen$ res*l$in) in Tally and a lo(e in$eres$ named Da(id on a <*es$ $o resc*e e(eryone. 'n $he end a po$en$ial disco(ery $o re(erse $he 8Pre$$y9 opera$ion is &o*nd and Tally (ol*n$eers $o )o in$o $he ci$y $o recei(e $he opera$ion in order $o la$er $es$ whe$her or no$ $he c*re wor+s. The no(el re(ol(es aro*nd $hemes o& physical and emo$ional chan)e an omnipresen$ )o(ernmen$ war &reedom will e$c. The Hunger Games wri$$en by /*zanne Collins and p*blished in !""= &ollows $he s$ory o& #56year6old >a$niss E(erdeen who li(es in a dys$opian pos$6apocalyp$ic %merica +nown as Panem. 'n $his socie$y $here was once an *prisin) by one o& $he na$ion;s dis$ric$s $ha$ res*l$ed in a war won by $he )o(ernmen$. To con$in*ally remind i$s ci$izens o& $he *prisin) e(ery year each o& $he na$ion;s $wel(e dis$ric$s m*s$ o&&er one boy and )irl a)ed #!6#= who m*s$ compe$e in a ba$$le $o $he dea$h wi$h each o$her +nown as $he 8?*n)er Games9. 'n $he no(el >a$niss E(erdeen chooses $o (ol*n$eer &or $he ?*n)er Games in order $o pre(en$ her sis$er &rom bein) &orced $o &i)h$. The res$ o& $he no(el describes $he process o& $he )ames as she $ra(els $o $he l*3*rio*s Capi$ol prepares &or $he &i)h$ and $ries $o win &a(or wi$h $he p*blic and $hen *l$ima$ely wins $he ?*n)er Games $hro*)h a small ac$ o& rebellion wi$h her &ellow dis$ric$ $rib*$e named Pee$a. The no(el presen$s $hemes o& an omnipo$en$ )o(ernmen$ sel&6preser(a$ion po(er$y independence conse<*ence o& morally comple3 choices e$c. The mos$ recen$ o& $he ar$i&ac$s Divergent by 1eronica 2o$h was p*blished in !"## and

Phillips 3 de$ails $he li&e o& #56year6old @ea$rice Prior who li(es in $he dys$opian socie$y o& &*$*re Chica)o. 'n her world socie$y is di(ided *p in$o &i(e separa$e &ac$ions $ha$ deno$e a speci&ic (al*e o& h*mani$y. %bne)a$ion ,sel&less- %mi$y ,peace&*l- Candor ,hones$- Da*n$less ,bra(e- and Er*di$e ,in$elli)en$-. Ance $hey $*rn si3$een all children m*s$ $a+e an ap$i$*de $es$ $ha$ will $ell $hem which &ac$ion $hey are bes$ s*i$ed &or4 a&$er $his $es$ is comple$e $he yo*n) ad*l$s m*s$ choose whe$her or no$ $o s$ay wi$hin $he &ac$ion $hey were raised or mo(e $o $he &ac$ion deemed mos$ s*i$able &or $hem. %&$er $a+in) $he $es$ @ea$rice Prior learns $ha$ she is 8Di(er)en$9 sharin) an e<*al ap$i$*de &or %bne)a$ion Er*di$e and Da*n$less. @ea$rice $hen decides $o mo(e $o $he Da*n$less &ac$ion where she be)ins $o $rain in order $o become a $r*e Da*n$less ci$izen. %s $he s$ory pro)resses i$ is re(ealed $ha$ $he Er*di$e are $ryin) $o plan an a$$ac+ on $he %bne)a$ion &ac$ion *sin) $he soldiers ,incl*din) @ea$rice- in Da*n$less $o do $heir biddin). @ea$rice wi$h $he help o& her &ellow Di(er)en$ lo(e in$eres$ named Tobias pre(en$ $he a$$ac+ and sa(e $he %bne)a$ion &ac$ion. The me$hod ' will be *sin) $o analyze $hese ar$i&ac$s is $he rhe$orical cri$icism +nown as )eneric descrip$ion a speci&ic &orm o& )eneric cri$icism. /on:a >. Boss describes in her boo+ Rhetorical Criticism: Exploration and Practice $ha$ )eneric descrip$ion is 8where yo* e3amine se(eral ar$i&ac$s $o de$ermine i& a )enre e3is$s. This is an ind*c$i(e opera$ion in which yo* be)in wi$h a considera$ion o& speci&ic &ea$*res o& ar$i&ac$s and mo(e $o a )eneraliza$ion abo*$ $hem in $he namin) o& a )enre9 ,Boss #4"-. 'n order $o cond*c$ $his )eneric descrip$ion analysis ' will prac$ice $he &o*r s$eps $ha$ Boss o*$lines in her boo+. 8,#- obser(in) similari$ies in rhe$orical responses $o par$ic*lar si$*a$ions4 ,!- collec$in) ar$i&ac$s $ha$ occ*r in similar si$*a$ions4 ,3analyzin) $he ar$i&ac$s $o disco(er i& $hey share charac$eris$ics4 and ,4- &orm*la$in) $he or)anizin) principle o& $he )enre9 ,Boss #4#-. 'n $his way ' aim $o see i& $he M%DD e3is$s or no$

Phillips 4 and wha$ $ha$ means in rela$ion $o $he &ield o& rhe$orical cri$icism. Brom an ob:ec$i(e s$andpoin$ $here appears $o be a dis$inc$ion $ha$ separa$es c*rren$ yo*n) ad*l$ dys$opian no(els &rom $he dys$opian )enre. Thro*)h loo+in) a$ $his es$ablished dys$opian )enre in li$era$*re $he separa$ion be$ween classic dys$opian &ic$ion and $he c*rren$ Cdys$opian; &ic$ion can be seen. %s 2a&&aella @accolini ar)*es in his essay 8The Persis$ence o& ?ope in Dys$opian /cience Bic$ion9 8D$opia is main$ained in dys$opia $radi$ionally a blea+ depressin) )enre wi$h no space &or hope in $he s$ory only outside $he s$ory. only by considerin) dys$opia as a warnin) can we as readers hope $o escape s*ch a dar+ &*$*re9 ,@accolini 5!"-. %s @accolini s$a$es dys$opian &ic$ion is a blea+ &*$*ris$ic (ision $ha$ aims $o warn i$s reader abo*$ $he possibili$y o& $he dys$opia becomin) real. No(els s*ch as Geor)e Arwell;s 19 ! and %ldo*s ?*3ley;s "rave #e$ %orld *se $heir pro$a)onis$s as a way $o comm*nica$e $he $errors o& $he dys$opian world $o $he reader *l$ima$ely endin) in dea$h. 0i$h $his *nders$andin) o& how $he dys$opian )enre *s*ally wor+s i$ becomes easier $o see $ha$ $he c*rren$ yo*n) ad*l$ Cdys$opian; no(els are in &ac$ no$ $r*ly dys$opian. 'n $hese no(els $he $hrea$ o& $he dys$opia does no$ pre(ail and hope con$rary $o classic dys$opia remains. '$ is $his dis$inc$ion $ha$ si)ni&ies $he possibili$y o& a new )enre one $ha$ appears $o be inheren$ly dys$opian b*$ *l$ima$ely some$hin) else en$irely. The selec$ed ar$i&ac$s were collec$ed d*e $o $heir dis$inc$ion &rom $he $radi$ional dys$opian )enre $heir in$ended a*dience ,yo*n) ad*l$s- and $heir pop*lari$y. 'n addi$ion $o $he $hree ar$i&ac$s s*mmarized abo(e $here are se(eral o$her no(els $ha$ co*ld possibly be M%DDs. &egend by Marie L* Delirium by La*ren Ali(er "lood Red Road by Moira 7o*n) and 'cross the Universe by @e$h 2a(is. %ll o& $hese no(els incl*din) $he $hree ar$i&ac$s re(ol(e aro*nd a $eena)e &emale pro$a)onis$ who li(es in a &*$*ris$ic dys$opian socie$y. The $erm Cdys$opia; in $his

Phillips 5 )enre re&ers $o a socie$y $ha$ belie(es i$sel& $o be a *$opia b*$ is an apparen$ dys$opia $o $he reader and $he pro$a)onis$ o& $he no(el. 'n addi$ion $o $hese all o& $he ar$i&ac$s and no(els men$ioned abo(e are par$ o& a $rilo)y. %s $he collec$ion )rows $he possible e3is$ence o& $he M%DD becomes more and more apparen$. %&$er a $horo*)h analysis o& all $hree ar$i&ac$s i$ is clear $ha$ no$ only does $he M%DD e3is$ b*$ $he M%DD has (ery speci&ic re<*iremen$s &or $he )enre. %ll $hree heroines &rom $he ar$i&ac$s ,Tally >a$niss @ea$rice- ha(e some +ind o& re&*sal $ha$ enables $hem $o rebel a)ains$ $he dys$opian )o(ernmen$ in $heir respec$i(e socie$ies. Tally is able $o rebel a)ains$ $he )o(ernmen$ by re&*sin) $he 8Pre$$y9 opera$ion and e(en$*ally sacri&icin) hersel& &or $he sa+e o& $he rebellion. >a$niss o$her $han her e3cep$ional archery abili$y is able $o &i)h$ bac+ a)ains$ $he 8Capi$al9 by re&*sin) $o +ill Pee$a a$ $he end o& $he ?*n)er Games. @ea$rice &i)h$s bac+ a)ains$ $he Er*di$e &ac$ion by re&*sin) $o +ill Tobias $h*s &reein) him &rom mind con$rol and s$oppin) $he a$$ac+ on %bne)a$ion. 'n $he M%DD $here m*s$ no$ only be a $eena)e &emale heroine b*$ $here also m*s$ be some +ind o& re&*sal made by said heroine. 'n all $hree ar$i&ac$s $he heroine is able $o ma+e a s*bs$an$ial co*n$era$$ac+ on $he oppressi(e )o(ernmen$ $hro*)h re&*sin) $o coopera$e. 'n addi$ion $o $his $here is always some +ind o& romance $ha$ $he heroine m*s$ deal wi$h in $he mids$ o& $he narra$i(e. Tally &alls in lo(e wi$h Da(id >a$niss &alls in lo(e wi$h bo$h Gale and possibly Pee$a and @ea$rice &alls in lo(e wi$h Tobias. 'n $he M%DD $he romance is absol*$ely necessary in order &or $he rebellion $o occ*r. 0i$ho*$ $heir male lo(e in$eres$s none o& $he $hree heroines wo*ld ha(e been able $o e&&ec$i(ely re$alia$e a)ains$ $he oppressi(e )o(ernmen$s in each o& $heir socie$ies. Tally needed Da(id $o help sa(e $he rebels >a$niss and Pee$a;s romance ,e(en i& &ei)ned- was $he only $hin) $ha$ pre(en$ed $heir demise and @ea$rice;s

Phillips 6 lo(e &or Tobias is $he only $hin) $ha$ allowed her $o brea+ $he mind con$rol he was *nder. '$ is clear $ha$ $he M%DD re<*ires romance no$ :*s$ &or &*n b*$ cr*cial &or $he de(elopmen$ o& $he plo$ and *l$ima$e rebellion a)ains$ $he dys$opian )o(ernmen$s in con$rol. %no$her cr*cial aspec$ o& $he M%DD is $ha$ $he narra$i(e m*s$ be $old in $he &irs$ person perspec$i(e o& $he heroine. This allows $he reader $o *nders$and e3ac$ly how $he heroine &eels abo*$ $he dys$opian socie$y her &eelin)s $owards her lo(e in$eres$ and her $rans&orma$ion in$o a &ormidable opponen$ a)ains$ $he )o(ernmen$. Ane o& $he mos$ impor$an$ aspec$s o& $he M%DD indi(id*ali$y o& $he heroine is mos$ e&&ec$i(ely presen$ed $hro*)h $he *se o& &irs$6person narra$ion. Tally >a$niss and @ea$rice be)in $o in$ernally *nders$and $ha$ $hey are *ni<*e as $he narra$i(e reaches i$s clima34 $he realiza$ion o& $heir $r*e power is $he realiza$ion $ha$ $hey are each *ni<*e and indi(id*al bein)s. The M%DD &orces $he reader $o $r*ly deal wi$h $he heroine;s emo$ional s$r*))les in a way $ha$ brin)s $o li)h$ her $ransi$ion in$o a woman and rebel. The &as$6 paced s$yle and &irs$6person perspec$i(e o& $he M%DD help de(elop $he plo$ a$ a (i)oro*s pace ma+in) $he reader almos$ ha(e $o C+eep *p; wi$h $he heroine as she enco*n$ers all o& $he obs$acles $hro*)ho*$ her narra$i(e :o*rney. This perspec$i(e helps con(ey $he $hemes o& adolescen$ s$r*))les physical and emo$ional chan)es morali$y and independence $ha$ are always presen$ in $he M%DD. The or)anizin) principles o& $he M%DD solidi&y $he proo& $ha$ $he )enre does e3is$ and $ha$ i$ needs $o be &*r$her s$*dies. These principles are absol*$ely necessary &or $he no(el in <*es$ion $o be considered a M%DD. ,#- Bemale $eena)e pro$a)onis$4 ,!- /e$ in a dys$opian &*$*ris$ic socie$y $ha$ pre$ends $o be a *$opia4 ,3- 0ri$$en &rom $he perspec$i(e o& $he heroine4 ,4?eroine re&*ses socie$al norms in some way ini$ia$in) a rebellion4 ,5- Lo(e in$eres$ $ha$ e(en$*ally enables heroine;s rebellion. These &i(e principles en&orce $he e3is$ence o& $he M%DD

Phillips 7 in $ha$ wi$ho*$ $hem $he )enre wo*ld no$ e3is$. The &ac$ $ha$ $hese de&inin) principles can be &o*nd no$ only in $he selec$ed ar$i&ac$s b*$ also in $he &o*r no(els men$ioned pre(io*sly shows $ha$ $he M%DD e3is$s and is )rowin) rapidly. The e3is$ence o& $he M%DD con$rib*$es $o rhe$orical $heory in $ha$ i$ promo$es and simpli&ies &*$*re research. @y *sin) $he or)anizin) principles no(els can be easily classi&ied as a M%DD or no$4 $he m*l$i$*de o& no(els pre(io*sly *nca$e)orized now ha(e a speci&ic $i$le and can be researched &*r$her. Now $ha$ $he M%DD e3is$s $heoris$s and cri$ics ali+e can analyze $he )enre as a whole $o help research pop*lar c*l$*re yo*n) ad*l$ li$eracy and many o$her &ields o& s$*dy. %ddi$ionally no(els once cl*mped in$o $he )enre o& dys$opian yo*n) ad*l$ &ic$ion can now be easily separa$ed in$o $hose $ha$ are M%DDs and $hose $ha$ are no$. The &*r$her $ha$ $hese pre(io*sly Ccl*mped; dys$opian no(els are classi&ied more new )enres can be disco(eredEes$ablished and more research can be done on $hem. Gi(en $his posi$i(e cycle o& research $he es$ablishmen$ o& $he M%DD will only help $o &os$er more ideas and &*$*re s$*dies in $he realm o& yo*n) ad*l$ li$era$*re.

Phillips 8

0or+s Ci$ed @accolini 2a&&aella. 8The Persis$ence o& ?ope in Dys$opian /cience Bic$ion.9 P(&' ##F.3 ,!""4-. 5#=65!#. Prin$. Boss /on:a. Rhetorical Criticism) Exploration 'nd Practice. 4$h edi$ion. 0a(eland Press 'nc !""F. Prin$.