Dystopia, Science Fiction, Post-Apocalypse
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Daniel Defoe's Robinson Crusoe @300 Grant Glass Over 300 Years
Daniel Defoe’s Robinson Crusoe @300 Grant Glass Over 300 years ago, Daniel Defoe immortalized the story of Robinson Crusoe with the publication of The Life and Surprising Adventures of Robinson Crusoe—creating long tradition of stories about being marooned in an inhospitable place understood as the Robinsonade genre. While the intimate details of Crusoe’s story might be unfamiliar, many of its adaptations like The Martian or Cast Away still persist. Those are just a few, if you look closely enough, there are religious, survivalist, social gospel, colonizationist and anti-colonial, martially masculine, feminist Robinsonades, in overlapping circles emanating out from this central text. The best estimates place these variants in the hundreds. Yet the original novel provides the reader with a gauntlet of historical baggage ranging from colonialism and slavery to climate change and industrialization—forcing us to confront not only our past, but how we represent it in the present. What, then, is Crusoe’s legacy at 300, and what do its retellings tell us about how we think of our past and our future? When you start to notice the Robinsonade, it appears everywhere, and you start to realize you cannot put the horse back in the stable when it comes to Crusoe. Long before the days of Ta-Nehisi Coates and Lena Dunham, Crusoe became an international phenomenon on the star power of its writer, Daniel Defoe, who much like a prolific Tweeter, “seemed to have strong opinions about everything, and wrote about almost everything in his world and his time,”1 with topics ranging from economics, politics and history to space travel.2 While Defoe wrote over 500 books, pamphlets, addresses and letters in his lifetime, Crusoe became his most well-known and well-read work.3 Crusoe was a major hit right from its first printing, it was so well received that Defoe quickly produced a sequel within only a few months after publication of the first. -
The Castaway Medyett Goodridge's Unvarnished Tale Of
Document generated on 09/29/2021 11:10 p.m. Newfoundland and Labrador Studies The Castaway Medyett Goodridge’s Unvarnished Tale of Shipwreck and Desolation Print Culture and Settler Colonialism in Newfoundland Stephen Crocker Volume 32, Number 2, Fall 2017 URI: https://id.erudit.org/iderudit/nflds32_2art06 See table of contents Publisher(s) Faculty of Arts, Memorial University ISSN 1719-1726 (print) 1715-1430 (digital) Explore this journal Cite this article Crocker, S. (2017). The Castaway Medyett Goodridge’s Unvarnished Tale of Shipwreck and Desolation: Print Culture and Settler Colonialism in Newfoundland. Newfoundland and Labrador Studies, 32(2), 429–460. All rights reserved © Memorial University, 2014 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ The Castaway Medyett Goodridge’s Unvarnished Tale of Shipwreck and Desolation: Print Culture and Settler Colonialism in Newfoundland Stephen Crocker 1. Narrative of a Voyage to the South Seas, and the Shipwreck of the Prin- cess of Wales Cutter: with an Account of Two Years’ Residence on an Un- inhabited Island1 is an obscure castaway narrative from 1838 with a special relation to Newfoundland. It is one of countless tales of ship- wreck and castaways that circulated in the popular “transatlantic lit- erature” of the eighteenth and nineteenth centuries.2 Through seven editions and reprints, it provided its author, Medyett Goodridge, a source of income in his late years. -
Personal Information
CURRICULUM VITAE OHAD LANDESMAN PERSONAL INFORMATION Name: Ohad Landesman, Ph.D. Affiliation: The Steve Tisch School of Film and Television, Faculty of the Arts, Tel Aviv University Date and place of Birth: 12/11/1973, Israel. Home address: 44a Nachmani St., apt#7, Israel. E-mail Address: [email protected] Personal Websites: ohadlandesman.com; doctalk.co.il EDUCATION (2003-2013) New York University, New York, USA Cinema Studies Ph.D. Date Awarded: January 2013 (2001-2003) New York University, New York, USA Cinema Studies M.A. Date Awarded: January 2003 (1995-1999) Tel Aviv University, Tel Aviv, Israel Film and Television B.A. Date Awarded: May 1999 (1995-1999) Tel Aviv University, Tel Aviv, Israel Film and Television B.A. Date Awarded: May 1999 Title of Doctoral Reality Bytes: Reclaiming the Real in Digital Documentary Dissertation: Names of Supervisor: Prof. Richard Allen (New York University) 1 ACADEMIC EXPERIENCE (2011-Present) Tel Aviv University, Tel Aviv, Israel The Steve Tisch School of Film and Television Film Studies, Teaching Associate (2011-Present) Bezalel Academy of Arts and Design, Jerusalem, Israel Department of Visual and Material Culture Film Studies, Lecturer (Faculty Member) (2014-Present) Holon Institute of Technology, Holon, Israel Department of Visual Communications Design Film Studies, Lecturer (2009-2011) Minshar School of the Arts, Tel Aviv Department of Film Film Studies, Lecturer (2009-2011) Beit Berl College, Kfar Saba Department of Film Film Studies, Lecturer (2008) University of Michigan, Ann Arbor, -
1204 Transcript
Show #1204 "Alien Invasion" Premiered November 6, 2001 THE SILENCE OF THE BIRDS GREEN INVADER THE SILKEN TREE EATERS DUST BUSTING TEASE ALAN ALDA Some time in the 1940s, a brown tree snake hitched a ride aboard a US Air Force plane in New Guinea, and it traveled across the Pacific to the island of Guam. As a result, Guam lost all its native bird life. On this edition of Scientific American Frontiers, global attacks by alien species. ALAN ALDA (NARRATION) The European gypsy moth has been steadily transforming America's forests, and now the Asian longhorned beetle could do the same thing. An African fungus crossed the Atlantic, to cause a damaging disease in Caribbean coral. And a Caribbean weed is smothering marine life in the Mediterranean, and it now threatens the California coast. ALAN ALDA I'm Alan Alda. Join me now for Alien Invasion. SHOW INTRO ALAN ALDA (NARRATION) It's a tranquil scene on the coast. A couple of guys are diving -- checking out life on the lagoon floor. People are boating. Actually I know who that is out there. She's Rachel Woodfield, a marine biologist, and she's bringing in a bag of that weed the divers were looking at. ALAN ALDA Hiya, Rachel. RACHEL WOODFIELD Hiya. ALAN ALDA Is that it, there? RACHEL WOODFIELD This is it right here. ALAN ALDA (NARRATION) But the weed is not as nice as it might seem. ALAN ALDA We're at Agua Hedionda Lagoon, just north of San Diego on the California coast. The divers out there are trying to get rid of every last shred of this stuff that they can find. -
A Rhetorical Analysis of Dystopian Film and the Occupy Movement Justin J
James Madison University JMU Scholarly Commons Masters Theses The Graduate School Spring 2015 Occupy the future: A rhetorical analysis of dystopian film and the Occupy movement Justin J. Grandinetti James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the American Film Studies Commons, American Popular Culture Commons, Digital Humanities Commons, Other Film and Media Studies Commons, Other Languages, Societies, and Cultures Commons, Rhetoric Commons, and the Visual Studies Commons Recommended Citation Grandinetti, Justin J., "Occupy the future: A rhetorical analysis of dystopian film and the Occupy movement" (2015). Masters Theses. 43. https://commons.lib.jmu.edu/master201019/43 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Occupy the Future: A Rhetorical Analysis of Dystopian Film and the Occupy Movement Justin Grandinetti A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Arts Writing, Rhetoric, and Technical Communication May 2015 Dedication Page This thesis is dedicated to the world’s revolutionaries and all the individuals working to make the planet a better place for future generations. ii Acknowledgements I’d like to thank a number of people for their assistance and support with this thesis project. First, a heartfelt thank you to my thesis chair, Dr. Jim Zimmerman, for always being there to make suggestions about my drafts, talk about ideas, and keep me on schedule. -
Folklore and Identity in DRACULA Michael Harney
Filología y Lingüística 38 (1): 63-81, 2012 ISSN: 0377-628X FOLKLOre anD IDentitY in DRACULA Michael Harney RESUMEN Drácula, de Bram Stoker, emplea ciertos motivos folcklóricos para expresar varios temas agrupados bajo el título de angustia hegemónica En la historia de imperialismo invertido de Stoker, el vampiro intruso, en una especie de inversión carnavalesca, interpreta el rol del Cortés histórico o el cautivo del Quijote. Las principales víctimas de Drácula, Lucy y Mina, nos recuerdan a La Malinche, la Zoraida de Cervantes, y otros ejemplos antiguos y medievales de princesas nativas secuestradas. Palabras clave: hegemonía, vampirismo, Drácula, Stoker- Bram, princesa nativa. ABSTRACT Bram Stoker's Dracula employs certain folkloric motifs to express a set of themes grouped under the heading of hegemonic angst. In Stoker's tale of reverse imperialism, the vampiric invader, in a kind of carnivalesque inversion, plays the role of the historical Cortés or the Quijote's captive. Dracula's chief victims, Lucy and Mina, remind us of La Malinche, Cervantes's Zoraida, and other ancient and medieval examples of the sequestered native princess. Key words: hegemony, vampirism, Dracula, Stoker- Bram, native princess. The present discussion does not attempt a comprehensive history of the vampire legend, nor an extensive study of variations on vampire themes within the horror genre. This essay aims, rather, to review certain folkloric affinities of Stoker’s novel. These affinities play out in a characteristic vampiric storyline that repeats in the many remakes, versions, and variations that have appeared in the century intervening since the publication of Stoker’s Michael Harney. Associate Professor. -
Joseph Conrad
Joseph Conrad Joseph Conrad (born Józef Teodor Konrad Korzeniowski, Joseph Conrad Polish: [ˈjuzɛf tɛˈɔdɔr ˈkɔnrat kɔʐɛˈɲɔfskʲi] ( listen); 3 December 1857 – 3 August 1924) was a Polish-British writer[1][note 1] regarded as one of the greatest novelists to write in the English language.[2] Though he did not speak English fluently until his twenties, he was a master prose stylist who brought a non-English sensibility into English literature.[note 2] Conrad wrote stories and novels, many with a nautical setting, that depict trials of the human spirit in the midst of what he saw as an impassive, inscrutable universe.[note 3] Conrad is considered an early modernist,[note 4] though his works contain elements of 19th-century realism.[3] His narrative style and anti-heroic characters[4] have influenced numerous authors, and many films have been adapted from, or inspired by, his works. Numerous writers and critics have commented that Conrad's fictional works, written largely in the first two decades of the 20th century, seem to have anticipated later world events.[5][6] Conrad in 1904 Writing near the peak of the British Empire, Conrad drew, among by George Charles Beresford other things, on his native Poland's national Born Józef Teodor Konrad [7]:290, 352[note 5] experiences and on his own experiences in the Korzeniowski French and British merchant navies, to create short stories and 3 December 1857 novels that reflect aspects of a European-dominated world— Berdychiv, Russian including imperialism and colonialism—and that profoundly Empire explore -
Picturing Crusoe's Island: Defoe, Rousseau, Stothard
Porównania 2 (25), 2019 DOI: 10.14746/por.2019.2.5 Jakub Lipski Uniwersytet Kazimierza Wielkiego w Bydgoszczy Picturing Crusoe’s Island: Defoe, Rousseau, Stothard At the beginning of J. M. Coetzee’s Foe (1986), we read: For readers reared on travellers’ tales, the words desert isle may conjure up a place of soft sands and shady trees where brooks run to quench the castaway’s thirst and ripe fruit falls into his hand, where no more is asked of him than to drowse the days away till a ship calls to fetch him home. But the island on which I was cast away was quite another place. […] (Coetzee, 7) Susan Barton, the female castaway of Coetzee’s novel, proceeds to offer a very detailed sketch of the island, presenting it as a hostile and by no means pic- turesque environment; an impression which is created by such details as “drab bushes”, “swarms of large pale fleas” and rocks “white with [birds’] droppings” (Coetzee, 7-8). This pictorial moment is introduced by way of evoking the typical expectations of a desert island the reader might have and then negating them, very much in line with the poetics of counter-canonical writing that Foe, at least to a certain degree, follows. But the paradise-like setting referred to by Susan Barton is a construct that does not go back to Defoe’s Robinson Crusoe; rather, it is a product of a significant transformation in the way the environment of the island was depicted in the eighteenth-century Robinsonade. My aim in this article will be to reconstruct some of the fundamental steps in this process. -
THE THEME of ISOLATION in the WORK of JOSEPH CONRAD By
THE THEME OF ISOLATION IN THE WORK OF JOSEPH CONRAD by RUTH E. McCONNELL B.A. University of British Columbia, 1954 A Thesis Submitted in Partial Fulfilment of The Requirements for the Degree of M.A. in the Department of ENGLISH We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1958. ii ABSTRACT' Central in the work of Joseph Conrad is the theme of isolation, of the loneliness of man> arid of alienation from one's own kind, a theme which, in some form, dominates the work of many modern writers and thinkers. A study of the criticism of Conrad shows that this preoccupation with the isolated man has always been noticed and was early linked to Conrad's own position in the world ,as .an exile. Recent critics have delved more deeply into the subject, and have shown its relationship to the threatened break-up of society seen in the latter part of the nineteenth century, and have declared Conrad a forerunner of such modern authors, as G-ide, Eliot, Kafka, Malraux, among: others, in whose work the "exile" of man is. also a central thought. While- many critics have touched .upon this aspe.c.t of C.onrad's writings, I have felt that the theme is so central to Conrad's total outlook on life that a fuller analysis of this question was necessary for' an adequate appreciation and understanding of his writing. This thesis, then, is an endeavour to explore more fully the theme of isolation in C.onrad's books, to try to distinguish the various types of isolation he deals with and their- causes, and to link with this central theme the other beliefs—moral, political, and social—disclosed by Conrad in his work. -
William Golding's Lord of the Flies: a Satirical Analysis of Fantasized
William Golding's Lord of the Flies: A Satirical Analysis of Fantasized Dystopia [PP: 163-171] Sayed Mohammad Anoosheh Department of English Literature, Faculty of Humanities, Yazd University, Yazd, Iran Muhammad Hussein Oroskhan Department of English Literature, Faculty of Humanities, Shiraz University, Shiraz, Fars, Iran ABSTRACT The eruption of two world wars marked a period of transition in which the intellectual and artistic environment underwent a drastic change. Such a gloomy era provided the inevitable situation for the fiction-writer to switch to new and bold fictional modes. Under such circumstances, the adoption of fantasy became one of the most interesting, satisfying and effective forms for projecting the modern novelist's vision. Fantasy can work as the most suitable board on which the fictional writer can apply his satirical vision and negate the value of our sense experiences. Indeed, Fantasy seems to be the exact mode through which writers of the genre can proceed effectively along their chosen path. As such, William Golding in his monumental work, Lord of the Flies, has tried to show a fantastic representation of Modern man's nature which leads him inevitably to savagery. Golding has created a dystopia by diminishing the adults to children to show that the modern man who denies the spiritual values is doomed to failure. Hence, in this paper tries to apply the technique of diminution, an oft- repeated technique in satirical writing, to prove that the animal side in man is the sole cause of his degradation and degeneration and if this animal side is not kept under control, the society will face injustice, repression, slavery and hatred. -
SWPACA 2019 Final Program
Southwest Popular/American Culture Association 40th Annual Conference February 20-23, 2019 — Albuquerque, New Mexico Welcome & 2019 Southwest Popular/American General Info Culture Association Conference ¡Bienvenidos a Albuquerque! We are so pleased to have you with us this week! In 1979, Michael Schoenecke and Peter Rollins began an adventure, founding the Southwest/Texas Popular/American Culture Association and establishing the annual meeting, an event which has continued for forty years and brings us all together this week in Albuquerque. In these decades, thousands of scholars have joined their colleagues in the study and celebration of popular culture, some as first-time conference-goers, others as established scholars in their respective fields. All have contributed to the strength of this conference and organization, and we are honored to have you with us as we celebrate this milestone. This week, we will be reflecting on the foundations upon which the organization, and popular culture studies more broadly, were founded, and we will be looking ahead to the future of the Southwest Popular/American Culture Association, which we trust will be equally long and successful. Please join us Thursday evening at 6:00pm (Grand Pavilion VI) at the annual Peter C. Rollins Book Award and Student Awards Ceremony, where long-time members of the association will share their thoughts on the state of popular culture studies and where we will recognize the next generation of scholars and their work. We are additionally pleased to welcome Pam Houston, author of Cowboys Are My Weakness and the recently-released Deep Creek, among other works, as our conference Keynote speaker, Friday at 7:00pm, following our annual Fire and Ice Reception/40th Anniversary Celebration in Grand Pavilion IV-VI. -
Utopian and Dystopian Literature: a Comparative Study Dr.P.N.Madhusudana Asst Professor and Head
www.ijcrt.org © 2018 IJCRT | Volume 6, Issue 4 Dec 2018 | ISSN: 2320-2882 Utopian and Dystopian Literature: a comparative study Dr.P.N.Madhusudana Asst Professor and Head. Department of English (UG) Government Arts College (Autonomous) Chitradurga Abstract “All utopias are dystopias. The term “dystopia” was coined by fools that believed a “utopia” can be functional.” A.E. Samaan Literature, over the ages, has been influenced by the psychologies of people living in changing times. That is how literature is classified into various genres. The utopia and its derivative, the dystopia, are two such genres (opposite to each other) of literature that explore social and political structures. Where Utopian fiction portrays a setting that agrees with the author’s ethos and is portrayed as having various attributes that readers often find to be characteristic of that which they would like to implement in reality or utopia, as the setting for a novel. Whether in Dystopian fiction, the opposite is the portrayal of a setting that completely disagrees with the author’s ethos and is portrayed as having various attributes that readers often find to be characteristic of that which they would like to avoid in reality, or dystopia. Many novels combine both, often as a metaphor for the different directions humanity can explore, ending up with one of two possible futures. Both utopias and dystopias are commonly found in science fiction and other speculative fiction genres, and arguably are by definition a type of speculative fiction. “Utopia” and “dystopia” are actually two sides of a coin. Generally, these picture a science fiction setting of two extreme points.