Relevant bibliographies by topics / 1970s. Fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '1970s. Fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "1970s. Fiction"

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Balaban, Avraham. "Biblical Allusions in Modern and Postmodern Hebrew Literature." AJS Review 28, no. 1 (2004): 189–203. http://dx.doi.org/10.1017/s036400940400011x.

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Hebrew authors of the 1960s and 1970s used the biblical context to hint at their protagonists' religious yearnings, to invest their texts with additional levels of meaning, and to amplify the significance of their plots. In the Hebrew “postmodernist” fiction of the late 1980s and the 1990s, however, biblical allusions are less commonly found, and their functions have fundamentally changed. To examine these different functions, let us first juxtapose two novels, Avram Heffner's Allelim [Alleles], a typical example of the “postmodernist” trend, and Amos Oz's Menuha Nekhona [A Perfect Peace], a representative novel of the Israeli “modernist” school.
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LATHAM, PETER. "“Irreversible Torpor”: Entropy in 1970s American Suburban Fiction." Journal of American Studies 54, no. 1 (2018): 131–58. http://dx.doi.org/10.1017/s0021875818000956.

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Although entropy has been identified as a theme in urban American fiction of the 1960s, it is far more significant in a strand of 1970s suburban fiction, in Joseph Heller'sSomething Happened(1974), John Updike'sRabbit Is Rich (1981), and the stories of Raymond Carver. I argue that in these texts the suburbs function as closed systems, subject to entropy, and that the suburbanite protagonists have a heightened sense of physical and metaphysical entropy, a reflection in part of the prevailing sense of irreversible economic and cultural decline and decay in that decade
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Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale." Open Philosophy 2, no. 1 (2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.

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AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb Objects (often called BDOs) have been understood in terms of science fiction’s enduring interest in the technological sublime and the transcendental. While object-oriented ontology has often turned to science fiction and weird fiction for inspiration in rethinking the possibilities inherent in things and their relations, it has not considered the implications of BDOs for a theory of the object more broadly. The goal of this article is to consider how extreme size and representations of scale in science fiction can help expand an understanding of the object along lines that are similar to those pursued by object-oriented ontology, especially Timothy Morton’s notion of hyperobjects.
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Miller, Kristin. "Postcards from the future." Boom 3, no. 4 (2013): 12–26. http://dx.doi.org/10.1525/boom.2013.3.4.12.

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This article contemplates the way Northern and Southern California have been used in science fiction films since the 1970s. Continuing a trend the author traces to the 1940s novels Earth Abides and Ape and Essence, Northern California represents possible utopian futures while Southern California represents dystopia. The article includes a photo essay featuring science fiction film stills held up against their filming locations in Los Angeles and the Bay Area.
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Šporčič, Anamarija. "The (Ir)Relevance of Science Fiction to Non-Binary and Genderqueer Readers." ELOPE: English Language Overseas Perspectives and Enquiries 15, no. 1 (2018): 51–67. http://dx.doi.org/10.4312/elope.15.1.51-67.

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As an example of jean Baudrillard’s third order of simulacra, contemporary science fiction represents a convenient literary platform for the exploration of our current and future understanding of gender, gender variants and gender fluidity. The genre should, in theory, have the advantage of being able to avoid the limitations posed by cultural conventions and transcend them in new and original ways. In practice, however, literary works of science fiction that are not subject to the dictations of the binary understanding of gender are few and far between, as authors overwhelmingly use the binary gender division as a binding element between the fictional world and that of the reader. The reversal of gender roles, merging of gender traits, androgynous characters and genderless societies nevertheless began to appear in the 1960s and 1970s. This paper briefly examines the history of attempts at transcending the gender binary in science fiction, and explores the possibility of such writing empowering non-binary/genderqueer individuals.
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Muwati, I., D. E. Mutasa, and M. L. Bopape. "The Zimbabwean liberation war: contesting representations of nation and nationalism in historical fiction." Literator 31, no. 1 (2010): 147–74. http://dx.doi.org/10.4102/lit.v31i1.41.

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This article examines the array of macro and micro historical factors that stirred historical agency in the 1970s war against colonial settlerism as depicted in selected liberation war fiction. This war eventually led to a negotiated independence in April 1980. Historical fiction in the early 1980s is characterised by an abundance of fictional images that give expression to the macrofactors, while historical fiction in the late 1980s onwards parades a plethora of images which prioritise the microhistorical factors. Against this background, the article problematises the discussion of these factors within the context of postindependence Zimbabwean politics. It argues that the contesting representations of macro- and microfactors in historical fiction on the war symbolise the protean and fluid discourse on nation and nationalism in the Zimbabwean polity. Definitions and interpretations of nation and nationalism are at the centre of Zimbabwean politics, because they are linked to the protracted liberation war against colonialism and the politics of hegemony in the state. Macrofactors express and endorse an official view of nationalism and nation. On the other hand, microfactors problematise and contest the narrow appropriation of nation and nationalism by advocating multiple perspectives on the subject in order to subvert and counter the elite hegemony.
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Garramuño, Florencia. "La opacidad de lo real." Aletria: Revista de Estudos de Literatura 18, no. 2 (2008): 199–214. http://dx.doi.org/10.17851/2317-2096.18.2.199-214.

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Resumo: Este trabalho investiga as possibilidades de uma literatura que trabalha com “restos do real”, analisando práticas de escrita experimentadas desde os anos 1970, na Argentina e no Brasil.Palavras-chave: poesia brasileira; ficção brasileira; ficção argentina.Abstract: This paper examines the possibilities of a literature that works with the “remains of the real”, analyzing experimental literary practices since the 1970s in Argentina and Brazil.Keywords: Brazilian poetry; Brazilian fiction; Argentinean fiction.
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Lyzlov, Maxim. "Conversations about Science Fiction: The Category of “Fantastic” in The Bibliographic Discourse of the 1960s and 1970s." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 360–72. http://dx.doi.org/10.31860/2304-5817-2021-1-19-360-372.

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In the 1950s and 1970s, bibliographers made attempts to define the genre of fiction and offer a systematization of the available fiction literature. The purpose of the article is to trace the development of the category of “fantastic” in the recommendation indexes of Z. P. Shalashova “Adventures. Journeys. Science Fiction”, “Artificial Earth satellites. Interplanetary flights”, “Adventures and travel”. The problems faced by bibliographers were related both to the sharp increase in publications of fantastic literature, and to the weak development of the theoretical apparatus in literary studies and bibliography. The concept of “fantastic” has evolved from an adventure-related type of scientific and educational literature to a metaphorical “dream world” devoid of terminological clarity. The material of bibliographic indexes, de- spite its limited functionality, nevertheless demonstrates that the processes that took place in the field of recommendation bibliography of children’s books reflect the significant difficulties that bibliographers experienced in finding a language for describing fiction.
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Adelfinsky, Andrey. "Creating a Hero . . . Laughing at Clowns? Representations of Sports and Fitness in Soviet Fiction Films after the Olympic U-Turn in Politics." Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, no. 4 (2020): 108–36. http://dx.doi.org/10.17323/1728-192x-2020-4-108-136.

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In the 1940s–1960s, the USSR made an ideological turn from leftist sports politics to the struggle for Olympic achievements. How has this U-turn affected the social order in Soviet sport and its artistic repre-sentation? The article offers a systematic review of Soviet sport fiction films. The study of sport and fit-ness imagination is conducted through a correlation between artistic performance and social context. Fo-cusing on the 1950s–1980s, we found three different types of representation: № 1 is the creating of a hero (for an elite athlete). This is the lion’s share of all sport movies where the “Myth of a Hero” in Olympic sport was constructed. In praising elite sport, modern Russian movies continue the well-known Soviet tradition; № 2 is the laughing at clowns (for mass sportsmen). These are mostly episodes in feature films on themes, where mass sport (i.e., non-elite, grassroots, recreational, fitness, and ordinary) is mentioned. Surprisingly, this sport is presented in a comic sense (except hiking and mountaineering); №3 is sport reality. This type comprises the tiniest selection of movies where art reflects the real situation inside the Soviet sport industry. Elite athletes are presented here as antiheroes with social adaptation problems; ad-ditionally, such issues as shamateurism are severely criticized. The conclusions are following: since the 1970s, sport films ceased to function as propaganda of fitness and recreational sport. On the contrary, elite sport (as an art branch), its representations in official arts and media jointly constructed the great “evan-gelical myth” about itself, which became the part of public consciousness. However, this myth had little to do with a new reality. Elite sport’s positive representation acted only as a propagandist tool that created a fictional social world. The existing social order’s irrationality was critically reflected only by the comedy genre.
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Lumby, Catharine. "Reshaping Public Intellectual Life: Frank Moorhouse and His Milieu." Media International Australia 156, no. 1 (2015): 133–41. http://dx.doi.org/10.1177/1329878x1515600115.

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This article uses Frank Moorhouse as a study of the formation of a public intellectual in the 1960s and 1970s. Moorhouse was a key figure in the Sydney Push, a loose Libertarian-anarchist network of artists, writers, intellectuals and party people who rejected the dominant moral values of the 1950s and 1960s. A journalist, Moorhouse later became a well-known fiction writer who was part of a similarly bohemian and activist milieu centred in Sydney's Balmain. Taking Frank Moorhouse as a case study, I will argue that there is something particular about the way public intellectuals have historically been formed and given voice in Australian life, which is characterised by a permeability between art and writing practices and between academic and activist milieux.
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Dissertations / Theses on the topic "1970s. Fiction"

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Syme, Neil. "Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21768.

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This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches.
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Bull, Jeoffrey Steven. "Trying nothing, appraisals on nihilism in American fiction of the 1970s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27883.pdf.

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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.

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Stilley, Harriet Poppy. "From the delivered to the dispatched : masculinity in modern American fiction (1969-1977)." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23498.

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There has long been a critical consensus that the presiding mood of America in the late sixties and early seventies was one of pervasive social upheaval, with perpetual ‘crisis’ seeming in many ways the narrative rule. Contemporaneous critics such as Erich Fromm, David Riesman, and William Whyte, together with late-twentieth century writers, Michael Kimmel, Sally Robinson, and David Savran, congruently agree that the post-war American epoch connoted one of expeditious adjustment for white, middle-class men in particular. The specific aim of this thesis is, thus, to elucidate the ways in which the literary fiction of this period by authors John Cheever, James Dickey, Toni Morrison, Cormac McCarthy, and new journalist, Michael Herr, reflects a significantly increased concern for such alterations in the values and attitudes of contemporary cultural life through representations of modern American masculinities. Multiple liberation struggles, including Civil Rights, Feminism, and sexual politics, converged with core economic shifts that transformed the US from an industrial based to a consumerist model. For hegemonic masculinity, this is a transferal from ‘masculine’ industrial labour and the physically expressive body to ‘feminine’ consumerism. This study will first of all underline the extent to which fiction in this period registers those changes through the lens of a fraying of what was once a fortified fabric from which white, patriarchal power was normatively fashioned. What is most disrupted by the paradigm shifts of the era will appear, then, to be a monolithic, coherently bounded American masculinity. However, by way of an interrelated interpretation of contemporaneous feminist and Marxist theory, my research will subsequently show that, rather than being negated, the fabric of that dominant masculinity regenerated and reasserted itself, primarily through the fraught revival of a violent and mythologized hypermasculinity in mainstream US culture. Whether it is through the suburban maladjustment of Eliot Nailles and Paul Hammer, the fraudulent frontier ethic of Ed Gentry and Lewis Medlock, or the more perverse pugnacity of Lester Ballard and internalised racism of Cholly Breedlove, this thesis argues that, by the mid-seventies, numerous American novelists had sought to artistically magnify the ways in which fundamental changes in the patterns of national life were occurring – changes which are represented more often than not as damaging to the normative model of masculinity and the experiential consciousness of men.
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Marshall, Rodney Stephen Adam. "Voicing lost language : the politics of urban gay writing: American and British Fiction from the late 1970s to the early 1990s." Thesis, University of Exeter, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282666.

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Hinchliffe, Ian. "The documentary novel : fact, fiction or fraud? : an examination of three Scandinavian examples of the documentary novel from the 1960s and 1970s." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8034.

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This study seeks primarily to examine three Scandinavian examples of the documentary novel. Initially I endeavour to isolate certain purported characteristics of the genre as a whole by considering which aspects of a narrative have prompted the critics to call it a 'documentary novel'. I then examine the three works in detail, applying standard techniques of literary criticism and comparing the facts on which the novels are based with the novels themselves to determine what makes them 'documentary' and what makes them 'novels'. The three novels share common techniques and all deal with the subject of Scandinavian polar exploration, but the author's relationship and attitude to the facts he has at hand are sufficiently different in each instance to permit a discussion of the literary form, ambitions and potential of the 'documentary novel'. The evidence suggests that the documentary novel uses authentic historical material but presents it through the techniques and forms of creative literature: the novelists adapt documented facts to support a view of a history which typically differs from accepted tradition. I then show that the conclusions to which this unorthodox view points, however, are invariably the same as those the authors draw about life in their other, non-documentary fictional works. Finally I demonstrate how the documentary novel is a fluid form which can be used in the service of fact, fiction or fraudulent propaganda, and I suggest a definition that embraces the three novels examined and the three kinds of documentary fiction that they represent.
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Blatchford, Mathew. "The old New Wave : a study of the 'New Wave' in British science fiction during the 1960s and early 1970s, with special reference to the works of Brian W. Aldiss, J.G. Ballard, Harry Harrison and Michael Moorcock." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22150.

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Bibliography: pages 174-184.<br>This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.
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Degim, Iclal Alev. "TURKISH FANTASY FICTION FILMS THEN AND NOW: AN ANALYSIS OF FANTASY FILMS PRODUCED IN EARLY 1970s TURKEY." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1303.

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Turkish cinema has produced very few examples of fantasy fiction genre films since its beginning in 1914 except for the 1970s Yeşilçam era. The first film ever to be made in Turkey by a Turkish filmmaker (Fuat Uzkınay) is credited as Ayastefanos’taki Rus Abidesinin Yıkılışı (The Destruction of the Russian Monument at Ayastefanos) (Panaite, 8), which is an actuality film similar to Lumiere brothers’ shorts. The lack of recognition of fantasy fiction in Turkish film history and literature can be attributed to the social and political movements along with the modernization process in the republic’s history to migration, alienation, and the contradictory Turkish identity. A survey of Turkish novels reveals a parallel lack of fantasy fiction in literature. In analyzing this lack of fantasy fiction films in literature, Veli Uğur concludes that it is the late modernization process (he claims starts with early 2000’s) within the Turkish social, cultural sphere that influenced this almost complete non-existence of the genre (136). A late modernization is not sufficient to explain the fantasy fictions rise in 1970s and complete disappearance afterwards in Turkish cinema. This project’s main concern is to identify the reasons behind the lack of fantasy fiction films in Turkish cinema by analyzing the films produced in the early peak period of Yeşilçam (early 1970s). I look at the cinematic texts through the lens of attachment to realism and tradition, the refusal and re-appearance of folklore, the definition of Turkish identity prior to the acceptance of Islam, and the severed ties with the Ottoman identity. These factors all created a crisis for the modern Turk. The investigation addresses the effect of the emerging Turkish culture of the early 1970s on the production and perception of fantasy in films as a way of unearthing the social struggles and desires of that time. Contrary to mainstream literature, the Yeşilçam (Green Pine) era (roughly between 1960 and 1980) produced quite a few examples (36 in total from 1970 to 1979 (Önk, 3875)); however, these are only A movies and thus the perception that there aren’t many fantasy films produced in Turkey is wrong. If B films with low-budgets are added the total number rises to 135 films out of a total of roughly 200 films were produced during this nine-year period. The influence of European and American culture after the proclamation of Turkey as a republic in 1923 aided a rise in art and cultural events (such as film festivals) that affected the production of films. Yeşilçam was the peak of this movement towards modernization, and although the production values and budgets for the films were very low, became they extremely successful. These films were produced and distributed for the Turkish audience. Turkish movie theaters of the 1970’s were mainly in big cities.
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Goodenberger, Beth Ann. "Then and Now: A Look at the Messages Young Adult Fiction Sends Teenage Girls in the 1970s and 2000s." Ohio Dominican University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=odu1449249421.

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Ferguson, Naomi Joy. "Literary Alchemy - Turning Fact into Fiction, Songs My Mother Taught Me, Songs My Mother Taught Me - Revised Edition, In Defence of Love." Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/5062.

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My MFA portfolio consists of two scripts for performance and a research essay exploring the methods and process of writing these. Songs My Mother Taught Me is a one-woman cabaret piece; set in 1972, it explores hippie culture in New Zealand and a young women‟s search for independence. This portfolio contains two versions of this script. Both versions of this piece have been performed. In Defence of Love is a play for three actors, each of whom plays one aspect of an abused woman trying to find her way out of a destructive relationship.
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Books on the topic "1970s. Fiction"

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New hard-boiled writers, 1970s-1990s. Bowling Green State University Popular Press, 2000.

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The 1970s: A decade of contemporary British fiction. Bloomsbury Academic, 2014.

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Hoobler, Dorothy. The 1970s: Arguments. Millbrook Press, 2002.

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Seamus, Cooney, ed. Living on luck: Selected letters, 1960s-1970s, volume 2. Black Sparrow Press, 1995.

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Heroes, monsters and values: Science fiction films of the 1970s. Cambridge Scholars, 2011.

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Berryman, Charles. Decade of novels: Fiction of the 1970s : form and challenge. Associated Faculty Press, 1990.

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Heusel, Barbara Stevens. Patterned aimlessness: Iris Murdoch's novels of the 1970s and 1980s. University of Georgia Press, 1995.

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Peterson, Nadezhda L. Subversive imaginations: Fantastic prose and the end of Soviet literature, 1970s-1990s. Westview Press, 1997.

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Semrau, Janusz. American self-conscious fiction of the 1960s and 1970s: Donald Barthelme, Robert Coover, Ronald Sukenick. UAM, 1986.

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American self-conscious fiction of the 1960s and 1970s, Donald Barthelme, Robert Coover, Ronald Sukenick. Wydawn. Nauk. Uniwersytetu im. Adama Mickiewicza w Poznaniu, 1986.

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Book chapters on the topic "1970s. Fiction"

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Roberts, Adam. "Prose Science Fiction 1970s–1990s." In The History of Science Fiction. Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230554658_13.

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Ward, David. "Speculative Fiction." In Contemporary Italian Narrative and 1970s Terrorism. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46648-4_5.

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Roberts, Adam. "The Impact of New Wave Science Fiction 1960s–1970s." In The History of Science Fiction. Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230554658_11.

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Simmons, David. "Representing Class During the Horror Boom of the 1970s and 1980s." In American Horror Fiction and Class. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-53280-0_4.

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Roberts, Adam. "The Impact of the New Wave: SF of the 1960s and 1970s." In The History of Science Fiction. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56957-8_12.

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Tanaka, Motoko. "Apocalyptic Science Fiction from 1945 to the 1970s." In Apocalypse in Contemporary Japanese Science Fiction. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137373557_4.

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Darlington, Joseph. "Writing the IRA from the Mainland: Truth and Fiction." In British Terrorist Novels of the 1970s. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77896-9_4.

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Wallace, Diana. "Selling Women’s History: Popular Historical Fiction in the 1970s." In The Woman's Historical Novel. Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230505940_7.

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Butter, Michael. "Hitler, Nixon, and Vietnam: Self-Critique in Early 1970s Fiction." In The Epitome of Evil. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230620803_4.

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Zhao, Yiheng. "The River Fans Out: Chinese Fiction Since the Late 1970s." In The River Fans Out. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7724-6_18.

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Conference papers on the topic "1970s. Fiction"

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D'Aprile, Marianela. "A City Divided: “Fragmented” Urban and Literary Space in 20th-Century Buenos Aires." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.22.

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When analyzing the state of Latin American cities, particularly large ones like Buenos Aires, São Paolo and Riode Janeiro, scholars of urbanism and sociology often lean heavily on the term “fragmentation.” Through the 1980s and 1990s, the term was quickly and widely adopted to describe the widespread state of abutment between seemingly disparate urban conditions that purportedly prevented Latin American cities from developing into cohesive wholes and instead produced cities in pieces, fragments. This term, “fragmentation,” along with the idea of a city composed of mismatching parts, was central to the conception of Buenos Aires by its citizens and immortalized by the fiction of Esteban Echeverría, Julio Cortázar and César Aira. The idea that Buenos Aires is composed of discrete parts has been used throughout its history to either proactively enable or retroactively justify planning decisions by governments on both ends of the political spectrum. The 1950s and 60s saw a series of governments whose priorities lay in controlling the many newcomers to the city via large housing projects. Aided by the perception of the city as fragmented, they were able to build monster-scale developments in the parts of the city that were seen as “apart.” Later, as neoliberal democracy replaced socialist and populist leadership, commercial centers in the center of the city were built as shrines to an idealized Parisian downtown, separate from the rest of the city. The observations by scholars of the city that Buenos Aires is composed of multiple discrete parts, whether they be physical, economic or social, is accurate. However, the issue here lies not in the accuracy of the assessment but in the word chosen to describe it. The word fragmentation implies that there was a “whole” at once point, a complete entity that could be then broken into pieces, fragments. Its current usage also implies that this is a natural process, out of the hands of both planners and inhabitants. Leaning on the work of Adrián Gorelik, Pedro Pírez and Marie-France Prévôt-Schapira, and utilizing popular fiction to supplement an understanding of the urban experience, I argue that fragmentation, more than a naturally occurring phenomenon, is a fabricated concept that has been used throughout the twentieth century and through today to make all kinds of urban planning projects possible.
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Song, Xiaoping. "Time, History and Self in Chinese Fiction in the 1980s: A Reading from New Perspectives." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l312171.

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3

Ritzi-Lehnert, Marion. "Entering a New Era of Diagnosis." In ASME 2010 8th International Conference on Nanochannels, Microchannels, and Minichannels collocated with 3rd Joint US-European Fluids Engineering Summer Meeting. ASMEDC, 2010. http://dx.doi.org/10.1115/fedsm-icnmm2010-30174.

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Looking at the development of diagnostics from prehistorical days up to know and even further visioning into the future the shamans of the old days were slowly replaced by the early “all-round” doctor having first simple diagnostical and surgery possibilities, changing to nowadays specialized physicians doing the diagnoses based on analytical results provided by decentralized specialized labs. Future visions present doctors offices harboring small instruments that allow the physicians to do analyses directly as fast and as minimally or even non-invasive as possible advantageously combined with a connection to a smart health care database providing anamnesis and providing possible therapeutical measures. Already in the 1960s’ science fiction series Star Trek the spaceship crew used very small instruments for fast, non-invasive diagnosis and treatment. Although, such analyzers are future vision actual developments lead to less and less complex and small systems. Using micro- and nano-technologies manifold approaches addressing so-called “Lab-on-a-chip (LoC)” or “micro total analysis systems (μTAS)” where described during the last two decades. Huge progress can be seen in miniaturization not only of electronics but also of mechanics. While presently, table-top systems reach the market handheld systems providing complete analysis from sample taking to result are rare. Presently, often complex sample preparation methods have to be performed to reach the sensitivity and robustness needed for reliable results. In addition, specific disease markers are still missing that give clear conclusions about health status. In this field, intensive research is going on identifying new better and more specific markers for fast and easy reliable determination of diseases, infections, predispositions and more. Having markers available where each marker gives a non-misleading conclusion that a person will have or already has a certain disease, being able to determine these markers directly from the sample without complex sample preparation steps and having instruments available being preferably portable and applicable by non-specialists such a vision is getting closer. The actually developed miniaturized instruments are an important step towards the envisioned future systems demonstrating the basic proof of concept and thereby heralding a new era of diagnosis.
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