The Gernsback Continuum”1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mirrorshade Women: Feminism and Cyberpunk
Mirrorshade Women: Feminism and Cyberpunk at the Turn of the Twenty-first Century Carlen Lavigne McGill University, Montréal Department of Art History and Communication Studies February 2008 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy in Communication Studies © Carlen Lavigne 2008 2 Abstract This study analyzes works of cyberpunk literature written between 1981 and 2005, and positions women’s cyberpunk as part of a larger cultural discussion of feminist issues. It traces the origins of the genre, reviews critical reactions, and subsequently outlines the ways in which women’s cyberpunk altered genre conventions in order to advance specifically feminist points of view. Novels are examined within their historical contexts; their content is compared to broader trends and controversies within contemporary feminism, and their themes are revealed to be visible reflections of feminist discourse at the end of the twentieth century. The study will ultimately make a case for the treatment of feminist cyberpunk as a unique vehicle for the examination of contemporary women’s issues, and for the analysis of feminist science fiction as a complex source of political ideas. Cette étude fait l’analyse d’ouvrages de littérature cyberpunk écrits entre 1981 et 2005, et situe la littérature féminine cyberpunk dans le contexte d’une discussion culturelle plus vaste des questions féministes. Elle établit les origines du genre, analyse les réactions culturelles et, par la suite, donne un aperçu des différentes manières dont la littérature féminine cyberpunk a transformé les usages du genre afin de promouvoir en particulier le point de vue féministe. -
Souvenirs Du Futur Le Robot Dans Le Steampunk Français
Souvenirs Du futur Le robot dans le Steampunk Français SOREAU CAROLINE MEMOIRE DE MASTER 2 – SOUTENU EN MAI 2014 SOUS LA DIRECTION DE NICOLAS DEVIGNE ET EDDIE PANIER 1 Université de Valenciennes et du Hainaut-Cambrésis Faculté de Lettres Langues Arts et Sciences Humaines Département Arts Plastiques Page de garde : Didier Graffet, Notre Dame 1900, Acrylique sur toile 65 x 100 cm, 2013 2 3 Remerciements En préambule de ce mémoire, je tiens d'abord à remercier M. Nicolas DEVIGNE, qui s’est montré d’une grande disponibilité et d’une aide précieuse tout au long de mon Master et aux différentes étapes de la réalisation de ce mémoire. Pour sa rigueur et son exigence, aussi, qui m’ont poussée à toujours plus de réflexion. M. Eddie PANIER, pour sa confiance en mes capacités, ses encouragements et les lectures précieuses qu’il a pu me conseiller tout au long de ces deux années de travail. Mme. CHOMARAT-RUIZ, pour son engagement au sein du Master Recherche et ses nombreux conseils. Mes parents et mon compagnon, toujours présents, y compris quand je peine à avoir confiance en mon travail et à croire en moi, au point d’en devenir invivable (je plaide coupable !) Pour leurs longues heures passées à relire ces pages et à essayer de comprendre « l’obscur » mouvement steampunk dans le but de pouvoir toujours dialoguer avec l’automate que je deviens lorsque je travaille. Pour leur présence, tant dans les bons que dans les mauvais moments. Mes différents relecteurs, qui ont pris le temps de relever nombre de mes coquilles. -
Research Guides at University of Southern California
9/29/2017 Home - Visions and Voices: Cyberpunk Past and Future - Research Guides at University of Southern California Research Guides Ask a Librarian University of Southern California / Research Guides / Visions and V oices: Cyberpunk Past and Future / Home Visions and Voices: Cyberpunk Past and Future: Home Search this Guide Search This guide was compiled to accompany the Visions and Voices program Cyberpunk Past and Future, April 24, 2015. Home Bibliographies Authors Design & Fashion Do it Yourself Description This guide was compiled for limited use and will not be updated. If you are maintaining a list or directory, please do not link to it. It will disappear. It is selective and idiosyncratic. In the spirit of cyberpunk, most of the resources identified here come from sources found readily on the Web. These resources often reflect community efforts. It seems antithetical to provide a list of books and publications produced by academics reflecting on the meaning of cyberpunk, but it's easy to find yourself using the Do-It-Yourself tab. Since its beginnings, cyberpunk has moved from a subgenre of science fiction into the mainstream of popular culture. Cyberpunk is characterized by the intersection of high technology with the more base aspects of the human condition. Cyberpunk works are often set in distopian hypercities in the not too distant future. A common theme is the dehumanization caused by the rapid uptake of technology including artificial intelligence, wearable/implantable technologies, biotechnology and cloning. The protagonists are often hackers, technologists, journalists, or criminals. Early works were heavily influenced by hacker culture and crime novels like those of Dashiell Hammet. -
Das Universum Des William Gibson Und Seine Mediale Rezeption“
DIPLOMARBEIT Titel der Diplomarbeit „Das Universum des William Gibson und seine mediale Rezeption“ Verfasser Benjamin Schott angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Ao. Univ.-Prof. Dr. Rainer Maria Köppl Inhaltsverzeichnis 1. Einleitung .............................................................................................................. 4 2. Biografie von William Gibson .............................................................................. 5 3. Das Genre Cyberpunk ......................................................................................... 10 3.1. Die Geschichte des Cyberpunks .................................................................. 10 3.2. Charakteristika ............................................................................................. 14 3.2.1. Postmoderne Zukunft in einem urbanen Handlungsort .................... 15 3.2.2. Einfluss von Technologie auf die menschliche Gesellschaft ............ 16 3.2.3. Verbindung zwischen Mensch und Maschine .................................. 17 3.2.4. Dezentralisierter Zugriff auf Informationen - (Cyberspace, Matrix) .................................................................................................... 18 3.2.5. Globlisierung oder: Die von Konzernen bzw. Organisationen angestrebte Weltherrschaft ............................................ 21 3.2.6. Underground, High-Tech und -
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 -
Discussion About William Gibson
Science Fiction Book Club Interview with Gary Westfahl (June 2020) Gary Westfahl, now Professor Emeritus at the University of La Verne and formerly employed at the University of California, Riverside, has retired to focus exclusively on research and writing. His many books on science fiction include two of the University of Illinois Press's Modern Masters of Science Fiction series – “William Gibson” (2013) and “Arthur C. Clarke” (2018) – the three-volume “Greenwood Encyclopedia of Science Fiction and Fantasy” and “Hugo Gernsback and the Century of Science Fiction.” Marina Akushskaya: What's the main difference between Gibson's early and more recent works? First, there are of course different ways to define Gibson’s “early works.” To me, that would refer to his contributions to science fiction fanzines in the 1960s and 1970s, though I am probably one of the few people who has ever read them. They oddly do little to suggest that he would blossom into an accomplished fiction writer, since he then focused on writing poetry and journalistic nonfiction, and he also drew numerous cartoons. Yet he has continued throughout his career to produce a considerable amount of nonfiction, much of which recalls his earlier efforts and demonstrates both his skills and interest in writing nonfiction. If one defines his “early works” as his publications in the 1980s, it is clear that he initially felt most comfortable writing short fiction, and even his novels tend to contain episodes that could be extracted and published, with minimal editing, as short fiction. But he was determined to master the art of writing true novels, and one can observe in early novels his deliberate efforts to experiment with more complex plots and multiple protagonists; he also prioritized the creation of fully realized female characters. -
Space, Power, Identity
International Journal of Cross-Cultural Studies and Environmental Communication Volume 8, Issue 2, 2019 SPACE, POWER, IDENTITY ISSN 2285 – 3324 ISSN-L = 2285 – 3324 DOI: (Digital Object Identifier):10.5682/22853324 EDITOR-IN-CHIEF Ana-Maria Munteanu Ovidius University of Constanţa, RO [email protected] ASSOCIATE EDITOR Adina Ciugureanu, PhD Ovidius University of Constanţa, RO [email protected] EDITOR Ralucea Petre, PhD Ovidius University of Constanţa, RO [email protected] ASSISTANT EDITORS Valentin Vanghelescu University of Bucharest, RO [email protected] Delia Vărzariu Bucharest School of Economics [email protected] International Journal of Cross-Cultural Studies and Environmental Communication https://crossculturenvironment.wordpress.com Volume 8, Issue 2, 2019 SPACE, POWER, IDENTITY Coordinators: Adina Ciugureanu Florian Andrei Vlad Ovidius University of Constanta Editura Universitară www.editurauniversitara.ro & Asociaţia pentru Dezvoltare Interculturală (ADI) www.adinterculturala.wordpress.com ADVISORY BOARD Sergiu Anghel National University of Theatre and Charles Moseley Cinematography ¨I.L. Caragiale¨ of University of Cambridge, UK Bucharest, RO [email protected] Marta Árkossy Ghezzo Stephen Prickett Lehman College, New York, USA Professor Emeritus, [email protected] University of Glasgow/Kent [email protected] Adina Ciugureanu Ovidius University of Constanta, RO Ludmila Patlanjoglu [email protected] National University of Theatre and Cinematography ¨I.L. -
Boundaries in Cyberpunk Fiction: William Gibson's Neuromancer Trilogy, Bruce Sterling's Schismatrix, and Neal Stephenson's Snow Crash
BOUNDARIES IN CYBERPUNK FICTION: WILLIAM GIBSON'S NEUROMANCER TRILOGY, BRUCE STERLING'S SCHISMATRIX, AND NEAL STEPHENSON'S SNOW CRASH by Michelle Toerien Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts at the University of Stellenbosch Supervisor: Mr. R. Goodman March 2000 Stellenbosch University http://scholar.sun.ac.za Declaration: I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety, or in any part, submitted it at any university for a degree. Signature: Date: Stellenbosch University http://scholar.sun.ac.za ABSTRACT Cyberpunk literature explores the effects that developments in technology will have on the lives of individuals in the future. Technology is seen as having the potential to be of benefit to society, but it is also seen as a dangerous tool that can be used to severely limit humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the boundaries that contain them in a desperate search for stability. Only a few individuals manage to move beyond the boundaries created by multinational corporations that use technology, drugs or religion for their own benefit. This thesis will provide a definition of cyberpunk and explore its development from science fiction and postmodern writing. The influence of postmodern thinking on cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of humanity as stable, and argues that it will be necessary for humanity to move beyond the boundaries that contain it. -
Techno-Innocence and Cyber-Rapture in William Gibson's Neuromancer
Techno-Innocence and Cyber-Rapture in William Gibson’s Neuromancer 117 Krzysztof K. Kietzman Between Eden and Utopia: Techno-Innocence and Cyber-Rapture in William Gibso n’s Neuromancer Constructs of Innocence in Cyberpunk Fiction Cyberpunk surfaced as a subgenre of science fiction in the 1980s to popular and critical acclaim. Among the writers who laid the genre’s foundations were Pat Cadigan, William Gibson, and Bruce Sterling. In the 90s, the flagship writers of cyberpunk and its latest offspring—postcyberpunk—were Greg Egan and Neal Stephenson. As of the most recent decade, its legacies are continued in the writings of Paolo Bacigalupi, Ian McDonald, and Charles Stross. Furthermore, cyberpunk has garnered considerable interest among postmodernist critics. Brian McHale asserts that while “there are few . absolute novelties in cyberpunk SF” and all its motifs have had “precedents in earlier SF,” the subgenre’s novel character stems rather from its “shift of dominance” to particular motifs and its dismissal of outmoded motifs within the general science-fiction repertoire (150). In other words, cyber- punk foregrounded a specific “motif complex” (McHale 150), one neither featured nor practiced before in this particular fashion within science-fiction literature. Scholars appreciated cyberpunk for its foregrounding of (dis)embodiedness, its social-liberationist political potential (D. Haraway), and its textual exploration of ontological motifs (B. McHale). Despite cyberpunk’s stellar success, the subgenre had been in fact born out of failure—the failure of science-fiction literature prior to the 1980s1 to live up to its core promise. For the dedicated readers of science fiction, its touchstone had always been its successful efforts at extrapolating from the present and making accurate predictions about the future. -
The Fictive Museum
The Fictive Museum Clair Le Couteur PhD by Practice in Fine Art Royal College of Art Submitted March 2018 Revised May 2019 Front Matter: 1,143 Thesis, Notes & Bibliography: 49,030 1 Slide 413.0: Model of The Fictive Museum (Image courtesy of the John Affey Museum, 2018) 2 AS IF A simple in silence In some imminent hovers 3 insinuation coiled in irony or the mystery hurled down screamed vortex of hilarity and horror on the brink of the gulf without sprinkling it nor fleeing and draws from it the virgin clue AS IF Slide 296.0: Stéphane Mallarmé, A Throw of Dice, VI (In Meillassoux, 2012, Appendix 1.) 4 Statements and Acknowledgements Submission This text is submitted in partial fulfilment of the requirements for a PhD by practice in Fine Art. Copyright This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. Authorship During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than that for which it is now submitted. All quotations from other sources are clearly attributed, and included in good faith for the purposes of research. Signature: Date: 11.06.2019 5 Acknowledgements Thanks to my supervisors Jaspar and Margarita for their patience and restraint throughout this long process. -
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. -
20201106140109-6059-T.Pdf
BENEMÉRITA UNIVERSIDAD AUTÓNOMA DE PUEBLA FACULTAD DE FILOSOFÍA Y LETRAS DOCTORADO EN LETRAS HISPANOAMERICANAS CIENCIA FICCIÓN MEXICANA : MODELOS, REPERTORIOS Y DIMENSIONES DISCURSIVO-SIMBÓLICAS Tesis para obtener el Grado de DOCTOR EN LETRAS HISPANOAMERICANAS PRESENTA: VÍCTOR ROBERTO CARRANCÁ DE LA MORA DIRECTOR: DR. ALEJANDRO PALMA CASTRO BENEMÉRITA UNIVERSIDAD AUTÓNOMA DE PUEBLA CODIRECTOR: DR. JOSÉ ADALBERTO SÁNCHEZ CARBÓ UNIVERSIDAD IBEROAMERICANA, PUEBLA OCTUBRE 2020 ÍNDICE INTRODUCCIÓN 5 I. LA CIENCIA FICCIÓN: SU ACEPTACIÓN E IMPORTACIÓN A MÉXICO 15 1.1 Terminologías: del scientifique romance a la especulación científica 15 1.1 Procesos de importación: breve historia de la ciencia ficción en México 37 1.2 La consagración específica: el Premio Puebla 66 1.4 El inicio de la era digital y del vínculo internacional 77 II. CIENCIA FICCIÓN MEXICANA: UN SISTEMA CULTURAL 89 2.1 El sistema literario 89 2.2 Ciencia ficción y teoría del género literario 98 2.3 La literatura de la imaginación 105 2.4 El sistema de la ciencia ficción mexicana: análisis de sus elementos 123 2.4.1 Productor 127 2.4.2 Consumidor 137 2.4.3 Producto 144 2.4.4 Institución 152 2.4.5 Mercado 160 2.4.6 Repertorio 168 2.4.6.1 Aceptación, importación y transferencia 179 III. MODELOS Y REPERTORIOS DE LA CIENCIA FICCIÓN MEXICANA 196 3.1 Modelos de temporalidaD 203 3.1.1 Repertorios crónicos 205 3.1.1.1 Utopías 205 3.1.1.2 Distopías 218 3.1.1.3 Anacronías 230 3.1.2 Repertorios acrónicos 238 3.1.2.1 Ucronías 238 3.1.2.2 Entropías 250 3.2 Modelos de espacio 261 3.2.1 Repertorios terrenales 262 3.2.2 Repertorios exoterrenales 269 3.2.3 Alternancias 281 2 IV.