Information to Users
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
"The Infinite Plasticity of the Digital"
"The Infinite Plasticity of the Digital" http://reconstruction.eserver.org/043/leaver.htm Ever since William Gibson coined the term "cyberspace" in his debut novel Neuromancer , his work has been seen by many as a yardstick for postmodern and, more recently, posthuman possibilities. This article critically examines Gibson's second trilogy ( Virtual Light , Idoru and All Tomorrow's Parties ), focusing on the way digital technologies and identity intersect and interact, with particular emphasis on the role of embodiment. Using the work of Donna Haraway, Judith Butler and N. Katherine Hayles, it is argued that while William Gibson's second trilogy is infused with posthuman possibilities, the role of embodiment is not relegated to one choice among many. Rather the specific materiality of individual existence is presented as both desirable and ultimately necessary to a complete existence, even in a posthuman present or future. "The Infinite Plasticity of the Digital": Posthuman Possibilities, Embodiment and Technology in William Gibson's Interstitial Trilogy Tama Leaver Communications technologies and biotechnologies are the crucial tools recrafting our bodies. --- Donna Haraway, "A Cyborg Manifesto" She is a voice, a face, familiar to millions. She is a sea of code ... Her audience knows that she does not walk among them; that she is media, purely. And that is a large part of her appeal. --- William Gibson, All Tomorrow's Parties <1> In the many, varied academic responses to William Gibson's archetypal cyberpunk novel Neuromancer , the most contested site of meaning has been Gibson's re-deployment of the human body. Feminist critic Veronica Hollinger, for example, argued that Gibson's use of cyborg characters championed the "interface of the human and the machine, radically decentring the human body, the sacred icon of the essential self," thereby disrupting the modernist and humanist dichotomy of human and technology, and associated dualisms of nature/culture, mind/body, and thus the gendered binarism of male/female (33). -
Space and the Re-Purposing of Materials and Technology in William Gibson's Neuromancer and Virtual Light Submitted by Grigori
Space and the Re-Purposing of Materials and Technology in William Gibson’s Neuromancer and Virtual Light Submitted by Grigorios Iliopoulos A thesis submitted to the Department of American Literature and Culture, School of English, Faculty of Philosophy of Aristotle University of Thessaloniki, in partial fulfillment of the requirements for the degree of Master of Arts in English and American Studies. Supervisor: Dr. Tatiani Rapatzikou June 2020 Iliopoulos 2 Abstract This thesis explores the relationship between space and technology as well as the re-purposing of tangible and intangible materials in William Gibson’s Neuromancer (1984) and Virtual Light (1993). With attention paid to the importance of the cyberpunk setting. Gibson approaches marginal spaces and the re-purposing that takes place in them. The current thesis particularly focuses on spotting the different kinds of re-purposing the two works bring forward ranging from body alterations to artificial spatial structures, so that the link between space and the malleability of materials can be proven more clearly. This sheds light not only on the fusion and intersection of these two elements but also on the visual intensity of Gibson’s writing style that enables readers to view the multiple re-purposings manifested in thε pages of his two novels much more vividly and effectively. Iliopoulos 3 Keywords: William Gibson, cyberspace, utilization of space, marginal spaces, re-purposing, body alteration, technology Iliopoulos 4 Acknowledgements I would like to thank my supervisor, Dr. Tatiani Rapatzikou, for all her guidance and valuable suggestions throughout the writing of this thesis. I would also like to express my gratitude to my parents for their unconditional support and understanding. -
Polish Journal for American Studies Yearbook of the Polish Association for American Studies
Polish Journal for American Studies Yearbook of the Polish Association for American Studies Vol. 12 (Autumn 2018) Special Issue (Re)Examining William Gibson Edited by Paweł Frelik and Anna Krawczyk-Łaskarzewska Polish Journal for American Studies Yearbook of the Polish Association for American Studies Vol. 12 (Autumn 2018) Special Issue (Re)Examining William Gibson Edited by Paweł Frelik and Anna Krawczyk-Łaskarzewska Warsaw 2018 MANAGING EDITOR Marek Paryż EDITORIAL BOARD Izabella Kimak, Mirosław Miernik, Paweł Stachura ADVISORY BOARD Andrzej Dakowski, Jerzy Durczak, Joanna Durczak, Andrew S. Gross, Andrea O’Reilly Herrera, Jerzy Kutnik, John R. Leo, Zbigniew Lewicki, Eliud Martínez, Elżbieta Oleksy, Agata Preis-Smith, Tadeusz Rachwał, Agnieszka Salska, Tadeusz Sławek, Marek Wilczyński REVIEWERS Katherine E. Bishop, Ewa Kujawska-Lis, Keren Omry, Agata Zarzycka TYPESETTING AND COVER DESIGN Miłosz Mierzyński COVER IMAGE Photo by Viktor Juric on Unsplash ISSN 1733-9154 eISSN 2544-8781 PUBLISHER Polish Association for American Studies Al. Niepodległości 22 02-653 Warsaw paas.org.pl Nakład 160 egz. Wersją pierwotną Czasopisma jest wersja drukowana. Printed by Sowa – Druk na życzenie phone: +48 22 431 81 40; www.sowadruk.pl Table of Contents Paweł Frelik Introducing William Gibson. Or Not ...................................................................... 271 Lil Hayes The Future’s Overrated: How History and Ahistoricity Collide in William Gibson’s Bridge Trilogy ............................................................. 275 Zofia Kolbuszewska -
Movement SF and the Picaresque Robert Glen Wilson University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2014 You Can't Get There from Here: Movement SF and the Picaresque Robert Glen Wilson University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the American Literature Commons, and the Modern Literature Commons Recommended Citation Wilson, Robert Glen, "You Can't Get There from Here: Movement SF and the Picaresque" (2014). Theses and Dissertations. 2337. http://scholarworks.uark.edu/etd/2337 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. You Can’t Get There from Here: Movement SF and the Picaresque You Can’t Get There from Here: Movement SF and the Picaresque A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English By Robert G. Wilson Campbellsville University Bachelor of Arts in English and History, 1999 Western Kentucky University Master of Arts in American Literature, 2002 May 2014 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. ______________________________________ Dr. M. Keith Booker Dissertation Director ______________________________________ ____________________________________ Dr. Robert Cochran Dr. William A. Quinn Committee Member Committee Member ABSTRACT This dissertation examines the crisis of authenticity in postmodern culture and argues that contemporary science fiction, specifically the subgenre of Movement SF, has evolved a unique answer to this crisis by adopting, perhaps spontaneously, the picaresque narrative structure. -
Architecture”: Virtual Light, Idoru and All Tomorrow’S Parties
Chapter Six 6.William Gibson’s “Architecture”: Virtual Light, idoru and All Tomorrow’s Parties William Gibson’s latest publication, All Tomorrow’s Parties (1999), serves as a “prequel” to the two previous novels, Virtual Light (1993) and idoru (1996). Its significance lies in the fact that all three seem to share many common motifs and themes, even characters, without being sequential. Gibson, when interviewed about the literary intentions behind writing All Tomorrow’s Parties, stated: Without my having intended it, it seemed that both Virtual Light and idoru emerged with more than the usual number of inexplicable connectors hanging off them. They were clearly connected to each other, but there was something that suggested that both of them were connected even more profoundly to some nonexistent third. They sort of triangulated on a nonexistent book – All Tomorrow’s Parties is it.1 This sort of intertextual hybridity, fuelled by the recycling of themes explored in the three novels, is also reflected in their narrative structures, which follow a layered pattern of storylines and character formations. Each novel is comprised of a number of separate story plots, appearing in a serial form and developing in parallel, before intersecting and fusing into a cognitive whole where the voids and hollow spaces of narration are filled with the valid explanations and connections required. The process of structuring and restructuring data and images finds these novels caught up in a mechanism of compulsive repetition, giving rise to what Anthony Vidler calls an “uncanny sense of déjà vu” (1992: 13). The depictions of digital technologies and the cyberspace representations, which were so 1 Therese Littleton. -
Translating and Reviewing Canadian Sf in Post-Communist Romania
JOURNAL OF ROMANIAN LITERARY STUDIES Issue no. 5/2014 TRANSLATING AND REVIEWING CANADIAN SF IN POST-COMMUNIST ROMANIA. THE CASE OF WILLIAM GIBSON Ana-Magdalena PETRARU ”Al. Ioan Cuza” University of Iași Abstract: This paper examines the Romanian reception of a reputed English Canadian writer of science fiction, William Gibson, via the translations from his novels and the critical studies published in periodicals. Our aim is to establish the place of the SF genre in post- communism, based on the allegations in the Romanian Translation Studies discourse and assess the writer’s role in the Romanian cultural and literary polysystem as compared to other Canadian authors. Keywords: Canadian science fiction, Romanian reception, polysystem theories, Translation Studies Discourse, Romanian periodicals Introduction During post-communist Romania, Canadian literature has flourished due to the set-up of Canadian Studies centres and academic programmes in most universities of the country, not to mention that doctoral theses and academic papers in the field are now published. As tackled by our previous research (Petraru, 2014: 536-537), the increasing interest in Canadian Studies and literature also showed in the higher number of translations from Canadian writers and the criticism devoted to them. If before 2000 works that were unavailable during the communist years were mostly published (not only various cheap sensational novels, but also translations from William Gibson’s SF novels), the new millennium has also seen the publication of translations from novels by important Canadian authors. Furthermore, there are the critical pieces devoted to them, both in periodicals and academic writings that enjoyed book-length treatment; thus, the works of major postmodern Canadian authors such as Margaret Atwood, Leonard Cohen and Michael Ondaatje are usually analysed in individual chapters (cf. -
Several Authors Blank
“William Gibson”1 Christophe Den Tandt Université Libre de Bruxelles (U L B) 1997 Biography William Ford Gibson was born on March 17, 1948 in Conway, South Carolina; he was raised in a southwest Virginia small town. His father, a contractor, had worked on the Manhattan project—the development of the American atom bomb during WWII—and died when William was six. In the sixties, Gibson dropped out of high school and moved to Canada, where he joined the local hippie scene; he became a devoted rock fan—a cultural interest that would later influence his fiction. An opponent to the Viêt Nam War, he stayed in Canada in order to avoid being drafted. In 1972, he married Deborah Thomson, a teacher, with whom he had two children. The couple settled in Vancouver. Gibson took his B.A. at the University of British Columbia in 1977. He discov- ered his potential as a writer when taking a science fiction class in college. His first stories, "Fragments of a Hologram Rose," "The Gernsback Continuum" and "Johnny Mnemonic" were published in science-fiction magazines in the late seventies and early eighties. Gibson was at the time a member of the "cyberpunk" group—a set of authors gathering around writer and critic Bruce Sterling, the editor of the SF fanzine Cheap Truths. In the mid-eighties, two events contribut- ed to making cyberpunk the new vital edge of science-fiction: on the one hand, Gibson published his first novel Neuromancer (1984), which was granted the Nebula, Hugo and Philip K. Dick Awards the same year; on the other hand, Bruce Sterling published Mirrorshades (1986), an anthology of cyberpunk short stories, several of which by Gibson; Sterling's preface to the collection defined the characteristics of cyber- punk as a genre. -
A Cyberpunk Timeline
A Cyberpunk Timeline Last Update: May 2007 1926 Metropolis released. 1928 Early use of the word "punk" to signify a criminal 1938 Dave and Lucile Packard move into a house at 36 Addison Avenue, Palo Alto, California. Bill Hewlett rents cottage behind the house and Bill and Dave begin part time work in the garage with $538 in working capital. The company name is decided with a coin toss. The new partnership is known as Hewlett Packard. (June) 1948 The word "cybernetics" coined by Norbert Wiener 1955 The Naked Lunch published 1956 The Stars My Destination (aka Tiger! Tiger!) published 1960 The word "cyborg" coined by Manfred Clynes 1964 Nippon Apattchi-zoku [The Japanese Apache] by Sakyo Komatsu published 1965 MIT researcher Lawrence G. Roberts & Thomas Merrill connected A TX-2 computer in Massachusetts to the Q-32 in Palo Alto, California with a low speed dial-up telephone line creating the first (however small) wide-area computer network ever built. (Jan.) 1966 The Moon Is a Harsh Mistress published 1967 Velvet Underground releases White Light/White Heat 1968 Do Androids Dream of Electric Sheep published Lawrence Roberts and the DARPA funded community refine the overall structure and specifications for the ARPANET, and bring it live. The Internet is born. (Aug.) 1969 Ken Thompson, Dennis Ritchie and colleagues at Bell Labs create the Unix operating system on a DEC-PDP-7 microcomputer. (June) 1970 The Stooges release Funhouse ... From the Rise of Dr. Adder to the Fall of Johnny Mnemonic ... 1972 Pong debuts K.W. Jeter completes Dr. Adder -
The Champion of Cyberpunk: on Two Works by William Gibson
On SF by Thomas M. Disch http://www.press.umich.edu/titleDetailDesc.do?id=124446 The University of Michigan Press, 2005 The Champion of Cyberpunk: On Two Works by William Gibson Cyberpunk is the label under which a portion of the younger science ‹ction writers of the eighties have been marketing their wares, and as neologisms go, it represents a fair description of their product. Cyber- punk sci-‹, in its ideal form, is compounded of (1) a re-envisioning of the consensual future in terms not of space travel and other feats of mega- engineering but of a plastic (i.e., wholly malleable) mental landscape that derives from the new possibilities of computer graphics, and (2) punk style, in clothes, hair, sexuality, and the abuse of controlled substances. Like punk rock, and like most traditional rocket-and-blaster sf, Cyber- punk caters to the wish-ful‹llment requirements of male teenagers, but this is a job that can be done with varying degrees of panache, and in the whole ‹eld of sf there is presently no more accomplished caterer than William Gibson. He is the undisputed champion of Cyberpunk. Mona Lisa Overdrive might be considered the concluding volume of a trilogy, except that the book’s last chapter so patently advertises a sequel. These days nothing short of the author’s death can keep a commercially successful work of sf from being cloned into sequels as long as the prod- uct moves from the shelves. A sense of closure, and so of narrative archi- tecture, is not among the pleasures a reader should expect from Mona Lisa Overdrive. -
Interference on the Brain Screen #6
INTERFERENCE ON THE BRAIN SCREEN 6 Number 6 (April 2003) “The meat finds its own use for things.” – jael INTERFERENCE ON THE BRAIN SCREEN is an occasional publication predicated on the belief that reception is bad. And it’s no accident. This issue dedicated to the memory of Jean Heriot who passed away in November 2002. She was a good friend and supported Brain Screen from its early days. I miss her. Gibson's Exit Strategy by Jerry Denny In a recent interview British SF writer, Richard Morgan, expressed his disappointment that William Gibson's most recent novels are not being marketed as science fiction. I can sympathize with him. I understand him. But I cannot say I agree with him. It may be controversial to say so, but there is an argument that Gibson is not, and has never really been a science fiction writer. To justify this position you require a rather strict definition of science fiction. Here it is. Science fiction is the literature which turns on its scientific or technological ideas. By this definition Gibson is not the only author who would fall at the hurdle. But taking into account only his own fiction, it can be demonstrated that few of his stories pass the test. Furthermore, this is an indicator as to the underlying reason behind the shift in the way his books are being marketed. Look at his first published story, “Fragments of A Hologram Rose.” What we have here is mediation on love, loss and longing set against a futurist background. The technological idea is apparent sensory perception (which would reappear in his fiction as SimStim). -
Cyberpunk in a Transnational Context
arts Cyberpunk in a Transnational Context Edited by Takayuki Tatsumi Printed Edition of the Special Issue Published in Arts www.mdpi.com/journal/arts Cyberpunk in a Transnational Context Cyberpunk in a Transnational Context Special Issue Editor Takayuki Tatsumi MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade Special Issue Editor Takayuki Tatsumi Keio University Japan Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Arts (ISSN 2076-0752) from 2018 to 2019 (available at: https://www.mdpi.com/journal/arts/special issues/cyberpunk) For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03921-421-1 (Pbk) ISBN 978-3-03921–422-8 (PDF) Cover image courtesy of ni ka: ”Hikari” (Light). c 2019 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents About the Special Issue Editor ...................................... vii Preface to ”Cyberpunk in a Transnational Context” .......................... ix Takayuki Tatsumi The Future of Cyberpunk Criticism: Introduction to Transpacific Cyberpunk Reprinted from: Arts 2019, 8, 40, doi:10.3390/arts8010040 ...................... -
A Thesis on Gibson and Cyberpunk
A thesis on Gibson and Cyberpunk Damage 2002 0.0 INTRODUCTION "My intention is to tell of bodies changed to different forms." -- Ovid, Metamorphoses During the last half of the '80s, critics of cyberpunk identified its central narrative as the breakdown of boundaries between bodies and machines. Much of this critical writing was outright celebratory in its welcoming a new kind of science fiction which was obviously plugged in to present-state techno-reality. William Gibson even coined a term for the virtual space people started to spend time in - cyberspace, the other side of computer screens. Starting to make their first appearances in the mid-80s, cyberpunk's technologized bodies seemed to provide images through which the readers could imagine their fates in the near future, especially if they were young white males with access to computer hardware. A lot of current critical thinking has fallen into the prison of the flesh (the body as a central philosophical issue is particularly true among French philosophers, like Gabriel Marcel, Jean-Paul Sartre or Maurice Merleau- Ponty). Even today there is a determination on the part of many critical thinkers to reinsert the meat into the picture, to resist the dreams of a disappearing body which have been influenced by technological fictions of its looming obsolescence. Although, if there is such an intense fascination with the fate of the body, is it not because the body does not exist any longer ? Foucault is concerned with a continually disintegrating body, "traced by language, lacerated by ideology and invaded by the relational circuitry of the field of postmodern power" (Kroker, Theses on the..., 20).