'Pataphilology: an Irreader
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David Mitchell's Cloud Atlas : "Revolutionary Or Gimmicky?"
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. David Mitchell’s Cloud Atlas: “Revolutionary or Gimmicky?” A thesis presented in partial fulfillment of the requirements for the degree of Masters of Arts in English at Massey University, Manawatu, New Zealand. Sarah Jane Johnston-Ellis 2010 The right of Sarah Johnston-Ellis to be identified as the Author of the Work has been asserted by her in accordance with the Copyright Act 1994. ii For Eva, Henry and Justin iii iv Abstract This thesis will examine David Mitchell’s use of postmodern narrative structures and strategies in Cloud Atlas and how these relate to his overtly political concerns regarding relations of power between individuals and between factions. This will involve a discussion of debates surrounding the political efficacy of postmodern narrative forms. I will consider Mitchell’s prolific use of intertextual and intratextual allusion and his mimicry of a wide range of narrative modes and genres. These techniques, along with the complex structural iterations in the novel and the ‘recurrence’ of characters between its parts, appear to reinforce a thematic concern with the interconnectedness — indeed, the repetition — of human activity, through time and a fatalistic conception of being that draws on two central Nietzschean notions, eternal recurrence and the will to power. The vision of humanity and human relations of power that is expressed within Cloud Atlas is open to extended analysis in Foucauldian terms. -
Dystopian Language and Thought: the Sapir-Whorf Hypothesis Applied to Created Forms of English
DePauw University Scholarly and Creative Work from DePauw University Student research Student Work 2014 Dystopian Language and Thought: The aS pir- Whorf Hypothesis Applied to Created Forms of English Kristen Fairchild Follow this and additional works at: http://scholarship.depauw.edu/studentresearch Part of the English Language and Literature Commons Recommended Citation Fairchild, Kristen, "Dystopian Language and Thought: The aS pir-Whorf Hypothesis Applied to Created Forms of English" (2014). Student research. Paper 7. This Thesis is brought to you for free and open access by the Student Work at Scholarly and Creative Work from DePauw University. It has been accepted for inclusion in Student research by an authorized administrator of Scholarly and Creative Work from DePauw University. For more information, please contact [email protected]. 1 Dystopian Language and Thought: The Sapir-Whorf Hypothesis Applied to Created Forms of English Kristen Fairchild DePauw University Honor Scholar 401-402: Senior Thesis April 11, 2014 2 3 Acknowledgements I would like to acknowledge and thank my three committee members for their guidance and encouragement through this process. Additionally, a special thanks to my advisor, Istvan Csicsery-Ronay Ph.D, for all his extra time and support. 4 5 Introduction The genre of science fiction is a haven for the creation of new worlds, universes, and projections of the future. Many versions of the future represent dystopian societies. While the word dystopia often evokes images of hellish landscapes or militarized super-cities, the word dystopia simply implies “a dis-placement of our reality.”1 Dystopias usually originate from social or political conditions of the present. -
'Pataphilology: an Irreader
’pataphilology Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-profit press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afloat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t find a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la Open Access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) ’pataphilology: an irreader. Copyright © 2018 by editors and authors. This work carries a Creative Commons BY-NC-SA 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and transformation, you distribute your rebuild under the same license. http:// creativecommons.org/licenses/by-nc-sa/4.0/ First published in 2018 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-947447-81-3 (print) ISBN-13: 978-1-947447-82-0 (ePDF) lccn: 2018954815 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J. -
Abschlussarbeit
Abschlussarbeit Zur Erlangung des Magister Artium (M.A.) im Fachbereich 10 der Goethe Universität Frankfurt am Main Institut für England- und Amerikastudien Thema Newspeak, Nadsat and Láadan – The Evolution of Speech and the Role of Language in 20th Century Dystopian Fiction 1. Gutachterin: Dr. Silvia Mieszkowski 2. Gutachter: Prof. Dr. Frank Schulze-Engler Einreichungsdatum: 23.10.2009 Vorgelegt von: Eike Kühl [email protected] www.eikekuehl.de Words! Mere words! How terrible they were! How clear, and vivid, and cruel! One could not escape from them. And yet what a subtle magic there was in them! They seemed to be able to give a plastic form to formless things, and to have a music of their own as sweet as that of viol or of lute. Mere words! Was there anything so real as words? - Oscar Wilde, The Picture of Dorian Gray Frankfurt am Main 2009 Table of Contents i Table of Contents 1 Introduction ...................................................................................................................... 1.1 Preliminaries ............................................................................................................ 3 1.2 Language in dystopian research .............................................................................. 7 1.2.1 State of research............................................................................................... 7 1.2.2 Language and dystopia – an overlooked theme? ............................................. 9 1.2.3 Classification and organization of language concerns ................................. -
Determining the Plausibility of Future Language in (Post-)Apocalyptic Fiction
Determining the Plausibility of Future Language in (Post-)Apocalyptic Fiction by Bart Meijer – 3187535 MA Thesis Western Literature and Culture Faculty of Humanities University of Utrecht Supervisor: Prof. Dr. David Pascoe Second Reader: Drs. Simon Cook August 2011 2 Table of Contents Introduction ....................................................................................................................................3 Background .....................................................................................................................................6 Scenario 1: Language Disappearance .......................................................................................14 1.1: Language Disappearance in Literature ..............................................................................16 1.2: Language Disappearance in Film.......................................................................................23 Scenario 2: Local Language .......................................................................................................27 2.1: Riddley Walker ....................................................................................................................29 2.2: Cloud Atlas ..........................................................................................................................37 2.3: Mad Max Beyond Thunderdome ........................................................................................39 Scenario 3: Universal Language ................................................................................................41 -
Close Reading with Computers This Page Intentionally Left Blank CLOSE READING with COMPUTERS
Close Reading with Computers This page intentionally left blank CLOSE READING with COMPUTERS Textual Scholarship, Computational Formalism, and David Mitchell’s Cloud Atlas > Martin Paul Eve Stanford University Press Stanford, California Stanford University Press Stanford, California © 2019 by the Board of Trustees of the Leland Stanford Junior University. This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 license. To view a copy of the license, visit http://creativecommons.org/licenses Open-access dissemination of this book in 2020 was made possible through the Philip Leverhulme Prize generously awarded to the author by The Leverhulme Trust. Suggested citation: Eve, Martin. Close Reading With Computers: Textual Scholarship, Computational Formalism, and David Mitchell’s Cloud Atlas. Stanford: Stanford University Press, 2019. DOI: 10.21627/9781503609372 No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or in any information storage or retrieval system without the prior written permission of Stanford University Press. Printed in the United States of America on acid-free, archival-quality paper Library of Congress Cataloging-in-Publication Data Names: Eve, Martin Paul, 1986– author. Title: Close reading with computers : textual scholarship, computational formalism, and David Mitchell’s Cloud atlas / Martin Paul Eve. Description: Stanford, California : Stanford University Press, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2018035887 (print) | LCCN 2018037273 (ebook) | ISBN 9781503609372 | ISBN 9781503606999 (cloth : alk. paper) | ISBN 9781503609365 (pbk.) Subjects: LCSH: Mitchell, David (David Stephen). Cloud atlas—Criticism, Textual. | Criticism, Textual—Methodology—Computer programs. | Digital humanities—Research— Methodology. | Computational linguistics—Methodology. -
Riddley Walker Free
FREE RIDDLEY WALKER PDF Russell Hoban | 256 pages | 01 Nov 2013 | Orion Publishing Co | 9780575119512 | English | London, United Kingdom Riddley Walker (Novel, ) | Riddley Walker is a science fiction novel by Russell Hobanfirst published in It won the John W. It was nominated for the Nebula Award for Best Novel in It is Hoban's best-known adult novel and a drastic departure from his other work, although he continued to explore some of the same themes in other settings. Hoban began work on the novel inRiddley Walker by the Riddley Walker wall painting of the legend of Saint Eustace at Canterbury Cathedral. The novel is written in a stylistic, imaginary dialect based on and inspired by the dialect of Kent. Roughly two thousand years after a nuclear war has devastated civilizationRiddley, the young narrator, stumbles upon efforts to recreate a weapon of Riddley Walker ancient world. The novel's characters live a harsh life in a small area which is presently the English county of Kentand know little of the world outside Riddley Walker "Inland" England. Their level of civilization is similar to England's prehistoric Iron Age Riddley Walker, although they do not produce their own iron but salvage it from ancient machinery. Church and state have combined into one secretive institution, whose mythology, based on misinterpreted stories of the war and an old Catholic saint Eustaceis enacted in puppet shows. Peter Ruppert noted that Hoban's novel draws on "such Riddley Walker dystopias as A Riddley Walker OrangeLord of the Fliesand A Canticle for Leibowitz ", and "what is unique in Hoban's haunting vision of the future is his language" which is described as being similar to the Nadsat slang spoken in Anthony Burgess ' A Clockwork Orange. -
1 Abstract Will Self's Sixth Novel, the Book of Dave
SURROGATE DADS:INTERROGATING FATHERHOOD IN WILL SELF’S THE BOOK OF DAVE DANIEL LUKES “A father is a man who fails every day.”1 Abstract Will Self’s sixth novel, The Book of Dave (2006) develops the British writer’s ongoing interest in fathers and children, and fatherhood as a key nexus where masculinity and patriarchy are reproduced. The nov- el channels and critiques various types of narrative, including the “dad lit” genre, best represented by the popular novels of Nick Horn- by and Tony Parsons, the post-apocalyptic and dystopian idiolect science fiction tradition of Anthony Burgess’ A Clockwork Orange and Russell Hoban’s Riddley Walker, and social phenomena such as “new” fatherhood and the “fathers’ rights” movement. With wit, in- sight, anger, and compassion, Self’s novel engages and interrogates matters of paternity, patriarchy, power, the religions of the father, the malaise of millennial British working-class masculinities, and the question of what it might mean to be a post-patriarchal dad. The topic of fatherhood is one of Will Self’s major concerns, and spans the writer’s oeuvre from his early satirical fictions to his latter, weightier works. Self, who has four children, has gravitated through- out his writing to narratives concerning fathers and children, and fa- ther-son relationships, in particular ones that involve surrogate, non- biological, foster- and father-figure mentors. As one of the central places where masculinity is reproduced, and the male body fashioned and coerced into citizenship, Self’s fiction recognizes how fatherhood 1 Michael Chabon, Manhood for Amateurs, New York: HarperCollins, 2000, 7. -
1980 BA Thesis English Language and Culture
The Power of Fictional Constructed Languages in Post-War English Literature 1948 - 1980 BA Thesis English Language and Culture, Utrecht University Djoeke Feenstra 3665828 Dr. David Pascoe July 2015 Contents Contents…………………………………………………………………………………………………………… Page 2 Introduction……………………………………………………………………………………………………… Page 3 1. Theoretical Background……………………………………………………………………………………. Page 4 1.1 The Cold War and Post-War Fiction……………………………………………………… Page 4 1.2 Fictional Constructed Languages …………………………………………………………. Page 6 2. George Orwell – Nineteen Eighty-Four…………………………………………………………….. Page 7 2.1 The Language: Newspeak…………………………………………………………………….. Page 9 2.2 Language as a Psychological and Political Tool……………………………………… Page 10 3. Anthony Burgess – A Clockwork Orange …………………………………………………………… Page 15 3.1 The Language: Nadsat………………………………………………………………………….. Page 16 3.2 Language as a the voice of Rebellion and Protest ………………………………… Page 18 4. Russell Hoban – Riddley Walker ……………………………………………………………………….. Page 22 4.1 The Language: Riddleyspeak………………………………………………………………… Page 23 4.2 Erosion of Language and the Decay of Communication.……………………….. Page 25 Conclusion………………………………………………………………………………………………………… Page 30 Bibliography……………………………………………………………………………………………………… Page 32 2 Introduction ““You are very much older than I am,” said Winston. “You must have been a grown man before I was born. You can remember what it was like in the old days, before the Revolution. People of my age don’t really know anything about those times. We can only read about them in books, and what it says in the books may not be true. [”]” (Orwell p.89) In the late 20th century, with the First and Second World War still painfully present in memory and already a few years into the Cold War, the public grew more aware and scared of the current situation. To raise awareness of – and to personally critique – the present critical situation and its possible devastating outcomes, some writers dedicated their time to writing dystopian, and post- apocalyptic, fiction with a message. -
Language As a Familiar Alien in Science Fiction Or, As Riddley Walker Would Ask, Wie Wood Eye Both Err Two Reed This?
Language as a Familiar Alien in Science Fiction or, as Riddley Walker Would Ask, Wie Wood Eye Both Err Two Reed This? by Starr Friedman A thesis presented for the B.A. degree with Honors in the Department of English University of Michigan Spring 2009 © March 2009, Starr Elizabeth Friedman To my friends and family, who love me even when I am acting like a Familiar Alien. Acknowledgements I would first and foremost like to sincerely thank my thesis advisor, Professor Eric Rabkin, for his invaluable time, expertise, and plain wisdom. In an hour-long conversation with him, he would make me learn more and think harder than I otherwise might in a whole week. His lectures and our meetings have taught me that science fiction is so much more than Star Trek; it is an exercise in seeking fundamental human truths cleverly foregrounded by spaceships and ray guns and man-eating slugs and everything else I used to automatically associate with the genre. Thanks to him I have an entirely new appreciation of science fiction, one that will last me long after my time in college is up. Given his distaste for verbose writing, I am compelled to keep my thanks to him short and sweet, but I am nonetheless utterly indebted to him for his help. I could not have written this thesis without him. Professor Adela Pinch and Professor Catherine Sanok are also very deserving of my gratitude. Professor Pinch has championed my project since the beginning of the year, lending me some of her confidence when my own was waning.