mǎ kè sī zhù yì zhé xué : shì jiè lì shǐ : bǎi kē shū míng : wén xué xiě zuò : yǐn shí : yǐng shì gēqǔ : liú xíng gēqǔ > wū tuō bāng
mùlù
cí yì
　　pīn yīn： wūtuōbāng
　　 wū tuō bāng de yuán cí lái zì liǎng gè xī là yǔ de cí gēn， “ ou ” shì“ méi yòu” de yì sī（ yī shuō shì“ hǎo” de yì sī），“ topos” shì“ dì fāng” de yì sī， hé zài yī qǐ shì“ méi yòu de dì fāng” huò zhě“ hǎo dì fāng”。 zài yán shēn hái yòu lǐ xiǎng， bù kě néng wán chéng de hǎo shì qíng qí zhōng wén fān yì yě kě yǐ lǐ jiě wéi“ wū” shì méi yòu，“ tuō” shì jì tuō，“ bāng” shì guó jiā，“ wū tuō bāng ” sān gè zì hé qǐ lái de yì sī jí wéi“ kōng xiǎng de guó jiā”。
　　 kōng xiǎng shè huì zhù yì de chuàng shǐ rén tuō mǎ sī · mò 'ěr（ yīng guó rén） zài tā de míng zhù《 wū tuō bāng 》 zhōng xū gòu liǎo yī gè háng hǎi jiā háng xíng dào yī gè qí xiāng yì guó“ wū tuō bāng ” de lǚ xíng jiàn wén。 zài nà lǐ， cái chǎn shì gōng yòu de， rén mín shì píng děng de， shí xíng zhe 'àn xū fēn pèi de yuán zé， dà jiā chuān tǒng yī de gōng zuò fú， zài gōng gòng cān tīng jiù cān， guān lì yóu mì mì tóu piào chǎn shēng。 tā rèn wéi， sī yòu zhì shì wàn 'è zhī yuán， bì xū xiāo miè tā。
sī xiǎng fā zhǎn lì chéng
　　 wū tuō bāng shì rén lèi duì měi hǎo shè huì de chōng jǐng。
　　 wū tuō bāng shì rén lèi sī xiǎng yì shí zhōng zuì měi hǎo de shè huì， rú tóng xī fāng zǎo qī“ kōng xiǎng shè huì zhù yì”。 xī fāng yī wèi xué zhě tí chū de kōng xiǎng shè huì zhù yì shè huì： měi hǎo、 rén rén píng děng、 méi yòu yā pò、 jiù xiàng shì wài táo yuán。 wū tuō bāng shì de 'ài qíng yě shì měi hǎo zhì jí de。
　　 wū tuō bāng zhù yì shì shè huì lǐ lùn de yī zhǒng， tā shì tú jiè yóu jiāng ruò gān kě yù de jià zhí hé shí jiàn chéng xiàn yú yī lǐ xiǎng de guó jiā huò shè huì， ér cù chéng zhè xiē jià zhí hé shí jiàn。 yī bān 'ér yán， wū tuō bāng de zuò zhě bìng bù rèn wéi zhè yàng de guó jiā kě néng shí xiàn， zhì shǎo shì bù kě néng yǐ qí bèi wán měi miáo huì de xíng tài fù zhū shí xiàn。 dàn shì tā men bìng fēi zài zuò yī xiàng jǐn jǐn shì xiǎng xiàng huò kōng huàn de bān nòng， jiù rú wū tuō bāng zhù yì zhè gè cí huì de tōng sú yòng fǎ suǒ zhǐ de yī bān。 rú tóng bólātú《 lǐ xiǎng guó》（ Republic）（ tā shì zuì zǎo de zhēn zhèng wū tuō bāng ） zhōng suǒ xiǎn shì de， tōng cháng mǒu mù de shì： jiè yóu kuò dà miáo huì mǒu yī gài niàn（ zhèng yì huò zì yóu）， yǐ jī yú zhè zhǒng gài niàn 'ér jiàn gòu zhī lǐ xiǎng shè qún de xíng shì， lái zhǎn xiàn gāi gài niàn de ruò gān gēn běn xìng zhì。 zài mǒu xiē qí tā de chǎng hé， lì rú mó 'ěr（ SirThomasMore） de《 wū tuō bāng 》（ Utopia， 1516）， qí mù biāo zé zhù yào shì pī pàn hé fěng cì： jiāng wū tuō bāng zhōng de shàn liáng rén mín hé zuò zhě dāng shí shè huì de zuì 'è zuò qiǎo miào de duì bǐ， ér jiè zhī qiǎn zé hòu zhě。 zhǐ yòu jí shǎo shù de wū tuō bāng zuò zhě –– bèi lā mì（ EdwardBellamy） de《 huí gù》（ LookingBackward， 1888） jí shì jiā lì–– qǐ tú gēn jù qí wū tuō bāng zhōng suǒ rèn zhēn guī huá de lán tú lái gǎi zào shè huì。 jiù qí běn zhì 'ér yán， wū tuō bāng de gōng néng nǎi shì qǐ fā xìng de。
　　 zhí dào shí qī shì jì zhī qián， wū tuō bāng yī bān jūn bèi zhì yú dì lǐ shàng yáo yuǎn de guó dù； shí liù yǔ shí qī shì jì 'ōu zhōu háng hǎi tàn xiǎn de fā xiàn， shǐ rén men dà wéi shú xī zhè gè shì jiè， yīn 'ér shǐ cǐ yī yòu yòng de shè jì xiāo shēng nì jì。 zì bǐ shí qǐ， wū tuō bāng suǒ chù de kōng jiān huò yí dào wài tài kōng（ shí qī shì jì kāi shǐ yòu yuè qiú zhī lǚ）、 huò hǎi dǐ（ xiàng jīng cháng fā xiàn de chuán shuō zhōng shěn méi yú dà xī yáng de dà lù wén míng）、 huò zhě dìqiào dǐ xià de shēn chù。 rán 'ér jiàn jiàn dì wū tuō bāng jiù yóu kōng jiān de zhuǎn zhì biàn chéng shí jiān de zhuǎn zhì， zhè yī jìn zhǎn zuì chū shì yóu shí qī shì jì de jìn bù guān niàn suǒ gǔ wǔ， zhī hòu zé bèi lǐ 'ěr（ Lyell） de xīn dì zhì xué hé dá 'ěr wén（ Darwin） de xīn shēng wù xué zhōng jù fú kuò zhāng de shí jiān guān niàn suǒ gǔ wǔ。 wū tuō bāng bù zài shì jiào hǎo de kōng jiān， ér shì jiào hǎo de shí jiān。 wēi 'ěr sī（ H.G.Wells） chéng zhù tā de shí guāng lǚ xíng jiā háng xiàng shù shí yì nián hòu de wèi lái， shǐ dé pǔ dùn（ OlafStapledon） zài《 rén zhī shǐ mò》（ Last&FirstMen， 1930） zhōng， zé yòng 'èr shí yì nián de shí jiān bǐ lì lái biǎo shì rén lèi cháo xiàng quán rán wū tuō bāng jìng jiè de pān shēng。
　　 cóng kōng jiān dào shí jiān de zhuǎn zhì yě shǐ wū tuō bāng zhōng chǎn shēng liǎo yī zhǒng xīn de shè huì xué de xiàn shí zhù yì。 wū tuō bāng cǐ shí bèi zhì yú lì shǐ zhōng， rán 'ér wú lùn jù lí wū tuō bāng de jí zhì zhī jìng shì hé děng yáo yuǎn， tā zhì shǎo kě chéng xiàn chū： rén lèi huò xǔ shì wú kě bì miǎn dì zhèng cháo xiàng tā fā zhǎn de guāng jǐng。 shí qī shì jì kē xué hé jì shù de lián jié jiā qiáng liǎo zhè gè dòng xiàng， lì rú péi gēn（ Bacon） de《 xīn dà xī yáng dà lù》（ NewAtlantis， 1627） hé kāng pà nèi lā（ Campanella） de《 tài yáng zhī dū》（ CityoftheSun， 1637） zhōng suǒ biǎo xiàn zhě。 suí zhù shí jiǔ shì jì shè huì zhù yì（ tā běn shēn jí shēn jù wū tuō bāng sè cǎi） de xīng qǐ。 wū tuō bāng zhù yì biàn zhú jiàn biàn chéng guān yú shè huì zhù yì zhī shí xiàn kě néng xìng de biàn lùn。 bèi lā mì yǐ jí wēi 'ěr sī de wū tuō bāng （《 xiàn dài wū tuō bāng 》 〔 ModernUtopia， 1905 〕） jiē shì wéi zhèng tǒng shè huì zhù yì biàn hù de yòu lì zhù zuò； dàn shì mó lǐ sī（ WilliamMorris） zé zài《 lái zì wū yòu zhī xiāng de xiāo xī》（ NewsformNowhere， 1890） zhōng tí chū liǎo lìng yī zhǒng xī yǐn rén de sòng fǎ。 zhè gè yì zhǒng de tì dài shuō fǎ nǎi yīn“ fǎn wū tuō bāng ”（ dystopia huò antiutopia） de fā míng 'ér chū xiàn， cǐ nǎi duì suǒ yòu wū tuō bāng xī wàng de nì zhuǎn hé měng liè de pī píng。 zhè gè guān niàn yóu bā tè lè（ SamuelButler） fǎn dá 'ěr wén zhù yì de《 niǎo yòu zhī xiāng》（ Erewhon， 1872） yī shū suǒ yù shì， ér zài 1930 hé 1940 nián dài dá dào liǎo dǐng diǎn， yóu qí biǎo xiàn yú hè xū lí（ AldousHuxley） de《 měi lì xīn shì jiè》（ BraveNewWorld， 1932） hé 'ōu wēi 'ěr（ GeorgeOrwell） de《 yī jiǔ bā sì》（ NineteenEighty-Four， 1949） zhè liǎng běn shū zhōng。 zài zhè 'àn dàn de nián dài lǐ， zhǐ yòu shǐ jī nà（ B.F.Skinner） de《 táo yuán 'èr cūn》（ WaldenTwo， 1948） wéi hù zhù wū tuō bāng de huǒ jù shǐ zhī bù xī， rán 'ér réng yòu xǔ duō rén zài zhè gè xíng wéi gōng chéng（ behaviouralengineering） de， wū tuō bāng zhōng chá jué dào bǐ zuì hēi 'àn de fǎn wū tuō bāng gèng kě pà de mèng yǎn。 dàn shì wū tuō bāng zhù yì què zài 1960 nián dài qiáng 'ér yòu lì dì fù huó， lì rú xiàng mǎ gū zhé（ HerbertMarcuse） de《 lùn jiě fàng》（ AnEssayonLiberation， 1969） zhè yàng de zhù zuò； ér zài wèi lái xué hé shēng tài xué de yùn dòng zhōng yě kě jiàn qí péng bó de shēng qì。
　　 huò xǔ wū tuō bāng zhù yì shì rén lèi qíng jìng suǒ gù yòu de， yě xǔ tā zhǐ nèi zài yú nà xiē shòu gǔ diǎn hé jī dū jiào chuán tǒng yǐng xiǎng de wén huà zhī zhōng； dàn shì wǒ men dà kě tóng yì wáng 'ěr dé（ OscarWilde） de huà： yī zhāng méi yòu wū tuō bāng de shì jiè dì tú shì sī háo bù zhí dé yī gù de。
tuō mǎ sī · mò 'ěr hé《 wū tuō bāng 》
　　tuō mǎ sī · mò 'ěr
　　《 wū tuō bāng 》 yī shū shì yīng guó kōng xiǎng shè huì zhù yì zhě tuō mǎ sī · mò 'ěr de bù xiǔ jù zhù， yòng lā dīng yǔ xiě chéng， shū de quán míng yuán wéi《 guān yú zuì wán měi de guó jiā zhì dù hé wū tuō bāng xīn dǎo de jì yòu lì yì yòu yòu qù de quán shū》。 zhè bù shū shì １ ５１５ －１５１ ６ nián tā chū shǐ 'ōu zhōu shí qī， yòng lā dīng wén xiě chéng de。 wū tuō bāng de yuán cí lái zì liǎng gè xī là yǔ de cí gēn，“ ou” shì“ méi yòu” de yì sī ( yī shuō shì“ hǎo” de yì sī )，“ topos” shì“ dì fāng” de yì sī， hé zài yī qǐ shì“ wū yòu zhī xiāng”。
　　 mò 'ěr běn rén de wū tuō bāng shì yī gè wán quán lǐ xìng de gòng hé guó， shū zhōng miáo huì liǎo yī gè tā suǒ chōng jǐng de měi hǎo shè huì， nà lǐ yī qiē shēng chǎn zī liào guī quán mín suǒ yòu， shēng huó yòng pǐn 'àn xū fēn pèi， rén rén cóng shì shēng chǎn láo dòng， ér qiě yòu chōng zú de shí jiān cóng shì kē xué yán jiū hé yú lè， nà lǐ méi yòu jiǔ diàn、 jì yuàn， yě méi yòu duò luò hé zuì 'è。 zài zhàn zhēng shí qī tā gù yōng lín jìn hàozhàn guó jiā de gù yōng bīng， ér bù shǐ yòng zì jǐ de gōng mín。 mò 'ěr běn rén shì yī gè xìn yǎng hěn shēn de rén。 tā céng jīng xiǎng guò zuò mù shī， tā de xiǎo shuō kě néng shòu dào yé sū huì de yǐng xiǎng。
　　 wū tuō bāng yòng yú bǐ yù wú fǎ shí xiàn de lǐ xiǎng huò kōng xiǎng de měi hǎo shè huì（ tú wéi mó 'ěr《 wū tuō bāng 》 yī shū zhōng de wū tuō bāng dì tú）。
　　 zài《 wū tuō bāng 》 zhōng， mò 'ěr shǒu cì yòng“ yáng chī rén” lái jiē lù zuì 'è de“ juàn dì yùn dòng” ( zhè yī tí fǎ bèi mǎ kè sī duō cì yǐn yòng )， bìng tí chū liǎo gōng yòu zhì， tǎo lùn liǎo yǐ rén wéi běn、 hé xié gòng chù、 hūn yīn zì yóu、 ān lè sǐ、 zūn zhòng nǚ quán、 zōng jiào duō yuán děng yǔ xiàn dài rén shēng huó xiū qī xiāng guān de wèn tí。 tā chuàng zào liǎo“ wū tuō bāng ” yī cí， kāi chuàng liǎo kōng xiǎng shè huì zhù yì xué shuō， qí sī xiǎng yě chéng wéi xiàn dài shè huì zhù yì sī cháo de lái yuán zhī yī。
xiàn jīn yǐn shēn yì
　　jīn tiān wū tuō bāng wǎng wǎng yòu yī gè gèng jiā guǎng fàn de yì yì。 tā yī bān yòng lái miáo xiě rèn hé xiǎng xiàng de、 lǐ xiǎng de shè huì。 yòu shí tā yě bèi yòng lái miáo xiě jīn tiān shè huì shì tú jiāng mǒu xiē lǐ lùn biàn chéng shí xiàn de cháng shì。 wǎng wǎng wū tuō bāng yě bèi yòng lái biǎo shì mǒu xiē hǎo de， dàn shì wú fǎ shí xiàn de（ huò jīhū wú fǎ shí xiàn de） jiàn yì、 yuàn wàng、 jìhuà děng。
fǎn wū tuō bāng
　　fǎn wū tuō bāng （ Dystopia） shì wén xué， yóu qí shì kē huàn wén xué zhōng de yī zhǒng wén xué tǐ cái hé liú pài。 fǎn wū tuō bāng zhù yì miáo huì de shì fǎn miàn de lǐ xiǎng shè huì。 fǎn wū tuō bāng zhù yì de dài biǎo zuò shì 1932 nián yīng guó hè xū lí suǒ zhù de《 měi lì de xīn shì jiè》， yīng guó qiáo zhì • ào wēi 'ěr de《 dòng wù zhuāng yuán》 hé《 yī jiǔ bā sì》， yǐ jí 'é guó zhā mǐ yà jīng de《 wǒ men》。
　　《 měi lì de xīn shì jiè》 yǐ měi guó mèng de shí jiàn wéi jī chǔ， máo tóu zhù yào zhǐ xiàng suǒ wèi de kē xué zhù yì , miáo huì liǎo kē xué zhù yì de wū tuō bāng 。 jù tǐ dì shuō，《 měi lì de xīn shì jiè》 yù cè liǎo 600 nián hòu de shì jiè。 shū zhōng miáo xiě měi guó qì chē dà hēng hēng lì • fú tè dài tì liǎo shàng dì， yīn wéi fú tè fā míng liǎo shēng chǎn qì chē de liú shuǐ xiàn， shǐ shēng chǎn fēi sù fā zhǎn， zhè zhǒng shēng chǎn fāng fǎ zhōng yú tǒng zhì liǎo zhěng gè shì jiè， gōng yuán yě yīn cǐ biàn chéng liǎo“ fú yuán”。 zài xīn shì jiè lǐ， chǔyú“ xìng fú” zhuàng tài de rén men 'ān yú zì jǐ de“ děng jí”， rè 'ài zì jǐ de gōng zuò， měi tiān xiǎng yòng dìng liàng pèi gěi de“ suǒ má” héng héng yī zhǒng ràng rén wàng diào qī qíng liù yù、“ yòu yā piàn zhī yì 'ér wú yā piàn zhī hài” de yào pǐn。 zuò zhě miáo xiě liǎo yī gè bǎo liú qū nèi de“ yě rén”， tā lái dào liǎo pàn wàng yǐ jiǔ de“ xīn shì jiè”， kāi shǐ shí wéi wù zhì huán jìng de gǎi biàn 'ér tì líng， huān hū dào dá liǎo héng héng měi lì xīn shì jiè， suí hòu zhōng yīn tā hái yòu xuè xìng， wú fǎ shì yìng zài liú shuǐ shēng chǎn de shè huì zhōng de bái yǐ shì de shēng huó， jiā shàng tā rèn wéi zì jǐ de xīn shàng rén fàng dàng 'ér wú fǎ rěn shòu（ xīn shì jiè de míng yán： měi yī gè rén shǔ yú měi yī gè rén。 gù wú suǒ wèi“ fàng dàng” kě yán）， shǐ tā zuì hòu de jīng shén jì tuō pò miè， zhōng yú zài gū dú、 jué wàng zhōng zì jìn shēn wáng。 zài zhè gè“ xīn shì jiè” lǐ， shè huì 'ān dìng jiù shì yī qiē， yǐng xiǎng 'ān dìng de sī xiǎng、 yì shù、 zōng jiào、 jiā tíng、 qíng xù jí gè zhǒng chā yì dàng rán wú cún。“ yě rén” de xíng xiàng jiù shì jīn tiān rén lèi de huà shēn， tā de chǔjìng hé bēi jù jié jú lìng rén bù hán 'ér lì。
　　《 wǒ men》 shì yī bù róng kē huàn yǔ shè huì fěng cì yú yī tǐ de cháng piān xiǎo shuō。 jiǎng shù“ wǒ” héng héng wèi lái de dà tǒng yī wáng guó de shù xué jiā、 shè jì shī de gù shì。 dà tǒng yī wáng guó yóu dà 'ēn zhù lǐng dǎo， rén men gāo dù yī lǜ， dōuméi yòu dú tè de xìng míng， zhǐ yòu biān hào。 wǒ shì hào mǎ 503。 zhè gè wáng guó de rén men lián zuò xī dū yán gé 'àn zhào wáng guó fā xià de《 zuò xī shí jiān jiè lǜ biǎo》 lái jìn xíng。 wáng guó de rén men yě bù kě néng zì jǐ qù zhǎo duì xiàng， ér shì zài tǒng yī lǐng dǎo xià yóu wáng guó de yòu guān jī gòu zhǐ dìng。 gěi nà xiē biān hào de nán nǚ fā yī zhǒng fěn hóng sè de xiǎo piào， ràng tā men píng piào jìn xíng xìng shēng huó。 bǐ rú jīn tiān nán hào mǎ 503 de xìng duì xiàng jiù shì nǚ hào mǎ O-90。 dàn shì 503 yě tōu tōu dì kàn diǎn jìn shū， fā xiàn gǔ rén jū rán hái shēng huó zài zì yóu zhī zhōng， yě jiù shì shuō hái shēng huó zài wú zǔ zhì hé yě mán zhī zhōng。“ shǐ wǒ yī zhí kùn huò bù jiě de shì： dāng shí de guó jiā zhèng quán zěn me néng yǔn xǔ rén men shēng huó zhōng méi yòu wǒ men zhè yàng de shǒu shí jiè lǜ biǎo， duì yòng cān shí jiān bù zuò jīng què de 'ān pái， rénrén zì yóu dì qǐ chuáng、 shuì jué。 yòu de shǐ xué jiā hái tán dào， dāng shí de jiē shàng hǎo xiàng dēng huǒ chè yè tōng míng， chē mǎ xíng rén tōng xiāo chuān xíng bù xī。”
　　 gèng lìng hào mǎ 503 qí guài de shì：“ zhè gè guó jiā jū rán duì xìng shēng huó fàng rèn bù guǎn héng héng zhè zhēn shì duō duō guài shì： bù guǎn shì shuí， zài shénme shí hòu， jìn xíng duō shǎo cì， zài shénme dì diǎn …… dū yóu zhe rén men zì jǐ， wán quán bù 'àn kē xué guī lǜ xíng shì， huó xiàng dòng wù。 tā men yě hé dòng wù yī yàng， máng mù suí biàn dì luàn shēng wá wá， zhēn ràng wǒ jué dé kě xiào！”
　　 zhè gè dà 'ēn zhù lǐng dǎo de dà tǒng yī wáng guó chōng mǎn zhe hěn duō kē xué de chuàng zào fā míng， zài tā men yǎn zhōng， wǒ men zhè xiē gǔ rén shì bù kě sī yì de。 zài wǒ men yǎn zhōng， tā men yǐ jīng kē xué jìn huà dé jìn hū wán měi。 bǐ rú， tā men yǐ jīng yòng kē xué shǒu duàn lái xiě shī gē liǎo， bǎ shù xué fǎ zé róng rù shī gē zhī zhōng。 yòu bǐ rú shuō， tā men tiān cái xìng dì chuàng zào fā míng liǎo“ yī zhì tóng yì jié”。
　　 yóu yú hào mǎ 503 shòu dào gǔ shū de yì duān xié shuō yòu huò， yǐ jí kè zhì bù zhù zì jǐ tǐ nèi de gǔ lǎo yù wàng de fù sū， 503 de sī xiǎng bèi guó jiā hù wèi jú zhēn pò， zuì hòu bèi sòng jìn liǎo yī zhǒng jiào zuò“ qì zhōng zhào” de xíng jù lǐ chǔsǐ…… dāng rán zhè gè dà tǒng yī wáng guó lǐ yǐ jīng yòu bù shǎo hào mǎ yǐ jīng bèi pàn liǎo lǐ xìng。“ xī bù jiē qū réng hěn hùn luàn， nà lǐ yòu kū yòu hǎn， yòu shì shī tǐ， yòu shì yě shòu……”
　　 gù shì sì hū shì zài yī zhǒng xiè zhù lóng 'ēn de qì fēn zhōng jié shù。 hào mǎ 503 zài lín sǐ qián jiān dìng liǎo duì wáng guó lǐ xiǎng de xìn niàn：“ 40 hào héng jiē shàng yǐ jīng zhù qǐ liǎo yī dǔ lín shí gāo yā dà qiáng。 wǒ xī wàng shèng lì huì shǔ yú wǒ men。 wǒ bù zhǐ shì xī wàng， wǒ què xìn， shèng lì shǔ yú wǒ men。 yīn wéi lǐ xìng bì shèng。”
　　《 1984》 yóu qiáo zhì • ào wēi 'ěr (GeorgeOrwell) yú 1948 nián xiě jiù。 tā de lìng yī bù zhòng yào xiǎo shuō shì《 dòng wù zhuāng yuán》
　　 tā céng shuō zì jǐ“ cóng 1930 nián qǐ jiù shì yī gè shè huì zhù yì zhě liǎo”， ér zhè shí hòu， tā yòu kāi shǐ kǎo lǜ“ hàn wèi mín zhù shè huì zhù yì” de wèn tí liǎo。 zhè gè sī xiǎng chū fā diǎn， yī zhí yǐng xiǎng dào tā hòu qī de liǎng bù míng zuò《 dòng wù zhuāng yuán》 hé《 1984》（ NineteenEighty-Four,1949） chuàng zuò。 1950 nián 1 yuè， ào wēi 'ěr bìng shì， xiǎng nián 46 suì。
　　《 1984》 miáo huì liǎo jí quán zhù yì de wū tuō bāng
　　《 1984》 de nèi róng： dào liǎo 1984 nián， shì jiè shàng de guó jiā yǐ jīng jiǎn shǎo dào sān gè。 dà yáng guó、 ōu yà xì yà hé dōng yà xì yà， xiǎo shuō shì cóng dà yáng guó zhǎn kāi xù shì de。 zhè gè guó jiā de shè huì jié gòu shì zhè yàng de； zhè shì yī gè jīn zì tǎ xíng de jié gòu， wèi yú dǐng duān shì lǎo dà gē， tā shì wàn néng de， cóng bù huì cuò de， tā cóng bù lòumiàn， tā de dà fú zhào piàn hù nèi hù wài què dào chù zhāng tiē。 jiǒng jiǒng yòu shén de yǎn jīng， jǐn dīng zhe chén mín。 lǎo dà gē de xià miàn shì yǐ tā wéi lǐng xiù de nèi céng dǎng， zhàn quán guó rén kǒu de bǎi fēn zhī 'èr， zài wǎng xià shì wài céng dǎng， dǐ céng shì pǔ tōng qún zhòng， zhàn dà yuē bǎi fēn zhī bā shí wǔ de rén kǒu。 dǎng yòu sān dà yuán zé：“ zhàn zhēng jiù shì hé píng”、“ zì yóu jiù shì nú yì”、“ yú mèi jiù shì lì liàng”。
　　 guó jiā yòu sān gè shén shèng bù kě qīn fàn de jiào tiáo： dì yī shì“ guò qù de gǎi biàn xìng” héng héng lì shǐ zì rán kě yǐ suí yì gǎi zào。 dì 'èr tiáo shì“ shuāngchóng sī xiǎng”， jí tóng shí jiē shòu liǎng gè xiāng hù máo dùn de shì shí： yī miàn gù yì sǎ huǎng piàn rén， yī miàn chéng xīn chéng yì dì xiāng xìn zì jǐ de huǎng yán； yī shǒu zhē gài kè guān shì shí， yī shǒu què jǐn wò zhè gè shì shí， děng dào yú jǐ yòu lì shí biàn ná chū lái shǐ yòng。 dì sān gè jiào tiáo， shì yǐ“ xīn huà” wéi jīng shén jiàn shè de zuì zhōng mù biāo。“ xīn yǔ” de quán bù mù de shì suō xiǎo rén lèi de sī xiǎng fàn wéi， shǐ rén men yōng yòu de biǎo dá sī xiǎng de yǔ yán shǎo dé lián sī xiǎng fàn zuì yě bù kě néng。“ xīn yǔ” zài běn zhì shàng 'ér yán， shì yī zhǒng zhǐ lù wéi mǎ de fú wù yú quán lì de yǔ yán tǐ xì。
　　 zhèng fǔ jī guān yòu sì gè bù， jí： fù yù bù、 hé píng bù、 rén 'ài bù hé zhēn lǐ bù。 fù yù bù shǐ rén 'ái’è， hé píng bù zhù guǎn zhàn zhēng， rén 'ài bù duì qún zhòng shí xíng yán mì de sī xiǎng kòng zhì， ér zhēn lǐ bù fù zé zào yáo。 zhè bù xiǎo shuō de zhù rén gōng wēn sī dùn jiù shì zhēn lǐ bù zhōng fù zé cuàn gǎi lì shǐ de yī gè xiǎo rén wù。 tā zài zhè zhǒng láo dòng zhōng duì jí quán chǎn shēng liǎo yàn 'è qíng xù， yàn 'è kòng zhì， yàn 'è mǐn miè gè xìng de jiān kòng tǐ xì； nǚ zhùjué zhū lì yà yě shì wài céng dǎng chéng yuán zhī yī， chū yú gòng tóng de yàn 'è， tā men xiāng 'ài liǎo。 ài qíng wǎn jiù liǎo tā men de ròu tǐ hé líng hún， chéng wéi tā men fǎn kàng tǐ zhì de nèi xīn dòng lì。 zuì hòu“ zǔ zhì” fā xiàn liǎo tā men de xíng wéi， tā men shuāng shuāng bèi bǔ rù yù， zài yù zhōng bèi xǐ nǎo。 zuì hòu tā men chū mài liǎo zì jǐ de líng hún， chū mài liǎo 'ài rén， xīn zhōng jǐn cún de yī diǎn rén xìng de guāng huī chè dǐ bèi tǐ zhì de hēi 'àn tūn méi。
　　 zhè shì yī gè dǒu zhēng、 bèi xìn、 è mó shìde cán rěn de shì jiè， guó jiā de mù biāo shì péi yǎng chóu hèn， dǎ jī tā rén， xiào zhōng lǎo dà gē。 zhè shì yī gè kǒng bù tǒng zhì de shè huì， zài zhè gè dì fāng， quán tǐ rén mín chǔyú wán quán jiān shì zhī xià、 zì yóu yǔ sī xiǎng shì chéng zhōng jué jì de zhēn pǐn， qū cóng yǔ wú yì shí bèi xùn liàn chéng yī zhǒng quán mín xīn tài。
　　 mù qián， guó nèi shàng wú yī běn quán bù shōu jí“ fǎn wū tuō bāng sān bù qū” de wén jí（ sān bù xiǎo shuō bù chāo guò 50 wàn zì）， dàn shì fēn kāi chū bǎn de yǐ jīng yòu hěn duō， rú zhù míng fān yì jiā dǒng lè shān xiān shēng fān yì de《 yī jiǔ bā sì》， běi jīng wài guó yǔ dà xué wài guó wén xué yán jiū suǒ yán jiū yuán、 qián《 sū lián wén xué》 zhù biān gù yà míng nǚ shì fān yì de《 wǒ men》（ zuò jiā chū bǎn shè）， zhù míng fān yì jiā sūn fǎ lǐ fān yì de《 měi miào de xīn shì jiè》（ yì lín chū bǎn shè chū bǎn）， yǐ jí zhōng guó huá qiáo chū bǎn shè chū bǎn de《 ào wēi 'ěr jīng huá wén jí》、 zhōng guó guǎng bō diàn shì chū bǎn shè chū bǎn de《 ào wēi 'ěr sǎnwén quán jí》、 zhōng guó zhì gōng chū bǎn shè chū bǎn de zhōng yīng wén duì zhào de《 yī jiǔ bā sì》、 huā chéng chū bǎn shè chū bǎn de《 yī jiǔ bā sì》、《 měi lì xīn shì jiè》、 yuǎn fāng chū bǎn shè chū bǎn de《 měi lì xīn shì jiè》 děng。 jīn hòu， wèile mí bǔ zhè yī yí hàn， xī wàng néng yòu yī liú de chū bǎn shè jìn kuài cèhuà lèi sì xuǎn tí， dǐng lì chū bǎn sān cè hé yī de fǎn wū tuō bāng wén jí， yǐ mǎn zú dú zhě、 shōu cáng zhě hé shì chǎng xū yào。
　　 wū tuō bāng rén suǒ zēng hèn de shì jīn yín zhū bǎo， tā men gěi nú lì dài jīn yín zhū bǎo dāng suǒ。
kōng xiǎng shè huì zhù yì
　　【 zhù zhāng】
　　 kōng xiǎng shè huì zhù yì zhě rèn wéi shè huì zhù yì de lǐ xiǎng shè huì yīnggāi jiàn zhù zài rén lèi de lǐ xìng hé zhèng yì de jī chǔ shàng。 zhè zhǒng shè huì zhì jīn hái wèi chū xiàn， shì yóu yú rén men bù rèn shí hé chéng rèn de yuán gù。 tā men jué dé zhǐ yào yòu tiān cái zhǎng wò liǎo zhè zhǒng sī xiǎng， bìng tuī guǎng kāi qù， jiù néng shí xiàn tā men xīn zhōng de lǐ xiǎng shè huì。 kōng xiǎng shè huì yì zhě fǎn duì zī běn zhù yì， bìng rèn wéi zī běn zhù yì de bō xuē zhì dù shì yóu yú rén lèi zài dào dé hé fǎ lǜ shàng fàn liǎo cuò wù， bèi qì liǎo rén lèi de běn xìng de yuán gù， tā men de mùdì shì yào xiāo miè zhè zhǒng cuò wù。
　　【 duì zī běn zhù yì zhì dù de pī pàn】
　　 suǒ yòu kōng xiǎng shè huì zhù yì zhě dū pī pàn zī běn zhù yì zhì dù， bìng què xìn zī běn zhù yì yīngdāng wéi shè huì zhù yì suǒ dài tì。 mò 'ěr jiē lù liǎo zī běn yuán shǐ jī lěi， tòng chì liǎo bō duó nóng mín tǔ dì de juàn dì yùn dòng， zhǐ chū zhè shì yáng chī rén。 shèng xī mén bǎ wú zhèng fǔ zhuàng tài chēng zuò " yī qiē zāinàn zhōng zuì yán zhòng de zāinàn "， rèn wéi jīng jì zì yóu bì rán dǎo zhì zhè yī zhuàng tài。 fù lì yè rèn wéi gù yōng láo dòng zhì dù shì " huī fù nú lì zhì dù "， zī běn zhù yì gōng chǎng shì " wēn hé de jiān yù "。 ōu wén pēng jī liǎo zī běn zhù yì sī yòu zhì， rèn wéi sī yòu zhì shì yī qiē jiē jí zhī jiān fēn zhēng de gēn yuán。 tā jiē lù liǎo zī běn zhù yì zhì dù xià de jiē jí bō xuē guān xì， gōng rén chuàng zào liǎo jù liàng de shè huì cái fù， què bèi gōng chǎng zhù、 shāng rén、 yínháng jiā、 jīng jì rén、 shōu zū zhě、 shí lì zhě yǐ jí dá guān xiǎn guì suǒ guā fēn。
　　【 gōng yòu zhì】
　　 dà duō shù kōng xiǎng shè huì zhù yì zhě dū zhù zhāng shí xíng " cái chǎn gōng yòu zhì "， dàn gè yòu jiàn jiě。 mò 'ěr děng bǎ cái chǎn gōng yòu zhì lǐ jiě wéi shēng chǎn zī liào hé xiāo fèi pǐn dū gōng gòng zhàn yòu。 mó lāi lǐ、 ōu wén děng zé lǐ jiě wéi chú rì cháng shēng huó pǐn yǐ wài de cái chǎn de gōng gòng zhàn yòu， jí shì shēng chǎn zī liào de gōng gòng zhàn yòu。 shǎo shù kōng xiǎng shè huì zhù yì zhě rú shèng xī mén、 fù lì yè zài zì jǐ de lǐ xiǎng shè huì zhōng bǎo cún liǎo shēng chǎn zī liào sī yòu zhì， zhè shì zī chǎn jiē jí qīng xiàng de míng xiǎn biǎo xiàn。 yī xiē kōng xiǎng shè huì zhù yì zhě yě tí chū liǎo jìhuà jīng jì de sī xiǎng。 shèng xī mén zhù zhāng， zài shí yè zhì dù xià yào yòu jìhuà dì zǔ zhì shēng chǎn， chè dǐ gēn chú wú zhèng fǔ zhuàng tài。
　　【 xiāo fèi】
　　16 zhì 18 shì jì de kōng xiǎng shè huì zhù yì dū dài yòu bù tóng de jìn yù zhù yì sè cǎi， yòu de shèn zhì gōng kāi gǔ chuī jiè jué yī qiē xiǎng shòu de、 kǔ xiū kǔ liàn de sī bā dá shì de shēng huó。 dào liǎo 19 shì jì chū qī， jìn yù zhù yì yǐ jīng shī qù dé yǐ cún zài de tiáo jiàn， zhè shí de kōng xiǎng shè huì zhù yì zhě pī pàn jìn yù zhù yì， duì wèi lái lǐ xiǎng shè huì de gāo dù wù zhì hé wén huà shēng huó shuǐ píng zuò liǎo fù yòu xī yǐn lì de hóng wěi xiǎng xiàng。
　　【 chéng xiāng jié hé】
　　 cóng tuō mǎ sī · mò 'ěr kāi shǐ， xǔ duō kōng xiǎng shè huì zhù yì zhě dū zhù yì dào jiě jué chéng xiāng duì lì、 nǎo lì láo dòng hé tǐ lì láo dòng duì lì de wèn tí。 luó bó tè · ōu wén zhù zhāng， bǎ chéng shì hé xiāng cūn jié hé qǐ lái， bǎ gōng yè hé nóng yè jié hé qǐ lái， bǎ nǎo lì láo dòng hé tǐ lì láo dòng jié hé qǐ lái。
　　【 fā zhǎn】
　　 kōng xiǎng shè huì zhù yì de fā zhǎn jīng lì liǎo 3 gè jiē duàn： 16 shì jì zhì 17 shì jì、 18 shì jì hé 19 shì jì chū， gòng jīng lì liǎo 300 duō nián。 3 gè jiē duàn de shè huì hé lì shǐ tiáo jiàn gè bù xiāng tóng， wú chǎn jiē jí de fā zhǎn shuǐ píng yě bù tóng。
　　16 shì jì zhì 17 shì jì， kōng xiǎng shè huì zhù yì zhě tí chū liǎo“ shí xíng gōng yòu zhì”、“ rén rén láo dòng、 àn xū fēn pèi” děng shè huì zhù yì jī běn yuán zé， dàn duì shè huì zhù yì de shè xiǎng hái zhǐ shì yī gè cū cāo 'ér jiǎn dān de lún kuò。
　　18 shì jì， zhè shí qī de kōng xiǎng shè huì zhù yì zhě kāi shǐ duì shè huì zhù yì jìn rù lǐ lùn tàn tǎo hé lùn zhèng jiē duàn， bìng yòng“ fǎ diǎn” xíng shì zuò chū míng què guī dìng； duì zī běn zhù yì sī yòu zhì jìn xíng liǎo pī pàn， rèn wéi sī yòu zhì yǐn qǐ jīng jì shàng de bù píng děng、 jìn 'ér dǎo zhì zhèng zhì shàng de bù píng děng； dāng jù bèi chū bù de jiē jí guān diǎn hòu， zhù zhāng shí xíng jué duì píng jūn zhù yì de、 sī bā dá shì de gòng chǎn zhù yì； zài shè jì wèi lái lǐ xiǎng shè huì shí， yǐ nóng cūn gōng shè hé shǒu gōng gōng chǎng wéi yuán xíng， zhù zhāng zài fēng jiàn zhì dù bēng kuì hòu， zài nóng cūn gōng shè hé shǒu gōng gōng chǎng de jī chǔ shàng jiàn lì shè huì zhù yì； zàn tóng jūn zhù zhì、 zhōng shēn zhì、 jiāzhǎng zhì děng。
　　19 shì jì 30 hé 40 nián dài， kōng xiǎng shè huì zhù yì fā zhǎn de dǐng fēng shí qī。 yóu yú yīng guó de gōng yè gé mìng zài 'ōu zhōu dà lù xùn sù fā zhǎn， zī běn zhù yì zhì dù de bì duān rì yì bào lù， zhè shí qī kōng xiǎng shè huì zhù yì zhě duì zī běn zhù yì de shè huì zhì dù、 zhèng zhì zhì dù hé dào dé guān niàn jìn xíng liǎo pī pàn； lǐ lùn shàng， tí chū zhèng zhì zhì dù de jī chǔ shì jīng jì zhuàng kuàng， zhǐ chū sī yòu zhì chǎn shēng jiē jí hé jiē jí bō xuē； shè jì wèi lái lǐ xiǎng shè huì zhù yì zhì dù shí yǐ dà gōng chǎng wéi yuán xíng， wán quán pāo qì liǎo píng jūn zhù yì hé jìn yù zhù yì。
　　【 dài biǎo rén wù】
　　 tuō mǎ sī · mò 'ěr
　　 kāng pà nèi lā
　　 gé lā kè sī · bā bèi fū
　　 mǎ bù lì
　　 kè láo dé · áng liè · shèng xī mén
　　 chá 'ěr sī · fù lì yè
　　 luó bó tè · ōu wén
yīng wén jiè shào
　　1.Utopia
　　Utopia is a name for an ideal community, taken from the title of a book written in1516 by Sir Thomas More describing a fictional island in the Atlantic Ocean, possessing a seemingly perfect socio-politico-legal system. The term has been used to describe both intentional communities that attempted to create an ideal society, and fictional societies portrayed in literature. "Utopia" is sometimes used pejoratively, in reference toan unrealistic ideal that is impossible to achieve, and has spawned other concepts, most prominently dystopia.
　　The word comes from Greek: οὐ, "not", and τόπος, "place", indicating that More was utilizing the concept as allegory and did not consider such an idealplace to be realistically possible. It is worth noting that the homophone Eutopia, derived from the Greek εὖ, "good" or "well", andτόπος, "place", signifies a double meaning that was almost certainly intended. Despite this, most modern usage of the term "Utopia" assumesthe latter meaning, that of a place of perfection rather than nonexistence.
　　Related terms
　　Dystopia is a negative utopia:a totalitarian and repressive world. Examples: Jack London's The IronHeel, George Orwell's 1984; Aldous Huxley's Brave New World; RayBradbury's Fahrenheit 451, Anthony Burgess's A Clockwork Orange; AlanMoore's V for Vendetta; Margaret Atwood's The Handmaid's Tale; EvgeniiZamiatin's We; Ayn Rand's Anthem; Samuel Butler's Erewhon; ChuckPalahniuk's Rant; Cormac McCarthy's The Road; Terry Gilliam's Brazil,Katsuhiro Otomo's Akira
　　Eutopia is a positive utopia, different in that it means "perfect" but not "fictional".
　　Outopiaderived from the Greek 'ou' for "no" and '-topos' for "place," afictional, this means unrealistic or directly translated "Nothing, nomatter what" This is the other half from Eutopia, and the two togethercombine to Utopia.
　　Heterotopia, the "other place", with its realand imagined possibilities (a mix of "utopian" escapism and turningvirtual possibilities into reality) héng example: cyberspace. Samuel R.Delany's novel Trouble on Triton is subtitled An Ambiguous Heterotopiato highlight that it is not strictly utopian (though not dystopian).The novel offers several conflicting perspectives on the concept ofutopia.
　　Some questions have arisen about the fact that writers andpeople in history have used utopia to define a perfect place. Utopia isa perfect but unreal place. A proper definition of a perfect and realplace is eutopia.
　　Moore's utopia is largely based on Plato'sRepublic . It is a perfect version of Republic wherein the beautiesof society reign (eg: equality and a general pacifist attitude),although its citizens are all ready to fight if need be. The evils ofsociety, eg: poverty and misery, are all removed. It has few laws, nolawyers and rarely sends its citizens to war, but hires mercenariesfrom among its war-prone neighbors (these mercenaries were deliberatelysent into dangerous situations in the hope that the more warlikepopulations of all surrounding countries will be weeded out, leavingpeaceful peoples). The society encourages tolerance of all religions.Some readers have chosen to accept this imaginary society as therealistic blueprint for a working nation, while others have postulatedMoore intended nothing of the sort. Some maintain the position thatMoore's Utopia functions only on the level of a satire, a work intendedto reveal more about the England of his time than about an idealisticsociety. This interpretation is bolstered by the title of the book andnation, and its apparent equivocation between the Greek for "no place"and "good place": "Utopia" is a compound of the syllable ou-, meaning"no", and topos, meaning place. But the homonymous prefix eu-, meaning"good," also resonates in the word, with the implication that theperfectly "good place" is really "no place."
　　Economic utopia
　　Theseutopias are based on economics. Most intentional communities attemptingto create an economic utopia were formed in response to the harsheconomic conditions of the 19th century.
　　Particularly in the earlynineteenth century, several utopian ideas arose, often in response tothe social disruption created by the development of commercialism andcapitalism. These are often grouped in a greater "utopian socialist"movement, due to their shared characteristics: an egalitariandistribution of goods, frequently with the total abolition of money,and citizens only doing work which they enjoy and which is for thecommon good, leaving them with ample time for the cultivation of thearts and sciences. One classic example of such a utopia was EdwardBellamy's Looking Backward. Another socialist utopia is William Morris'News from Nowhere, written partially in response to the top-down(bureaucratic) nature of Bellamy's utopia, which Morris criticized.However, as the socialist movement developed it moved away fromutopianism; Marx in particular became a harsh critic of earliersocialism he described as utopian. (For more information see theHistory of Socialism article.) Also consider Eric Frank Russell's bookThe Great Explosion (1963) whose last section details an economic andsocial utopia. This forms the first mention of the idea of LocalExchange Trading Systems (LETS).
　　Utopias have also been imagined bythe opposite side of the political spectrum. For example, Robert A.Heinlein's The Moon Is a Harsh Mistress portrays an individualistic andlibertarian utopia. Capitalist utopias of this sort are generally basedon free market economies, in which the presupposition is that privateenterprise and personal initiative without an institution of coercion,government, provides the greatest opportunity for achievement andprogress of both the individual and society as a whole.
　　There isanother view that capitalist utopias do not address the issue of marketfailure, any more than socialist utopias address the issue of planningfailure. Thus a blend of socialism and capitalism is seen by some asthe type of economy in a utopia. For example, one such idea is to havesmall, community-owned enterprises working under a market-based modelof economy.
　　Political and historical utopia
　　Politicalutopias are ones in which the government establishes a society that isstriving toward perfection. A political or historical utopia isbasically impossible to find.
　　A global utopia of world peace isoften seen as one of the possible endings of history. Within thelocalized political structures or spheres it presents,"polyculturalism" is the model-based adaptation of possibleinteractions between different cultures and identities in accordancewith the principles of participatory society.
　　Sparta was amilitaristic eutopia founded by Lycurgus (though some, especiallyAthenians, may have considered it a dystopia). It was a Greek poweruntil its defeat by the Thebans at the battle of Leuctra.
　　Religious utopia
　　NewHarmony, a utopian attempt; depicted as proposed by Robert OwenTheseutopias are based on religious ideals, and are to date those mostcommonly found in human society. Their members are usually required tofollow and believe in the particular religious tradition thatestablished the utopia. Some permit non-believers or non-adherents totake up residence within them; others (such as the Community at Qumran)do not.
　　The Islamic, Jewish, and Christian ideas of the Garden ofEden and Heaven may be interpreted as forms of utopianism, especiallyin their folk-religious forms. Such religious utopias are oftendescribed as "gardens of delight", implying an existence free fromworry in a state of bliss or enlightenment. They postulate freedom fromsin, pain, poverty, and death, and often assume communion with beingssuch as angels or the houri. In a similar sense the Hindu concept ofMoksha and the Buddhist concept of Nirvana may be thought of as a kindof utopia. In Hinduism or Buddhism, however, utopia is not a place buta state of mind. A belief that if we are able to practice meditationwithout continuous stream of thoughts, we are able to reachenlightenment. This enlightenment promises exit from the cycle of lifeand death, relating back to the concept of utopia.
　　However, theusual idea of Utopia, which is normally created by human effort, ismore clearly evident in the use of these ideas as the bases forreligious utopias, as members attempt to establish/reestablish on Eartha society which reflects the virtues and values they believe have beenlost or which await them in the Afterlife.
　　In the United States andEurope during the Second Great Awakening of the nineteenth century andthereafter, many radical religious groups formed eutopian societies inwhich all aspects of people's lives could be governed by their faith.Among the best-known of these eutopian societies were the Shakers,which originated in England in the 18th century but moved to Americashortly afterward. Other good examples are Fountain Grove, Riker's HolyCity and other Californian eutopian colonies between 1855 and 1955(Hine), as well as Sointula in British Columbia, Canada.
　　[edit] Scientific and technological utopia
　　Seealso: hedonistic imperative, transhumanism, technological singularity,abolitionist society, techno-utopia, and Technocracy movement
　　Utopianflying machines of the previous century, France, 1890-1900(chromolithograph trading card).These are set in the future, when it isbelieved that advanced science and technology will allow utopian livingstandards; for example, the absence of death and suffering; changes inhuman nature and the human condition. These utopian societies tend tochange what "human" is all about. Technology has affected the wayhumans have lived to such an extent that normal functions, like sleep,eating or even reproduction, has been replaced by an artificial means.Other kinds of this utopia envisioned, include a society where humanshave struck a balance with technology and it is merely used to enhancethe human living condition (e.g. Star Trek). In place of the staticperfection of a utopia, libertarian transhumanists envision an"extropia", an open, evolving society allowing individuals andvoluntary groupings to form the institutions and social forms theyprefer.
　　Buckminster Fuller presented a theoretical basis fortechnological utopianism and set out to develop a variety oftechnologies ranging from maps to designs for cars and houses whichmight lead to the development of such a utopia.
　　One notable example of a technological and libertarian socialist utopia is Scottish author Iain M. Banks' Culture.
　　Avariation on this theme was found earlier in the theories of eugenics.Believing that many traits were hereditary in nature, the eugenistsbelieved that not only healthier, more intelligent race could be bred,but many other traits could be selected for, including "talent", oragainst, including drunkness and criminality. This called for "positiveeugenics" encouraging those with good genes to have children, and"negative eugenics" discouraging those with bad genes, or preventingthem altogether by confinement or forcible sterilization.
　　Opposingthis optimism is the prediction that advanced science and technologywill, through deliberate misuse or accident, cause environmental damageor even humanity's extinction. Critics advocate precautions against thepremature embrace of new technologies.
　　Utopianism
　　Utopianism refers to various social and political movements.
　　Inmany cultures, societies, religions, and cosmogonies, there is somemyth or memory of a distant past when humankind lived in a primitiveand simple state, but at the same time one of perfect happiness andfulfillment. In those days, the various myths tell us, there was aninstinctive harmony between man and nature. Men's needs were few andtheir desires limited. Both were easily satisfied by the abundanceprovided by nature. Accordingly, there were no motives whatsoever forwar or oppression. Nor was there any need for hard and painful work.Humans were simple and pious, and felt themselves close to the gods.
　　Thesemythical or religious archetypes are inscribed in all the cultures andresurge with special vitality when people are in difficult and criticaltimes. However, the projection of the myth does not take place towardsthe remote past, but either towards the future or towards distant andfictional places, imagining that at some time of the future, at somepoint of the space or beyond the death must exist the possibility ofliving happily.
　　These myths of the earliest stage of humankind have been referred to by various religions:
　　TheGolden Age by Lucas Cranach the Elder.Golden Age The Greek poet Hesiod,around the 8th century BC, in his compilation of the mythologicaltradition (the poem Works and Days), explained that, prior to thepresent era, there were other four progressively more perfect ones, theoldest of which was the Golden age.
　　Plutarch, the Greek historian and biographer of the 1st century, dealt with the blissful and mythic past of the humanity.
　　Arcadia,e.g. in Sir Philip Sidney's prose romance The Old Arcadia (1580).Originally a region in the Peloponnesus, Arcadia became a synonym forany rural area that serves as a pastoral setting, as a locus amoenus("delightful place"):
　　The Biblical Garden of Eden The Biblical Garden of Eden as depicted in Genesis 2 (Authorized Version of 1611):
　　"Andthe Lord God planted a garden eastward in Eden; and there he put theman whom he had formed. And out of the ground made the Lord God to growevery tree that is pleasant to the sight, and good for food; the treeof life also in the midst of the garden, and the tree of knowledge ofgood and evil. [...]
　　And the Lord God took the man, and put him intothe garden of Eden to dress it and to keep it. And the Lord Godcommanded the man, saying, Of every tree of the garden thou mayestfreely eat: but of the tree of the knowledge of good and evil, thoushalt not eat of it: for in the day that thou eatest thereof thou shaltsurely die. [...]
　　And the Lord God said, It is not good that the manshould be alone; [...] And the Lord God caused a deep sleep to fallupon Adam, and he slept: and he took one of his ribs, and closed up theflesh instead thereof; and the rib, which the Lord God had taken fromman, made he a woman, and brought her unto the man."
　　The Land ofCokaygne The Land of Cokaygne [also spelled Cockaygne or Cockaigne] (inthe German tradition referred to as "Schlaraffenland") has beenaptly called the "poor man's heaven", being a popular fantasy of purehedonism and thus a foil for the innocent and instinctively virtuouslife that is depicted in all the other accounts mentioned above.Cockaygne is a land of extravagance and excess rather than simplicityand piety. There is freedom from work, and every material thing is freeand available. Cooked larks fly straight into one's mouth; the riversrun with wine; sexual promiscuity is the norm; and there is a fountainof youth which keeps everyone young and active.
　　There is a medieval poem (c. 1315) written in rhyming couplets which is entitled "The Land of Cokaygne":
　　"Far in the sea, to the west of Spain,
　　Is a country called Cokaygne.
　　There's no land not anywhere,
　　In goods or riches to compare.
　　Though Paradise be merry and bright
　　Cokaygne is of far fairer sight...."
　　Finding utopia
　　Thesemyths also express some hope that the idyllic state of affairs theydescribe is not irretrievably and irrevocably lost to mankind, that itcan be regained in some way or other.
　　One way would be to look forthe "earthly paradise" héng a place like Shangri-La, hidden in the Tibetanmountains and described by James Hilton in his Utopian novel LostHorizon (1933). Such paradise on earth must be somewhere if only manwere able to find it. Christopher Columbus followed directly in thistradition in his belief that he had found the Garden of Eden when,towards the end of the 15th century, he first encountered the New Worldand its indigenous inhabitants.
　　Another way of regaining the lostparadise (or Paradise Lost, as 17th century English poet John Miltoncalls it) would be to wait for the future, for the return of the GoldenAge. According to Christian theology, the Fall from Paradise, caused byMan alone when he disobeyed God ("but of the tree of the knowledge ofgood and evil, thou shalt not eat of it"), has resulted in thewickedness of character that all human beings have been born with since(original sin).
　　In a scientific approach to finding utopia, theGlobal Scenario Group, an international group of scientists founded byPaul Raskin, used scenario analysis and backcasting to map out a pathto an environmentally sustainable and socially equitable future. Itsfindings suggest that a global citizens' movement is necessary to steerpolitical, economic, and corporate entities toward this newsustainability paradigm.
　　[edit] Examples of utopia
　　See also utopian and dystopian fiction
　　Plato'sRepublic (400 BC) was, at least on one level, a description of apolitical utopia ruled by an elite of philosopher kings, conceived byPlato. (Compare to his Laws, discussing laws for a real city.)
　　TheCity of God (written 413– 426) by Augustine of Hippo, describes an idealcity, the "eternal" Jerusalem, the archetype of all Christian utopias.
　　Utopia (1516) by Thomas More a Gutenberg text of the book
　　ReipublicaeChristianopolitanae descriptio (Beschreibung des Staates Christenstadt)(1619) by Johann Valentin Andreæ, describes a Christianutopia inhabited by a community of scholar-artisans and run as ademocracy.
　　The City of the Sun (1623) by Tommaso Campanella depicts a theocratic and communist society.
　　The New Atlantis (1627) by Francis Bacon.
　　Zwaanendael Colony (1631) by Pieter Corneliszoon Plockhoy in Delaware.
　　Newsfrom Nowhere by William Morris (1892), Shows "Nowhere", a place withoutpolitics, a future society based on common ownership and democraticcontrol of the means of production.
　　Gloriana, or the Revolutionof 1900 (1890) by Lady Florence Dixie. The female protagonist poses asa man, Hector l'Estrange, is elected to the House of Commons, and winswomen the vote. The book ends in the year 1999, with a description of aprosperous and peaceful Britain governed by women.
　　H. G. Wells's A Modern Utopia (1905) is half fiction and half philosophical debate.
　　Islandia(1942), by Austin Tappan Wright, an imaginary island in the SouthernHemisphere, a utopian containing many Arcadian elements, including arejection of technology.
　　Island (novel) (1962) by Aldous Huxleyfollows the story of Will Farnaby, a cynical journalist, who shipwreckson the fictional island of Pala and experiences their unique cultureand traditions which create a utopian society.
　　Ecotopia: TheNotebooks and Reports of William Weston (1975) by Ernest Callenbach,ecological utopia in which the Pacific Northwest has seceded from theunion to set up a new society.
　　Woman on the Edge of Time (1976) byMarge Piercy, the story of a middle-aged Hispanic woman who has visionsof a utopian society.
　　The Probability Broach (1980), by L. NeilSmith, presents both utopian and dystopian views of present day NorthAmerica, through alternative outcomes of the American War forIndependence.
　　Always Coming Home (1985), by Ursula K. Le Guin, acombination of fiction and fictional anthropology about a society inCalifornia in the distant future.
　　2.an ideal place or state
cí yì
　　pīn yīn： wūtuōbāng
　　 wū tuō bāng de yuán cí lái zì liǎng gè xī là yǔ de cí gēn，“ ou” shì“ méi yòu” de yì sī（ yī shuō shì“ hǎo” de yì sī），“ topos” shì“ dì fāng” de yì sī。
　　 kōng xiǎng shè huì zhù yì de chuàng shǐ rén tuō mǎ sī · mò 'ěr（ yīng guó rén） zài tā de míng zhù《 wū tuō bāng 》 zhōng xū gòu liǎo yī gè háng hǎi jiā háng xíng dào yī gè qí xiāng yì guó“ wū tuō bāng ” de lǚ xíng jiàn wén。 zài nà lǐ， cái chǎn shì gōng yòu de， rén mín shì píng děng de， shí xíng zhe 'àn xū fēn pèi de yuán zé， dà jiā chuān tǒng yī de gōng zuò fú， zài gōng gòng cān tīng jiù cān， guān lì yóu mì mì tóu piào chǎn shēng。 tā rèn wéi， sī yòu zhì shì wàn 'è zhī yuán， bì xū xiāo miè tā。
dài biǎo rén wù jí zhù zuò
　　tuō mǎ sī · mò 'ěr
　　 zhù zuò
　　《 wū tuō bāng 》 yī shū shì yīng guó kōng xiǎng shè huì zhù yì zhě tuō mǎ sī · mò 'ěr de bù xiǔ jù zhù， yòng lā dīng yǔ xiě chéng， shū de quán míng yuán wéi《 guān yú zuì wán měi de guó jiā zhì dù hé wū tuō bāng xīn dǎo de jì yòu lì yì yòu yòu qù de quán shū》。 zhè bù shū shì１５１５－１５１６ nián tā chū shǐ 'ōu zhōu shí qī， yòng lā dīng wén xiě chéng de。 wū tuō bāng de yuán cí lái zì liǎng gè xī là yǔ de cí gēn，“ ou” shì“ méi yòu” de yì sī ( yī shuō shì“ hǎo” de yì sī )，“ topos” shì“ dì fāng” de yì sī， hé zài yī qǐ shì“ wū yòu zhī xiāng”。
　　 mò 'ěr běn rén de wū tuō bāng shì yī gè wán quán lǐ xìng de gòng hé guó， shū zhōng miáo huì liǎo yī gè tā suǒ chōng jǐng de měi hǎo shè huì， nà lǐ yī qiē shēng chǎn zī liào guī quán mín suǒ yòu， shēng huó yòng pǐn 'àn xū fēn pèi， rén rén cóng shì shēng chǎn láo dòng， ér qiě yòu chōng zú de shí jiān cóng shì kē xué yán jiū hé yú lè， nà lǐ méi yòu jiǔ diàn、 jì yuàn， yě méi yòu duò luò hé zuì 'è。 zài zhàn zhēng shí qī tā gù yōng lín jìn hàozhàn guó jiā de gù yōng bīng， ér bù shǐ yòng zì jǐ de gōng mín。 mò 'ěr běn rén shì yī gè xìn yǎng hěn shēn de rén。 tā céng jīng xiǎng guò zuò mù shī， tā de xiǎo shuō kě néng shòu dào yé sū huì de yǐng xiǎng。
　　 wū tuō bāng yòng yú bǐ yù wú fǎ shí xiàn de lǐ xiǎng huò kōng xiǎng de měi hǎo shè huì（ tú wéi mó 'ěr《 wū tuō bāng 》 yī shū zhōng de wū tuō bāng dì tú）。
　　 zài《 wū tuō bāng 》 zhōng， mò 'ěr shǒu cì yòng“ yáng chī rén” lái jiē lù zuì 'è de“ juàn dì yùn dòng” ( zhè yī tí fǎ bèi mǎ kè sī duō cì yǐn yòng )， bìng tí chū liǎo gōng yòu zhì， tǎo lùn liǎo yǐ rén wéi běn、 hé xié gòng chù、 hūn yīn zì yóu、 ān lè sǐ、 zūn zhòng nǚ quán、 zōng jiào duō yuán děng yǔ xiàn dài rén shēng huó xiū qī xiāng guān de wèn tí。 tā chuàng zào liǎo“ wū tuō bāng ” yī cí， kāi chuàng liǎo kōng xiǎng shè huì zhù yì xué shuō， qí sī xiǎng yě chéng wéi xiàn dài shè huì zhù yì sī cháo de lái yuán zhī yī。
　　 dài biǎo rén wù
　　　 tuō mǎ sī · mò 'ěr
　　 kāng pà nèi lā
　　 gé lā kè sī · bā bèi fū
　　 mǎ bù lì
　　 kè láo dé · áng liè · shèng xī mén
　　 chá 'ěr sī · fù lì yè
　　 luó bó tè · ōu wén
xiāng guān guān diǎn
　　fǎn wū tuō bāng
　　　 fǎn wū tuō bāng （ Dystopia） shì wén xué， yóu qí shì kē huàn wén xué zhōng de yī zhǒng wén xué tǐ cái hé liú pài。 fǎn wū tuō bāng zhù yì miáo huì de shì fǎn miàn de lǐ xiǎng shè huì。 fǎn wū tuō bāng zhù yì de dài biǎo zuò shì 1932 nián yīng guó hè xū lí suǒ zhù de《 měi lì de xīn shì jiè》， yīng guó qiáo zhì • ào wēi 'ěr de《 dòng wù zhuāng yuán》 hé《 yī jiǔ bā sì》， yǐ jí 'é guó zhā mǐ yà jīng de《 wǒ men》。
　　《 měi lì de xīn shì jiè》 yǐ měi guó mèng de shí jiàn wéi jī chǔ， máo tóu zhù yào zhǐ xiàng suǒ wèi de kē xué zhù yì , miáo huì liǎo kē xué zhù yì de wū tuō bāng 。 jù tǐ dì shuō，《 měi lì de xīn shì jiè》 yù cè liǎo 600 nián hòu de shì jiè。 shū zhōng miáo xiě měi guó qì chē dà hēng hēng lì • fú tè dài tì liǎo shàng dì， yīn wéi fú tè fā míng liǎo shēng chǎn qì chē de liú shuǐ xiàn， shǐ shēng chǎn fēi sù fā zhǎn， zhè zhǒng shēng chǎn fāng fǎ zhōng yú tǒng zhì liǎo zhěng gè shì jiè， gōng yuán yě yīn cǐ biàn chéng liǎo“ fú yuán”。 zài xīn shì jiè lǐ， chǔyú“ xìng fú” zhuàng tài de rén men 'ān yú zì jǐ de“ děng jí”， rè 'ài zì jǐ de gōng zuò， měi tiān xiǎng yòng dìng liàng pèi gěi de“ suǒ má” héng héng yī zhǒng ràng rén wàng diào qī qíng liù yù、“ yòu yā piàn zhī yì 'ér wú yā piàn zhī hài” de yào pǐn。 zuò zhě miáo xiě liǎo yī gè bǎo liú qū nèi de“ yě rén”， tā lái dào liǎo pàn wàng yǐ jiǔ de“ xīn shì jiè”， kāi shǐ shí wéi wù zhì huán jìng de gǎi biàn 'ér tì líng， huān hū dào dá liǎo héng héng měi lì xīn shì jiè， suí hòu zhōng yīn tā hái yòu xuè xìng， wú fǎ shì yìng zài liú shuǐ shēng chǎn de shè huì zhōng de bái yǐ shì de shēng huó， jiā shàng tā rèn wéi zì jǐ de xīn shàng rén fàng dàng 'ér wú fǎ rěn shòu（ xīn shì jiè de míng yán： měi yī gè rén shǔ yú měi yī gè rén。 gù wú suǒ wèi“ fàng dàng” kě yán）， shǐ tā zuì hòu de jīng shén jì tuō pò miè， zhōng yú zài gū dú、 jué wàng zhōng zì jìn shēn wáng。 zài zhè gè“ xīn shì jiè” lǐ， shè huì 'ān dìng jiù shì yī qiē， yǐng xiǎng 'ān dìng de sī xiǎng、 yì shù、 zōng jiào、 jiā tíng、 qíng xù jí gè zhǒng chā yì dàng rán wú cún。“ yě rén” de xíng xiàng jiù shì jīn tiān rén lèi de huà shēn， tā de chǔjìng hé bēi jù jié jú lìng rén bù hán 'ér lì。
　　《 wǒ men》 shì yī bù róng kē huàn yǔ shè huì fěng cì yú yī tǐ de cháng piān xiǎo shuō。 jiǎng shù“ wǒ” héng héng wèi lái de dà tǒng yī wáng guó de shù xué jiā、 shè jì shī de gù shì。 dà tǒng yī wáng guó yóu dà 'ēn zhù lǐng dǎo， rén men gāo dù yī lǜ， dōuméi yòu dú tè de xìng míng， zhǐ yòu biān hào。 wǒ shì hào mǎ 503。 zhè gè wáng guó de rén men lián zuò xī dū yán gé 'àn zhào wáng guó fā xià de《 zuò xī shí jiān jiè lǜ biǎo》 lái jìn xíng。 wáng guó de rén men yě bù kě néng zì jǐ qù zhǎo duì xiàng， ér shì zài tǒng yī lǐng dǎo xià yóu wáng guó de yòu guān jī gòu zhǐ dìng。 gěi nà xiē biān hào de nán nǚ fā yī zhǒng fěn hóng sè de xiǎo piào， ràng tā men píng piào jìn xíng xìng shēng huó。 bǐ rú jīn tiān nán hào mǎ 503 de xìng duì xiàng jiù shì nǚ hào mǎ O-90。 dàn shì 503 yě tōu tōu dì kàn diǎn jìn shū， fā xiàn gǔ rén jū rán hái shēng huó zài zì yóu zhī zhōng， yě jiù shì shuō hái shēng huó zài wú zǔ zhì hé yě mán zhī zhōng。“ shǐ wǒ yī zhí kùn huò bù jiě de shì： dāng shí de guó jiā zhèng quán zěn me néng yǔn xǔ rén men shēng huó zhōng méi yòu wǒ men zhè yàng de shǒu shí jiè lǜ biǎo， duì yòng cān shí jiān bù zuò jīng què de 'ān pái， rénrén zì yóu dì qǐ chuáng、 shuì jué。 yòu de shǐ xué jiā hái tán dào， dāng shí de jiē shàng hǎo xiàng dēng huǒ chè yè tōng míng， chē mǎ xíng rén tōng xiāo chuān xíng bù xī。”
　　 gèng lìng hào mǎ 503 qí guài de shì：“ zhè gè guó jiā jū rán duì xìng shēng huó fàng rèn bù guǎn héng héng zhè zhēn shì duō duō guài shì： bù guǎn shì shuí， zài shénme shí hòu， jìn xíng duō shǎo cì， zài shénme dì diǎn…… dū yóu zhe rén men zì jǐ， wán quán bù 'àn kē xué guī lǜ xíng shì， huó xiàng dòng wù。 tā men yě hé dòng wù yī yàng， máng mù suí biàn dì luàn shēng wá wá， zhēn ràng wǒ jué dé kě xiào！”
　　 zhè gè dà 'ēn zhù lǐng dǎo de dà tǒng yī wáng guó chōng mǎn zhe hěn duō kē xué de chuàng zào fā míng， zài tā men yǎn zhōng， wǒ men zhè xiē gǔ rén shì bù kě sī yì de。 zài wǒ men yǎn zhōng， tā men yǐ jīng kē xué jìn huà dé jìn hū wán měi。 bǐ rú， tā men yǐ jīng yòng kē xué shǒu duàn lái xiě shī gē liǎo， bǎ shù xué fǎ zé róng rù shī gē zhī zhōng。 yòu bǐ rú shuō， tā men tiān cái xìng dì chuàng zào fā míng liǎo“ yī zhì tóng yì jié”。
　　 yóu yú hào mǎ 503 shòu dào gǔ shū de yì duān xié shuō yòu huò， yǐ jí kè zhì bù zhù zì jǐ tǐ nèi de gǔ lǎo yù wàng de fù sū， 503 de sī xiǎng bèi guó jiā hù wèi jú zhēn pò， zuì hòu bèi sòng jìn liǎo yī zhǒng jiào zuò“ qì zhōng zhào” de xíng jù lǐ chǔsǐ…… dāng rán zhè gè dà tǒng yī wáng guó lǐ yǐ jīng yòu bù shǎo hào mǎ yǐ jīng bèi pàn liǎo lǐ xìng。“ xī bù jiē qū réng hěn hùn luàn， nà lǐ yòu kū yòu hǎn， yòu shì shī tǐ， yòu shì yě shòu……”
　　 gù shì sì hū shì zài yī zhǒng xiè zhù lóng 'ēn de qì fēn zhōng jié shù。 hào mǎ 503 zài lín sǐ qián jiān dìng liǎo duì wáng guó lǐ xiǎng de xìn niàn：“ 40 hào héng jiē shàng yǐ jīng zhù qǐ liǎo yī dǔ lín shí gāo yā dà qiáng。 wǒ xī wàng shèng lì huì shǔ yú wǒ men。 wǒ bù zhǐ shì xī wàng， wǒ què xìn， shèng lì shǔ yú wǒ men。 yīn wéi lǐ xìng bì shèng。”
　　《 1984》 yóu qiáo zhì • ào wēi 'ěr (GeorgeOrwell) yú 1948 nián xiě jiù。 tā de lìng yī bù zhòng yào xiǎo shuō shì《 dòng wù zhuāng yuán》
　　 tā céng shuō zì jǐ“ cóng 1930 nián qǐ jiù shì yī gè shè huì zhù yì zhě liǎo”， ér zhè shí hòu， tā yòu kāi shǐ kǎo lǜ“ hàn wèi mín zhù shè huì zhù yì” de wèn tí liǎo。 zhè gè sī xiǎng chū fā diǎn， yī zhí yǐng xiǎng dào tā hòu qī de liǎng bù míng zuò《 dòng wù zhuāng yuán》 hé《 1984》（ NineteenEighty-Four,1949） chuàng zuò。 1950 nián 1 yuè， ào wēi 'ěr bìng shì， xiǎng nián 46 suì。
　　《 1984》 miáo huì liǎo jí quán zhù yì de wū tuō bāng
　　《 1984》 de nèi róng： dào liǎo 1984 nián， shì jiè shàng de guó jiā yǐ jīng jiǎn shǎo dào sān gè。 dà yáng guó、 ōu yà xì yà hé dōng yà xì yà， xiǎo shuō shì cóng dà yáng guó zhǎn kāi xù shì de。 zhè gè guó jiā de shè huì jié gòu shì zhè yàng de； zhè shì yī gè jīn zì tǎ xíng de jié gòu， wèi yú dǐng duān shì lǎo dà gē， tā shì wàn néng de， cóng bù huì cuò de， tā cóng bù lòumiàn， tā de dà fú zhào piàn hù nèi hù wài què dào chù zhāng tiē。 jiǒng jiǒng yòu shén de yǎn jīng， jǐn dīng zhe chén mín。 lǎo dà gē de xià miàn shì yǐ tā wéi lǐng xiù de nèi céng dǎng， zhàn quán guó rén kǒu de bǎi fēn zhī 'èr， zài wǎng xià shì wài céng dǎng， dǐ céng shì pǔ tōng qún zhòng， zhàn dà yuē bǎi fēn zhī bā shí wǔ de rén kǒu。 dǎng yòu sān dà yuán zé：“ zhàn zhēng jiù shì hé píng”、“ zì yóu jiù shì nú yì”、“ yú mèi jiù shì lì liàng”。
　　 guó jiā yòu sān gè shén shèng bù kě qīn fàn de jiào tiáo： dì yī shì“ guò qù de gǎi biàn xìng” héng héng lì shǐ zì rán kě yǐ suí yì gǎi zào。 dì 'èr tiáo shì“ shuāngchóng sī xiǎng”， jí tóng shí jiē shòu liǎng gè xiāng hù máo dùn de shì shí： yī miàn gù yì sǎ huǎng piàn rén， yī miàn chéng xīn chéng yì dì xiāng xìn zì jǐ de huǎng yán； yī shǒu zhē gài kè guān shì shí， yī shǒu què jǐn wò zhè gè shì shí， děng dào yú jǐ yòu lì shí biàn ná chū lái shǐ yòng。 dì sān gè jiào tiáo， shì yǐ“ xīn huà” wéi jīng shén jiàn shè de zuì zhōng mù biāo。“ xīn yǔ” de quán bù mù de shì suō xiǎo rén lèi de sī xiǎng fàn wéi， shǐ rén men yōng yòu de biǎo dá sī xiǎng de yǔ yán shǎo dé lián sī xiǎng fàn zuì yě bù kě néng。“ xīn yǔ” zài běn zhì shàng 'ér yán， shì yī zhǒng zhǐ lù wéi mǎ de fú wù yú quán lì de yǔ yán tǐ xì。
　　 zhèng fǔ jī guān yòu sì gè bù， jí： fù yù bù、 hé píng bù、 rén 'ài bù hé zhēn lǐ bù。 fù yù bù shǐ rén 'ái’è， hé píng bù zhù guǎn zhàn zhēng， rén 'ài bù duì qún zhòng shí xíng yán mì de sī xiǎng kòng zhì， ér zhēn lǐ bù fù zé zào yáo。 zhè bù xiǎo shuō de zhù rén gōng wēn sī dùn jiù shì zhēn lǐ bù zhōng fù zé cuàn gǎi lì shǐ de yī gè xiǎo rén wù。 tā zài zhè zhǒng láo dòng zhōng duì jí quán chǎn shēng liǎo yàn 'è qíng xù， yàn 'è kòng zhì， yàn 'è mǐn miè gè xìng de jiān kòng tǐ xì； nǚ zhùjué zhū lì yà yě shì wài céng dǎng chéng yuán zhī yī， chū yú gòng tóng de yàn 'è， tā men xiāng 'ài liǎo。 ài qíng wǎn jiù liǎo tā men de ròu tǐ hé líng hún， chéng wéi tā men fǎn kàng tǐ zhì de nèi xīn dòng lì。 zuì hòu“ zǔ zhì” fā xiàn liǎo tā men de xíng wéi， tā men shuāng shuāng bèi bǔ rù yù， zài yù zhōng bèi xǐ nǎo。 zuì hòu tā men chū mài liǎo zì jǐ de líng hún， chū mài liǎo 'ài rén， xīn zhōng jǐn cún de yī diǎn rén xìng de guāng huī chè dǐ bèi tǐ zhì de hēi 'àn tūn méi。
　　 zhè shì yī gè dǒu zhēng、 bèi xìn、 è mó shìde cán rěn de shì jiè， guó jiā de mù biāo shì péi yǎng chóu hèn， dǎ jī tā rén， xiào zhōng lǎo dà gē。 zhè shì yī gè kǒng bù tǒng zhì de shè huì， zài zhè gè dì fāng， quán tǐ rén mín chǔyú wán quán jiān shì zhī xià、 zì yóu yǔ sī xiǎng shì chéng zhōng jué jì de zhēn pǐn， qū cóng yǔ wú yì shí bèi xùn liàn chéng yī zhǒng quán mín xīn tài。
　　 mù qián， guó nèi shàng wú yī běn quán bù shōu jí“ fǎn wū tuō bāng sān bù qū” de wén jí（ sān bù xiǎo shuō bù chāo guò 50 wàn zì）， dàn shì fēn kāi chū bǎn de yǐ jīng yòu hěn duō， rú zhù míng fān yì jiā dǒng lè shān xiān shēng fān yì de《 yī jiǔ bā sì》， běi jīng wài guó yǔ dà xué wài guó wén xué yán jiū suǒ yán jiū yuán、 qián《 sū lián wén xué》 zhù biān gù yà míng nǚ shì fān yì de《 wǒ men》（ zuò jiā chū bǎn shè）， zhù míng fān yì jiā sūn fǎ lǐ fān yì de《 měi miào de xīn shì jiè》（ yì lín chū bǎn shè chū bǎn）， yǐ jí zhōng guó huá qiáo chū bǎn shè chū bǎn de《 ào wēi 'ěr jīng huá wén jí》、 zhōng guó guǎng bō diàn shì chū bǎn shè chū bǎn de《 ào wēi 'ěr sǎnwén quán jí》、 zhōng guó zhì gōng chū bǎn shè chū bǎn de zhōng yīng wén duì zhào de《 yī jiǔ bā sì》、 huā chéng chū bǎn shè chū bǎn de《 yī jiǔ bā sì》、《 měi lì xīn shì jiè》、 yuǎn fāng chū bǎn shè chū bǎn de《 měi lì xīn shì jiè》 děng。 jīn hòu， wèile mí bǔ zhè yī yí hàn， xī wàng néng yòu yī liú de chū bǎn shè jìn kuài cèhuà lèi sì xuǎn tí， dǐng lì chū bǎn sān cè hé yī de fǎn wū tuō bāng wén jí， yǐ mǎn zú dú zhě、 shōu cáng zhě hé shì chǎng xū yào。
　　 wū tuō bāng rén suǒ zēng hèn de shì jīn yín zhū bǎo， tā men gěi nú lì dài jīn yín zhū bǎo dāng suǒ。
　　 kōng xiǎng shè huì zhù yì
　　　【 zhù zhāng】
　　 kōng xiǎng shè huì zhù yì zhě rèn wéi shè huì zhù yì de lǐ xiǎng shè huì yīnggāi jiàn zhù zài rén lèi de lǐ xìng hé zhèng yì de jī chǔ shàng。 zhè zhǒng shè huì zhì jīn hái wèi chū xiàn， shì yóu yú rén men bù rèn shí hé chéng rèn de yuán gù。 tā men jué dé zhǐ yào yòu tiān cái zhǎng wò liǎo zhè zhǒng sī xiǎng， bìng tuī guǎng kāi qù， jiù néng shí xiàn tā men xīn zhōng de lǐ xiǎng shè huì。 kōng xiǎng shè huì yì zhě fǎn duì zī běn zhù yì， bìng rèn wéi zī běn zhù yì de bō xuē zhì dù shì yóu yú rén lèi zài dào dé hé fǎ lǜ shàng fàn liǎo cuò wù， bèi qì liǎo rén lèi de běn xìng de yuán gù， tā men de mùdì shì yào xiāo miè zhè zhǒng cuò wù。
　　【 duì zī běn zhù yì zhì dù de pī pàn】
　　 suǒ yòu kōng xiǎng shè huì zhù yì zhě dū pī pàn zī běn zhù yì zhì dù， bìng què xìn zī běn zhù yì yīngdāng wéi shè huì zhù yì suǒ dài tì。 mò 'ěr jiē lù liǎo zī běn yuán shǐ jī lěi， tòng chì liǎo bō duó nóng mín tǔ dì de juàn dì yùn dòng， zhǐ chū zhè shì yáng chī rén。 shèng xī mén bǎ wú zhèng fǔ zhuàng tài chēng zuò " yī qiē zāinàn zhōng zuì yán zhòng de zāinàn "， rèn wéi jīng jì zì yóu bì rán dǎo zhì zhè yī zhuàng tài。 fù lì yè rèn wéi gù yōng láo dòng zhì dù shì " huī fù nú lì zhì dù "， zī běn zhù yì gōng chǎng shì " wēn hé de jiān yù "。 ōu wén pēng jī liǎo zī běn zhù yì sī yòu zhì， rèn wéi sī yòu zhì shì yī qiē jiē jí zhī jiān fēn zhēng de gēn yuán。 tā jiē lù liǎo zī běn zhù yì zhì dù xià de jiē jí bō xuē guān xì， gōng rén chuàng zào liǎo jù liàng de shè huì cái fù， què bèi gōng chǎng zhù、 shāng rén、 yínháng jiā、 jīng jì rén、 shōu zū zhě、 shí lì zhě yǐ jí dá guān xiǎn guì suǒ guā fēn。
　　【 gōng yòu zhì】
　　 dà duō shù kōng xiǎng shè huì zhù yì zhě dū zhù zhāng shí xíng " cái chǎn gōng yòu zhì "， dàn gè yòu jiàn jiě。 mò 'ěr děng bǎ cái chǎn gōng yòu zhì lǐ jiě wéi shēng chǎn zī liào hé xiāo fèi pǐn dū gōng gòng zhàn yòu。 mó lāi lǐ、 ōu wén děng zé lǐ jiě wéi chú rì cháng shēng huó pǐn yǐ wài de cái chǎn de gōng gòng zhàn yòu， jí shì shēng chǎn zī liào de gōng gòng zhàn yòu。 shǎo shù kōng xiǎng shè huì zhù yì zhě rú shèng xī mén、 fù lì yè zài zì jǐ de lǐ xiǎng shè huì zhōng bǎo cún liǎo shēng chǎn zī liào sī yòu zhì， zhè shì zī chǎn jiē jí qīng xiàng de míng xiǎn biǎo xiàn。 yī xiē kōng xiǎng shè huì zhù yì zhě yě tí chū liǎo jìhuà jīng jì de sī xiǎng。 shèng xī mén zhù zhāng， zài shí yè zhì dù xià yào yòu jìhuà dì zǔ zhì shēng chǎn， chè dǐ gēn chú wú zhèng fǔ zhuàng tài。
　　【 xiāo fèi】
　　16 zhì 18 shì jì de kōng xiǎng shè huì zhù yì dū dài yòu bù tóng de jìn yù zhù yì sè cǎi， yòu de shèn zhì gōng kāi gǔ chuī jiè jué yī qiē xiǎng shòu de、 kǔ xiū kǔ liàn de sī bā dá shì de shēng huó。 dào liǎo 19 shì jì chū qī， jìn yù zhù yì yǐ jīng shī qù dé yǐ cún zài de tiáo jiàn， zhè shí de kōng xiǎng shè huì zhù yì zhě pī pàn jìn yù zhù yì， duì wèi lái lǐ xiǎng shè huì de gāo dù wù zhì hé wén huà shēng huó shuǐ píng zuò liǎo fù yòu xī yǐn lì de hóng wěi xiǎng xiàng。
　　【 chéng xiāng jié hé】
　　 cóng tuō mǎ sī · mò 'ěr kāi shǐ， xǔ duō kōng xiǎng shè huì zhù yì zhě dū zhù yì dào jiě jué chéng xiāng duì lì、 nǎo lì láo dòng hé tǐ lì láo dòng duì lì de wèn tí。 luó bó tè · ōu wén zhù zhāng， bǎ chéng shì hé xiāng cūn jié hé qǐ lái， bǎ gōng yè hé nóng yè jié hé qǐ lái， bǎ nǎo lì láo dòng hé tǐ lì láo dòng jié hé qǐ lái。
　　【 fā zhǎn】
　　 kōng xiǎng shè huì zhù yì de fā zhǎn jīng lì liǎo 3 gè jiē duàn： 16 shì jì zhì 17 shì jì、 18 shì jì hé 19 shì jì chū， gòng jīng lì liǎo 300 duō nián。 3 gè jiē duàn de shè huì hé lì shǐ tiáo jiàn gè bù xiāng tóng， wú chǎn jiē jí de fā zhǎn shuǐ píng yě bù tóng。
　　16 shì jì zhì 17 shì jì， kōng xiǎng shè huì zhù yì zhě tí chū liǎo“ shí xíng gōng yòu zhì”、“ rén rén láo dòng、 àn xū fēn pèi” děng shè huì zhù yì jī běn yuán zé， dàn duì shè huì zhù yì de shè xiǎng hái zhǐ shì yī gè cū cāo 'ér jiǎn dān de lún kuò。
　　18 shì jì， zhè shí qī de kōng xiǎng shè huì zhù yì zhě kāi shǐ duì shè huì zhù yì jìn rù lǐ lùn tàn tǎo hé lùn zhèng jiē duàn， bìng yòng“ fǎ diǎn” xíng shì zuò chū míng què guī dìng； duì zī běn zhù yì sī yòu zhì jìn xíng liǎo pī pàn， rèn wéi sī yòu zhì yǐn qǐ jīng jì shàng de bù píng děng、 jìn 'ér dǎo zhì zhèng zhì shàng de bù píng děng； dāng jù bèi chū bù de jiē jí guān diǎn hòu， zhù zhāng shí xíng jué duì píng jūn zhù yì de、 sī bā dá shì de gòng chǎn zhù yì； zài shè jì wèi lái lǐ xiǎng shè huì shí， yǐ nóng cūn gōng shè hé shǒu gōng gōng chǎng wéi yuán xíng， zhù zhāng zài fēng jiàn zhì dù bēng kuì hòu， zài nóng cūn gōng shè hé shǒu gōng gōng chǎng de jī chǔ shàng jiàn lì shè huì zhù yì； zàn tóng jūn zhù zhì、 zhōng shēn zhì、 jiāzhǎng zhì děng。
　　19 shì jì 30 hé 40 nián dài， kōng xiǎng shè huì zhù yì fā zhǎn de dǐng fēng shí qī。 yóu yú yīng guó de gōng yè gé mìng zài 'ōu zhōu dà lù xùn sù fā zhǎn， zī běn zhù yì zhì dù de bì duān rì yì bào lù， zhè shí qī kōng xiǎng shè huì zhù yì zhě duì zī běn zhù yì de shè huì zhì dù、 zhèng zhì zhì dù hé dào dé guān niàn jìn xíng liǎo pī pàn； lǐ lùn shàng， tí chū zhèng zhì zhì dù de jī chǔ shì jīng jì zhuàng kuàng， zhǐ chū sī yòu zhì chǎn shēng jiē jí hé jiē jí bō xuē； shè jì wèi lái lǐ xiǎng shè huì zhù yì zhì dù shí yǐ dà gōng chǎng wéi yuán xíng， wán quán pāo qì liǎo píng jūn zhù yì hé jìn yù zhù yì。
yīngwénjièshì
  1. n.:  utopia,  zion,  imaginary place or state of things in which everything is perfect
fǎwénjièshì
  1. n.  utopie
xiàngguāncí
diàn yǐng dòng zuò piàn shǐ tài lóng kē huàn piàn qǐ yè jiā mèng xiǎng shān dōng rén tuō dú mǎ líng shǔ
yóu xì rén xìng kōng xiǎng shè huì zhù yì jīng jì xué shè huì lùn tán GL xiǎo shuō wén xué
fěng cì xiǎo shuō gōng yòu zhì shè huì zhù yì qiē gē yíng xiāo yī liáo cèhuà bǎo jiàn pǐn cèhuà
bāo hán cí
wū tuō bāng dexīn wū tuō bāng
fǎn wū tuō bāngwū tuō bāng měi
wū tuō bāng sī xiǎngwū tuō bāng lǐ xiǎng
wū tuō bāng shì dexiāng cūn wū tuō bāng
fèn dǒu wū tuō bāngjiànsè wū tuō bāng
yì shù wū tuō bāngzài jiàn wū tuō bāng
wū tuō bāng zhù yìdiàn zǐ wū tuō bāng
wū tuō bāng zhī chéngwū tuō bāng zhī sǐ
xīn suì wū tuō bāngxué yuán wū tuō bāng
wū tuō bāng wén xuéwū tuō bāng zhī lù
wū tuō bāng měi shíwū tuō bāng jī néng
fǎn miàn wū tuō bāng dewū tuō bāng de lǐ xiǎng
fú yīn yǔ wū tuō bānglì shǐ yǔ wū tuō bāng
wū tuō bāng shè huì zhù yìfǎn wū tuō bāng sān bù qū
wū tuō bāng · kǎ nóng shèng yàndiàn zǐ wū tuō bāng sī xiǎng
wū tuō bāng měi shí kuài dìdāng dài wū tuō bāng chuán qí
mò 'ěr jí qí wū tuō bāngyì shí xíng tài yǔ wū tuō bāng
dào dé wū tuō bāng de zhòng gòushěn měi wū tuō bāng de xiǎng xiàng
wén míng : wū tuō bāng yǔ bēi jùfǎn miàn wū tuō bāng de gǔ chuī zhě
shì sú huà yǔ wén xué wū tuō bāngshēng tài pī pàn yǔ lǜ sè wū tuō bāng
zhé xué pī pàn yǔ jiě fàng de wū tuō bāng yú yáo wū tuō bāng guǎng gào shè jì
dōng fāng wū tuō bāng jìn dài nán tōngwū tuō bāng kùn jìng zhōng de xī wàng
xiào yuán wū tuō bāng xué měi xiàng qián chōng !xué yuán wū tuō bāng xué měi xiàng qián chōng
zǒng tǐ xìng yǔ wū tuō bāng : rén běn yì mǎ kè sī zhù yì de zǒng tǐ fàn chóutiě lóng， hái shì wū tuō bāng ( dì 'èr bǎn ) wǎng luò kōng jiān de dào dé yǔ fǎ lǜ
sài miù 'ěr · yà dāng sī · wū tuō bāng sī pí jiǔshí jiǔ shì jì wū tuō bāng gòng tóng tǐ de shēng huó
tiě lóng hái shì wū tuō bāng ( dì 'èr bǎn ) wǎng luò kōng jiān de dào dé yǔ fǎ lǜdāng dài wū tuō bāng chuán qí： wǒ de xū nǐ hūn yīn
dāng dài wū tuō bāng chuán qí wǒ de xū nǐ hūn yīn