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Rojas, Francisca M. 1976. "Cyberpunk visions of the future city." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/69760.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2000.Includes bibliographical references (leaves 112-116).
As a future-oriented practice, urban design compels us to imagine, anticipate, design and plan our cities of tomorrow. In fact, 20* century urban planning has generated a number of influential visions of urban futures - from Howard, Le Corbusier, and Wright, to Fuller, Archigram, and Soleri. Yet for more than twenty years, urban planning has exhibited a conspicuous lack of critical projection about the future of urban life and form. This present lack of futurist vision is particularly remarkable when considering the rapid advancements in information technology (IT) that have begun to affect the nature of a wide range of interactions at the various scales of urban life. Of particular interest to urban planning and design is whether or not, and how, IT contributes to the transformation of social and spatial relationships. The future consequences of how IT and other postmodern forces are changing cities have been explored by a subset of science fiction dubbed, Cyberpunk. Writers of cyberpunk fiction have extrapolated the present urban condition to expose a cautionary dystopian vision of cities and urban life in the near-future. Generally, cyberpunks envision the technologically- enhanced future city as an anarchic physical environment of exclusion, sprawl, surveillance, degradation, dematerialization, submission, and resistance. This study examines the images of a potential urban future, with particular attention placed upon the future of urban form, through detailed readings of cyberpunk fiction and film. While a far cry from the communitarian utopias of the previous century that have served as models for the cities we live in today, the cyberpunk vision of the future city does present urban planning and design with cautionary tales from which the profession may begin to examine its current practices and inform its designs for an electronically mediated future.
by Francisca M. Rojas.
M.C.P.
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Oneto, Manuela. "Cyberpunk : un mouvement artistique sous influence mécanique." Paris 8, 2010. http://www.theses.fr/2010PA083208.
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La critique semble avoir toujours défini implicitement jusqu'à présent le Cyberpunk comme mouvement littéraire, passant sous silence l'existence des groupes issus de cette vague dans d'autres registres artistiques de l'espace public. Elle ne semble pas non plus avoir pris en compte le fait que le Cyberpunk est un mouvement complexe qui se propage à travers plusieurs réseaux : du monde littéraire au monde politique, de la manifestation performative urbaines aux manifestations cinématographiques ou musicales, de l'univers psychédélique à l'univers spectaculaire. Aussi, nous sommes nous demandé dans cette thèse, à quelles conditions le Cyberpunk peut-il vraiment avoir une existence en tant que courant artistique ? Si la question de la machine, dans son interaction avec l'homme, et la mutation qu'elle peut produire, occupe une place centrale dans un certain nombre de mouvements artistiques du XXe siècle, elle constitue la problématique fondamentale du mouvement Cyberpunk pour qui la machina n'est pas seulement un appareil qu'il est possible ou non d'utiliser mais plus profondément un instrument de contamination qui peut menacer notre société. Notre propos consiste à examiner à quelles conditions, la machine se transforme en machination, en virus susceptible de se propager avec les dangers que fait peser tout processus de contagion sur nos comportements socio-culturels. Quels sont les mécanismes qui ont permis à la machine de devenir un moyen d'expression artistique fondamental pour ce mouvement à travers des groupes artistiques cyberpunk tels que la FURA DELS BAUS en Espagne, la MUTOID WASTE COMPANY en Italie et en Angleterre, les SURVIVAL RESEARCH LABORATORIES et les SEEMEN en Californie, qui ont développé une véritable vague underground en Europe et aux Etats unis. Le Cyberpunk imposerait en dernière hypothèse, la métaphore des conditions de transformation sociale, se présentant comme miroir d'une société à la fois mutante et mutée par la machina, qui contamine autant le corps physique que le corps social à travers ses mutations culturellesUp to now, the critics always seem to have implicitly defined Cyberpunk as a literary movement, almost hiding the existence of different art groups directly deriving from this wave. They did not consider the fact that Cyberpunk is a complex movement, spreading as a virus through many different networks: from literature to politics, from theatrical performances to cinema and music, from the psychedelic universe to the world of entertainment. Therefore, in this thesis we are asking ourselves under which conditions can Cyberpunk really exist as an art trend? If the matter of machines, of man-machine interaction, and the consequent mutation, finds a central role in the art movements of the 20th century, it represents the essential question of the Cyberpunk movement, since the machina is not only an equipment to be deliberately used, but also more deeply it becomes an instrument of contamination that could dangerously threat our society. Our purpose is then to examine under which conditions the machine becomes machination, a virus able to spread along with the risks concerning the importance of this infection process on our socio-cultural behaviours. The mechanisms that allowed the machine to become a fundamental means of artistic expressions through cyberpunk artistic groups that developed a real underground wave in Europe and America, such as the FURA DELS BAUS in Spain, the MUTOID WASTE COMPANY in Italy, the SURVIVAL RESEARCH LABORATORIES in England and the SEEMEN in California. Finally, in our hypothesis Cyberpunk imposed the metaphor of the transformation of social conditions, appearing as the mirror of a mutant society transformed by the machina, which contaminates both our body and our culture by means of its cultural mutations
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Calvert, Bronwen. "Virtual bodies : technology and embodiment in cyberpunk fiction." Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273464.
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This thesis offers a new way of reading narratives of cyberpunk fiction. It undertakes to re-evaluate cyberpunk fiction according to a feminist criticism that takes direction from Donna Haraway's cyborg politics and Eve Sedgwick's "deconstructive" reading. Both cyberpunk fiction and its criticism are read "deconstructively" in order to contest the notion that cyberpunk fiction cannot productively be read for feminism. The representation of embodiment and technology in cyberpunk narratives is customarily read in terms of a Cartesian opposition of body and mind, in which the materiality of female bodies is contrasted with the virtuality of male minds. The feminist analysis in this thesis focuses upon the way in which cyberpunk narratives can be seen to problematise both materiality and virtuality, embodiment and technology. Four novels are examined in detail: William Gibson's Neuromancer, Pat Cadigan's Synners, Marge Piercy's Body of Glass, and Neal Stephenson's Snow Crash. In each narrative, conventions of cyberpunk fiction are seen to be subverted and contested. Gibson's novel, which has become accepted as the template of "classic", masculinist cyberpunk fiction, is revealed through this feminist analysis as a narrative which is profoundly ambivalent in its depictions of technologised male and female bodies. This ambivalence continues in the versions of cyberpunk offered by Cadigan, Piercy, and Stephenson. These readings illuminate the way cyberpunk narratives work to deconstruct binary oppositions through their explorations of gendered bodies, technology, virtuality, and disembodiment. The deconstruction, disruption and dismantling of binarisms are conceptualised in the image of the unnaturally embodied cyborg, which unites gendered embodiment and technological augmentation in an imaginary body.
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Gil, Alexandre Vasilenskas. "Corpos distópicos: o dualismo grotesco na cinematografia cyberpunk." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3484.
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O presente trabalho pretende realizar o estudo sobre o modelo de corporalidade que foi difundido pela cinematografia recente inspirada pelo movimento cyberpunk. Marcados pela expressão de uma nova forma de dualismo que se funde com os pressupostos antes associados à chamada estética grotesca de um corpo pouco individualizado e aberto ao intercâmbio com o mundo externo e ao mesmo tempo bastante marcado por um novo tipo de conflito agora entre memória e organicidade. O texto discutirá também a contextualização social do movimento cyberpunk que pretendeu unificar a contracultura dos anos 60 com as discussões derivadas das novas tecnologias contemporâneas e seus efeitos nas novas concepções sobre corporeidade e conflito mente/corpo.This thesis aims to analyze corporeality in cyberpunk cinema. This cinema is defined by a new form of dualism associated to the presuppositions of the grotesque aesthetics. It is a little individualized body and open to the interchange with the external world and defined by a new form of conflict between memory and organicity. The thesis shall also discuss the social context of cyberpunk, which aimed to combine countercultural discussions of the 1960s with discussions coming from the contemporary technologies and their effects on the new conceptions of corporeality and the body/mind dualism.
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Mamedova, Lala, Elfana Gasumova, and Gulchohra Salehzadeh. "The futurist direction in fashion industry – cyberpunk style." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17922.
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Cyberpunk – is the stylistic trend in literature, cinema, clothing, interiors and other areas of modern life, based on the aesthetics of science fiction films, games, ideas about the world of the future. This is a special picture of the world with incredible technologies, scientific achievements, robots -the versions have already been offered by dozens of creators of games, motion picture, novels. Futurism touched on clothes, shoes, make-up, hairstyles – a unique version of aesthetics with elements of minimalism, sports style, not lacking of comfort was obtained. The main goal of the designers is to embody the high technologies in everyday image, to emphasize the differences in the cyberpunk style with characteristic colors, shapes, accessories, and styles.Киберпанк – стилистическое направление в литературе, кино, одежде, интерьере и других сферах современной жизни, основанное на эстетике фантастических фильмов, игр, представлениях о мире будущего. Это особая картина мира с невероятными технологиями, научными достижениями, роботами – варианты предлагали уже десятки создателей игр, кинолент, романов. Футуризм коснулся одежды, обуви, макияжа, прически – получился уникальный вариант эстетики с элементами минимализма, спортивного стиля, не лишенный комфорта. Основная цель дизайнеров – воплотить в повседневных образах высокие технологии, подчеркнуть отличия стиля киберпанк характерными цветами, формами, аксессуарами, фасонами.
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Holz, Martin. "Traversing virtual spaces body, memory and trauma in cyberpunk." Heidelberg Winter, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2838320&prov=M&dok_var=1&dok_ext=htm.
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Holz, Martin. "Traversing virtual spaces : body, memory and trauma in cyberpunk /." Heidelberg : Universitätsverlag Winter, 2006. http://catalogue.bnf.fr/ark:/12148/cb40222376s.
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Incarico, Irene. "Il cyberpunk in Italia: testimonianze letterarie e linguaggi mediatici." Doctoral thesis, Università degli studi di Trieste, 2009. http://hdl.handle.net/10077/3046.
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2007/2008Il cyberpunk è un movimento nato negli anni Ottanta tra Stati Uniti e Canada come risposta rivoluzionaria alla situazione stagnante della fantascienza americana. Il suo stretto legame con le novità della scienza, dalla cibernetica militare alla pirateria informatica, la sua estetica tesa verso il post-apocalittico e il post-umano e la sua carica innovativa stilistico-linguistica faranno di questa corrente letteraria una vera e propria rivoluzione pop che finirà per penetrare ogni campo mediatico, dal cinema alla musica, dalle arti visive all’intrattenimento fino ad arrivare alla moda e alle manifestazioni culturali. E in Italia? È esistito anche un cyberpunk italiano? La risposta è si. Un si che si avvale di numerose testimonianze letterarie e culturali. Sicuramente tardivo, talvolta di dubbia qualità e spesso carente in originalità, il cyberpunk italiano nasce e si afferma costantemente sospeso tra imitazione e innovazione, contaminazione e plagio, recupero avanguardistico e omaggio. Ma non è scevro di opere interessanti, sia per il loro valore intrinseco, sia per la loro capacità di aiutarci a comprendere paure e desideri della nostra epoca.
XXI Ciclo
1981
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Londero, Rodolfo Rorato. "FUTURO ESQUECIDO: A RECEPÇÃO DA FICÇÃO CYBERPUNK NA AMÉRICA LATINA." Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/3980.
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The aim of this research is to discuss the reception of Latin American cyberpunk
fiction, in other words, the Latin American reception of cyberpunk fiction. The cyberpunk
fiction emerged in North American social and economic context in the 1980 s, and it depicts
several topics linked to place and moment of production: the failed States and neoliberalism;
the emergence of cyberspace and free circulation of capital beyond national borderlines; the
dystopian background, the disbelief in future and grand narratives collapse as it is proposed
by the lyotardian postmodernity, etc. These characteristics lead to identify the cyberpunk
fiction as the supreme representation of late capitalism (Jameson). However, how can the
cyberpunk fiction in Latin America be thought, it means, a place that is inside and outside of
the world system at the same time? The hypothesis of this research points out to utopian way
of Latin American cyberpunk fiction that does not exist in North American version. The
representation of utopia in this fiction is only possible due to places out of world system:
marginalized urban groups, Indian ethnics, ecological enclaves, religious movements, etc.
This research is composed by four chapters: the first one discusses science fiction, while a
genre which involves cyberpunk fiction, contesting its values (ephemerality, particularity and
imitation) in face to mainstream literature (eternity, universality and originality); the second
one approaches the Marxist model base-superstructure, which is considered pertinent to
analyze the relationship between text and context; the third one verifies the kind of reception
produced by Latin American cyberpunk fiction, in order to that, it is elected the Argentinean
magazine Neuromante Inc. as a sample of this reception; and the forth one analyzes some
novels in order to prove the hypothesis: Mañana, las ratas ( Tomorrow, the rats , 1977), by
José B. Adolph; Silicone XXI ( Silica 21st century , 1985), by Alfredo Sirkis; Flores para un
cyborg ( Flowers for a cyborg , 1996), by Diego Muñoz Valenzuela; 2010: Chile en llamas
( 2010: Chile in flames , 1998), by Darío Oses; El viaje ( The trip , 2001), by Rodrigo
Antezana Patton; El delirio de Turing ( Turing s Delirium , 2003), by Edmundo Paz Soldán;
De cuando en cuando Saturnina ( From time to time Saturnina , 2004), by Alison Spedding;
A mão que cria ( The hand that creates , 2006), by Octavio Aragão; La segunda enciclopedia
de Tlön ( The second encyclopedia of Tlön , 2007), by Sergio Meier; Os dias da peste ( The
days of the plague , 2009), by Fábio Fernandes; and Cyber Brasiliana (2010), by Richard
Diegues.O objetivo deste trabalho é discutir a recepção da ficção cyberpunk latino-americana, ou melhor, a recepção latino-americana da ficção cyberpunk. Surgida nos anos 1980, no contexto sócio-econômico norte-americano, a ficção cyberpunk representa vários tópicos ligados ao local e momento de produção: os Estados falidos e o neoliberalismo; a emergência do ciberespaço e a livre circulação do capital para além das fronteiras nacionais; o cenário distópico, a descrença no futuro e o fim dos grandes relatos históricos como propõe a pósmodernidade lyotardiana; etc. Estas características levam a identificar a ficção cyberpunk como representação suprema do capitalismo tardio (Jameson). Entretanto, como pensar a ficção cyberpunk na América Latina, ou seja, num lugar que se encontra ao mesmo tempo dentro e fora do sistema mundial? A hipótese que este trabalho apresenta aponta para o viés utópico da ficção cyberpunk latino-americana, inexistente na versão norte-americana. A representação da utopia nesta ficção somente é possível devido aos lugares que se encontram fora do sistema mundial: os grupos urbanos marginalizados, as etnias indígenas, os enclaves ecológicos, os movimentos religiosos, etc. Este trabalho organiza-se em quatro capítulos: no primeiro capítulo se discute a ficção científica, gênero que abarca a ficção cyberpunk, contrapondo seus valores (efemeridade, particularidade e imitação) aos da literatura mainstream (eternidade, universalidade e originalidade); no segundo capítulo se aborda o modelo marxista base-superestrutura, considerado pertinente para analisar as relações entre texto e contexto; no terceiro capítulo se verifica o tipo de recepção realizado pela ficção cyberpunk latino-americana, elegendo a revista argentina Neuromante Inc. como caso exemplar desta recepção; e no quarto capítulo se analisa alguns romances para comprovar a hipótese: Mañana, las ratas (1977), de José B. Adolph; Silicone XXI (1985), de Alfredo Sirkis; Flores para un cyborg (1996), de Diego Muñoz Valenzuela; 2010: Chile en llamas (1998), de Darío Oses; El viaje (2001), de Rodrigo Antezana Patton; El delirio de Turing (2003), de Edmundo Paz Soldán; De cuando en cuando Saturnina (2004), de Alison Spedding; A mão que cria (2006), de Octavio Aragão; La segunda enciclopedia de Tlön (2007), de Sergio Meier; Os dias da peste (2009), de Fábio Fernandes; e Cyber Brasiliana (2010), de Richard Diegues.
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Rose, Margaret Anne. "Plotting the networked self : cyberpunk and the future of genre." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83839.
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Cyberpunk's attempt to imagine the futures that the expanding communications networks will shape, as explored in Sterling's Islands in the Net and Stephenson's The Diamond Age, discovers that the boundaries between the machine and human, the natural and artificial, and the past and present have never been as clear as the modern realist schematic has drawn them. Gothic literature represents transgressions of these boundaries as threatening to the self, and Mary Shelley's Frankenstein is the node where the gothic is dismembered and sutured into science fiction, and the modern self faces its monstrous double. Yet if boundaries are represented as sites of interface, gothic threats become opportunities for growth and generation. Individual texts, even realist ones, have always sutured together intertextual ingredients. Jane Eyre offers an alternative model for constructing the subject through sorting texts, a technique which emerges through cyberpunk as the essential survival skill of the future self.
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Sjöqvist, Joachim. "Kausalitet i fiktiva miljöer : En narratologisk analys av tre cyberpunk-romaner." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-17906.
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O'Toole, Sharon. "Cyberpunk visions : coping with converging technologies and transformations of human freedom /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2004. http://uclibs.org/PID/11984.
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Bould, Mark Douglas. "Cyberpunk in retrospect : postmodernism and transcendence in science fiction after 1980." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297701.
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Álvarez, Tostado Ana Paula. "Poética del cyberpunk en la narrativa breve mexicana: soledad y resistencia." Tesis de maestría, Universidad Autónoma del Estado de México, 2020. http://hdl.handle.net/20.500.11799/109398.
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La poética cyberpunk en la narrativa breve mexicana se basa en dos aspectos fundamentales: la soledad y la resistencia. Estos temas evolucionan en cada relato analizado hacia una aceptación heroica, no por motivos de valentía o hazañas épicas, sino por la actitud romántica de la entrega absoluta a la tragedia, pero no a sucumbir ante ella, más bien a luchar desde la única frontera no corrompida por la tecnología, la voluntad del individuo.Consejo Nacional de Ciencia y Tecnología UAEM
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Alphin, Caroline Grey. "Living on the Edge of Burnout: Defamiliarizing Neoliberalism Through Cyberpunk Science Fiction." Diss., Virginia Tech, 2019. http://hdl.handle.net/10919/88796.
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A dominant trend in cyberpunk scholarship draws from Fredric Jameson's diagnosis of postmodernism as the logic of late capitalism, using Jameson's spatial pastiche, schizophrenic temporality, and waning of affect, along with Jameson's characterization of Baudrillard's simulacrum to interpret postmodern cultural artifacts. For many cultural critics, the city of cyberpunk is thoroughly postmodern because parallels can be drawn between the cyberpunk city and the postmodern condition. However, very little work has considered the ways in which cyberpunk can defamiliarize the necro-spatial and necro-temporal logic of neoliberalism. This project moves away from more traditional disciplinary aesthetic methods of analyzing power and urban systems, such as interpretation and representation. And, it problematizes the biopolitical present in three different ways. First, by weaving in and out of an analysis of the narratives, discourses, and spatio-temporalities of cyberpunk and neoliberalism, I seek to produce epistemological interferences within these genres/disciplines, and thus, to disrupt the conceptual and lived biopolitical status-quo of late-capitalism. The goal is to open the door for discomfort with and a critical awareness of the necrotic conditions of competition by highlighting the fictive nature of neoliberalism. Second, this study problematizes accelerationism as a viable alternative to leftist politics and suggests in the end that accelerationism is a form of neoliberal resilience. It does this through an analysis of the biohacker that reframes this subject in terms of accelerationism and the logic of intensity. I argue that the biohacker is the accelerationist subject Alex Williams and Nick Srnicek advocate for in their "Accelerationist Manifesto," suggesting that this accelerationist subject is, in the end, a neoliberal subject that fits easily within the conditions of competition. This study argues that the biohacker in its numerous forms reflects an underlying pure neoliberalism at work within accelerationism and its neoliberal governmentalities. I suggest that far from being an alternative to leftist politics, accelerationism may further the goals of neoliberalism in its desire to accelerate to a purified market space. And, finally, this study works towards offering a biopolitics that theorizes death in terms of ordinariness and suggests that biopolitics is still a useful analytic within neoliberalism. In other words, Foucault's biopolitics can do more than theorize a genealogy of biological racism and genocide. Rather than advocate for moving beyond biopolitics, this study argues instead that neoliberal biopolitics can still be understood in terms of Foucault's analytic, and that perhaps, we need to disentangle Foucault's work from Achille Mbembe's "Necropolitics."Doctor of Philosophy
A dominant trend in cyberpunk scholarship draws from Fredric Jameson’s diagnosis of postmodernism as the logic of late capitalism, using Jameson’s spatial pastiche, schizophrenic temporality, and waning of affect, along with Jameson’s characterization of Baudrillard’s simulacrum to interpret postmodern cultural artifacts. For many cultural critics, the city of cyberpunk is thoroughly postmodern because parallels can be drawn between the cyberpunk city and the postmodern condition. However, very little work has considered the ways in which cyberpunk can defamiliarize the necro-spatial and necro-temporal logic of neoliberalism. This project moves away from more traditional disciplinary aesthetic methods of analyzing power and urban systems, such as interpretation and representation. It problematizes the biopolitical present in three different ways. First, by weaving in and out of an analysis of the narratives, discourses, and spatio-temporalities of cyberpunk and neoliberalism, I seek to produce epistemological interferences within these genres/disciplines, and thus, to disrupt the conceptual and lived biopolitical status-quo of late-capitalism. Second, this study problematizes accelerationism as a viable alternative to leftist politics and suggests in the end that accelerationism is a form of neoliberal resilience. And, finally, this study works towards offering a biopolitics that theorizes death in terms of ordinariness and suggests that biopolitics is still a useful analytic within neoliberalism. Methodologically, the project utilizes an interdisciplinary approach, pulling from political theory, genre studies, discourse analysis, and digital ethnographic research. Professionals and scholars interested in contesting neoliberalism will benefit from this study as it offers ways to problematize neoliberalism’s reality construction.
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Dall'Acqua, Giulia <1990>. "L’uomo e la macchina: visioni cyberpunk a confronto tra America e Giappone." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9507.
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Partendo dalle origini della fantascienza nella letteratura e nel cinema, verranno analizzati i casi più rilevanti di film e animazioni cyberpunk in America e Giappone nello specifico Blade Runner per l’area americana e Ghost in the shell per il Giappone. La trattazione si concluderà con i possibili sviluppi del genere in entrambi i paesi attraverso l’analisi di due film di prossima uscita quali il sequel di Blade Runner e il primo adattamento cinematografico in assoluto del film d’animazione Ghost in the shell.
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Lavigne, Carlen J. "Mirrorshade women: feminism and cyberpunk at the turn of the twenty-first century." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21937.
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This study analyzes works of cyberpunk literature written between 1981 and 2005, and positions women's cyberpunk as part of a larger cultural discussion of feminist issues. It traces the origins of the genre, reviews critical reactions, and subsequently outlines the ways in which women's cyberpunk altered genre conventions in order to advance specifically feminist points of view. Novels are examined within their historical contexts; their content is compared to broader trends and controversies within contemporary feminism, and their themes are revealed to be visible reflections of feminist discourse at the end of the twentieth century. The study will ultimately make a case for the treatment of feminist cyberpunk as a unique vehicle for the examination of contemporary women's issues, and for the analysis of feminist science fiction as a complex source of political ideas.Cette étude fait l'analyse d'ouvrages de littérature cyberpunk écrits entre 1981 et 2005, et situe la littérature féminine cyberpunk dans le contexte d'une discussion culturelle plus vaste des questions féministes. Elle établit les origines du genre, analyse les réactions culturelles et, par la suite, donne un aperçu des différentes manières dont la littérature féminine cyberpunk a transformé les usages du genre afin de promouvoir en particulier le point de vue féministe. Les romans sont examinés dans leurs contextes historiques; leur contenu est comparé aux tendances et controverses de plus grande envergure du féminisme contemporain, et leurs thèmes affichés comme images manifestes du discours féministe à la fin du vingtième siècle. L'étude présentera en fin de compte des arguments appuyant l'approche de la littérature cyberpunk féministe comme véhicule exceptionnel pour l'examen des questions féminines contemporaines et pour l'analyse de la science-fiction féministe en tant que source complexe d'idées politiques.
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Causo, Roberto de Sousa. "Ondas nas Praias de um Mundo Sombrio: New Wave e Cyberpunk no Brasil." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-12032014-123051/.
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O objetivo deste estudo é fornecer uma análise dos dois principais movimentos dentro da ficção científica em língua inglesa vinculados ao pós-modernismo, a New Wave da década de 1960 e o Movimento Cyberpunk da década de 1980, estabelecendo comparações com a produção de ficção científica do mesmo período, dentro das Primeira e Segunda Ondas da Ficção Científica Brasileira. Questões de política literária serão sempre evocadas, como maneira de relativizar o peso teórico das discussões, tentando estabelecer que intenções, procedimentos e programas literários existem inseridos em contextos pessoais, sociais e mesmo nacionais. Essa abordagem é amparada pelo conceito do Campo de Poder, do sociólogo francês Pierre Bourdieu (1930-2002), e de diversos intérpretes de suas idéias. A partir dos trabalhos de críticos e teóricos como Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau e Robert Scholes, este trabalho propõe que a ficção científica, como gênero literário de raízes populares, é capaz de exercer o papel de uma literatura que faz a crítica da modernidade, sem recorrer necessariamente aos aspectos formais associados à literatura pós-modernista, incluindo o texto fragmentário, a mistura de gêneros e códigos literários. A pesquisa conduz a uma reflexão a respeito da situação da ficção de gênero vis-à-vis a predileção da ficção pós-modernista pela metaficção e pelo experimentalismo.The objective of this study is to provide an analysis of the two main literary movements in English-written science fiction associated to postmodernism, the New Wave of the 1960s and the Cyberpunk Movement of the 1980s, establishing comparisons with science fictional production of the same periods in the First and Second Waves of Brazilian science fiction. Issues of literary politics will be constantly considered, as a way to relativize the theoretical charge of the arguments, trying to establish that intentions, proceedings, and literary programs exist inserted in personal, social, and even national contexts. This approach is supported by the French sociologist Pierre Bourdieus concept of Field of Power, and also by a number of readers of his ideas. Taking from the works of critics and theoreticians such as Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau, and Robert Scholes, this work claims that science fiction as a literary genre of popular roots can play out the role of a literature that performs a criticism of modernity without relying on those formal aspects associated with postmodernist literature, including fragmentary prose and the mixing of genres and literary codes. The research leads to a reflection concerning the situation of genre fiction vis-à-vis postmodernist fictions propensity for metafiction and experimentalism.
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Farwick, Christine. "Welcome to the interzone writing/reality in cult fiction of the 1980s and 1990s." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2004. http://d-nb.info/1002141680/04.
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Kneale, James Robert. "Lost in space? : readers' constructions of science fiction worlds." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309071.
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Ferreira, Alberto José Viralhadas. ""Futurshocked Zombies or Hopeful Monsters" : discursos (pós)-humanistas em Neuromancer de William Gibson." Master's thesis, Porto : [Edição de Autor], 2009. http://hdl.handle.net/10216/13692.
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Esta dissertação analisa a presença do Humanismo enquanto corrente filosófica, e de que forma esta voz se coaduna com as perspectivas pós e transhumanistas presentes na literatura cyberpunk, especificamente, na obra Neuromancer da autoria de William Gibson. Partindo de um fundo metafórico, a dissertação congrega diversos instrumentos metodológicos do campo da sociologia, filosofia e estudos culturais, encontrando-se dividida em três partes, sendo que as duas primeiras destinam-se a fundamentar teoricamente o estudo das posições narrativa acima descritas na terceira e última parte.
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Ferreira, Alberto José Viralhadas. ""Futurshocked Zombies or Hopeful Monsters" : discursos (pós)-humanistas em Neuromancer de William Gibson." Dissertação, Porto : [Edição de Autor], 2009. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000193047.
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Esta dissertação analisa a presença do Humanismo enquanto corrente filosófica, e de que forma esta voz se coaduna com as perspectivas pós e transhumanistas presentes na literatura cyberpunk, especificamente, na obra Neuromancer da autoria de William Gibson. Partindo de um fundo metafórico, a dissertação congrega diversos instrumentos metodológicos do campo da sociologia, filosofia e estudos culturais, encontrando-se dividida em três partes, sendo que as duas primeiras destinam-se a fundamentar teoricamente o estudo das posições narrativa acima descritas na terceira e última parte.
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Terranova, Tiziana. "The intertextual presence of cyberpunk in cultural and subcultural accounts of science and technology." Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338666.
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Souza, Alexandro Carlos de Borges. "A representação do jornalista nas histórias em quadrinhos: Cyberpunk e novo jornalismo numa leitura crítica de Transmetropolitan." Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/4482.
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Previous issue date: 2013-09-26Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Journalists, as an interpretative comunity, or tribe, define themselves through social traces and the mastery of pratical knowledges which allow them to claim an especific professional field. This journalistic culture is also rich of myths and social representations that try to legitimate the role played by the journalist into society. These myths very often cover their professional reality. Born in the papers, the modern comics have a tradition in represent journalists as comic characters. This representation, especially in superheroes, adventure and similar comics, has served to strenght the professional image passed by the myths. But, through time, as comics have narrative and themathically matured themselves, this representation has been problematized, unmasking the ideology behind the myths. This research tries to show this phenomenon through a study of case about a comic book called Transmetropolitan. This comic shows the adventures of a journalist called Spider Jerusalem, who lives at a chaotic metropolis in search of his stories. Our work was divided in two parts. The first one is a bibliographical review about themes that this study is based upon. In the second, it was made a content analysis of three editions of Transmetropolitan, and the data was used to guide our critical review of the comic. We argue that this comic book brings a contracultural vision about contemporary society and the role of the journalist, supported by the cyberpunk narrative and the style of report used by New Journalism to problematize this myths.
Os jornalistas, como comunidade interpretativa, ou tribo, se definem por meio de traços sociais e pelo domínio de saberes práticos que permitem a reivindicação de um campo profissional específico. Esta cultura jornalística também é rica em mitos e representações sociais que buscam legitimar o papel desempenhado pelo jornalista na sociedade, mitos estes que muitas vezes mascaram a realidade profissional. Nascidos dos jornais, os quadrinhos modernos têm tradição na representação de jornalistas como personagens. Esta representação, especialmente nos quadrinhos de super-heróis, de aventura e gêneros correlatos, serviu por muito tempo para reforçar a imagem profissional contida no mito. Porém, à medida que esses quadrinhos amadureceram narrativa e tematicamente, essa representação passou a ser problematizada, expondo a ideologia por trás desses mitos. Esta pesquisa busca mostrar esse fenômeno por meio de um estudo de caso sobre a série em quadrinhos Transmetropolitan. Este quadrinho de ficção científica narra as aventuras do jornalista Spider Jerusalem por uma metrópole urbana caótica na busca de suas pautas. O estudo se dividiu metodologicamente em duas partes. Na primeira, uma pesquisa bibliográfica exploratória sobre os temas que embasam o estudo. Na segunda, uma análise de conteúdo das três primeiras edições de Transmetropolitan, para em seguida realizarmos a leitura crítica do material a partir dos dados coletados. Defendemos que esses quadrinhos se apóiam numa visão contracultural em relação à sociedade contemporânea e ao papel do jornalista nela, ao recorrer à narrativa cyberpunk e um estilo de reportagem defendido pelo Novo Jornalismo para problematizar esses mitos.
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Borotto, Quiroz Isabel Ximena. "Estudio de la identidad cyberpunk en tres personajes de la novela Ygdrasil de Jorge Baradit." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/109017.
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Martins, Diôgo Lemes. "Cenários distópicos de mundos utópicos : cidades cyberpunk e os horizontes ficcionais do urbanismo na globalidade." reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/16814.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2014.Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-11-06T12:04:43Z No. of bitstreams: 1 2014_DiogoLemesMartins (2).pdf: 1350224 bytes, checksum: ab81df9110f40b0f3e2467f810ab91d6 (MD5)
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O subgênero literário de ficção científica chamado de cyberpunk, desenvolvido no início da década de 1980, sempre possuiu um forte interesse pelos ambientes urbanos. Uma leitura de importantes romances cyberpunk mostra a maneira pela quais ideias comuns sobre teoria urbana, tais como as cidades globais, as cidades em rede, o desenvolvimento dos sistemas de comunicação, o crescimento da pobreza, da marginalidade urbana e, consequentemente, o crescimento da segregação espacial, fizeram das cidades um cenário de risco e protótipo para catástrofes vindouras, que foram incorporados a esta literatura e da qual se percebe uma determinada “vanguarda” sobre o que pensavam seus autores sobre a vida e o desenvolvimento urbano. A partir da análise dos romances conhecidos como “a trilogia do Sprawl” de William Gibson, este trabalho tem como foco, a forma como o cybepunk criou a paisagem de uma cidade futurística, caótica e distópica, como um espelho para as nossas próprias experiências e ambientes sociais. Por fim, a análise percebe como esse estratagema poético e racional compreende os problemas atuais e futuros desafios do planejamento urbano, abordando o crescente medo de se viver na cidade, o uso da tecnologia como solução para problemas urbanos e a criação de novas cidades "privatizadas", como as “u-cities” e as “charter cities”. ______________________________________________________________________________ ABSTRACT
The literature subgenre of science fiction known as cyberpunk, created in the early 80’s, has always had a strong interest in urban settings. A reading of major cyberpunk novels shows the way in which common ideas of urban theory, such as global cities, network cities, the development of communication systems, the increase of poverty, urban marginality and, consequently, the growth of spatial segregation, made the cities a scenario of risk and prototype for upcoming disasters, which have been incorporated into this literature and that which is perceived a certain "vanguard" of what the authors thought about life and urban development. From the analysis of William Gibson’s novels known as “the sprawl trilogy”, this work focuses on how cyberpunk created the landscape of a futuristic, dystopic and chaotic city as a mirror to our own experiences and social environments. Finally, the analysis realizes how this poetic and rational artifice understand the current problems and future challenges of urban planning, addressing the growing fear of living in the city, the use of technology as solution for urban problems and the creation of new "privatized" cities known as “u-cities” and “charter cities”.
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Forsberg, Daniel. "The Future Societies of Ira Levin and William Gibson." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7776.
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The meaning of this essay is to look at how the narrative strategies, description of character and society differ between the two novels "This Perfect Day" and "Neuromancer". By looking at the different narrative techniques used by the authors and the results we can see why some of these strategies work very well in one novel but would not suit the other because of the contrasts in style it would produce.
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Nikolayeva, Tetyana, Tetiana Nikolaeva, and Yixuan Guo. "In-depth study of Cyberpunk and Retro-Futurism styles with the aim of development an integrated design project concept." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17925.
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The aim of investigation is to analyze the aesthetic taste of the minority groups who are proponents of Cyberpunk and Retro-Futurism subculture. To classify the main expressive creative-compositional characteristics of presented style directions. To study the relevance of consumer demand for products developed on the basis of the Cyberpunk and Retro-Futurism style, as well as awareness of this topic. The relevance of research in this area is a combination of presented two style directions. The embodiment of the results lays in the creative solution of an integrated design project: the development of the exterior and interior of the video game club; organization of a play space; the development of the corporate identity and costume of the service managers and stuff of a playroom.
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Harrison, Katherine. "Discursive skin : Entanglements of gender, discourse and technology." Doctoral thesis, Linköpings universitet, Tema Genus, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-64127.
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The aim of this study is to explore the relationship between gender, discourse and technology, and the resulting construction of bodily norms, in a contemporary environment dominated by info- and bio-technologies. The premise from which this study starts is that the ‘intra-action’ between gender, discourse and technology plays a central role in shaping contemporary identities. The study is based on close readings of material from three case studies: cyberpunk fiction, (in)fertility weblogs and the World Health Organisation guidelines on naming of biotechnologies. The distinctive combination of the three case studies provides a unique perspective on the relationship between gender, discourse and technology, showing how it shifts across different contexts, and demonstrating the socio-historical contingency of the bodily norms produced therein. This study is comprised of three empirical texts, one theoretical text and a kappa. The analysis shows how innovative cyberpunk narratives challenge not only human/non-human boundaries, but also genre and gender conventions. The specific format of the blog allows women’s experiences of infertility to be heard and produces hybrid discourses which challenge contemporary authoritative discourses about femininity. The third case study explores the assignment of International Nonproprietary Names to new biotechnologies, and the implications of this on the construction of patients’ bodies. Finally, the theoretical text contributes to existing feminist analyses of technoscience by proposing a new tool called abject/noise for examining disruptions to discursive and bodily coherence. This tool is then tested on a series of documents about the assignment of International Nonproprietary Names to new biotechnologies. Throughout, the importance of ‘situated knowledges’ is emphasised, both in how gender, discourse and technology are understood, but also in the norms produced and the position of the researcher.Syftet med denna studie är att undersöka relationen mellan genus, diskurs och teknik och hur denna relation bidrar till att konstruera vissa typer av kroppsnormer, speciellt som vår samtid infärgas av informationsteknik och bioteknik. Utgångspunkten för denna studie är att ’intra-action’ mellan genus, diskurs och teknik spelar en central roll i utformningen av samtida identiteter. Studien bygger på närläsningar av material från tre fallstudier: cyberpunk-litteratur, in/fertilitetets-bloggar och Världs-hälsoorganisationens riktlinjer för namngivning av bioteknik. Kombinationen av de tre fallstudierna ger ett unikt perspektiv på relationen mellan genus, diskurs och teknik. Den visar hur relationen skiftar mellan olika sammanhang, och hur denna är kulturellt villkorad och därmed tillåter vissa kroppsliga normer att upstå och cirkulera. Denna undersökning består av tre empiriskt grundade texter, en mer teoretisk text och en kappa. Den försten analysen visar hur innovativa cyberpunk berättelser inte bara utmanar föreställningar kring det mänsklig / icke-mänskliga gränser, utan också själva genren i sig och dess kulturella konventionerna kring genus. Det specifika format webbloggen (eller blogg) i den andra fallstudien tillåter kvinnors upplevelser av infertilitet att höras och producerar genreöverlappningar och igen-kännanden som utmanar samtida normativ diskurser om reproduktiv kvinnlighet. Den tredje fallstudien undersöker tilldelningen av ett så kallat Internationellt generiskt namn till nya biotekniska produkter, och konsekvenserna detta får för konstruktionen av patienternas genusifierade kroppar. Slutligen bidrar den teoretiska texten till befintliga feministiska analyser av ’teknovetenskap’ genom att föreslå ett nytt verktyg som kallas ’abject/noise’ för att undersöka störningar i diskursiva och kroppsliga sammanhang. Detta verktyg testats sedan också analytiskt på dokumentar som rör tilldelningen av Internationellt generiskt namn till ny bioteknik. Genom hela avhandlingen läggs tonvikten på ’situerad kunskap’, både gäller hur genus, diskurs och teknik förstås kontextuellt, hur normer blir till och hur forskaren positionerar sig.
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Toerien, Michelle. "Boundaries in cyberpunk fiction : William Gibson's Neuromancer trilogy, Bruce Sterling's Schismatrix, and Neal Stephenson's Snow crash." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51639.
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Thesis (MA)--Stellenbosch University, 2000.ENGLISH ABSTRACT: Cyberpunk literature explores the effects that developments in technology will have on the lives of individuals in the future. Technology is seen as having the potential to be of benefit to society, but it is also seen as a dangerous tool that can be used to severely limit humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the boundaries that contain them in a desperate search for stability. Only a few individuals manage to move beyond the boundaries created by multinational corporations that use technology, drugs or religion for their own benefit. This thesis will provide a definition of cyberpunk and explore its development from science fiction and postmodern writing. The influence of postmodern thinking on cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of humanity as stable, and argues that it will be necessary for humanity to move beyond the boundaries that contain it. The novels I discuss present different views concerning the nature of humanity's merging with technology. One view is that humanity is moving towards a posthuman future, while some argue that humanity is not discarded, but that these characters have merely evolved to the next step in the natural development of humankind. Both these views deal with constant change, a notion advocated by both postmodernism and cyberpunk.
AFRIKAANSE OPSOMMING: "Cyberpunk" literatuur ondersoek die uitwerking wat tegnologiese ontwikkeling in die toekoms op die lewens van individue sal hê. Tegnologie word gesien as tot moontlike voordeel vir die samelewing, maar dit kan ook 'n gevaarlike wapen wees wat gebruik kan word om die mens se vryheid in te perk. Die meerderheid van die karakters in die romans wat ek bespreek verkies om die grense wat hulle inperk te handhaaf in 'n desperate strewe na stabiliteit. Slegs 'n paar individue kry dit wel reg om verby die grense te breek wat deur multinasionale organisasies geskep word vir hul eie gewin. In hierdie tesis kyk ek na 'n definisie van "cyberpunk" en ek ondersoek die invloed van wetenskapsfiksie en postmodernisme op die ontwikkeling van die beweging. Die invloed van postmodernistiese denke kan gesien word in "cyberpunk" se fokus op veranderlikheid eerder as stabiliteit. "Cyberpunk" sien nie die toekoms van die mens as stabiel nie, en die argument is dat dit nodig is vir die mens om verby die grense te beweeg wat vryheid inperk. Die romans wat ek bespreek bevat verskillende sieninge oor die tipe samesmelting wat die mens en tegnologie sal hê. Sommige voel dat die kategorie "mens" permanent agterlaat gaan word, terwyl ander argumenteer dat individue slegs sal ontwikkel tot die volgende stap in die natuurlike ontwikkeling van die mens. Voortdurende verandering is die fokus van beide hierdie standpunte, en dit is ook die belangrikste fokus van beide "cyberpunk" en postmodernisme.
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Sällström, Sällström. "Förändring av cyberpunkgenrens stereotypiska nattema." Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-8189.
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Cyberpunkgenren definieras som en genre med en uttalad mörk framtidsbild med dystopiska inslag där bioteknik och artificiell intelligens är återkommande inslag och där majoriteten av verken som berör genren utspelar sig på natten. Syftet med denna studie har varit att undersöka om förändringar av det stereotypiska nattelementet som cyberpunkgenren förknippas med anses vara genrebrytande. Förändringen som gjordes var att nattbelysningen byttes ut mot dagsbelysning i en cyberpunkmiljö. För att genomföra detta skapades en stereotypisk cyberpunkmiljö med hjälp av datorgrafik som sedan presenterades i två versioner, en i nattbelysning och en i dagsbelysning. Bilderna visades därefter upp för en informantgrupp som var kunnig inom science fiction och cyberpunkgenren och som därefter fick besvara ett antal frågor under semistrukturerade kvalitativa intervjuer.
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Nguyen, Mikael, and Johannes Wasberg. "En Urban Värld." Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18743.
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I detta kandidatarbete har vi undersökt kring tekniken projection mapping och projicering och hur dessa skulle kunna användas i framtiden med hjälp av forskningskällor från science fiction, cyberpunk och futurism. I undersökningen kollar vi närmare på hur dessa genre under historien spekulerat kring olika tekniker och dess tankesätt med mestadels inspiration från cyberpunk, där vi satt oss in i det urbana och dess teknik. Vi har sedan, med hjälp av på ett spekulativt designperspektiv som grund och förhållningssätt, fått fram en prototyp av en stad som är baserad i en möjlig framtid där projection mapping har utvecklats och är en väldigt allmän teknik för samhället. Under arbetets gång har vi använt oss utav metoder som mindmap, brainstorming, prototypskapande och spekulativ design för att jobba oss framåt. Dessa metoder har vi arbetat med tidigare och kände att de var mest effektiva för vårt projekt. Vi kom tillslut fram med en gestaltning som visar på en möjlig framtida stad där projection mapping används överallt för att visa reklam och liknande på massa byggnader. Detta har gjort med hjälp av program som Adobe programmen för att skapa det som projicerats och mappningen har gjort i programmet HeavyM, som är ett program enbart gjort för projection mapping.In this bachelor thesis we have examined technology such as projection mapping and projection, and how these could be used in the future with support from research sources such as science fiction, cyberpunk and futurism. In the thesis, we take a closer look at how these genres throughout history have speculated about different technologies and their ways of thinking, mainly with inspiration from cyberpunk, where we focus on the urban and its technology. We have with the help of a speculative design perspective as a basis and approach, created a prototype of a city based on a possible future where projection mapping has been developed and become a very common technology for society. During the course of the project, we have used methods such as mindmap, brainstorming, prototyping and speculative design to work our way forward. We have worked with these methods before and felt that they were the most effective for our project. We finally came up with a design that shows a possible future city where projection mapping is used everywhere to show advertising and the like on lots of buildings. This has been done using programs such as the Adobe programs to create what is projected and the mapping done in the HeavyM program, which is a program solely for projection mapping.
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Blatchford, Mathew. "An analysis of selected ""cyberpunk"" works by William Gibson, placed in a cultural and socio-political context." Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/6721.
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This thesis studies William Gibson's ""cyberspace trilogy"" (Neuromancer, Count Zero and Mona Lisa Overdrive). This was an extremely interesting and significant development in 1980s science fiction. It was used to codify and promote the ""cyberpunk"" movement in science fiction at that time, which this thesis also briefly studies. Such a study (at such a relatively late date, given the rapid pace of change in popular culture) seems valuable because a great deal of self-serving and mystifying comment and analysis has served to confuse critical understanding about this movement. It seems clear that cyberpunk was indeed a new development in science fiction (like other developments earlier in the twentieth century) but that the roots of this development were broader than the genre itself. However, much of the real novelty of Gibson's work is only evident through close analysis of the texts and how their apparent ideological message shifts focus with time. This message is inextricably entwined with Gibson's and cyberpunk's technological fantasias. Admittedly, these three texts appear to have been, broadly speaking, representations of a liberal U.S. world-view reflecting Gibson's own apparent beliefs. However, they were also expressions of a kind of technophilia which, while similar to that of much earlier science fiction, possessed its own special dynamic. In many ways this technophilia contradicted or undermined the classical liberalism nominally practiced in the United States. However, the combination of this framework and this dynamic, which appears both apocalyptic and conservative, appears in some ways to have been a reasonably accurate prediction of the future trajectory of the U.S. body politic -- towards exaggerated dependency on machines to resolve the consequences of an ever increasingly paranoid fantasy of the entire world as a threat. (It seems likely that this was also true, if sometimes to a lesser degree, of the cyberpunk movement as a whole.) While Gibson's work was enormously popular (both commercially and critically) in the 1980s and early 1990s, very little of this aspect of his work was taken seriously (except, to a limited degree, by a few Marxist and crypto-Marxist commentators like Darko Suvin). This seems ironic, given the avowedly futurological context of science fiction at this time.
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Miranda, Huereca Rafael. "The evolution of cyberpunk into postcyberpunk: The role of cognitive cyberspaces, wetware networks and nanotechnology in science fiction." Doctoral thesis, Universitat Autònoma de Barcelona, 2011. http://hdl.handle.net/10803/288302.
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Gallinaro, Angelo Massimo. "Futuristic Violence & Fancy Suits di David Wong: una proposta di traduzione." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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Questa tesi è una proposta di traduzione dall’inglese all’italiano per il romanzo Futuristic Violence & Fancy Suits di David Wong. Contiene la traduzione e analisi traduttologica di alcuni estratti del libro, oltre a un’analisi letteraria della collocazione culturale e le tematiche dello stesso, e un’analisi contrastiva della traduzione italiana di John Dies at the End, un altro romanzo dello stesso autore. La tesi è divisa in cinque capitoli. Il primo capitolo consiste di una breve biografia dell’autore, Jason “David Wong” Pargin, e una sinossi del romanzo. Il secondo fornisce una panoramica della corrente letteraria nota come cyberpunk, partendo dai suoi inizi negli anni ‘80 del secolo scorso, fino alla sua modesta rinascita nella seconda metà dell’ultimo decennio, per poi passare a un’analisi letteraria dei temi del romanzo e le modalità in cui sono connessi al cyberpunk e ai suoi epigoni. Il terzo capitolo consiste nella traduzione italiana di cinque estratti dal romanzo. I brani sono stati selezionati in modo da fornire una visione d’insieme dello stile usato da Wong, e includono dialoghi, sequenze descrittive e scene d’azione. Il quarto capitolo descrive le scelte effettuate nel processo di traduzione, partendo dalla macrostrategia traduttiva, basata sull’individuazione di dominante, sottodominanti e lettore modello, per poi passare alla discussione di specifiche sfide traduttive. Il quinto e ultimo capitolo della tesi consiste di una breve analisi comparata che mette a confronto la traduzione di Futuristic Violence & Fancy Suits effettuata in questa tesi e quella di John Dies at the End (Alla fine John muore), l’unico romanzo di Wong a essere stato tradotto in italiano.
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Mocabee, Keith. "Anxiety in William Gibson's "Blue Ant" Trilogy| The Construction of Space, Time, and Community in the Post-Cyberpunk Literary Environment." Thesis, Southern Illinois University at Edwardsville, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10250021.
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William Gibson is well known for his science fiction writing within the cyberpunk literary genre, which often evoke themes of economic disparity, environmental desolation, and the breakdown of the contracts between state and populace allowing corporate power to emerge dominant. In his most recent series of novels, commonly dubbed the Blue Ant trilogy, Gibson focuses on themes of national decay compounded by the real-time emergence of post-national corporate power that degrades or usurps control over borders, identities, and infrastructures.
My intent is to examine how Gibson's writing attempts to address the issue of the rise of post-national corporate power by singling out instances of anxiety in the white Western discursive sphere, and how Gibson's Blue Ant trilogy has difficulty addressing this anxiety due to a historically constituted, culturally imposed barrier that prevents both the narrative and the characters inside it from being able to articulate them. This essay further attempts to explore this barrier, best understood as a reinforcement of white, Western cultural hegemony, can be deconstructed and understood as a subjective position as opposed to a universal, and moved beyond it.
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Andersson, Sapir Erika. "Cowboys, meat-puppets och razor-girls : Ett genusperspektiv på kroppen i William Gibsons Neuromancer." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85671.
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Cyberpunk som litterär genre tar ofta upp teman som berör kroppen och dess förhållande till teknik på olika sätt. I denna uppsats studeras mäns och kvinnors förhållande till sin egen kropp och synen på manliga och kvinnliga kroppar i cyberpunk-romanen Neuromancer av William Gibson, utifrån Yvonne Hirdmans teorier om genus. I analysen av romanen kan man se två huvudsakliga spår utifrån Hirdmans tre formler för förhållandet mellan könen, varav det tydligaste är det som Hirdman kallar jämförelsens formel. Kvinnor ses som impulsstyrda och kroppsliga medan män står för intellektet och en längtan efter att lämna kroppen bakom sig. Eftersom kvinnor ses som kroppsliga, blir det kroppsliga också något kvinnligt och därmed något oönskat för de manliga karaktärerna. I cyberpunken modifierar kvinnor sina kroppar för att kunna stanna kvar i dem, medan män modifierar sina kroppar för att kunna lämna dem.
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Militsi, Anna. "Undoing Gender Interpellations in Role-Playing Videogame Spaces : The case of Cyberpunk 2077 as a case of resistance from a feminist post-constructionist perspective." Thesis, Umeå universitet, Umeå centrum för genusstudier (UCGS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-188326.
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This Thesis is pertinent to the negotiations of sex, gender, and sexuality in the video game Cyberpunk 2077 and the narratives the gamer traverses while on the game, and aimed to add to the literature regarding the entanglements of gender and technology within the virtual world of the video games.This Thesis focused on investigating the potential of technocultural assemblages to undo gender (and racial) interpellations, and more specifically in regard to the assemblages that are formed between (post)human and avatar in first-person video games that allow the user to create their character with a great deal of freedom. In other words, this study deploying the method of Autoethnography set out to research the materialities and normativities in (post)human-technology relations and the potential of these relations to operate as a means of resistance.
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Tobin, Stephen Christopher. "Visual Dystopias from Mexico’s Speculative Fiction: 1993-2008." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437528785.
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Ferrara, Garro David. "El cuerpo humano entre el arte y los medios de masas en el tránsito del siglo XX al XXI." Doctoral thesis, Universitat Politècnica de València, 2008. http://hdl.handle.net/10251/2925.
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El cuerpo humano ha sido, desde siempre, objeto de estudio y ha sido usado como expresión por los artistas en ese continuo redescubrirniento del mismo visto a través de sus diversas prácticas y representaciones; de su belleza seductora, de su carnalidad, de su mortalidad, de su agresividad...
En un contexto como el actual en donde el término de arte se diluye cada vez más, el artista/creativo se ceba en el cuerpo convirtiéndolo en su campo de batalla para plasmar las transgresiones de los convencionalismos relacionados con a la enfermedad, la muerte la sexualidad o la violencia; así como también en un parque de atracciones para los sentidos, intensificando emociones en producciones artificiosas ligadas al espectáculo mediático a través de un cuerpo que trasciende de sus límites y que ha provocado la expansión de la imaginación colectiva a través de una serie de nuevos mitos que los medios de masas se han encargado de expandir.
Las diversas concepciones que giran entorno a lo corporal durante estos años, se han visto potenciadas a otros espacios fuera de ámbitos tan elitistas como son el arte, la filosofía, la sociología o la medicina; espacios abiertos que se nutren de todo tipo de culturas, teorías, leyes y representaciones, para crear las suyas propias, las cuales se basan en el cuestionamiento y replanteamiento de las anteriores.
La cultura del espectáculo dada desde los medios de masas y a través de las tecnologías, canales y procesos que están a su servicio, ha supuesto un atractivo espacio para las nuevas proyecciones del cuerpo que se alimentan de las diversas problemáticas e inquietudes del ser humano (como individuo y como sociedad) para mostrar otras realidades corporales que cuestionan anteriores conceptos y creencias plasmadas en nuevas mitologías y figuraciones que dejan paso tanto a nuevos modelos de belleza exhibidos como pura sugestión a un público consumidor como a nuevos terrores a través de diversos estados de crisis representados en un cuerFerrara Garro, D. (2008). El cuerpo humano entre el arte y los medios de masas en el tránsito del siglo XX al XXI [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/2925
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Mestriner, Rogério Secomandi. "Redes interdiscursivas e convergência de mídias: uma análise de Brilho Eterno de uma Mente Sem Lembranças." Universidade Federal de São Carlos, 2011. https://repositorio.ufscar.br/handle/ufscar/5592.
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With digital media's broad dissemination towards society, confirmed by the market expansion of electronic games and the growing digital inclusion due to Web 2.0 advances and mobile telephony, the audiovisual expression transforms itself in meaningful ways, having its effect noticed mainly at the structure of many films, such as Eternal Sunshine of the Spotless Mind (EUA, 2004), directed by Michel Gondry. This study intends to elaborate how the incorporation of certain specificities of digital media which can be seen as an actual cinematographic tendency, analyzing some of earlier works from this director to point out his manners towards the virtual world and sort it out his unique vision in an authorial and consistent body of work. We‟re interested in studying specifically the convergence process between cinematographic narrative and digital media, starting by the analysis of multilinear structures that illustrate this process. The final objective is to cast new lights over this new standard of audiovisual entertainment that rises with the coming of digital media.
Com a vasta disseminação das mídias digitais à sociedade, comprovada pela expansão do mercado de jogos eletrônicos e a crescente inclusão digital propiciada pelo avanço da Web 2.0 e a telefonia móvel, a expressão audiovisual se transforma de forma significativa, sendo que seus efeitos são notados principalmente na estrutura de diversos filmes, como Brilho Eterno de Uma Mente Sem Lembranças (Eternal sunshine of the spotless mind, EUA, 2004), de Michel Gondry. A presente pesquisa pretende elaborar como essa incorporação de determinadas especificidades das mídias digitais podem ser vistas como uma tendência cinematográfica atual, analisando alguns dos trabalhos anteriores do diretor a fim de apontar seu trato com o mundo virtual e evidenciar sua visão única dentro de uma obra autoral e consistente. Interessa estudar especificamente o processo de convergência entre a narrativa cinematográfica e as mídias digitais, a partir da análise das estruturas multilineares que ilustram esse processo. O objetivo final é lançar novas luzes sobre esse novo padrão do entretenimento audiovisual que surge com a chegada das mídias digitais.
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Weber, Janean Rae. "The “Extreme Makeover” of the American Woman: A Feminist Analysis of Cosmetic Surgery in Television." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114721791.
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Amiard, Jean-François. "L’hybridation, de nouvelles formes cinématographiques amenées par les dernières technologies dans l’esthétique des films." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030039/document.
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L’hybridation, phénomène omniprésent dans de nombreux domaines, a particulièrement influencé l’évolution du cinéma. Alors que les premières générations de cinéastes semblaient avoir tout inventé de ce nouvel art, le cinéma n’a cessé d’emprunter aux dernières technologies et aux dernières formes d’expressions artistiques, à mesure que se mettaient en place des média de plus en plus présents dans la vie quotidienne. L’étude des passerelles qui se multiplient au fil des décennies, permet de cerner les mécanismes qui concourent à l’abolition progressive des frontières entre les média et les disciplines artistiques. Toutefois, la présente recherche ne se borne pas à scruter ces seules œuvres issues des dernières technologies, mais elle se réfère aussi aux pionniers avant-gardistes des années 1920 qui ont posé les bases de l’hybridation. Elle est donc structurée selon deux grands axes : d’une part l’axe historique, l’histoire du cinéma étant profondément marquée par les vicissitudes de notre temps, et d’autre part l’axe de la pluridisciplinarité, incluant les diverses formes d’expressions artistiques et les divers média. Plus spécifiquement, dans le foisonnement de la production cinématographique, la présente étude se propose de faire le point sur la situation du cinéma hybride au tournant du siècle, à partir d’un corpus constitué de douze films produits en France, aux U.S.A. , au Canada et au Japon, entre 1983 et 2004, et auxquels fait pendant Metropolis de Fritz Lang [1927]. Enfin, comme on pourra le constater, cette enquête s’est inspirée des nombreuses et pertinentes études et comptes-rendus qui l’ont précédéeHybridisation, which is overwhelmingly present in many fields, has particularly influenced the evolution of cinematographic art. Although the first generations of film-makers seemed to have invented everything in this new art form, the cinema has always borrowed from the most modern technologies and the latest forms of artistic expression, while at the same time the media were taking up a larger and larger place in our everyday lives. The study of the links between them, which multiplied over the decades, allows us to understand the mechanisms contributing to the gradual abolition of the dividing lines between the media and artistic disciplines. However, the present research is not limited to the examination of works resulting from the most recent technological developments, since it also refers back to the avant-garde pioneers of the 1920’s, who set the basis for hybridisation. It is therefore centered around two main axes : on the one hand, the historical axis since cinema history has been profoundly marked by the vicissitudes of our time, and on the other hand the pluridisciplinary axis, including diverse forms of artistic expression and various media. More specifically, amid the wealth of cinematographic productions, this study proposes to take stock of the state of hybrid cinema at the turn of the century, using a corpus composed of 12 films, made in France, the United States, Canada and Japan between 1983 and 2004 and which go hand in hand with Fritz Lang’s Metropolis [1927]. Finally, it can be seen that this study has been inspired by the numerous and pertinent works and reports which have preceded it
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Scott, Ron. "Artificial intelligence and cyberpunk." Thesis, 1997. http://hdl.handle.net/1957/33211.
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This thesis examines the ways in which cyberpunk science fiction novels and
short stories reflect our cultural relation with technology, a series of
relationships predicated on the way that corporate control of knowledge
industries increased during the 1980s. The document begins by locating the
means of corporate control in the increasing de-skilling of knowledge
workers, a de-skilling similar to that experienced by craftsworkers in the late
19th century. This process as undertaken by corporations leads to several
responses by these workers, making their relationship with technology a
complex and ambiguous one - they earn their living using it, but they also
find themselves being squeezed out of the core programming tasks that
defined the profession in its beginning. This thesis uses theoretical texts by
Karl Marx, John Cawelti, and James Beniger to provide a basis for the
discussion.
This fear of corporate control and the ambiguous relationship with
technology that high technology workers experience is reflected in cyberpunk
science fiction. In texts by Bruce Gibson, Bruce Sterling, and Greg Bear, the
subcultural work of expressing these anxieties is done, with Artificial
Intelligences becoming fictional characters who seek different means of
finding freedom within this controlling environment. Gibson's Necromancer
trilogy describes these cultural anxieties most clearly, as its heroes eventually
escape to cyberspace with the help of a liberated Artificial Intelligence.
Unfortunately, that cyberspace is physically located on the back of a robot
that is endlessly tramping through the wastes of New Jersey, and it is
dependent upon the life of the battery strapped to the robot's back.
The thesis finishes with a discussion of Donna Haraway's review of the
impact of this desire to escape into cyberspace. For Haraway, escape is a
deadly fantasy, one that continues to relegate those unable to access
cyberspace to the increasingly dystopic physical world. Her view is
expressed in texts by several female cyberpunk writers, Gwyneth Jones,
Melissa Scott, and Pat Cadigan. The cultural anxieties that these writers
illustrate demonstrate our culture's increasingly complex relationship with
technology, and also illuminate possible means of future subversion.Graduation date: 2000
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Li, Hui-Chun, and 李蕙君. "Vision and Speed: Contemporary Cyberpunk Literature and Cyberculture." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/995g9z.
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博士國立中山大學
外國語文學系研究所
104
Cyberpunk literature constructs both a utopian society based on advanced technology and a dystopian society ruled by totalitarian, technocratic, militarist and late capitalist regimes; it thus envisions a better future as it, at the same time, unveils postmodern conditions and anxieties. If literature’s ultimate task is to communicate feelings, ideas, and states of mind, speed as one of contemporary cyberculture’s major symptoms inhibits such communication. Depictions of privileging ocular perceptions as repetitively represented in cyberpunk narratives are reflective of such reduction of scope of human experiences. This dissertation delves into the notions of speed and vision as demonstrated by cybercultural practices and contemporary cyberpunk literature writers William Gibson and Vernor Vinge. Dealing with cybercultural issues—such as accelerated cyberculture, spectacular mediatization, fantasy, symptoms of malaise in cybernauts, transcendence and boredom, mass surveillance, the shaping of synapses, and analogico-digital practices—cyberpunk fiction constantly incorporates diversified perspectives to extend its understanding of the contemporary world. Going against the grain of seeing cyberculture as a potentially risky practice to the shaping of humanity and history, as is demonstrated in Guy Debord’s and Paul Virilio’s concepts of technological and digital dystopia and of a society turning into ideological spectacles, Bernard Stiegler envisions that a new paradigm of perception and of knowledge will emerge from analogico-digital practices. I approach the works of the contemporary cyberpunk writers with Gibson’s idea of the phantasmagoric aspect of cyberculture and examine how cyberpunk writers inform and represent a society that is mediated by images and in which lived time is colonized by real time. I decode the creative analogico-digital practices consistently manifested and portrayed in cyberculture and cyberpunk narratives and explore how these practices can be related to the issues of speed, vision, fantasy, media, metaphysics, and memory. In doing so I make evident that these cultural practices as forms of resistance gradually are turned into a politically contested site in which lived lives are erased by real time and culture is commodified, while they also provide us with new formations of knowledge. The alternative knowledge is a seed to reverse engineer an industrialized programming, which is a means to making the poison of machine vision and speed into the cure of humanity.
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Olender, Jenna. ""View from the edge" : vernacular theory and cyberpunk fandom /." 2005.
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Muñoz, Zapata Juan Ignacio. "Le cyberpunk vernaculaire de l’Amérique latine : dystopies, virtualités et résistances." Thèse, 2009. http://hdl.handle.net/1866/3240.
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Héritière de la tradition fantastique borgésienne, imprégnée d’une réalité composée de mythes précolombiens et des résidus industriels de la modernité, et développée à l’ère de la mondialisation, du post-modernisme, des jeux vidéos, du cinéma numérique et d’animation, la tendance cyberpunk latino-américaine est cultivée du Mexique jusqu’en Argentine, en passant par Cuba et d’autres pays souvent méconnus dans le monde de la science-fiction comme le Paraguay et la Bolivie. Pressenti dans les œuvres de certains écrivains canoniques comme Ricardo Piglia, Carmen Boullosa ou Edmundo Paz-Soldán, le cyberpunk se manifeste avec force dans l’écriture de jeunes artistes interdisciplinaires et de collaborateurs assidus des fanzines. Cette adaptation du sous-genre dans un continent où la référence reste encore le réel merveilleux et le réalisme magique, malgré l’apport des générations plus récentes comme celle de « McOndo » ou celle du « Crack », essaie d’élaborer une série de réponses aux questions issues de la conjoncture historique et artistique dans laquelle nous vivons : comment situer l’identité latino-américaine dans la nouvelle cartographie culturelle mondiale à travers une littérature qui cherche à se renouveler par rapport au canon littéraire et à la marginalité de son propre genre? Quelles sont les stratégies d’assimilation et de résistance qu’adoptent des jeunes auteurs latino-américains devant le cyberpunk anglo-américain littéraire et cinématographique? Peut-on parler d’un impact esthétique et philosophique du cyberpunk sur la culture latino-américaine, perçue habituellement comme une consommatrice passive de ces produits culturels et non comme une productrice?
Ce travail cherche à parcourir l’ensemble de ces questions à partir d’une réflexion sur les principaux dispositifs constitutifs du cyberpunk – la dystopie et la virtualité – dans les discours (post)identitaires en Amérique Latine. Représentation presque mimétique de l’espace socioculturel et historique latino-américain à travers la violence et la répression politique, militaire, ethnique ou sexuelle, la dystopie est un moyen d’articuler certaines figures spatiales aux mythes nationaux et à la politique identitaire dans le contexte de la mondialisation. Cette dernière réalité socioculturelle, ainsi que l’idéologie esthétique que véhicule celle-ci à travers le cyberpunk, crée un conflit avec ces discours identitaires nationaux, conflit qui est accentué ou dissous par la représentation de la réalité virtuelle. La réalité virtuelle, comprise ici comme la direction que le récit prend pour défaire ou consolider la figure dystopique, mène à réfléchir également sur les enjeux de la (post)identité. Penser à une (post)identité (en gardant bien à l’esprit cette parenthèse) à travers le cyberpunk signifie poser une question sur la résistance au passé identitaire des mythes nationaux, au présent de la mondialisation culturelle, et aux discours post-humanistes qui semblent marquer le futur.
À l’appui de travaux sur la dystopie et la réalité virtuelle dans le cyberpunk anglo-américain, ainsi que des études culturelles latino-américaines, je parcourrai un corpus composé des romans écrits entre 1990 et 2005. Ce corpus comprendra La Primera Calle de la Soledad (1993) de Gerardo Horacio Porcayo, Santa Clara Poltergeist (1991) de Fausto Fawcett, Ygdrasil (2005) de Jorge Baradit, et les films argentins No muera sin decirme adónde vas (1992) d’Eliseo Subiela et La sonámbula (1998) de Fernando Spiner. Dans ces oeuvres, la dystopie se configure aux possibilités narratives de la virtualité et traverse des thématiques identitaires comme les mythes sexuels et nationaux, la mémoire et le traumatisme ainsi que les projets utopiques des minorités.Heirs to the tradition of Borgesian fantasy, impregnated by a reality built upon pre-Columbian myths and the industrial residues of modernity, and developed in the age of globalisation, postmodernism, videogames, digital cinema and animation, Latin American cyberpunk is cultivated from Mexico to Argentina, passing through Cuba and other countries not usually recognized in the world of science fiction like Paraguay and Bolivia. Barely perceived in the works of certain canonical writers such as Ricardo Piglia, Carmen Boullosa or Edmundo Paz-Soldán, cyberpunk manifests itself fully in the writings of young interdisciplinary artists and constant fanzine collaborators. This sub-genre adaptation in a continent better known not only for “lo real maravilloso” and magical realism, notwithstanding other more recent generations of writers such as “McOndo” and “Crack”, tries to elaborate a series of responses to questions issued from the historical and artistic moment of contemporary life: how to place Latin American identity within the new worldwide cultural mapping by means of a literature searching to reinvent itself within the mainstream space and the marginality of its own genre? What are the strategies of assimilation and resistance adopted by these young Latin American cyberpunk writers in the face of literary and cinematographic Anglo American cyberpunk? Can one speak of an aesthetic and philosophical impact on Latin American culture, normally perceived not as a producer but rather a passive consumer of this sort of cultural production? This thesis intends to deal with these questions in reflecting on one of the constituent devices of cyberpunk: dystopia in conjunction with post-identitary discourses in Latin America. An almost mimetic representation of Latin America’s sociocultural and historical space through violence and political, military ethnic or sexual repression, dystopia is a means to articulate certain spatial figures in national myths and identity politics within the context of globalisation. This latter sociocultural reality, along with the aesthetic ideology that conveys it throughout cyberpunk, enters in conflict with those discourses of national identity, leading us to reflect on post-identity issues. Relying on works on dystopia and identity in Anglo American cyberpunk, as well as on Latin American cultural studies, I will peruse a corpus made up of the novels La primera calle de la soledad (1993) by Gerardo Horacio Porcayo, Santa Clara Poltergeist (1991) by Fausto Fawcett, Ygdrasil (2005) by Jorge Baradit, and the films No muera sin decirme adónde vas (1992) by Eliseo Subiela and La sonámbula (1998) by Fernando Spiner. In these works, dystopia meshes with virtual reality narratives and covers aspects of the identity such as national and sexual myths, memory, trauma as well as minorities utopian projects.
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Lambert, Hélène. "Dichotomie protéiforme : l'homme et les autres dans la littérature cyberpunk." Thesis, 2009. http://spectrum.library.concordia.ca/976733/1/MR67268.pdf.
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This document examines the situation of women in cyberpunk science fiction by looking at how women are represented in the Alien Quadrilogy and in the novel Babylon Babies written by Maurice G. Dantec. The cyberpunk movement has reinvented space as cyberspace; has it also reinvented its image of women? This thesis will examine where women stand and where cyborgs, clones and A.I. (artificial intelligence) stand in relation to the archetypal place occupied by men in our Western society for thousands of years. This is what is called in this work "proteiform dichotomy". The hypothesis is that the dichotomy that separates Man from Woman has not disappeared and that, moreover, it now assimilates cyborg, clones and A.I. with woman as opposed to Man which is still the standard to whom society refers to establish a norm. Chapter 1 defines terms and notions, such as gender, archetype, cyberpunk, cyborgs, and hero and heroine. Chapter 2 gives a brief overview on the works which have been chosen to examine our hypothesis and explains why they have been chosen. Chapter 3 concentrates on two characters which are Ellen Ripley in Alien and Marie Zorn in Babylon Babies . The treatment of these two women is dissected and shows that, however modem cyberpunk films and novel are, their traditional treatment of women is very thinly veiled and that Man still remains the ultimate model compared to whom women are judged. This chapter also includes an analysis of the Alien Queen. Chapter 4 analyses the treatment of cyborgs, clones and A.I. and concludes that they too are compared to Man and therefore assimilated to women. Chapter 5 outlines the religious overtones found in both works studied. Our conclusion is that despite their modernity, these works shows that whatever is NOT man, be it woman, alien, cyborg or clone is a dangerous "otherness" that is monstrous, abnormal, in one word an abomination.
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Hsien, Mei Ai, and 梅璦先. "The Virtual Reality in Cyberpunk film:The Matrix Trilogy as Illustrations." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/80341235782793278243.
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碩士臺北市立教育大學
視覺藝術研究所
94
Abstract Keyword：cyberpunk、virtual reality、simulacra/simulacrum This essay begins with collating the development of cyberpunk fictions and foucs on the important topics of the cyberpunk films appeared since the eighties: virtuality and reality; discussing the topics and tasks the mankind has to face in the digital era. Although the basic aspect of the science fiction films is to be one of the cultural entertainment products, it's undeniable that some science fiction films could elaborate powerful criticizing potential and bring up allegory、criticism、query or contrast to the real world. Nowadays, the information and images construct the reality of the society,【The Matrix 】trilogy undertake the arrangement of reality and virtualize the certain phenomenon of the information society. Therefore, the main purpose of this study is to discuss the following: 1. Cyberpunk films as a link of the visual culture and the sub-category of science fiction films, what are their characteristics and the topics to be expressed? 2. Could【The Matrix】be classifed as one of the cyberpunk films? 3. To distinguish the expressing topics, intensions and levels in 【The Matrix】 4. What are the cultural contributions of【The Matrix】and the reflection generated from【The Matrix】 ? The second chapter is mainly to analyze「Cyberpunk」and「Virtual Reality」these two parts based on available documents. Under the topic of 「Cyberpunk」, the sequence consists in the definition of cyberpunk、the cyberpunk in literature style and film style、the relationship between cyberpunk and post-modernism and the development of sub-culture of cyberpunk. As for the section of「Virtual Reality」, first introduce the virtualy reality in the level of technology level, next explain the essence of virtual reality, finally express the concepts of 「Reality Virtualization」、「Virtual Invasion」and「Simulation」generated from the influence of the cyber reality technology in generalized scope. The third chapter analyze the elements of cyberpunk in【The Matrix】trilogy which include the control system、existing space and the relations between human, machinery and technology...etc., to explain the cyberpunk identity of【The Matrix】. Chapter Four explore the topics regarding to virtual reality in【The Matrix】trilogy: virtual technology、virtual space、virtual identity、virtual experience and the philosophy implication of virtuality and reality that the film would like to transmit. Finally, analyze the changes brought by【The Matrix】trilogy and its important significance in the cultrual sector, and furthermore conclude with the reflection generated by the film. Cyberpunk films undeniably create unthinkable paradox circumstances. Today the technology strike is still in ascendant, the cybe punk films from Hollywood have brought the philosophy utterance into ordinary civilian without boundary. The issue of virtual reality has become a paradigm, which requires further research indispensably.
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Holloway, Heather. "The evolution of cyberspace as a landscape in cyberpunk novels." 2004. http://www.georgiasouthern.edu/etd/commentframe.php?sid=24&fid=archive/Fall2004/hhollowa/holloway%5Fheather%5Fd%5F200408%5Fmae.pdf.
Full textAbstract:
Thesis (M.A.)--Georgia Southern University, 2004."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts." ETD. INDEX WORDS: William Gibson, Neal Stephenson, Neuromancer, Snow crash, science fiction, cyberpunk, cyberspace, metaphysics, cyberculture, transrealism. Includes bibliographical references (p. 71-73).