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1
Knowles, Thomas. "Lyrical ballards : the wounded romanticism of J.G. Ballard." Thesis, Nottingham Trent University, 2015. http://irep.ntu.ac.uk/id/eprint/32190/.
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This thesis aims to provide a new account of the post-war British author J. G. Ballard (1930-2009) and his work, and in particular of his complex engagement with and critique of Romanticism. As such it represents an original contribution to knowledge in the areas of both J. G. Ballard criticism and in the study of Romantic legacies. Ballard’s ambivalent response to the legacies of Romanticism is seen to form a part of his overall ambivalence and ambiguity as a writer. In addition to the traditional ‘high Romantic’ aesthetic and ideology of Romanticism, Ballard is seen to draw upon Gothic, decadent and symbolist strands of Romanticism. After introducing the key Romantic echoes which I observe in Ballard, and the critical and cultural legacies of Romanticism in the nineteenth and twentieth centuries which he is responding to, I trace these elements through selected works covering the breadth of his oeuvre. Rather than offering a survey of the entirety of his work, of which there are several in print, the thesis considers a selection of key texts at different stages of Ballard’s career in order to bring out the evolving Romantic resonances of his work. In chapter 1 I examine the apocalyptic bard figures in a number of Ballard’s short stories published between 1956 and 1964; in chapter 2 I focus upon the marriage between mind and world in The Drowned World (1962); chapter 3 considers The Atrocity Exhibition (1970) and Crash (1973) as the urban and suburban sites of the wounding of a Romantic sensibility; chapter 4 concentrates upon The Unlimited Dream Company (1979) and The Day of Creation (1987) as meditations upon the role of the imagination in a multiply-mediated modernity; and chapter 5 investigates Millennium People (2003) and Kingdom Come (2006) as postmodern detective stories that draw upon the tradition of the visionary urban and suburban wanderer.
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Jones, Mark John. "Fictional laboratory : anatomising J.G. Ballard." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296553.
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Everett, Alan Neil. "J.G. Ballard : the flight through apocalypse." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307200.
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Hausmann, Mark. "Concrete Reality: The Posthuman Landscapes of J.G. Ballard." Chapman University Digital Commons, 2016. http://digitalcommons.chapman.edu/english_theses/3.
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While the fiction of J.G. Ballard has been primarily explored through postmodern criticism, his narratives and settings predict major issues concerning the contemporary discourse of posthumanism. His texts explore the escalating economic, social, and ecological crises converging within the material conditions of human urbanization and late capitalism. Nearly all of Ballard’s novels are as much about locations undergoing a crisis as they are about individuals or communities coming to embrace some extended period of human hysteria. His characters in The Drought, Concrete Island, and Super- Cannes, each progress through ecologically and socially alienating surroundings which invigorate them to act against classical humanism’s hegemonic and anthropocentric tendencies. By applying Henri Lefebvre’s spatial concept of “abstract space” to Ballard’s range of urban settings, this thesis investigates how Ballard’s early, middle, and late, novels continually put materiality, humanism, and technological landscapes, through different ecological and geopolitical crises in order to deconstruct a number of cultural and ideological concerns posthumanist studies seek to address.
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Duffy, Christopher James. "Heterotopic space in selected works of J.G. Ballard." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/12593/.
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J. G. Ballard’s writing confronts the potentiality of space within the contemporary landscape, articulating complex relationships between the external environment and the individual. In 1983, Ballard stated: ‘[…] the sort of architectural spaces we inhabit are enormously important -- they are powerful. If every member of the human race were to vanish, our successors from another planet could reconstitute the psychology of the people on this planet from its architecture.’ Ballard’s texts are at all times bounded by a materiality which the reader is obliged to pay close attention to. This thesis takes a distinct approach to the spatial in the work of Ballard by concentrating on the external, physical environment and its psychological effects. It uses Michel Foucault’s concept of heterotopia as a theoretical underpinning to describe certain of Ballard’s spaces, a term richly generative for a number of reasons. Heterotopias are other spaces, off-centre with respect to the normal and everyday. They modify space in some way, drawing out latent possibilities. Ballard’s representations of space operate in a similar manner, from early short stories that contrast the quotidian with the fantastic, to investigations of postcivil society reconfiguring criminality in his final novels. This study approaches Ballard’s work in a chronological way, in order to reflect the way in which his heterotopic spaces map changing social conditions. This also enables consideration of Ballard’s developing textual spaces, and, following Foucault’s definition of disturbing literary heterotopias that destroy in advance syntax holding words and things together, Ballard’s unsettling of genre and traditional narrative structures will be examined along with the resistance of Ballard’s texts to easy categorisation and critical assimilation. Ultimately, in this thesis I argue that the spatial is a vital critical category for understanding Ballard’s work, conceiving him as an explorer of complex heterotopic space and writer of disruptive heterotopic literature.
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McNamara, Liam Thomas. "The postmodern Jarry : J. G. Ballard and 'the real'." Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404988.
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Sierra, Nicole Marquita. "Literature, architecture, and postmodernity : Donald Barthelme and J.G. Ballard." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:909bff3c-6eea-46a6-9c7f-72d52b9d43ee.
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Focusing on works between the 1960s and the early ’80s, this thesis sets the literature of Donald Barthelme (1931–1989) and J.G. Ballard (1930–2009) within the context of twentieth-century architectural theory and history (written), design (drawn), productions (built), professional practice (managed), and pedagogy (taught). The primary aim of this study is to explore the discursive exchange between literature and architecture, while probing the putative association between postmodernity and architecture. By introducing a broader set of social phenomena into debates about postmodernity, my thesis enables a revaluation of how the architectural idiom is interpreted in literature. Using textual and visual analysis, this thesis argues that Barthelme’s and Ballard’s literary works operate at an intersection of the visual arts and mass media. Responding to American and European twentieth-century visual avant-gardes and socio-cultural transformations, architecture participates in the formulation of avant-garde conceptual frameworks. Critically, architecture is not only an aesthetic discipline; it is also a social discourse. Through the discipline’s alignment with ‘new’ and ‘old’ avant-gardes, Barthelme and Ballard use architecture as a point of creative departure to undertake formal and thematic literary experiments. For both authors, contact with the architectural avant-garde has literary consequences. This thesis considers four interconnecting ways literature and architecture ‘speak’ to each other: representation, discourse, formal comparisons, and influence or inspiration. Within my study these topics are examined through critical meditations on architecture from geographical (Fredric Jameson, David Harvey), architectural (Robert Venturi, Charles Jencks) and visual cultural (W. J. T. Mitchell, Marshall McLuhan) sources. Also figuring prominently are epitextual materials, especially archival documentation from the Donald Barthelme Literary Papers at the University of Houston and the Papers of J. G. Ballard collection at the British Library. This thesis opens up new ways of understanding the interart pluralism that characterises the postmodern.
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Groppo, Pedro Henrique dos Santos. "Post-temporal subjectivity in the fiction of J. G. Ballard." Universidade Federal de Minas Gerais, 2014. http://hdl.handle.net/1843/ECAP-9GXPE7.
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Esta tese é uma análise de uma seleção de textos de J. G. Ballard (1930-2009) que tratam da confluência do trauma pessoal e cultural. Textos semi-autobiográficos como o 'Império do sol' e outras obras como 'Crash' e 'The unlimited dream company' são examinadas como ilustrações dos processos psicológicos e ficcionais do trauma, uma ferida que desestabiliza tempo, espaço e os funcionamentos da memória e da imaginação. Ballard trata a morte do afeto ('death of affect'), o sujeito mediatizado, e a intratabilidade da morte como consequências de uma subjetividade pós-temporal em virtude da Segunda Guerra Mundial e da emergência da sobrecarregada paisagem midiática dos anos 60.
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Busonik, Stephen William. "Epistemic structuralism in the postmodern novel: The examples of William Gaddis, J. G. Ballard, and Bret Easton Ellis /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487847309053231.
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Stevenson, Simon. "A critical and clinical reading of the fiction of J.G. Ballard." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400022.
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This thesis consists of a study of the texts of the author J.G Ballard. It adopts a 'critical and dinical' approach to literature as developed in the work of the philosopher Gilles Deleuze. In this context, this involves reading Ballard's work as a diagnostic enterprise, providing a 'symptomatology' of contemporary societies and the new arrangements of social and psychic forces that they are introducing. The first of the six chapters examines a selection of Ballard's early fiction. It argues that Ballard's use of the disaster story genre allows him to generate experimental conditions for investigating the effects of alienation in a 'world without others'. This chapter also introduces some of the key themes in Deleuze's thought that will used throughout the study. The second chapter focusses largely on the novel Crash and suggests that the text sets out a new conception of desire not based on lack. In turn, this opens up a reconfiguration of the key psychoanalytic concepts of masochism and the death drive. Chapters three and four explore the terrain that Ballard has called 'inner space'. They take a cross section of Ballard's texts from the 1960s and, using Deleuze's work on cinema, demonstrate how the concept of inner space involves architecture, landscape and subjectivity in a movement of co-becoming which precedes or exceeds the division of subject and object. The remaining chapters examine Ballard's most recent work which deals with contemporary social arrangements. They highlight the 'symptoms' of fatigue, violence, sacrificial practices and internal and external surveillance which Ballard sees as endemic to these new societal formations. Both chapters conclude with a discussion of potential forms of resistance to the current situation offered in these texts in terms of the depiction of molecular-revolutionary subject groups as well as the deployment of 'terminal irony' and the powers of the false.
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Lowery, Martyn John. "The blessed of impossible worlds : J.G. Ballard and the catastrophic imagination." Thesis, University of Exeter, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279741.
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Luckhurst, Roger Michael. "'Between two walls' : postmodernist theory and the 'problem' of J. G. Ballard." Thesis, University of Hull, 1992. http://hydra.hull.ac.uk/resources/hull:3114.
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Huston, Carol. "Eduardo Paolozzi and J.G. Ballard : representing new British modernities, c. 1966-1980." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/eduardo-paolozzi-and-jg-ballard-representing-new-british-modernities-c-1966--1980(97dadfe7-8ca9-4c36-86ae-3fcbcad61a7b).html.
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The significance of the relationship between Scottish artist Sir Eduardo Paolozzi (1924-2005) and English novelist J.G. Ballard (1930-2009) has previously been overlooked in art historical and literary scholarship. This thesis fills this research gap through the analysis of how the pair’s works overlapped thematically to represent a particular strain of British modernity. By looking at shared cultural circumstances after World War II, parallels will be drawn between the work of Paolozzi and Ballard in the late years of British modernism. Drawing upon the topics of science fiction, Surrealism, the neo-avant-garde and militaristic and crash aesthetics, this thesis explores the various themes which Paolozzi and Ballard encountered during the period of their friendship. Overall, this comparative analysis reveals that despite dissimilar upbringings, Paolozzi and Ballard’s harrowing experiences of the Second World War culminated in a dual reaction against the stagnant flow of British modernism during the late postwar era. My thesis demonstrates this through their involvement with literary magazines as well as their mutually shared interests as expressed in their works of art and writings. By creating works which appropriated early twentieth century traditions, Paolozzi and Ballard rejected their immediate modernist inheritance and turned to the modernist past with renewed avant-garde intent. As exemplified in their works, the pair together represented the late postwar transition of British modernity during the dawn of what would come to be called ‘postmodernism’.
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Duris, Laura M. "Re-connecting ballard to its waterfront a maritime center for Seattle, WA /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3304.
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Thesis (M. Arch.) -- University of Maryland, College Park, 2005.Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Groppo, Pedro Henrique dos Santos. "Body and space in J.G. Ballard´s "Concrete island" and "High rise"." Universidade Federal de Minas Gerais, 2009. http://hdl.handle.net/1843/ECAP-7QUHPK.
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The fiction of J. G. Ballard is unusually concerned with spaces, both internal and exterior. Influenced by Surrealism and Freudian psychoanalysis, Ballard's texts explore the thin divide between mind and body. Two of his novels of the 1970s, namely Concrete Island (1974) and High-Rise (1975), depict with detail his preoccupation with how the modern, urban world pushes man to the point where an escape to inner world is the solution to the tacit and oppressive forces of the external world. This escape is characterized by a suspension of conventional morality, with characters expressing atavistic tendencies, an effective return of the repressed. The present thesis poses a reading of these two novels, aided by analyses of some of Ballard's short stories, with a focus on the relation between bodies and spaces and how they project and introject into one another. Such a reading is grounded on theories of the uncanny as described by Freud and highlights Ballard's kinship to Gothic fiction. It presents Ballard's fiction as highly complex and ambiguous, affirming the power of external space to shape and control the human psyche, creating dangerously deterministic scenarios, but at the same time attesting the power of the human mind and imagination to ultimately transcend this oppression and even deathxxx
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Forshaw, Mark. "Affectless subjects, atrocious bodies : thematics and history in fictions by Burroughs, Ballard and Gibson." Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391222.
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Ilardi, Emiliano. "La última frontera de la novela. El espacio metropolitano de Balzac a Ballard." Doctoral thesis, Universitat Autònoma de Barcelona, 2004. http://hdl.handle.net/10803/4881.
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¿Qué sentido tiene hoy leer novelas? O mejor dicho, ¿qué sentido tiene leer novelas contemporáneas? Ya que siempre se puede encontrar una razón para leer a los clásicos, a Cervantes, Balzac, Flaubert, Goethe, Tolstoy, Kafka, Proust, Musil, Melville, Garcia Márquez, Joyce, Gadda o Calvino, incluso en estos tiempos difíciles dominados por los flujos digitales y telemáticos. ¿Qué sentido tiene, en cambio, leer novelas que hablan de nuestro presente, de nuestras vidas, del mundo en que habitamos? Autores como Ballard, Houellebecq, Ellis, Ammaniti, Foster Wallace, Ellroy, Welsh, King, Roth, Auster, Blincoe, Palahniuk, Despentes, Boyle, Wolfe ¿consiguen ofrecernos un punto de vista alternativo al de los otros medios de comunicación? ¿Qué modelos, qué construcciones simbólicas, qué mundos posibles imaginan que no se encuentren ya en la infinita red de internet? En conclusión, ¿puede la novela interpretar, codificar, formalizar el cambio de paradigma que conllevan las nuevas tecnologías? ¿Sigue existiendo una irreducible especificidad literaria o el destino de la novela es el de diseminarse en los flujos comunicativos, apropiarse de sus formas, diluirse en el gran mix multimedia y tener una función exclusivamente residual o de defensa de un glorioso pasado? No se puede contestar a estas preguntas sin tener en cuenta la producción novelística contemporánea, las novelas escritas en el nuevo entorno social y mediático. Lo que significa también reflexionar sobre la que ha sido históricamente la función social de la novela y su evolución durante los últimos dos siglos. Para verificar sus posibilidades hoy, se debe también investigar la influencia que la novela ha tenido a lo largo de la historia en la formación del imaginario colectivo. Y, finalmente, para entender si su función social se ha agotado o sólo está cambiando no se la debe analizar en abstracto, como si la novela hubiera vivido y viviera en un mundo cerrado, autónomo y autorreferencial. Hay que contextualizarla, delimitar un espacio donde se manifieste con claridad. En el presente ensayo este lugar es la metrópolis. Se podría haber elegido otro: el campo, el viaje, la psique, la sexualidad, el consumo. Sin embargo, la tesis es que la metrópolis es el espacio material y simbólico que los puede abarcar a todos sirviendo a la vez como contexto espacial y como gran categoría conceptual que atraviesa toda la producción novelística de los últimos dos siglos. Únicamente desde los múltiples espacios metropolitanos puede surgir un nuevo papel fundamental de la novela que hoy puede ayudar al individuo a recuperar el sentido de la posición cuando se mueve en diferentes niveles de la realidad y enseñarle que este tránsito a veces toma las formas de un paseo posmoderno, a veces de un nomadismo digital y otras veces del conflicto.What is the point of reading novels today? Or rather, what is the point of reading contemporary novels? There is always a reason to read the classics, namely Cervantes, Balzac, Flaubert, Goethe, Tolstoy, Kafka, Proust, Musil, Melville, Garcia Márquez, Joyce, Gadda or Calvino, even in our hard times ruled by digital and telematic flows. But what is the point of reading novels about our present, about our life, about the world we live in? If we consider such authors as Ballard, Houellebecq, Ellis, Ammaniti, Foster Wallace, Ellroy, Welsh, King, Roth, Auster, Blincoe, Palahniuk, Despentes, Boyle, Wolfe. do they manage to offer us an alternative point of view different from mass media? Which models, symbolic constructs or possible worlds can they imagine other than those shown in the endless internet? In short, may the novel interpret, codify or formalize the paradigm change entailed by new technologies? Is there any unyielding literary specificity, or rather is the novel doomed to disseminate in the communication flow, borrow its forms, dilute in the huge multimedia mix and have just a residual role defending a glorious past?
These questions cannot be answered without taking into account the contemporary novel output -the novels written in this new social milieu and media environment. It also involves thinking about the historical social role of novels and its evolution over the last two centuries. In order to check the possibilities of novels today, we should first check the influence of novels throughout our history in the building of a social imaginary. Finally, in order to understand whether the social role of novels is used up or rather it is just changing, we should not analyse novels in abstract terms, as if novels used to live and still lived in a close, autonomous, self-referential world. Novels should be contextualised, defining a space where novels are clearly exposed. This essay places this space in the metropolis. There are other possible spaces, including the countryside, travels, psyche, sexuality, consumption. But my thesis is that the metropolis is the material and symbolic space embracing all the others, being a spatial context as well as a great conceptual category transversal to the novel output of the last two centuries. Only from the multiple metropolitan spaces may a new role of the novel arise, helping people recover a sense of movement throughout different levels of reality and teaching people to understand that this movement may materialize in a post-modern walk, in a digital nomadism or in a conflict.
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Francis, Samuel William. "A critical reading of 'inner space' in selected works of J. G. Ballard." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432291.
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Best, Philip. "Apocalypticisim in the fiction of William S. Burroughs, J.G. Ballard, and Thomas Pynchon." Thesis, Durham University, 1998. http://etheses.dur.ac.uk/994/.
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Kraitsowits, Stephan. "Création de mondes et invention du lecteur dans l'oeuvre de James Graham Ballard." Paris 3, 2001. http://www.theses.fr/2001PA030037.
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En mettant a mal des formes institutionnalisees d'ecriture, le recit ballardien nous rappelle comment la fiction participe a un controle politique, social et culturel et comment elle construit notre perception, dicte notre maniere de nous voir et de voir autrui, de nous presenter et de presenter autrui. L'oeuvre de ballard n'est pas un simple produit de consommation, mais un processus, un arrangement, au sein duquel la collaboration du lecteur s'impose comme necessaire. Le genre, dans ce contexte, apparait alors comme un signal a celui-ci de la co-dependance entre production et reception dans la creation d'une illusion. Les romans de j. G. Ballard, enracines autant dans la mythologie personnelle de leur auteur que dans la realite de nos societes technologiques modernes, occupent une position unique quelque part entre science fiction et discours scientifique, surrealite et quotidien, souvenirs et histoire, fait divers et apparence dans une quete toujours inachevee pour dire le monde et sa mort avec des mots.
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Malone, Patricia. "Our best selves : J.G. Ballard, Jennifer Egan, and conceptions of happiness under neoliberalism." Thesis, Queen's University Belfast, 2018. https://pure.qub.ac.uk/portal/en/theses/our-best-selves-j-g-ballard-jennifer-egan-and-conceptions-of-happiness-under-neoliberalism(143bcf80-9189-4a8a-9a8c-e9c0c2010fe8).html.
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In this thesis, I seek to explore conceptions of happiness under neoliberalism through an investigation of contemporary literature, looking at the work of J.G. Ballard and Jennifer Egan. I have sought to offer a loosely Foucauldian reading of the way in which happiness has come to operate as a form of neoliberal governmentality. I build on existing accounts of how a form of neoliberal ‘commonsense’ comes to institute processes of self-management and self maximisation and pay significant attention to an under-represented area of enquiry in exploring how neoliberal happiness discourse permits and regulates unhappiness as part of its programme. My reading of Ballard moves away from the psychoanalytic context in which he is usually situated to offer an account of his work that recognises its emphasis on the material conditions of life, and highlights a political shift in his late work not yet much commented on. The second half of my thesis, which looks at Jennifer Egan’s work, substantially expands existing scholarship, examining all four of her novels published to date and seeking to offer a comprehensive overview of her current critical position. The comparison between these authors is part of a wider exploration of the function of literature, through which I assess how literature can repeat, resist,and reveal the insidious nature of neoliberal power, and the conceptions of happiness that go with it.
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Acosta-Lewis, Zachary L. "Narrative and the Reconfiguration of the Humanist Subject in Robbe-Grillet, Ballard, and Ligotti." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4223.
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This thesis examines the utility of the novels, short stories, critical writing, and generically indistinct work of Alain Robbe-Grillet, J.G. Ballard, and Thomas Ligotti in developing a critique of the contemporary manifestations of liberal humanist social, economic, and political subjectivities. To this end, the concurrence of formal fragmentation and sublime aesthetics in early Gothic fiction models the manner in which narrative structures can appropriate structural tropes of dominant institutions, critically reflecting ideological fracture. Read according to the assemblative approach outlined by Deleuze and Guattari, these authors serve as a productive and incisive response to the hegemony of capitalist territorialization with ontologically provocative critique.
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Scowcroft, Ronald. "Hidden codes and honest fictions : art, image and perspectivism in the works of J.G. Ballard." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337358.
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Goulet, Anne-Madeleine. "Les "livres d'airs de différents auteurs" publiés chez Ballard (1658-1694) : une musique de ruelles." Paris 10, 2002. http://www.theses.fr/2002PA100111.
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Ce travail de recherche sur les "livres d'airs de différents auteurs", collection en partie anonyme publiée annuellement entre 1658 et 1694 par les Ballard - seuls imprimeurs du roi pour la musique -, propose un catalogue de ces 37 livres d'airs et en donne une analyse littéraire et sociologique. (1) L'étude d'airs "imprimés" implique une réflexion sur leur processus de fabrication matérielle et de son inscription dans les pratiques éditoriales de l'époque. Ces aspects matériels déterminaient des pratiques de lecture qu'il convient de décrire, en analysant la notion de "recueil", l'utilisation qui était faite de ces ouvrages et le lectorat concerné. (2) Nous avons ensuite cherché dans les divers lieux du discours théorique une poétique des airs sérieux au XVIIe siècle. Hormis chez Perrin, l'air apparait toujours comme une pièce mineure. En concentrant notre attention sur la collection comme telle, nous nous sommes demandé si la poétique de ces airs était en accord avec ces énoncés théoriques. Une étude du matériel verbal a permis en outre de mettre en valeur l'omniprésence du thème de l'amour, car à travers la transposition galante et pastorale, c'était l'analyse des méandres du coeur qui intéressait les poètes. .This research on the "Livres d'airs de différents auteurs", a partially anonymous collection published from 1658 to 1694 by the Ballards - the King's only printers for music - offers a catalogue of these 37 books of tunes, and gives a literary and sociological analysis of them. (1) The study of printed tunes implies reflecting on the process of their material fabrication, and inserting them within the editorial practices of the time. These material aspects determined practices of reading which need to be described, by analysing the concept of a collection, the use made of these works, and their intented readership. (2) In the various "loci" of theoretical discourse, we then sought a poetics of serious tunes in the 17th century. With the exception of Pierre Perrin, the tune always appears as a minor piece. By concentrating our attention on the collection as such, we wondered whether the poetics of these tunes agreed with such theoretical pronouncements. In addition, a study of the verbal material enabled us to emphasize the omnipresence of the theme of love, since, by way of its gallant and pastoral transposition, it was the analysis of the heart that interested the poets. .
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Monnier, Clémence. "Histoire et analyse d’une collection musicale du XVIIe siècle : les Livres d’airs de différents auteurs publiés chez Ballard (1658-1694)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040167.
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Cette étude porte sur les 37 Livres d’airs de différents auteurs publiés chez Ballard entre 1658 et 1694, collection musicale qui comporte 1220 airs en grande partie anonymes, écrits principalement à deux voix. Nous proposons de retracer son histoire et d’en faire l’analyse musicologique. (1) Notre première partie est centrée sur la question de la notation des airs. Il s’agit de comprendre la façon dont les Ballard ont conçu et construit leurs recueils, depuis la récolte des airs jusqu’aux choix de présentation. Nous nous penchons ensuite sur la technique éditoriale afin de mieux percevoir quels types de contraintes les éditeurs pouvaient rencontrer lors de la notation des airs. Enfin, une étude comparative avec d’autres sources permettra de mieux comprendre les spécificités de la collection. (2) En tant que corpus homogène, dont la parution se fait de manière régulière, les Livres d’airs… témoignent de la façon dont la musique était pensée à leur époque. L’emploi des signes de mesure évolue, de même que la notation des armures. En 37 ans, le nombre de tonalités employées est doublé. À la lumière des écrits sur la musique qui lui sont contemporains, nous chercherons à comprendre les raisons des diverses mutations, et de mieux comprendre ce langage musical en mouvement. (3) Enfin, notre troisième partie est consacrée à l’acte de composition des airs via deux axes principaux : l’analyse formelle d’une part, l’analyse des genres musicaux ainsi que leurs différences stylistiques d’autre part. Ces deux lignes directrices nous permettront d’aborder d’autres thématiques liées à l’écriture des airs et au lien entre le texte et la musique. En pénétrant certains aspects de la fabrique des airs, aspects restés méconnus étant donné le « creux » théorique à ce niveau au xviie siècle, nous espérons leur redonner, aujourd’hui, une identité musicaleThis study is on the 37 Livres d’airs de different auteurs, published by Ballard between 1658 and 1694. It is a music collection composed of 1,220 airs – most of them are anonymous – that were mainly written for two voices. We propose to trace the history of it and to make a musicological analysis. (1) Our first part focuses on the notation issue, trying to understand the way the printer Ballard built this collection, from the choice of the airs to the choices of presentation. Then we will talk about the editorial technique, in order to better understand the kind of constraints the editors could have while noting the airs. Finally, a comparative study with other sources will help better understand the characteristics of this collection. (2) As a homogeneous corpus, the Livres d’airs… – which were regularly published – show the way music was seen at that time. The use of bar signs was changing, as well as the notation of the key signature. Within 37 years, the number of tonalities had doubled. In light of different documents about music that were published at the same period, we will try to understand the reasons of these changes as well as this moving musical language. (3) Finally, this third part is dedicated to the composing of the airs, via two main lines : a formal analysis on one hand, an analysis of the musical genre on the other hand. These two guidelines will enable us to talk about other themes, related to the fact of writing airs and to the link between text and music. By analyzing some aspects of the air composing – that remained unrecognized given the lack of any theory about it during the XVIIth century – we hope we will be able to give them a musical identity
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Busonik, Stephen. "Epistemic structuralism in the postmodern novel : the examples of William Gaddis, J.G. Ballard, and Bret Easton Ellis /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260971951.
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Paknadel, Alexis. "Anywhere but here: The Competing (and complementary) postmodern nostalgias of J. G Ballard and Douglas Coupland." Thesis, Lancaster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.651297.
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This thesis addresses postmodern nostalgia in the fictions of JG. Ballard and Douglas Coupland. By reading them alongside the work of Svetlana Baym, Fredric Jameson, Waiter Benjamin and Linda Hutcheon among others, it firstly builds upon and questions Baym's categories of restorative and reflective nostalgia. By taking two authors whose work chronologically straddles the postmodern moment to date, the thesis also demonstrates that nostalgia is one issue over which any consideration of postmodernism as a monadic cultural paradigm can be problematised. It proceeds from the supposition that early postmodern fiction is decidedly antinostalgic in tone, whereas recent examples are characterised by a less militant perspective. By placing the authors' texts in dialogue with each other, the piece emphasises nostalgia's ineradicability and its hidden role in anti -nostalgic agendas. To support these claims, the thesis argues that nostalgia is not an indivisible phenomenon. Alighting on and defined by objects which can be set against each other, nostalgia is often pitted against itself in other forms, presupposing a multitude of mutually hostile nostalgias. The nostalgic objects on which the thesis focuses are: colonialism, the North American frontier, the Suburbs, nostalgic consumer objects and Apocalypse. These have been selected over other foci because they are the most pervasive themes in the work of both authors. Colonialism and the North American frontier are exceptions as they are rarely directly pitted against each another in the authors' work. However, they both serve to ground the nostalgic perspectives of both writers, and as such are addressed separately in chapters devoted to a single author. The concluding chapter focuses on the role postmodern irony plays in Ballard and Coupland's work. Explicitly combating nostalgia, irony is exposed as an integral component of any contemporary nostalgic narrative, potentially refining it in the service of a more circumspect contemporary nostalgic.
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Murat, Jean-Christophe. "Les métamorphoses de Londres dans l'imaginaire romanesque britannique après 1945 (Angus Wilson, Doris Lessing, J. G. Ballard)." Paris 3, 1993. http://www.theses.fr/1993PA030100.
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Depuis 1945, le roman britannique semble construire un mode de representation urbaine qui situe londres a un point de rencontre entre un passe historique et litteraire constitue par une serie d'antagonismes (la dichotomie chretienne cite terrestre-cite celeste ; la rivalite ville-campagne, qui evolue vers un rapport ville-banlieue-campagne au dix-neuvieme siecle ; le contraste entre le west end et l'east end, a partir de 1860), et un present postmoderne conditionne par des donnees tout a fait nouvelles (traumatisme de la deuxieme guerre mondiale, angoisse de l'ere nucleaire, toute-puissance de la technologie et des mass media). Chez angus wilson, la representation de londres permet a l'auteur d'etablir une correspondance entre les tropismes qui regissent les ideologies et les modes de vie de la societe britannique (l'opposition ville-campagne notamment) et les rapports qui unissent le texte litteraire a ses hypotextes. L'imaginaire de doris lessing s'ancre d'abord dans la representation d'une ville faconnee par l'histoire et les institutions, avant de substituer a la cite reelle une vision apocalyptique et une architecture paradisiaque. L'univers dionysiaque et deregle de j. G. Ballard convoque dans la capitale britannique la fulgurante reunion de deux extremites du temps: les jungles et les deserts prehistoriques sont les modeles inconscients des jungles et des deserts technologiques du londres des annees 60 et 70Since 1945, the british novel has appeared to build a representation of the city that has made london a meeting-point between a historical and literary past, constituted by a series of antagonisms (the christian dichotomy between the earthly city and the celestial city; the town-country opposition, evolving towards a city-suburb-country relationship in the course of the 19th century; the contrast between the west end and the east end, from 1860 onwards), and a postmodern present, shaped by an unprecedented historical juncture (the trauma of world war 2, the anguish of the nuclear age, the alienation of society by technology and the mass media). In angus wilson's work, the representation of london enables the writer to establish a correspondence between the literary text and its subtexts. Doris lessing's london is initially firmly set in history and institutions, before giving way to an apocalyptic vision and to an architecture of paradise. The dionysian universe of j. G. Ballard manifests in london the reunion of the two extremities of time, in which prehistorical jungles and deserts are unconscious archetypes for the technological jungles and deserts of postmodern london
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Hunninghausen, Carlos Guilherme. "Imagined space : representations of the future city in science fiction short stories by Forster, Ballard and Gibson /." Florianópolis, SC, 1997. http://repositorio.ufsc.br/xmlui/handle/123456789/77337.
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Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.Made available in DSpace on 2012-10-17T03:08:57Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T21:36:59Z : No. of bitstreams: 1 138748.pdf: 2275306 bytes, checksum: e5f7d5c5f41c0eebd543367447334c35 (MD5)
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Khattabi, Nahéma. "De la chanson à l'air de cour : édition et mutations du répertoire profane en France (1555-1624)." Thesis, Poitiers, 2014. http://www.theses.fr/2014POIT5016.
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Le répertoire profane imprimé dans la seconde moitié du XVIe siècle et au début du XVIIe siècle est riche de multiples objets musicaux, si l'on en croit tout du moins la diversité lexicale des titres de volumes publiés en France. Alors que dans la première moitié du XVIe siècle, le terme « chanson » est le titre incontournable placé en tête de volume par les imprimeurs de musique, à partir des années 1550 fleurissent de nouvelles appellations comme « chanson en forme de voix de ville », « ode », « chanson en façon d'air », « air de cour », « air », « dialogue », « sonnet », « Amours », « poésie », « quatrain », « chansonnette mesurée », « villanelle », « mascarade », « ballet », « récit » ou « vers mesurez ». Ces multiples dénominations ne renvoient toutefois pas nécessairement à des objets musicaux différents : pour exemple, au XVIe siècle, une même pièce peut être indifféremment appelée « chanson » et « ode » selon les publications. Cette observation amène à supposer que ces termes ne désignent pas des catégories s'excluant les unes les autres. Ces différentes rubriques sont au contraire poreuses, et leurs contours paraissent parfois vagues aux yeux du chercheur, notamment parce que les théoriciens de la musique, en particulier à la Renaissance, ne définissent pas les dénominations que l'on trouve dans les imprimés. Pour cette raison, l'enjeu de ce travail consiste à observer et à comprendre quelles sont les réalités éditoriales et musicales que recoupent les classifications et les termes utilisés dans les livres. Ce faisant, il s'agit de mettre en lumière le rôle clef de l'imprimeur de musique dans la fabrication matérielle du livre, et de se demander ainsi quelle est la part qu'il prend dans les mutations musicalesThe french repertory printed during the second half of the sixteenth century and at the beginning of the seventeenth century is rich of many musical objects. If in the first half of the sixteenth century, the term « chanson » is the only title used in the editions, other denominations appear from 1552 as « chanson en forme de voix de ville », « ode », « chanson en façon d'air », « air de cour », « air », « dialogue », « sonnet », « Amours », « poésie », « quatrain », « chansonnette mesurée », « villanelle », « mascarade », « ballet », « récit » or « vers mesurez ». These denominations don't designate necessarly differents musical objects : for exemple, during the sixteenth century a same work could sometime be named « chanson » and « ode ». This observation tends to suppose that these terms don't designate indepedant categories. On the contrary, these headings are porous, and their outlines seems sometime vague, in particular because the renaissance music theorists don't define the terms used in the prints. For this reason, the goal of this dissertation consist to observe and understand what are the editorial and musical realities which tally with the classifications and the terms used in the collections. Thus, we would like to highlight the role of the music printer in the making of the book, and to wonder what is the part he takes in the musical mutations
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Moore, Erica Brown. "Practising the Posthumanities : evolutionary animals, machines and the posthuman in the fiction of J.G. Ballard and Kurt Vonnegut." Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/23442/.
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This thesis demonstrates how selected texts by J.G. Ballard—Crash (1973), Concrete Island (1974) and High‐Rise 1975)—and Kurt Vonnegut—Player Piano (1952), Slaughterhouse‐Five(1969) and Galápagos (1985)—can be considered in terms of theoretical stances derived from posthumanism. By analysing representations of the ‘human’ in relation to both the ‘machine’ and the ‘evolutionary human animal’, this thesis illustrates the emergence of the posthuman subject. In addition, by recognising the intersection between posthumanism and evolutionary theory, a wider project of this thesis involves demonstrating how the use of various theoretical approaches, from the ‘humanities’ and the ‘sciences’, contributes to the formation of a ‘posthumanities’ approach to literature. J.G. Ballard and Kurt Vonnegut consistently present fictional scenarios in which the lines between ‘human’, ‘machine’ and ‘evolutionary animal’ are disrupted and blurred. Depictions assume various triangulations and configurations: from the protagonist Ballard’s auto‐eroticism, to the characters of High‐Rise conflating boundaries between the ‘human’ and the evolutionary animal that is conveyed as a constituent of human identity, as well as between the machinic environment and the human inhabitant. Further,comparable configurations characterise Vonnegut’s texts: Player Piano’s Paul Proteus’ war against the machine is superimposed by human affiliation with the machine, and the castaway characters of Galápagos are stranded by evolutionary forces that displace human authority and control to the uttermost limit. Each of these instances contributes to the effective intervention of posthumanist thinking when reading the texts. In addition, the utilisation of evolutionary concepts derived from contemporaneous publications circulating in the cultural and scientific sphere highlights the usefulness of acknowledging sources from beyond the remit of traditional literary studies’ methodologies when reading texts. The triangulation between literature, posthumanism and evolutionary theory results in a reconfigured methodological approach to fictional texts: the posthumanities.
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Busonik, Stephen. "Epistemic structuralism in the postmodern novel : the examples of William Gaddis, J. G. Ballard, and Bret Easton Ellis." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1260971951.
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SANNA, IGNAZIO. "The only truly alien planet is earth: J. G. Ballard, dalla fantascienza al mainstream tra romanticismo e surrealismo." Doctoral thesis, Università degli Studi di Cagliari, 2012. http://hdl.handle.net/11584/266358.
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As an author J. G. Ballard used to deal with different genres and topics, producing several short stories and a number of novels. Yet he has always been true to himself. He started as a science fiction writer, which in a sense he was until the end. With some occasional romantic references, over the years Ballard’s fiction ranged from a personal surrealistic mood to novelized autobiography. He also had a keen interest in psychopathology and society, while being somehow haunted by his experience as a civilian prisoner of war in his early teenage years. This study shows how, like a chameleon, he often appeared under different guises, but always stayed undisputedly ‘Ballardian’.
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Schuman, Matilda. "Addition : Ombyggnad och utbyggnad av Webster School i Seattle." Thesis, KTH, Arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-180956.
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Idén till mitt examensarbete började växa fram förra året när jag studerade ett utbytesår i den amerikanska västkuststaden Seattle. Staden växer och förtätas just nu i en rask takt och de flesta nya byggnader uppförs i en komplex kontext av befintliga byggnader och relationer. De flesta tilläggen skapar idag stora kontraster i stadsbilden. Syftet med mitt examensarbete har varit att utforska hur man för en befintlig byggnad från dåtid till nutid och att skapa en meningsfull dialog mellan gammalt och nytt. Jag har sett det befintliga som en källa till inspiration och kunskap och mitt förslag består av tillägg som både förstärker de rumsliga kvalitéerna i det befintliga och förlänga atmosfären in i det nya.The idea for my thesis began to emerge last year when I was studying as an exchange student in the US, in west coast city Seattle. The city is currently growing and densifying in a rapid pace and most of the new buildings are being built in existing environments. The vast majority is creating big contrasts in the city environment. The aim of my thesis project has been to carry an existing building from the past into the present and to create a meaningful dialogue between old and new. I have seen the existing as a source of inspiration and knowledge, and my proposal consists of interventions that aim to both strengthen the spatial qualities of the existing, and to extend the atmosphere into my proposed extension. My work also aims to add new ways of experiencing the existing building, to create a new, stronger ensemble of spaces.
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Clement, Tracey Ann. "Mapping The Drowned World." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17344.
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Climate-change is the new Cold War. Like the omnipresent threat of nuclear annihilation, climate-change looms in the background, a constant insidious threat: imminent and inexorable, yet ill defined. Written in 1962, during the perpetual slow-burning crisis of the Cold War, J.G. Ballard’s novel The Drowned World reads like an uncanny premonition of the key crisis of our current age: climate-change. As a bridge between the post-war apocalyptic fears of the recent past and current eschatological anxieties, this allegorical work of fiction is a rich source of information. Mapping The Drowned World is driven by the research question: what can we learn about our world by re-reading, re-writing and re-interpreting The Drowned World through the lens of art? This three-pronged methodology has generated three suites of artworks: a series of maps, and two major installations in the form of ruined scale-model cities. In addition, a group exhibition which featured some of these works, alongside works made by five other Australian artists, was staged and documented in a catalogue, also titled Mapping The Drowned World. The written content of this research includes several new analyses of The Drowned World, critiques of the artworks made as part of this project and works made by other artists, and an original interstitial chapter for the novel which recuperates the only female character in The Drowned World. Together, both the creative and written components of this research contribute new knowledge to three fields: scholarship on J.G. Ballard, including contemporary artworks made in direct response to his stories; the field of critical cartography, both textual and visual; and works which respond to eschatological anxiety.
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Olson, Ted S. "Balladry and Ballad-Collecting in Appalachia: An Introduction." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5512.
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Excerpt: Among the most enduring artifacts (along with certain lined-out hymns that are traceable back to sixteenth-century British churches) from the early days of European settlement in Appalachia, ballads are still in everyday use in some regional households and among certain performers, if largely outside the purview of the popular music industry. Even if reduced in range and frequency of performance from their heyday during the preindustrial and early industrial eras, ballads remain relevant today, as they are gems of compact storytelling that communicate thematically timeless narratives.
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Brun-Franc, Christel. "Émergence et développement des Cahiers du Sud. : Histoire d'un succès (octobre 1925 - septembre 1939)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3027.
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Ce travail vise à étudier, de manière critique et détaillée, la revue littéraire Les Cahiers du Sud, dirigée par Jean Ballard, durant la période de l’entre-deux-guerres (1925-1939). Il s’agit d’un travail d’histoire littéraire qui s’appuie sur les archives conservées à la bibliothèque municipale à vocation régionale de Marseille, l'Alcazar. L’étude commence au moment où Fortunio prend pour nouveau titre Les Cahiers du Sud et se dote de nouvelles ambitions, et se clôt avec l’interruption de quelques mois liée à la déclaration de guerre. La fin des années vingt marque le début d’un succès que les années trente viennent confirmer et accentuer, avec la parution de numéros qui font date. Le but de ce travail est donc de comprendre comment cette revue a pu acquérir au fil des numéros une telle reconnaissance, accumuler un tel « capital symbolique », malgré sa localisation provinciale, dans une France plus que jamais centralisée. Alors que l’on assiste à l’éclosion de nombreuses revues trop souvent éphémères, comment les Cahiers parviennent-ils à percer et à perdurer ? C’est ce qui les rend si atypiques, seule revue à s’être maintenue longtemps sans être pour autant parisienne.Il s’agit donc d’exploiter les ressources patrimoniales à disposition afin d’éclairer une entreprise revuiste dynamique originale et de la replacer dans le contexte plus général des revues de l’entre-deux-guerres pour en définir les particularités et en dégager une ligne directrice, qui ne correspond pas exactement à la ligne revendiquéeOur thesis focuses on a detailed and critical study of the literary review Les Cahiers du Sud, edited by Jean Ballard, during the inter-war period (1925-1939). This work of literary history uses the archives from the Alcazar, Marseilles’s public library promoting regional heritage. Our study starts when Fortunio was renamed Les Cahiers du Sud and defined new ambitions, and it ends on the interruption of several months that occurred because of the declaration of war. With the late 1920s came success, which became even bigger and more apparent during the 1930s with landmark issues being published.Our goal is therefore to understand how this review was able to gain such acclaim with time and gather such a “symbolic capital”, while being located outside of Paris, knowing how centralized the French state was. With numerous reviews – all too often short-lived – published also during this period, how did Les Cahiers du Sud manage to break through and last? This is what makes them so atypical – the only non-Parisian review that managed to exist for an extended period of time.Using the heritage resources available, this study casts a light on an energetic and original review and puts it in the more general context of reviews during the inter-war years, in order to define its specificities and reveal a guideline, which turns out to be somewhat different from the one they claimed to have adopted
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Ditze, Stephan-Alexander. "America and the Americans in postwar British fiction an imagological study of selected novels." Heidelberg Winter, 2004. http://deposit.d-nb.de/cgi-bin/dokserv?id=2849617&prov=M&dok_var=1&dok_ext=htm.
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Ostrowidzki, Eric A. "The bunkerfication of paradise : heterotopias, closed spaces, and the pathological geographies of exclusion in J. G. Ballard's fiction." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38543.
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In response to theoretical inquiries into the decline in the production of utopian literature, this dissertation argues that the decline or, rather, the "postmodern" loss of faith in utopian literature and utopian thinking results from the neo-liberal globalization of capitalism and its material and discursive/ideological appropriation of global space. To demonstrate this thesis, the dissertation examines the invariably dystopic imaginative geographies in the fiction of J. G. Ballard. By analyzing the historical-geographical discursive context of Ballard's imaginative geographies, the dissertation attempts to locate and recover those absent spaces that might have served as probable sites of Utopia.The first part of this dissertation examines Ballard's "Concentration City," "Report on an Unidentified Space Station," "The Enormous Space," "The Overloaded Man," and the novel High-Rise. This section concludes generally that the imaginative geographies inscribed within those texts are closed, insular, homogeneous, pathological and exclusionary social spaces that are antithetical to a Postmodern Utopia whose socio-cultural inclusiveness would be predicated upon a "politics of difference."
The second half of the dissertation examines Ballard's later works, such as Rushing to Paradise (1994), Cocaine Nights (1996), and Super-Cannes (2001). By discursively analyzing the similar yet more ideologically transparent imaginative geographies in these recent works, the dissertation concludes that it is not exclusively the material and ideological conquest of social space by global capital that poses the greatest threat to Ballard's "utopian" socio-spatial imaginary. Rather, it is also the postcolonial threat of the dislocations and mass immigrations of the Indigenous Other precipitated by globalization. It is the emergence of the de-territorialized Other that impels Ballard's imaginative geographies to recoil inwardly into "Privatopias," "white enclaves" and "imperial ghettos" demarcated by neocolonial pathological geographies of exclusion.
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Humphreys, Christopher John. "(Re-)Writing the End: Apocalyptic Narratives in the Postmodern Novel." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/6563.
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This thesis investigates the relationship between the apocalyptic narrative and the postmodern novel. It explores and builds on Patricia Waugh‟s hypothesis in Practising Postmodernism: Reading Modernism (1992) which suggests that that the postmodern is characterised by an apocalyptic sense of crisis, and argues that there is in fact a strong relationship between the apocalyptic and the postmodern. It does so through an exploration of apocalyptic narratives and themes in five postmodern novels. It also draws on additional supporting material which includes literary and cultural theory and criticism, as well as historical theory.
In using the novel as a medium through which to explore apocalyptic narratives, this thesis both assumes and affirms the novel‟s importance as a cultural artefact which reflects the concerns of the age in which it is written. I suggest that each of the novels discussed in this thesis demonstrates the close relationship between the apocalyptic and the postmodern through society‟s concern over the direction of history, the validity of meta-narratives, and other cultural phenomenon, such as war, the development of nuclear weaponry, and terrorism.
Although the scope of this thesis is largely confined to the historical-cultural epoch known as postmodernity, it also draws on literature and cultural criticism from earlier periods so as to provide a more comprehensive framework for investigating apocalyptic ideas and their importance inside the postmodern novel. A number of modernist writers are therefore referred to or quoted throughout this thesis, as are other important thinkers from preceding periods whose ideas are especially pertinent.
The present thesis was researched and written between March 2010 and August 2011 and is dedicated to all of those people who lost their lives in the apocalyptic events of the February 22nd Christchurch earthquake.
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Nyke, Siri. "Notes Towards a Mental Breakdown : det teknologiska traumat i J.G. Ballards The Atrocity Exhibition." Thesis, Södertörn University College, School of Gender, Culture and History, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3143.
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This study examinates technology's traumatic impact on the male subject in The Atrocity Exhibition by J.G. Ballard. In my analysis I show how the protagonist uses a fetischistic strategy in order to make sense of the trauma that technology embeds. Paradoxically it proves to be the agent of his trauma, but also functions as his shield. The machine is thus in a position of the hinge, the point in a structural system that both enables and deconstruct the system. In the same position we find the woman. She is the very epicentre of the novel and the violence directed towards her is part of a complex problem that I adress. The woman is divided into pieces and fetischized by the male gaze to serve as a solution for his trauma.
Hal Foster's notion ”the double logic of prosthesis” constitutes a theoretical base. The model shows how a fetischistic strategy is applied by avant-garde artists to solve the technological trauma that they experience. Both content and composition of The Atrocity Exhibition are inspired by avant-garde practices, I have therefore compared the text with Foster's theory on how the avant-garde problematized the interaction between man and machine. Marshall McLuhan's belief that the human body and technology are inseparable in the era of electronics further helps me to study technology's effect on perception.
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Fevyer, David. "Reading the Anthropocene through science and apocalypse in the selected contemporary fiction of J.G. Ballard, Kurt Vonnegut, Cormac McCarthy and Ian McEwan." Thesis, University of Southampton, 2016. https://eprints.soton.ac.uk/400663/.
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This thesis examines how six contemporary novels variously intervene in the current crisis of climate change. Through close readings of J G Ballard’s The Drowned World (1962) and Hello America (1981); Cormac McCarthy’s The Road (2006); Kurt Vonnegut’s Cat’s Cradle (1963) and Galapagos (1985); and Ian McEwan’s Solar (2010), the thesis aims to identify how the narrative and generic resources of contemporary fiction might help readers to think through and beyond the consequences of anthropocentric ways of thinking about the biosphere. Drawing upon the concept of the Anthropocene – and in particular the account of this concept provided by the historian Dipesh Chakrabarty – the thesis suggests that these novels raise profound questions about how climate change is represented and understood. If accounts of the human history of modernity have until recently overlooked the complex ways in which both the human species and its contemporary fossil fuel cultures are intertwined with the geologic history of the planet, how has contemporary fiction attended to this oversight? What light can imaginative apocalyptic future histories of the biosphere, such as those presented in the fiction of Ballard, Vonnegut and McCarthy, shed on predominant understandings of climate change? How has fiction highlighted the ways in which the insights offered by the Anthropocene complicate the promises of scientific ‘reason’ to explain and provide solutions to anthropogenic climate change? How do fictions such as those of Vonnegut and McEwan contribute to a more nuanced account of the limits of such reasoning? To address these questions, the thesis draws upon Martin Heidegger’s account of the anthropocentric enframing of nature through technology, and suggests a re-thinking of Louis Althusser’s account of ideology through which we can begin to understand how anthropocentric perspectives are naturalised in ways that illuminate some of the difficulties identified by Chakrabarty. By bringing these three perspectives together, the thesis seeks to develop a distinct critical approach to reading the responses of these literary fictions to climate change. The first section of the thesis examines how the generic resources of apocalyptic fiction defamiliarise assumed relationships between the human subjects and societies of industrial modernity and the biosphere. Chapter 1 suggests that J G Ballard’s novel The Drowned World (1962) imaginatively connects geologic and human history in order to disrupt key anthropocentric assumptions concerning the relationship between humanity and the biosphere, whilst his later novel Hello America (1981) foregrounds the anthropocentric inscription of industrial modernity through a self-consciously hallucinatory re-imagining of American history. Chapter 2 examines Cormac McCarthy’s recent novel The Road (2006), and suggests that the text presents a particular form of apocalyptic narrative that complicates the anthropocentric sub-text of traditional apocalyptic narratives. The second section of the thesis examines how the fictional representation of science and scientists can help to illuminate the ways in which an anthropocentric faith in the technoscientific promise of human power over nature serves to legitimate an illusion of human mastery over the biosphere. Chapter 3 considers how Kurt Vonnegut’s novel Cat’s Cradle (1963) offers a counterpoint to this faith by ironically depicting scientist characters whose assumptions of beneficial technoscientific progress are undermined by complex interconnections between individuals and the biosphere – connections that have apocalyptic consequences. Such complex interactions are also a feature of the insights offered by ecology and evolutionary science. Reading Vonnegut’s fiction after the Anthropocene underlines the ways in which Vonnegut’s literary techniques can help readers to think through and beyond the complex connections between natural and human history that these scientific disciplines begin to elucidate. As chapter 3 suggests, Vonnegut’s later novel Galapagos (1985) provides a particularly imaginative account of this complexity through its fictional narrative of an evolutionary future history across the longue durée of geologic time. Building on the insights developed in chapter 3, chapter 4 considers the significance of Ian McEwan’s ironic depiction of a fictional scientist who is unable to restrain his own overconsumption of resources in his novel Solar (2010). In my reading, McEwan’s scientist figure functions as an allegory for the paradoxes of a technoscientific culture that seems unable to apply scientific reason in meaningful responses to the dangers of the Anthropocene. In so doing, the chapter illustrates how the use of allegorical codes and irony in Solar draw attention to the ways in which a faith in technoscientific reason to provide solutions to anthropogenic climate change is misplaced. This misplaced faith also naturalises the on-going enframing of nature as a resource, with potentially apocalyptic consequences. The apocalyptic narratives of the Ballard and McCarthy novels can be understood as quasi-scientific literary speculations, which disrupt anthropocentric assumptions through the experimental futures they depict. Similarly, the ironic depictions of scientists and scientific thinking in the Vonnegut and McEwan novels draw attention to the anthropocentric limitations of conventional scientific thinking for fully understanding and productively responding to the apocalyptic implications of climate change. In bringing these readings together, the thesis attempts to provide valuable and timely insights into the techniques through which the literary fiction of Ballard, Vonnegut, McCarthy and McEwan can help readers to think differently about the complex relationship between human life and the biosphere. These readings also trace how such fiction can draw attention to the ways in which anthropocentric patterns of thought contribute to the catastrophic climatic implications of technoscientific culture.
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Hamlyn, Anne Catherine Bentley. "Figuring the 'that-has-been' in the 1960s : time, trauma and representation in the work of Andy Warhol, Richard Hamilton and J.G Ballard." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252355.
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Gruson, Claire. "Les Cahiers du Sud pendant la Seconde Guerre mondiale (septembre 1939 - mai 1945)." Paris 4, 1998. http://www.theses.fr/1997PA040204.
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La recherche porte sur les Cahiers du Sud - revue marseillaise à dominante littéraire - et sur son maintien dans le contexte difficile des années de la guerre. Les documents utilisés se composent de l'ensemble des numéros parus pendant la période correspondante - numéros courants et spéciaux - ainsi que du dépouillement de l'abondante correspondance du directeur de la revue, Jean Ballard, avec ses collaborateurs réguliers ou plus occasionnels. La question posée est de savoir comment la revue a pu se maintenir pendant la période de la guerre. Il s'agissait plus précisément d'identifier la mission que les différents rédacteurs ont assigne "à l'esprit", mission explicitement définie par les prises de position de Jean Ballard au début de la guerre. Ont été examinées la diversité des centres de recherche, la diversité des positions des rédacteurs. Malgré la présence d'articles dont les thèmes étaient manifestement favorables à la "Révolution nationale", surtout au début de la guerre, les "cahiers" ont su préserver un espace de débat et de réflexion non conformiste qui a permis de surmonter les ambiguïtés nées du choc de la défaite. "Ils" ont su effectuer les tâches qui sont celles d'une revue littéraire ouverte à toutes les disciplines de l'esprit et à toutes les culturesThe research deals with the only literary periodical which was not published in Paris, but even though has a national audience -les Cahiers du Sud - a publication which, unlike many others, such as the NRF, Esprit, etc… could "exist" during the gloomy period 1940-1944. The materials consist of all the review's issues (regular and thematic ones), as well as the rich collection of letters written to the review's director, Jean Ballard, by numerous collaborators and readers and the copy of the answers, they received from him. The main problem deals with the “maintenance” of the publication in this time of great trouble. More accurately, it is to delineate the mission that Jean Ballard wanted his collaborators to perform, ie "la mission de l'esprit". The very different attitudes of the contributors have been even if some contributions were obviously tuned with the themes, the "revolution nationale" has developed, especially between 1940 and 1942, the "Cahiers du sud" have always provided the necessary space for non, conformist considerations and for the very debate that could help to overcome many ambiguous attitudes of the time. The "cahiers" have fulfilled their very function, ie, to be a literary periodical, deeply concerned with the "spiritual situation of the age" and open-minded to the diversity of cultures
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Arce, Loayza Rubén Humberto. "Certeza diagnóstica de lo métodos FUR, Ballard modificado y Capurro comparados con la ecografía del primer trimestre para estimar la edad gestacional en recién nacidos prematuros, Servicio de Neonatología del HNAL, 2008." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2009. https://hdl.handle.net/20.500.12672/3046.
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El objetivo del estudio es determinar la certeza diagnóstica de los 3 métodos más usados en nuestro medio como son la fecha de última regla (FUR), el método de Capurro y de Ballard modificado, comparados con la ultrasonografía del primer trimestre.
El estudio se realizó con los prematuros nacidos durante el año 2008 en el Hospital Nacional Arzobispo Loayza (n =212) que cumplieran con los criterios de inclusión.
El estudio mostró una mayor correlación Pearson entre la FUR (r = 0.878) y la ecografía pero con una mayor variabilidad en los resultados (F = 47.188). El método Ballard modificado mostró una correlación en valor muy cercano a la mostrada por la FUR (r = 0.876) en el análisis de la varianza y de Fisher y presenta una menor variabilidad en los diferentes resultados respecto a su media (F = 32,758). Capurro mostró tener el menor grado de correlación respecto a la ultrasonografía (r = 0.853).
El presente estudio reveló que la FUR es un método de gran correlación y de mejor valor predictivo con respecto a la ecografía del primer trimestre por lo que brinda resultados fidedignos, sin embargo, presenta múltiples sesgos como la falta de memoria por parte de las gestantes o su irregularidad en sus menstruaciones.
El método de Ballard modificado puede ser utilizado con resultados previsibles cuando no es posible utilizar el método ecográfico y/o la FUR no es confiable. Éste método muestra mejor correlación respecto a los otros 2 métodos y un valor predictivo muy similar al de la FUR.
Se necesitará un mayor tamaño muestral en futuras investigaciones para determinar categóricamente cual de los métodos presenta mayor certeza diagnóstica o si estos pueden ser usados, sobretodo el FUR y Ballard, en recién nacidos prematuros de manera indistinta.Tesis
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Pomeroy, Hilary Susan. "An edition and study of the secular ballads in the Sephardic ballad notebook of Halia Isaac Cohen." Thesis, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368887.
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Tsoulou, Martha. "After postmodernism : contemporary theory and fiction." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/13753.
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There is a consensus today that we have witnessed the end of postmodernism in both fiction and theory. Due to contemporary fiction’s break with postmodernism being recent, little research has been done to outline the parameters of what exactly this break entails and its relationship to theory and current socio-political issues. The aim of this thesis is to attempt to differentiate between postmodernist fiction and contemporary fiction that was produced from the late 90’s up to today, outline its main characteristics and suggest alternative ways theory may be used to critically analyse fiction. We will be looking at how Habermas’s, Agamben’s, Žižek’s and Badiou’s theories, as well as, a reconsideration of some of Derrida’s and Baudrillard’s theories, can help elucidate certain aspects of contemporary fiction and vice versa. Some of the novelists that will be considered in this discussion are Paul Auster, Don DeLillo, Douglas Coupland, J G Ballard, Julian Barnes, Jonathan Coe and Michel Houellebecq due to their close association with postmodernism and its aftermath. The thesis is divided thematically in five chapters. In the first chapter we will be discussing the impact of 9/11 on contemporary fiction in relation to Derrida’s, Habermas’s, Baudrillard’s and Žižek’s responses to the attacks. The second chapter is concerned with notions of reality and its representations in contemporary fiction. It will be discussed how they differ from Baudrillard’s conceptualisation of hyperreality during postmodernity in light of Badiou’s and Žižek’s theory mainly. The realist/antirealist debate will also be addressed. The third chapter is a consideration of notions of subjectivity in both contemporary theory and fiction and how they may be said to differ from playful, schizophrenic representations of the subject during postmodernity. The fourth chapter is concerned with the return of the political in both theory and fiction after the supposed apoliticality of the postmodern novel, which we will also be addressing. The final chapter is an investigation of the re-emergence of the religious in contemporary culture, including the novel, which proves that the death of meta-narratives may not have been that final after all.
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Medeiros, Rosângela Fachel de. "Crash, romance e filme, expressão máxima da representação do desastre automobilístico em manifestações artísticas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2002. http://hdl.handle.net/10183/10913.
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Utilizando a teoria do polissistema literário de Itamar Even-Zohar, as concepções psicanalíticas de Sigmund Freud e de Erich Fromm, como também posições defendidas por teóricos tais como Roland Barthes, Christian Metz, Julia Kristeva e pelos líderes do movimento Futurista Italiano, entre outros, o presente trabalho analisa duas obras: Crash, romance de J. G. Ballard e Crash, filme de David Cronenberg. O objetivo não é de contrapôlas. Ao contrário, muitas vezes elas serão tratadas como se fossem partes de uma mesma obra, servindo assim uma para expandir a outra. Em relação ao filme, é destacada a forma como Cronenberg assume a autoria de Crash e como o filme rompe os limites do polissistema cinematográfico. É questão central deste trabalho a representação do desastre automobilístico, bem como dos elementos a ele associados, em Crash, romance e filme, especialmente sua reconstituição, bem como o acidente sendo encarado como uma maneira de concretizar o desejo de cometer suicídio e as conseqüências no corpo humano causadas por esse tipo de evento. Para expandir essa análise, aborda-se ainda a maneira como esse repertório é apresentado em outras formas de manifestação artística, fato do qual resulta um diálogo entre cada uma delas e Crash.Making use of Itamar Even-Zohar’s theory of the literary polysystem, the psychoanalytical ideas expressed by Sigmund Freud and Erich Fromm, as well as point of view expressed by theorists such as Roland Barthes, Christian Metz, and Julia Kristeva, and the leaders of the Italian Futurist movement, among others, this thesis has as its basic aim to analyse two works: Crash, a novel by J. G. Ballard, and Crash, the film by David Cronenberg. The intention here is not to oppose them. On the contrary, in many cases they are to be considered as if they were parts of the same work, each one contributing to expand the other. Concerning the film, special attention is paid to the way Cronenberg takes hold of the authorship of Crash and how the movie breaks through the limits of the cinematographic polysystem. The focus of this thesis is centred upon the representation of automobile disasters as well related elements in Crash, novel and film, especially their reproduction, as well as the accident regarded as a means to commit suicide, and the consequences upon the human body caused by the violence of such events. In order to expand this analysis, the presence of the automobile accident in other forms of artistic expression is examined, a fact which will lead to a dialogue between each one of them and Crash.
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Stevenson, Alexander Graham. "A comparison of the accuracy of various methods of postnatal gestational age estimation; including Ballard score, foot length, vascularity of the anterior lens, last menstrual period and also a clinician's non-structured assessment." Master's thesis, Faculty of Health Sciences, 2020. http://hdl.handle.net/11427/33997.
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Rationale Gestational age is a strong determinant of neonatal mortality and morbidity. Early obstetric ultrasound is the clinical reference standard, but is not widely available in many developing countries. There is a well recognised need to identify reliable and simple methods of postnatal gestational age estimation. Methods A prospectively designed methods comparison study in a tertiary referral hospital in a developing country. Early ultrasound (<20 weeks) was the clinical reference standard. Methods evaluated included anthropometric measurements (including foot-length), vascularity of the anterior lens, the New Ballard Score and Last Menstrual Period. Clinicians' non-structured global impression “End of Bed” Assessment was also evaluated. Results 106 babies were included in the study. Median age at birth was 34 weeks (IQR 29-36). Ballard Score and “End of Bed” Assessment had a mean bias of -0.14 and 0.06 weeks respectively but wide 95% limits of agreement. The physical component of the Ballard score, the total Ballard score and Foot-length's ability to discriminate between term and preterm infants gave an AUROC of 0.97, 0.96 and 0.95 respectively. Discussion Although “End of Bed” Assessment and Ballard score had small mean biases, the wide confidence intervals render the methods irrelevant in clinical practice. Foot-length was particularly poor in Small for Gestational Age infants. None of the methods studied were superior to a non-structured clinician's informal “End of Bed” Assessment. Conclusion None of the methods studied met the a priori definition of clinical usefulness. Improving access to early ultrasound remains a priority. Instead of focusing on chronological accuracy, future research should compare the ability of early ultrasound and Ballard score to predict morbidity and mortality.
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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.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.