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Testerman, Rebecca Lynn. "Desegregating the Future: A Study of African-American Participation in Science Fiction Conventions." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1332773873.
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Määttä, Jerry. "Raketsommar : Science fiction i Sverige 1950–1968." Doctoral thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-7158.
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The subject of this dissertation is the introduction and reception of science fiction literature in Sweden 1950–1968. Apart from considerations on science fiction as a genre and market category, and a brief survey of science fiction published in Sweden before the year 1950, the dissertation scrutinizes the Swedish publishers’ attempts at introducing both domestic and translated science fiction, the reception of the genre in Swedish literary criticism, the magazines Häpna! (1954–1966) and Galaxy (1958–1960), and the foundation of a Swedish science fiction fan culture. Science fiction was established as a category on the Swedish book market in the early 1950s, with several attempts to launch single works or whole series of mainly translated fiction. Between 1952 and 1968, roughly 30 publishing firms published over 160 books marketed as science fiction, with an apex in the late 1950s. Few publishers were successful, however, and most of the series were discontinued within just a few years of their inception. Meanwhile, in Swedish literary criticism, science fiction was increasingly perceived as a deficient form of commercial entertainment. A few of the exceptions were Harry Martinson (1904–1978), with his space epic Aniara (1956), and the translated author Ray Bradbury (b. 1920), who came to be considered as surpassing the boundaries of the genre. With the magazine Häpna!, a Swedish science fiction fan culture was contrived, with fans forming clubs, arranging conventions, disseminating fanzines, and, eventually, starting their own publishing firms and magazines. In the Swedish literary system, science fiction became a semi-separate literary circuit of production, distribution and consumption, and, concurrently, a growing autonomous subfield of cultural production, with its own forms of specific symbolic capital, doxa, and instances of consecration.
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Carpenter, Sarah Gerina. "Narratives of a Fall: Star Wars Fan Fiction Writers Interpret Anakin Skywalker's Story." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11989.
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viii, 94 p.My thesis examines Star Wars fan fiction about Anakin Skywalker posted on the popular blogging platform LiveJournal. I investigate the folkloric qualities of such posts and analyze the ways in which fans through narrative generate systems of meaning, engage in performative expressions of gender identity, resistance, and festival, and create transformative works within the present cultural milieu. My method has been to follow the posts of several Star Wars fans on LiveJournal who are active in posting fan fiction and who frequently respond to one another's posts, thereby creating a network of community interaction. I find that fans construct systems of meaning through complex interactions with a network of cultural sources, that each posting involves multiple layers of performance, and that these works frequently act as parody, critique, and commentary on not just the official materials but on the cultural climate that produced and has been influenced by them.
Committee in charge: Dr. Dianne Dugaw, Chair; Dr. Lisa Gilman, Member; Dr. Debra Merskin, Member
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Peyron, David. "La construction sociale d'une sous-culture : l'exemple de la culture geek." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30089.
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Cette étude porte sur la « culture geek » et son émergence en tant que sous-culture et identité culturelle revendiquée en France depuis le milieu des années 2000. En effet, ce mouvement d’abord américain a fait une entrée remarquée dans l’espace public qui incite à s’interroger sur sa réalité sociologique. Les geeks sont abordés ici comme fans de mondes imaginaires fantastiques (science-fiction, fantasy…), passionnés de nouvelles technologies et en tant que public premier et fondateur du processus de convergence culturelle théorisé par Henry Jenkins. La montée en visibilité du phénomène geek est ainsi liée dans cette étude à celle de pratiques médiatiques associées à ce processus (fanfictions, démocratisation des outils numériques, œuvres transmédiatiques et immersives, etc.). Dans ce cadre, le tournant réflexif (vers un sentiment d’appartenance à une identité collective) et la mode médiatique autour de la culture geek ces dernières années trouvent leurs racines dans les moments fondateurs de la convergence culturelle (depuis les pulps fictions et la naissance des comic books jusqu’à la sortie de Star Wars, du Seigneur des anneaux, des premiers jeux de rôles et jeux vidéo). Mais cela doit aussi à la radicalisation récente des croisements médiatiques, des pratiques participatives, de la mondialisation des partages liée aux technologies numériques et au passage des identités prescrites aux identités choisies dans les sociétés contemporaines marquées par l’individualismeThis dissertation is about « geek culture » and the emergence of this subcultural identity in recent years in France. This movement, born in North America, has entered the public sphere in a spectacular way and it encourages us to study its sociological reality. Geeks are seen here as fans of imaginary worlds (science-fiction, fantasy…), new technologies lovers, and as first and original audience of the process of cultural convergence defined by Henry Jenkins. The increasing visibility of the geek phenomenon is connected to many practices associated with this process (fanfictions, wide use of digital technology, transmedia and immersive storytelling, etc.). From this point of view, the reflexive moment (the feeling of being part of a collective identity) and the geek trend are both rooted by the beginnings of cultural convergence (from the pulp fictions, and the birth of comic books, to the release of Star Wars, the Lord of the Rings and the first role-playing or video games). It also has to do with the recent growth of links between media, with the success of participatory culture, the possibility of worldwide share thanks to digital technologies and the shift from preassigned identities to chosen ones in our individualistic society
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Cristofari, Cécile. "Cosmogonies imaginaires : les mondes secondaires dans la science-fiction et la fantasy anglophones, de 1929 à nos jours." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3030.
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J'ai voulu étudier un phénomène qui sous-tend l'écriture de la littérature spéculative (science-fiction et fantasy) aujourd'hui : la création d'un « monde secondaire », selon l'expression de J.R.R. Tolkien. Deux problèmes se posaient de prime abord. Premièrement, l'ensemble culturel et éditorial que recouvre l'expression « littérature spéculative » est relativement flou, du fait des problèmes de délimitation des genres et de la problématique culturelle plus générale (la littérature spéculative est-elle définie par des motifs littéraires, ou par l'appareil culturel qui l'entoure ?). Deuxièmement, un « monde secondaire » est-il uniquement un univers inventé entièrement différent ou détaché du monde réel, ou peut-il recouper le monde réel, etc. ? La littérature spéculative étant un genre foisonnant et en pleine évolution, j'ai pris le parti de ne pas donner de réponses définitives. Plutôt que de tenter de tracer des frontières, j'ai cherché à mettre en évidence les différents éléments dont se constituent les mondes secondaires : les traditions du genre sur lesquels les auteurs s'appuient pour transmettre la vision d'un univers original à leurs lecteurs, entre mise en avant de l'originalité et utilisation d'éléments connus comme soubassement, ainsi que la vision particulière de l'histoire, de la géographie et de la place de l'humanité dans le monde que les auteurs développent. Cette réflexion se veut située à la fois en amont et en aval de l'acte d'écriture. Elle se conclut sur les questions qui se posent aux auteurs contemporains : questions de renouvellement du genre, ou d'ouverture sur les autres médias, en particulier ceux que pratiquent les amateursI endeavoured to study a phenomenon underlying contemporary speculative fiction (science fiction and fantasy): the creation of a ‘secondary world', to use J.R.R. Tolkien's phrasing. I had to solve two preliminary problems. First, the cultural and economic phenomenon that speculative fiction represents has a blurry outline, questions regarding genre delimitation and wider cultural problems (is speculative fiction defined only by a number of literary patterns, or by the whole cultural apparatus that goes with it?) being difficult to answer. Secondly, does the notion secondary worlds only apply to invented worlds that are entirely different or detached from the real world, or can it be applied to texts that take place at least partly in the real world, etc.? Speculative fiction being a diverse genre that has been steadily evolving for years, I have chosen to avoid giving definitive answers to those questions. Instead of looking for boundaries, I have tried to emphasise the various building blocks of secondary worlds in speculative fiction: the traditions of the genre authors rely on to convey their view of an original universe to their readers, in a dialogue between known elements used as a foundation and the idiosyncratic view of history, geography and the place of mankind in the particular secondary world developed by the author. In an attempt to open this study to the contemporary practice of world-building, I have concluded with the questions that speculative fiction authors face today: how to renew the tropes of the genre, how speculative fiction pervades other media, in particular the practices of fans
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Herbig, Art, and Andrew F. Herrmann. "Polymediated Narrative: The Case of the Supernatural Episode "Fan Fiction"." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/757.
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Modern stories are the product of a recursive process influenced by elements of genre, outside content, medium, and more. These stories exist in a multitude of forms and are transmitted across multiple media. This article examines how those stories function as pieces of a broader narrative, as well as how that narrative acts as a world for the creation of stories. Through an examination of the polymediated nature of modern narratives, we explore the complicated nature of modern storytelling.
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François, Sébastien. "Les créations dérivées comme modalité de l'engagement des publics médiatiques : le cas des fanfictions sur internet." Thesis, Paris, ENST, 2013. http://www.theses.fr/2013ENST0059/document.
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Cette enquête s’intéresse à la réception des œuvres fictionnelles, lorsque celle-ci se concrétise dans des « créations dérivées », c’est-à-dire des productions dues aux récepteurs les plus engagés, et en recherche les déterminants sociaux dans des contextes donnés. Si, sous l’effet de la numérisation de la culture, de nombreux contenus créés par les utilisateurs sur Internet témoignent d’une appropriation croissante des produits médiatiques, il faut mesurer la spécificité de ces pratiques culturelles amateurs et leurs continuités avec des engagements fictionnels plus anciens : ce travail le montre ici à travers le cas des fanfictions, ces textes, en plein essor depuis les années 2000, écrits par des fans, pour compléter, prolonger ou amender des œuvres fictionnelles originales. En croisant sociologie de la culture et histoire littéraire, ce travail défend que les fanfictions reposent sur des mécanismes fondamentaux liés à la réception et à la circulation sociale des univers fictionnels, mais qui s’expriment toujours selon des contraintes à la fois sociales, économiques, médiatiques et juridiques. À partir d'uncorpus d’un millier de textes, d’observations sur un des principaux sites hébergeurs et de comparaisons historiques, ce doctorat discute d'abord le passé des fanfictions en ne le limitant aux années 1960 où elles étaient déjà présentes dans les fanzines et tout en ne le confondant pas avec celui de toute la littérature. L’étude souligne ensuite comment ces textes restent le résultat d’une production et d’une organisation collectives où le support de diffusion, les interactions entre fans et avec les industries culturelles structurent leur format et leur contenuThis study deals with the reception of fictional works, when it materializes as “derivative works”, i.e. products made by active audiences, and seek the social factors explaining the shape took by these creations in a given context. If a lot of user generated contents now on the Internet –thanks to the digitalization of culture and the spread of ICT– shows that media products are more and more appropriated by amateurs, the specificity of these cultural practices and their continuity with older types of fictional involvements must be assessed: it will be exemplified through the case of fanfictions, also on a growing trend since the 2000s on the Web, that is texts, written by fans, which finish off, extend or correct original fictional works. Mixing cultural and media sociology with literary history, this dissertation suggests that fanfictions rest upon basic mechanisms linked to the reception and the circulation of fictional worlds, but always constrained by social, economic, media and legal factors. Based on the study of a thousand of fanfictions, observations from one of their main archives, and comparisons with literary successes which also generated derivatives texts, this research first discusses fanfictions’ past, extending it further than the 1960s when they were published in fanzines, but distinguishing it from the whole literature’s past. The inquiry then reveals how fanfictions are still the result of a collective production and organization, in which the broadcasting medium, the interactions between fans and with creative industries construct their format and content
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Belas, Oliver Sandys. "Race and culture in African American crime and science fiction." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499831.
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Fowler, Charity A. "Negotiating Desire: Resisting, Reimagining and Reinscribing Normalized Sexuality and Gender in Fan Fiction." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4852.
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Fan studies has examined how fan fiction resists heteronormativity by challenging depictions of gender and sexuality, but to date, this inquiry has focused disproportionately on slash, to the exclusion of other genres of fan fiction. Additionally, scholars disagree about slash’s subversive effects by setting up a seemingly stable dichotomy—subversive vs. misogynistic—where one does not necessarily exist.
In this project, I examine multiple genres of fan fiction—namely, slash arising from bromances; femslash from female friendships; incestuous fan fiction from dysfunctional familial relationships; and polyamorous fics. I chose fics from four televisions shows—NBC’s Revolution, MTV’s Teen Wolf, the CW’s The Vampire Diaries, and its spin-off, The Originals—and closely read them to identify patterns in their representations of gender and sexuality and how they connect to the source texts. Taking a dialogic “both/and” approach, I argue that critics claiming that slash is often not subversive are right to a point, but miss a key potential of fan fiction: its ability to evoke possibility—for new endings, relationships, and sexualities. Heteronormativity often asserts itself in endings; queerness plays in the middles and margins. So, too, does fan fiction. While some individual fics may reinforce elements of heteronormativity, many also actively question and transgress norms of gender, sexuality and love. Further, they embrace fluidity and possibility, and engage with the source texts and larger culture around them in a way that provides a subversive interpretation of both and offers insight into the function of the constructed nature of institutionalized heterosexuality.
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Norman, Joseph S. "The culture of 'the Culture' : utopian processes in Iain M. Banks's space opera series." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14388.
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This thesis provides a comprehensive critical analysis of Iain M. Banks’s Culture series, ten science fiction (SF) texts concerned with the Culture, Banks’s vision of his “personal utopia”: Consider Phlebas (1987), The Player of Games (1988), Use of Weapons (1990), The State of the Art (1991), Excession (1996), Inversions (1998), Look to Windward (2000), Matter (2008), Surface Detail (2010), and The Hydrogen Sonata (2012). I place this series within the context of the space opera sub-genre, and – drawing upon a critical toolkit developed by Istvan Csicsery-Ronay Jr. in The Seven Beauties of Science Fiction (2008) – I explore the extent to which Banks achieved his goal of reshaping the sub-genre for the political Left. Due to the complexity and ambiguity of Banks’s creation, this research addresses the central question: what is the Culture? I argue that the Culture constitutes a utopian variation of Csicsery- Ronay’s technologiade, challenging the notion that Banks’s creation represents an empire or imperialist project. I consider the Culture as a culture: peoples linked by a shared value system and way of life; a method of development and nurturing; a system of utopian processes. Drawing on Archaeologies of the Future (2005), I argue that the Culture series demonstrates Frederic Jameson’s notion of ‘thinking the break’, with Banks’s writing constantly affirming the possibility and desirability of radical sociopolitical change. I identify six key radical moves away from the nonutopian present – characterised as shifts, breaks or apocalypses – which form the Culture’s utopianprocesses, with each chapter exploring the extent to which the Culture has overcome a fundamental obstacle impeding the path to utopia. The Culture has moved beyond material scarcity, alienated labour, capitalism, and the class-system, maintaining State functions. Culture citizens are notable for significantly adapting their own bodies and minds – controlling senescence and ultimately death itself – but motivated by the desire to improve rather than transcend their humanity. The Culture has achieved a form of equality between the sexes and removed patriarchy, yet is still coping with the implications of sex and gender fluidity. Despite relying upon seemingly quasi-religious innovations, the Culture is entirely secular, having moved beyond any kind of religious or faith-based worldview. Finally, the Culture is perhaps an example of what Jameson has called ‘the death of art’, as creative and artistic practice seems to have become part of everyday life, which contrasts with the numerous artworks produced on its margins.
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Rocquet, Sandra. "Entre phénomène littéraire et culture singulière : typologie du lectorat de science-fiction." Paris 4, 1999. http://www.theses.fr/1999PA040021.
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L'objet de cette recherche est de rendre compte d'une pratique de lecture spécifique puisqu'elle est orientée vers un genre littéraire souvent dévalorisé: la science-fiction. Toutefois, avant cela, il faut faire le point sur la littérature elle-même, et celles qui lui sont connexes (fantastique et heroic fantasy), ainsi que sur les analyses qui se sont intéressées à elle. Le regard du sociologue s'est ici porté sur le lectorat car c'est bien ici la lecture qui est ici en question. Les lecteurs de science-fiction, en grande majorité de genre masculin, sont non seulement de forts lecteurs mais surtout des lecteurs fortement portés sur l'imaginaire ainsi que sur la conjecture. Ils se répartissent en plusieurs catégories, selon le nombre de livres lus et selon leur degré d'attachement à cette littérature. Parmi les plus passionnés, les "fans" s'investissent dans diverses activités de défense du genre et manifestent une singularité culturelle (proche de celle étudiée par H. S. Becker dans Outsiders). Cette singularité n'existe cependant que pour autant que l'on appose aux productions et aux consommations culturelles un modèle de type hiérarchique (légitimiste). Le recours à des approches plus relativistes permet d'appréhender la lecture de la science-fiction comme un phénomène culturel non plus singulier mais intégré dans des ensembles plus vastes de pratiques et de préférences. Dans ce travail se sont croisées diverses approches relatives à la culture, à la déviance, à la littérature et à la lecture.
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Holland, Rachel Elizabeth. "The third culture novel : contemporary fiction and science from Calvino to McEwan." Thesis, Lancaster University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695249.
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Lueckel, Wolfgang. "Atomic Apocalypse - 'Nuclear Fiction' in German Literature and Culture." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281459381.
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Klein, Michael Joseph. "The Rhetoric of Repugnance: Popular Culture and Unpopular Notions in the Human Cloning Debate." Diss., Virginia Tech, 2007. http://hdl.handle.net/10919/28074.
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An ethical frame grounded in science fiction literature shaped the discourse on cloning following the announcement of Dolly-the-sheepâ s birth through nuclear transfer. Using methodologies drawn from the social shaping of technology (SST) and rhetoric of science, my analysis demonstrates how individuals and institutions, including the media, ethicists, policymakers, and legislators, appropriated and re-appropriated this ethical frame. In doing so, they employed science-fiction stories as rhetorical tropes, thereby providing the public with a frame for understanding the social issues involved with cloning. However, these institutions used science fiction as a way to simplify and present ethical arguments that silenced dissent rather than encouraged dialog.
While ethics discourse can validly make use of literature in debates about technology, such a simplistic view of the literature misrepresents the themes the authors explored in their works and limits discussion. I conclude by offering a deeper analysis and reading of some of these stories, relying on the texts themselves rather than the myths that have evolved around these texts as my primary source material. Such a reading provides a valuable counter-narrative to the on-going debate, one that more adequately explains the effects of technology in a society.
In short, this dissertation demonstrates that the reductionist interpretation of works from the science fiction genre had real effects on policy formulation. People utilized their literary-derived perceptions of cloning in political discussions about technology. Thus, policy discussions of the perceived effects of the technology developed much of their meaning and significance from fictional depictions of the technology.Ph. D.
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Potts, Annie. "The Science/Fiction of Sex. A Feminist Deconstruction of the Vocabularies of Heterosex." Thesis, University of Auckland, 1999. http://hdl.handle.net/2292/2331.
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This research conducts a feminist poststructuralist examination of the vocabularies of heterosex: it investigates those terms, modes of talking, and meanings relating to sex which are associated with discourses such as scientific and popular sexology, medicine and psychiatry, public health, philosophy, and some feminist critique. The analysis of these various representations of heterosex involves the deconstruction of binaries such as presence/absence, mind/body, inside/outside and masculine/feminine, that are endemic to Western notions of sex. It is argued that such dualisms (re)produce and perpetuate differential power relations between men and women, and jeopardize the negotiation of mutually pleasurable and safer heterosex. Particular attention is paid to the ways in which sexological discourse deploys such dualisms as normal/abnormal, natural/unnatural, and healthy/unhealthy sex, and produces specifically gendered 'experiences' of sexual corporeality. The thesis examines a variety of written texts and excerpts from film and television; it also analyzes transcript material from individual and group interviews conducted by the researcher with heterosexual women and men, as well as sexual health and mental health professionals, in order to identify cultural pressures influencing participation in risky heterosexual behaviours, and also to identify alternative and safer pleasurable practices. Some of these alternative practices are suggested to rely on a radical reformulation of sexual relations which derives from the disruption of particular dualistic ways of understanding and enacting sex. The overall objective of the thesis is to deconstruct cultural imperatives of heterosex and promote the generation and acceptance of other modes of erotic pleasure. It is hoped that this research will be of use in the future planning and implementation of sex education and safer sex campaigns in Aotearoa/New Zealand which aim to be non-phallocentric and non-heterosexist, and which might recognize a feminist poststructuralist politics of sexual difference.Note: Thesis now published. Potts, Annie (2002). The Science/Fiction of sex: feminist deconstruction and the vocabularies of heterosex. London & New York: Routledge. ISBN 04152567312. Whole document restricted, see Access Instructions file below for details of how to access the print copy.
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Director, Elliot Aaron. "Something Queer in His Make-Up: Genderbending, Omegaverses, and Fandom's Discontents." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1494803296589862.
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Larrieux, Stephanie F. "Racing the future: Hollywood science fiction film narratives of race." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319100.
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Kreiter, Michael P. ""There will be no Reconciliation": The Science Fiction Culture War of White Supremacist Puppies." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1618595056659932.
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Scott, Ronald. "And Consumption For All: The Science Fiction Pulps and the Rhetoric of Technology." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1255%5F1%5Fm.pdf&type=application/pdf.
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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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McAvan, Em. "The postmodern sacred : popular culture spirituality in the genres of science fiction, fantasy and fantastic horror /." McAvan, Em (2007) The postmodern sacred: popular culture spirituality in the genres of science fiction, fantasy and fantastic horror. PhD thesis, Murdoch University, 2007. http://researchrepository.murdoch.edu.au/188/.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is 'unreal' texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of 'real world' epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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Toy, J. Caroline. "Wizarding Shrines and Police Box Cathedrals: Re-envisioning Religiosity through Fan and Media Pilgrimages." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587605749537652.
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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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com, estrangedcognition@hotmail, and Em McAvan. "The Postmodern Sacred Popular Culture Spirituality in the Genres of Science Fiction, Fantasy and Fantastic Horror." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080908.140222.
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In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is unreal texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of real world epistemology.
I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.
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Marburger, Anna C. "Queer Content in Science Fiction Allegory and Analogue: Is It In Disguise?" Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/609.
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This thesis performs a textual analysis of two for-profit science fiction texts in which the authors implanted queer content: Bryan Singer's X-Men films and James Robert's Transformers comic series, "More Than Meets the Eye". The argument incorporates queer (referring to attraction and gender variance) media representation and western identity politics lenses into its critique.
By interrogating reality through the masquerade of an impossible universe, science fiction affects how subversive a text can be. When authors designate the natural and the unnatural in a strange universe, they designate what and who belongs in our society. Whatever they imagine has an effect on our reality.
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Little, Michael Robert. "Novel affirmations: defending literary culture in the fiction of David Foster Wallace, Jonathan Franzen, and Richard Powers." Diss., Texas A&M University, 2004. http://hdl.handle.net/1969.1/366.
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This dissertation studies the fictional and non-fictional responses of David Foster Wallace, Jonathan Franzen, and Richard Powers to their felt anxieties about the vitality of literature in contemporary culture. The intangible nature of literature's social value marks the literary as an uneasy, contested, and defensive cultural site. At the same time, the significance of any given cultural artifact or medium, such as television, film, radio, or fiction, is in a continual state of flux. Within that broad context I examine some of the cultural institutions competing with literature for public attention, as well as some of the cultural developments impacting the availability of public attention for literary concerns. With Wallace, I study his efforts in fiction and essays to establish an anti-ironic mode of literary rebellion, in opposition to the culturally pervasive tone of self-protective irony modeled by television. Franzen opens discussion about the transience of cultural authority, a situation in which the imprimatur of the academy, for instance, confers a cultural significance different in kind but not degree from the imprimatur of a popular televised book club. My study of Franzen in particular demonstrates the impact of proliferating sites of cultural authority, addressing the emergence of middlebrow culture and audiences from contested space to authoritative cultural arbiter. The chapter on Franzen also examines the increasing role of corporate interests in the production of cultural artifacts with an eye toward their financial viability more than their cultural impact. And finally, my study of Powers focuses on the animosity between the sciences and the humanities. Powers produces fiction that serves as an indispensable tool for communicating between disparate and otherwise isolated disciplines, and for helping those specialized fields synthesize their information with others.
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Forte, Joseph A. ""We Weren't Kidding": Prediction as Ideology in American Pulp Science Fiction, 1938-1949." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/42644.
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In 1971, Isaac Asimov observed in humanity, a science-important society. For this he credited the man who had been his editor in the 1940s during the period known as the golden age of American science fiction, John W. Campbell, Jr. Campbell was editor of Astounding Science-Fiction, the magazine that launched both Asimov's career and the golden age, from 1938 until his death in 1971. Campbell and his authors set the foundation for the modern sci-fi, cementing genre distinction by the application of plausible technological speculation. Campbell assumed the science-important society that Asimov found thirty years later, attributing sci-fi ascendance during the golden age a particular compatibility with that cultural context.
On another level, sci-fiâ s compatibility with â science-importantâ tendencies during the first half of the twentieth-century betrayed a deeper agreement with the social structures that fueled those tendencies and reflected an explication of modernity on capitalist terms. Tethered to an imperative of plausibly extrapolated technology within an American context, sci-fi authors retained the social underpinnings of that context. In this thesis, I perform a textual analysis of stories published in Astounding during the 1940s, following the sci-fi as it grew into a mainstream cultural product. In this, I prioritize not the intentions of authors to advance explicit themes or speculations. Rather, I allow the authorsâ direction of reader sympathy to suggest the way that favored characterizations advanced ideological bias. Sci-fi authors supported a route to success via individualistic, competitive, and private enterprise. They supported an American capitalistic conveyance of modernity.Master of Arts
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Stead, Lisa Rose. "Women's writing and British female film culture in the silent era." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3138.
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This thesis explores women’s writing and its place in the formation of female film culture in the British silent cinema era. The project focuses upon women’s literary engagement with silent cinema as generative of a female film culture, looking at materials such as fan letters, fan magazines, popular novels, short story papers, novelizations, critical journals and newspaper criticism. Exploring this diverse range of women’s cinema writing, the thesis seeks to make an original contribution to feminist film historiography. Focusing upon the mediations between different kinds of women’s cinema writing, the thesis poses key questions about how the feminist film historian weights original sources in the reclamation of silent female film culture, relative to the varying degrees of cultural authority with which different women commentated upon, reflected upon, and creatively responded to film culture. The thesis moves away from conceptualization of cinema audiences and reception practices based upon textual readings. Instead, the thesis focuses upon evidence of women’s original accounts of their cinemagoing practices (fan letters) and their critical (newspaper and journal criticism) and creative (fiction writers) responses to cinema’s place in women’s everyday lives. Balancing original archival research with multiple overarching methodological frameworks—drawing upon fan theory, feminist reception theory, audience studies, social history and cultural studies—the thesis is attentive to the diversity of women’s experiences of cinema culture, and the literary conduits through which they channeled these experiences. Shifting the recent focus in feminist silent film historiography away from the reclamation of lost filmmaking female pioneers and towards lost female audiences, the thesis thus constructs a nationally specific account of British women’s silent era cinema culture.
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Zander, Niclas. "Viljan att veta : en analys av Mona Hatoums verk Corps étranger via bio-politik och science fiction." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-976.
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In this paper Mona Hatoums installation Corps étranger is discussed via a post structuralized method based on associative and semiotic comparisons with vanitas, a post-modern self-portrait, and as a representative for modern visual art. The analyze touches upon pornography, science fiction and the quest for scientific conquest in outer and inner space. Theoretical references are Foucault, Freud, Lacan, Barthes, Dolar, Said and Virilio. Hatoum makes the observer a voyageur with the aid of the latest medical technology, endoscope, which gives her the opportunity to make an introvert self-portrait when she films her own throat and rectum. But at the same time she makes the portrait of us all. I interpret this as a fictious science with postcolonial ideas, and the reference to science fiction is close at range. Hatoum takes the role as the other, the woman or the stranger and might flirt with Jülich interpretation of Corps étranger as a sign of the visual cultures colonisation of the human body’s inside, that is a conscious reference to sexuality, ethics and the search for knowledge and power.
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Hopkins, Fleur. "Aux frontières de l'invisible : culture visuelle et instruments optiques dans le récit merveilleux-scientifique au passage du siècle (1894-1930)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H067.
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En pleine période de la découverte des rayons X, de la photographie des auras et des essais de communication avec la planète Mars, l’écrivain Maurice Renard a donné forme, entre 1909 et 1930, à un mouvement méconnu aujourd’hui : le «merveilleux-scientifique». Son intrigue se construit de manière rationnelle, à l’exception d’une loi scientifique qui est inventée ou modifiée pour permettre aux être humains d’accomplir des prodiges seuls réservés aux contes de fées : devenir miniature ou lire les pensées. Maurice Renard a largement souligné dans ses différents textes-manifestes sa volonté de faire de son modèle littéraire une « machine optique ». A ce titre, s’appuyant sur plus d 100 textes, de 100 auteurs et illustrateurs et de près de 800 illustrations, notre étude cartographie l’obsession pour l’extension du visible (voir au-dedans, voir au-delà, voir l’envers). Pour ce faire, nous avons mobilisé tout au long de notre travail les ressources nouvelles de l’histoire de l’art. Les études visuelles, d’une part, mettent en évidence les changements opérés dans les régimes scopiques (regard endoscopique, regard panoptique, œil optogrammique, etc.). Elles ouvrent à de nouveaux artefacts visuels, tels que les récits sous images, la publicité suggestive ou les illustrations de romans populaires, valables comme témoignages historiques de la construction historique du regard. L’archéologie des médias, d’autre part, recense les médias oubliés, laissés pour compte, en retard ou trop en avance sur leur temps. Elle permet de collecter un nombre considérable de « médias imaginaires », particulièrement inventifs : «psychographe», «ondogène», «électroscope»In parallel with X-rays, aura photography and attempts to communicate with the planet Mars, the writer Maurice Renard shaped, between 1909 and 1930, a movement, unrecognized today: the “merveilleux-scientifique”. Its plot is rationally designed, with the exception of a scientific law that is invented or modified, allowing human beings to perform prodigies only found in fairy tales: shrinking or mind-reading. There is ample evidence in Maurice Renard’s various manifestos his literary model was conceived as an “optical machine”. As such, based on more than 00 stories, 100 authors and illustrators and nearly 800 illustrations, our study maps the obsession for the extension of the visible (seeing inside, seeing beyond, seeing the other side). To do this, we mobilized throughout our work new resources and concepts. Visual studies, on the one hand, highlight the changes made in the scopic regimes of the time (endoscopic view, panoptic view, optogrammic eye, etc.). They reveal new visual artifacts, such as “récits sous images”, suggestive advertising or illustrations of popular novels, valid as historical evidence of the historical construction of gaze, vision and visuality. Media Archaeology, on the other hand, gathers media that are forgotten, discarded, late or too far ahead of their time. This field of research collects a significant number of “imaginary media”, highly inventive: “psychograph“, “ondogene”, “electroscope”
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Crowley, Dale Allen. "Eldritch Horrors: The Modernist Liminality of H.P. Lovecraft's Weird Fiction." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1496326220734249.
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Shanadi, Govind. "Hollywood representations of biotechnology /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1421624771&sid=3&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Dorsten, Sara E. "Priest of Wisdom: A Historical Novel Studying Ancient Greek Culture through Creative Writing." Ohio Dominican University Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1430788202.
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Carabédian, Alice. "Le devenir-autre de l'utopie : représentations d'un imaginaire politique conflictuel dans le Cycle de la Culture d'Iain M. Banks." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC322.
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Il est difficile de ne pas concevoir l’utopie du côté de la rupture : division spatiale originelle, tension temporelle, désaccord critique. Pourtant les théories et attaques des anti-utopistes voient dans l’utopie un monde illusoire voire inutile, clos, signant la fin des temps et potentiellement dangereux pour l’humanité. Et si l’utopie n’était pas le programme de la société meilleure à réaliser, mais bien au contraire une pratique transgressive, une apparition de discontinuité dans notre « ici et maintenant », un excès qui vient doubler le réel plutôt qu’un possible à réaliser dans le futur ?Iain M. Banks est un auteur de science-fiction contemporain original et audacieux, qui, conscient des dangers inhérents à l’utopie, a su jouer avec ces limites pour proposer une société utopique totalement inédite : cette utopie s’appelle la Culture. Comment réinvestir singulièrement l’utopie ? Comment la science-fiction – et plus précisément le genre du space-opéra – permet-elle de mettre en scène des problématiques politiques dignes d’un intérêt philosophique ?Iain M. Banks imagine une utopie tout entière tournée vers la rencontre, la proximité, la nouveauté. Subvertissant les traditions utopique et science-fictionnelle, le Cycle de la Culture est traversé par l’altérité et le conflit. Ces deux caractéristiques sont les fils directeurs de cette thèse qui vise à reconceptualiser l’utopie dans une perspective philosophique, politique et littéraire, en travaillant les représentations du discours utopique au sein du laboratoire science fictionnel.Ce discours prend ici trois formes : dystopie, hétérotopie, (e)utopie. Ensemble, elles dessinent une « culture utopique radicale »It is difficult not to conceive utopia as a rupture: through original spatial division, temporal tension, critical discordance. Yet, theories and attacks from anti-utopians consider utopia as an illusory world, even useless, enclosed, marking the end of times and potentially dangerous for humanity. What if utopia was not the programme of a better society to realize,but instead a transgressive practice, an apparition of discontinuity in our « now and here », an excess which overtakes reality rather than a possible that has yet to be realized in the future? Iain M. Banks is a contemporary, original and audacious science-fiction author, who,aware of the inherent dangers of utopia, has known how to challenge these limits in order to provide a completely unique utopian society: this utopia is called the Culture. How to critically reinvest utopia? How can science fiction – and more precisely the genre of space-opera – depict political issues, worthy of philosophical enquiry? Iain M. Banks imagines a space for utopia, entirely oriented towards encounter,proximity, and novelty. Subverting science-fictional and utopian traditions, notions of alterity and conflict span the Culture Cycle. These two characteristics are the guiding principles of this dissertation, which aims at reconceptualizing utopia through a philosophical, political and literary perspective, by way of analysing the representations of utopian discourses within the science-fictional laboratory. These discourses take three shapes: dystopia, heterotopia, (e)utopia. Together, they outline a “radical utopian culture”
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Young, Sade Marie. "SOUTHERN-PLAYALISTIC-HIPHOP-SPACESHIP-MUSIC." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1305583004.
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Porter, Chaya. "‘Engaging’ in Gender, Race, Sexuality and (dis)Ability in Science Fiction Television through Star Trek: the Next Generation and Star Trek: Voyager." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24209.
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As Richard Thomas writes, “there is nothing like Star Trek…Of all the universes of science fiction, the Star Trek universe is the most varied and extensive, and by all accounts the series is the most popular science fiction ever” (1). Ever growing (the latest Star Trek film will be released in Spring 2013) and embodied in hundreds of novels and slash fanfiction, decades of television and film, conventions, replicas, toys, and a complete Klingon language Star Trek is nothing short of a cultural phenomenon. As Harrison et al argue in Enterprise Zones: Critical Positions on Star Trek, the economic and cultural link embodied in the production of the Star Trek phenomena “more than anything else, perhaps, makes Star Trek a cultural production worth criticizing” (3). A utopian universe, Star Trek invites its audience to imagine a future of amicable human and alien life, often pictured without the ravages of racism, sexism, capitalism and poverty. However, beyond the pleasure of watching, I would ask what do the representations within Star Trek reveal about our popular culture? In essence, what are the values, meaning and beliefs about gender, race, sexuality and disability being communicated in the text? I will explore the ways that the Star Trek universe simultaneously encourages and discourages us from thinking about race, gender, sexuality and disability and their intersections. In other words, this work will examine the ways that representations of identity are challenged and reinforced by Star Trek: The Next Generation and Star Trek: Voyager. This work will situate Star Trek specifically within the science fiction genre and explore the importance of its utopian standpoint as a frame for representational politics. Following Inness, (1999), I argue that science fiction is particularly rich textual space to explore ideas of women and gender (104). As Sharona Ben-Tov suggests in The Artificial Paradise: Science Fiction and American Reality (1995) science fiction’s “position at a unique intersection of science and technology, mass media, popular culture, literature, and secular ritual” offers critical insight into social change (ctd. in Inness 104). I extend Inness and Ben-Tov here to assert that the ways in which science fiction’s rich and “synthetic language of metaphor” illustrate and re-envision contemporary gender roles also offers a re-imagination of assumptions regarding race, sexuality and disability (Inness 104).
Extending current scholarship (Roberts 1999, Richards 1997, Gregory 2000, Bernardi 1998, Adare 2005, Greven 2009, Wagner and Lundeen 1998, Relke 2006, and Harrison et all 1996), I intend to break from traditions of dichotomous views of The Next Generation and Voyager as either essentially progressive or conservative. In this sense, I hope to complicate and question simplistic conclusions about Star Trek’s ideological centre. Moreover, as feminist media theorist Mia Consalvo notes, previous analyses of Star Trek have explored how the show constructs and comments on conceptions of gender and race as well as commenting on economic systems and political ideologies (2004). As such, my analysis intends to apply an intersectional approach as well as offer a ‘cripped’ (McRuer 2006) reading of Star Trek in order to provide a deeper understanding of how identities are represented both in science fiction and in popular culture. Both critical approaches – especially the emphasis on disability, sexuality and intersectional identities are largely ignored by past Trek readings. That is to say, while there is critical research on representations in Star Trek (Roberts 1999, Bernardi 1998) much of it is somewhat uni-dimensional in its analysis, focusing exclusively on gender or racialized representation and notably excluding dimensions of sexuality and ability. Moreover, as much of the writing on the Star Trek phenomena has focused on The Original Series (TOS) and The Next Generation this work will bring the same critical analysis to the Voyager series. To perform this research a feminist discourse analysis will be employed. While all seven seasons and 178 episodes of The Next Generation series as well as all seven seasons and 172 episodes of Voyager have been viewed particular episodes will be selected for their illustrative value.
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Ellison, Murray S. "Edgar Allan Poe and Science: Unraveling the Plot of the Universe." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4029.
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Edgar Allan Poe (1809-49) lived at the perfect time to write about several of the most dramatic technological developments ever recorded in history. Up until the nineteenth century, professional scientists were almost the exclusive agents for writing about science. However, during this period, non-professional writers also emerged as important conveyors of popular science news to the public. Though Poe was a lay writer, his popular writing conveyed several of the most important new discoveries of the Industrial Age. He also projected his views about how nineteenth-century technologies might impact civilizations of the future. Poe’s writing offers a key example of a widespread movement of thinkers who attempted to mediate the tensions and debates that were taking place in his lifetime between those who perceived and described the world from either the “Mechanical” or the “Romantic” approach.
This study explores the ways that Poe wrote about science in poetry, non-fiction, and fiction. I argue that a review of his earlier science writing helps to unlock several of the enigmatic writings of his culminationg work, Eureka:A Prose Poem. The final chapter of this thesis concludes with an in-depth discussion of Eureka. In Eureka, Poe proposes that man’s literary works are imperfect. However, he contends that the Creator has written and executed a perfect “Plot of the Universe.” Poe attempts to unravel several of its deepest mysteries in a multi-genre work of poetry, history, science, and metaphysics. I argue that modern scholars of literature and science history can gain a clearer view of the ways that the nineteenth-century public received and understood information about science by exploring Poe’s science writing than has been provided in previous historical or literary scholarship.
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Pinto, Alfonso. "Une archéologie du présent. Les espaces urbains dans le cinéma-catastrophe." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSEN050/document.
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Le but de ce travail est premièrement celui de contribuer à la stabilisation de l’outil cinématographique au sein des études géographiques. En particulier l’attention sera ciblée sur trois possibles manières d’employer le cinéma au sein de la géographie : le cinéma comme représentation de l’espace, comme imaginaire des lieux et enfin comme exemple conceptuel. Dans le détail, la recherche concernera essentiellement les imaginaires des espaces urbains au sein du cinéma-catastrophe, en s’interrogeant notamment sur la capacité de ces films de constituer un nouveau régime de visibilité de l’urbain. Le corpus d’analyse se compose de soixante-deux films, issus pour la plupart du genre de la science-fiction. De ce point de vue, l’idée de départ est celle de conjuguer la dimension temporelle (en particulier les idées de futur) que la science-fiction présuppose, avec la dimension spatiale de l’urbain. La première relation entre cet imaginaire et les réalités urbaines fait suite à une interprétation « crisologique » : ces films contribuent à stabiliser un imaginaire fictionnel qui se nourrit de nombreuses pathologies qui hantent le développement des espaces urbains des derniers cinquante ans. Le dernier point essayera d’élargir la portée des réflexions précédentes. On considère l’imaginaire catastrophiste au sein du Zeitraumgeist (esprit du temps et de l’espace) contemporain. En particulier, l’attention sera portée sur une possible mutation de nos rapports à l’espace et au temps. Dans ce cas, le cadre de référence sera le concept de modernité, analysé en tant qu’expérience spatio-temporelle. La conclusion portera à élaborer l’hypothèse de la « néomodernité », néologisme qui indique les changements internes des rapports au temps (passé, présent et futur) et à l’espace (l’urbain)This research is mainly aimed at giving a contribute to the stabilization of the cinematographic instrument inside geography. It will particularly be focused on three possible ways to use movies within the geographical studies: movies as a representation of space, as imagination of places and, finally, as a conceptual example. The research will essentially be centered on the imagination of urban spaces in the catastrophic movies and particularly on the capability they might have to give urban spaces a new system of visibility. The corpus of the analysis is formed of sixty-two movies, mostly deriving from science fiction.From this perspective, the initial idea is to combine the temporal dimension, which is at the basis of science fiction (especially the ideas of the future) with the spatial dimension personified by urban spaces. The first relation between this imagination and the urban realities feeds on a “crisologic” interpretation: these movies help to stabilize a diegetic universe which is full of several pathologies that have been distressing the urban development for the last 50 years. Conversely, the last point will aim at widening the scope of the previous considerations. The imagination of catastrophes and their increasing success will be included in the contemporary Zeitraumgeist (“spirit of time and space”). I will particularly concentrate on a possible change inside our relation to space and time. In this context, the framework of reference will be the concept of modernity which is here considered, among the many meanings, as an essentially time-space experience. The conclusion will lead to develop the hypothesis of a “neo-modernity”, a neologism that is used to define the inner changes in our way to experiencing time (past, present, future) and the urban space
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De, Smet Elsa. "Voir pour Savoir. La visualisation technique et scientifique de l’aventure spatiale dans le monde occidental entre 1840 et 1969." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040160.
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Entre la première photographie jamais prise de la Lune en 1840 par J.W. Draper et la première photographie prise depuis le sol de notre satellite en 1969 par la mission Apollo 11, l’aventure spatiale occidentale a donné lieu à une vaste production d’images. Toutes ont cherché à comprendre, capturer et communiquer au plus grand nombre l’aspect du cosmos. Absorbé comme une évidence par la culture collective, ce corpus hétérogène, protéiforme et aux délimitations complexes, relève d’une histoire culturelle qui reste difficile à classer, entre histoire des sciences et histoire des images. Les visualisations qui en résultent, marquées par les traditions de l’histoire de la représentation et fabriquées en parallèle des évolutions technologiques de l’astronomie et de ses moyens d’observation, ont tout autant façonné le regard de l’astronomie physique et la culture visuelle de ses observateurs néophytes. L’analyse de la formation et de l’épanouissement de l’Art spatial au XXe siècle nous ouvre ainsi les yeux sur un corpus visuel où la coalescence entre science et style est une condition nécessaire à son existence. A l’épreuve de l’histoire de l’histoire de l’art et des études visuelles, ce dernier trouve également toute sa place dans une analyse qui vise à dévoiler la puissance et la qualité performative des images. Qu’il s’agisse d’une imagerie vulgarisant le savoir savant à des fins didactiques, d’une volonté de saisir l’image du cosmos pour le découvrir ou d’une dissémination culturelle au cœur des grands mythes du siècle, l’exploration spatiale fut aussi une entreprise du regard qu’il nous incombe d’observerBetween the first photograph taken from the moon in 1840 by J.W. Draper and the first photograph taken from our satellite’s ground in 1969 by Apollo 11’s mission, western space odyssey led to a wide range of images. They all had the common goal of understanding, apprehending and sharing the aspect of cosmos with as many people as possible. Evidently absorbed by a collective culture, this heterogeneous and multifaceted corpus with many complex boundaries is based on a cultural history, which remains hard to classify, between science history and images history. The resulting visualizations, heavily influenced by the traditions of the history of representation and made in parallel of the technical evolutions of astronomy and its means of observation, have equally shaped the look of physical astronomy and of the visual culture of its neophyte observers. The analysis of the creation and the fulfilment of Space Art in the twentieth century make us open our eyes on a visual corpus where the coalescence between science and style is a necessary condition to its really existence. Confronted to History of Arts and to visual studies, this corpus finds its place within an analysis, which pursues to disclose the power and the performative quality of images. Whether it be an imagery popularizing the deepest knowledge for teaching purposes, a will of grabbing the image of cosmos in order to discover it or a cultural dissemination at the heart of the most important myths of the century, spatial exploration was also an experience of the look we need to observe
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Ruben, Jennifer Lynn. "Illusionary Strength; An Analysis of Female Empowerment in Science Fiction and Horror Films in Fatal Attraction, Aliens, and The Stepford Wives." Wright State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=wright1355753729.
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Pupo, Stella Cêntola. "Mulheres no pop, no espaço e na tecnologia: reflexões sobre gênero e ciência, e o videoclipe como ferramenta na difusão científica." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-10012019-000016/.
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Essa dissertação consiste na análise das representações das mulheres em videoclipes de música pop com temáticas relacionadas à ficção científica, baseada no substrato teórico da análise do discurso e da semiótica greimasiana. A partir dos videoclipes foram realizadas atividades de divulgação científica voltadas a pré-adolescentes de um Centro para Crianças e Adolescentes, localizado no bairro Jardim Keralux, na cidade de São Paulo. Estas atividades buscaram colocar em evidência a figura da mulher em produtos midiáticos que têm relação com a ciência, utilizando, além do videoclipe, algumas personagens de quadrinhos e séries televisivas, também de ficção científica. As 5 atividades desenvolvidas com os(as) pré-adolescentes priorizaram o lúdico e o diálogo, tendo como metodologia norteadora a pesquisa-ação, processo que liga intimamente teoria à prática. Estão presentes, além da análise dos videoclipes e atividades, discussões teóricas sobre ciência, divulgação científica, mulher e ciência e as relações entre mídia, ciência e tecnologia, que afetam direta e indiretamente as mulheres. As reflexões e as atividades práticas demonstraram a importância do desenvolvimento de uma perspectiva crítica em relação à mídia e à ciência e tecnologia, e que produtos midiáticos podem ser uma boa maneira de introduzir assuntos de interesse, atuando como ferramenta capaz de atrair a atenção das(os) pré-adolescentes. Foi possível perceber que as atividades funcionaram como uma espécie de diagnóstico sobre as(os) pré-adolescentes, como o que pensam sobre as mulheres, sobre a ciência, o bairro em que moram, a escola em que estudam, o que gostam de fazer e como se comportam em grupo, além de aproximá-los(as) do espaço em que se encontra a Escola de Artes, Ciências e Humanidades da Universidade de São PauloThis dissertation consists in the analysis of women\'s representation in music videos of pop music with themes related to science fiction, based on the theoretical substrate of discourse analysis and Greimas semiotics. From the video clips were carried out activities of scientific dissemination aimed at pre-adolescents of a Center for Children and Adolescents, located in Jardim Keralux, in the city of São Paulo. These activities sought to highlight the figure of women in media products that are related to science, using, in addition to the video clip, some science fiction comic book characters and television series. The 5 activities developed with the pre-adolescents prioritized the playful and the dialogue, having as a guiding methodology the action research, a process that closely links theory and practice. In addition to the analysis of video clips and activities, theoretical discussions on science, scientific dissemination, women and science, and the relationships between media, science and technology, which directly and indirectly affect women, are present. Reflections and practical activities have demonstrated the importance of developing a critical perspective on the media and science and technology, and that media products can be a good way of introducing subjects of interest, acting as a tool capable of attracting the attention of the pre-adolescents. It was possible to perceive that the activities worked as a kind of diagnosis about pre-adolescents, such as what they think about women, about science, the neighborhood in which they live, the school in which they study, what they like to do and how they behave in a group, in addition to approaching them to the School of Arts, Sciences and Humanities of the University of São Paulo
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Smaniotto, Edgar Indalecio. "Uma análise do conceito antropológico do "outro" na obra do escritor Augusto Emílio Zaluar /." Marília : [s.n], 2007. http://hdl.handle.net/11449/89581.
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Orientador: Christina de Rezende RubimBanca: Wilton Carlos Lima da Silva
Banca: Viviane Souza Galvão
Resumo: Este trabalho trata do conceito do outro enquanto um termo antropológico. Seu principal objetivo é mostrar a absorção e uso deste conceito na obra O Dr. Benignus de Augusto Emílio Zaluar (1826-1882) num momento em que a repercussão do pensamento europeu era absolvida por escritores e intelectuais brasileiros no século XIX, especialmente a daquele pensamento que trata da ciência das diferenças entre os homens, isto é, do outro, do alienígena. Analisando a obra O Dr. Benignus, observamos as formas distintas com que o conceito do outro foi interpretado pelo escritor brasileiro. Pelo menos três formas diferentes foram encontradas na obra para representar o conceito do outro: a experiência do personagem William River antropólogo que não consegue sair do mundo do outro; a defesa de uma teoria monogenista autoctonista que assimila o nativo americano ao mito do Brasil como país onde a humanidade teve sua origem tornando este outro parte da cultura dominante; e a representação do outro civilizado no personagem do alienígena. Através da revisão da literatura especializada, seja em antropologia, história da ciência ou ficção, apresentamos uma reconstrução histórica do pensamento de Augusto Emílio Zaluar, delimitando seu papel na divulgação da nascente ciência das diferenças entre os homens e dos usos que ele dá ao conceito antropológico do outro. Para além de uma discussão no campo da história da ciência das diferenças entre os homens, nossa análise nos levou a tecer uma linha entre a representação do outro que Zaluar faz na forma com que apresenta o alienígena como personagem de sua ficção, e a forma com que este ainda permanece como um mito cultural na ficção científica brasileira moderna, identificando tanto a continuidade quanto a superação da forma com que o outro é representado na literatura brasileira, sempre pela perspectiva da antropologia.
Abstract: This paper discusses the concept of other as an anthropological term. Its main objective is to show the assimilation and the use of this concept in O Dr. Benignus by Augusto Emílio Zaluar (1826-1882) in times when the repercussion of European thoughts was absorbed by Brazilian writers and intellectuals in the 19th century, specially the thought about de science of difference between men, i.e. the other, the alien. Analyzing the book O Dr. Benignus, we could observe the distinct forms that the Brazilian writer interpreted the concept of other. At least three different forms were found in the book to represent the concept of other: the experience of William River's character, the anthropologist, who can't leave the other's world; the defense of a autochthonist monogenist theory that assimilates the Native American to the myth of Brazil as a country where humanity had its origin, turning this other a part of the dominating culture; and the representation of the civilized other in the alien character. Through the review of specialized literature, be it in anthropology, science history or fiction, we present a historical reconstruction of the thought of Augusto Emílio Zaluar, delimiting his role in the disclosure of the beginning science of the differences between men and how they use the anthropological concept of other. To go beyond the discussion of the differences between men in the History of Science, our analysis made us draw a line from Zaluar's representation of other as in how he presents the alien as a character in his fiction to the form as it continues to be a cultural myth in modern Brazilian science fiction, identifying the continuity as well as the overcoming of the form the other is represented in the Brazilian literature, always in the anthropology perspective.
Mestre
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Bouanga, Patricia. "L'encyclopédie d’Éric Chevillard." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAL028/document.
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Nous nous fixons pour but, dans cette thèse, de contribuer à la lecture des récits d'Eric Chevillard sous l’angle des savoirs à l’œuvre. Pour ce faire, nous nous intéressons aux questions d’insertion et d’appropriation de discours étrangers dans sa prose narrative et autres écrits. De manière générale, si les questions d’interdisciplinarité ont été abordées via l’étude de quelques-uns de ses romans, cette thèse se consacre à l’œuvre entière en analysant l’importance et la pertinence de ce qu’il conviendrait ici de nommer l’esprit encyclopédique chevillardien. En se servant de l’épistémocritique comme approche générale des liens entre savoirs et discours littéraire, ce travail s’emploie à lire cette relation dialogique qui induit de fait le rapport de l’écrivain à la science, au savoir et à la connaissance. Le but de ce travail est donc de questionner cette inquiétude proprement poétique du savoir. L’examen porte ainsi sur la manière dont le langage poétique et romanesque articule le savoir, le met en œuvre. L’approche encyclopédique permet finalement de constater, chez l’auteur, une continuation de la tendance qui, depuis Flaubert du moins, montre une appropriation « palimpsestique » de discours de savoir. D’autant que, dans les récits étudiés ici, ce rapport au savoir oscille fréquemment entre logique dissertative et réflexivitéIn this thesis, we aim to contribute to the reading of Eric Chevillard's work by analyzing the relationships between science and litterature. In order to do this, we are interested in questions of insertion and appropriation of foreign discourses in his narrative prose and other writings. In general way, if the questions of interdisciplinarity have been studied through the analysis of some of the author’s novels, this thesis is devoted to the entire work by analyzing the importance and relevance of what should be called chevillard’s encyclopaedism. Using epistemic analysis as a general approach to the links between knowledge and literary discourse, this work attempts to read this dialogical relationship which in fact induces the writer’s relation to science and knowledge. The aim of this thesis is therefore to study this properly poetic concern of knowledge. We thus examine the way in which poetic and romantic language articulates knowledge and implements it. Here, the encyclopaedic approach finally reveals readers to see in his work a continuation of the tendency which, since Flaubert at least, shows a "palimpsestic" appropriation of discourse of knowledge. Especially since, in the narratives studied, this relation to knowledge oscillates between dissertative logic and reflexivity
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Balster, Lori Maria Tarkany. "Cassie Dates Melvin: Or, How Two People Struggle to Save Their Town Despite a Few Small Obstacles Such as Killer Philodendrons (an Excerpt from Book Two in a Series)." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1280259112.
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Langeo, Gaëlle. "Jeunesse, culture, société en Grande-Bretagne 1978-2009 : l'exemple du "Hitchhiker's Guide to the Galaxy"." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30039.
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Cette recherche porte sur The Hitchhiker’s Guide to the Galaxy, une série de science-fiction humoristique britannique créée pour la BBC Radio 4 en 1978. Sur la période étudiée (1978 – 2009), la série a été déclinée sur tous les supports que peut offrir la culture de masse. Dans les premières années, la série trouve un écho important auprès des adolescents, des étudiants et des jeunes adultes. L’auteur de la série - Douglas Adams - a gardé la main sur toutes les incarnations de Hitchhiker’s. Au cours de sa vie, l’auteur de cette science-fiction qui veut faire rire a progressivement été qualifié de « gourou de la technologie » par la presse. Les grandes passions de Douglas Adams étaient effectivement au nombre de quatre : les ordinateurs, l’évolution des espèces, les Beatles et les Monty Pythons. Cette recherche s’attache donc à comprendre comme ces quatre éléments se sont articulés dans la vie de Douglas Adams, l’influence qu’ils ont eu sur Hitchhiker’s et ce que le succès de la série dit des évolutions de la société britannique. The Hitchhiker’s Guide to the Galaxy arrive à un moment où les attentes changent en matière de comédie, comme le montre l’essor de l’Alternative Comedy. La percée de Hitchhiker’s se déroule aussi dans un contexte où la technologie prend de l’importance dans la vie quotidienne et où la culture geek prend forme, à la croisée des mondes imaginaires et de l’informatique. Le retentissement de la série peut aussi se voir comme un témoignage de l’existence de ce que le sociologue Mike Savage a appelé la classe moyenne technique. Par ailleurs, en voulant créer un album de rock pour la radio, Douglas Adams a produit une fiction en adéquation avec l’univers sonore de la jeunesse des années 1970. La technologie du studio stimule la créativité, tout comme l’ordinateur personnel le fera dans les années 1980This research focuses on The Hitchhiker’s Guide to the Galaxy, a British science-fiction comedy series created for BBC Radio 4 in 1978. Over the study period (1978-2009), the series was provided to the public in all possible formats that mass culture can offer. In its first years the series attracted a strong audience among teenagers, students and young adults. Douglas Adams, the series’ author, maintained control over all the incarnations of The Hitchhiker’s Guide to the Galaxy. Over the course of his life, the author of this science fiction series, made to make people laugh, gradually became known as a ‘‘technology guru” by the press. Indeed, Douglas Adams had four great passions : computers, evolution of species, the Beatles and the Pythons. Therefore, this research endeavours to understand how these four topics were expressed in Douglas Adams’ life, the influence they had on Hitchhiker’s and how this series’ success shows the evolution of British society. The Hitchhiker’s Guide to the Galaxy occurs at a time when expectations towards comedy were changing, as shown by the rise of Alternative Comedy. Hitchhiker’s breakthrough also takes place at a time when technology was gaining importance in daily life and geek culture was developing, at the crossroads of imaginary worlds and computer science. The series’ impact can also be considered as evidence of what the sociologist Mike Savage called the technical middle class. In addition, by creating a rock album for the radio, Douglas Adams created a fantasy consistent with the musical universe of the 1970s youth. The technology used in the radio studio stimulates creativity, just like the personal computer will do in the 1980s
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Smaniotto, Edgar Indalecio [UNESP]. "Uma análise do conceito antropológico do outro na obra do escritor Augusto Emílio Zaluar." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/89581.
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Made available in DSpace on 2014-06-11T19:24:06Z (GMT). No. of bitstreams: 0
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smaniotto_ei_me_mar.pdf: 1493077 bytes, checksum: 28d1ef95547a204041c45d7975dbe100 (MD5)Este trabalho trata do conceito do outro enquanto um termo antropológico. Seu principal objetivo é mostrar a absorção e uso deste conceito na obra O Dr. Benignus de Augusto Emílio Zaluar (1826-1882) num momento em que a repercussão do pensamento europeu era absolvida por escritores e intelectuais brasileiros no século XIX, especialmente a daquele pensamento que trata da ciência das diferenças entre os homens, isto é, do outro, do alienígena. Analisando a obra O Dr. Benignus, observamos as formas distintas com que o conceito do outro foi interpretado pelo escritor brasileiro. Pelo menos três formas diferentes foram encontradas na obra para representar o conceito do outro: a experiência do personagem William River antropólogo que não consegue sair do mundo do outro; a defesa de uma teoria monogenista autoctonista que assimila o nativo americano ao mito do Brasil como país onde a humanidade teve sua origem tornando este outro parte da cultura dominante; e a representação do outro civilizado no personagem do alienígena. Através da revisão da literatura especializada, seja em antropologia, história da ciência ou ficção, apresentamos uma reconstrução histórica do pensamento de Augusto Emílio Zaluar, delimitando seu papel na divulgação da nascente ciência das diferenças entre os homens e dos usos que ele dá ao conceito antropológico do outro . Para além de uma discussão no campo da história da ciência das diferenças entre os homens, nossa análise nos levou a tecer uma linha entre a representação do outro que Zaluar faz na forma com que apresenta o alienígena como personagem de sua ficção, e a forma com que este ainda permanece como um mito cultural na ficção científica brasileira moderna, identificando tanto a continuidade quanto a superação da forma com que o outro é representado na literatura brasileira, sempre pela perspectiva da antropologia.
This paper discusses the concept of other as an anthropological term. Its main objective is to show the assimilation and the use of this concept in O Dr. Benignus by Augusto Emílio Zaluar (1826-1882) in times when the repercussion of European thoughts was absorbed by Brazilian writers and intellectuals in the 19th century, specially the thought about de science of difference between men, i.e. the other, the alien. Analyzing the book O Dr. Benignus, we could observe the distinct forms that the Brazilian writer interpreted the concept of other. At least three different forms were found in the book to represent the concept of other: the experience of William River's character, the anthropologist, who can't leave the other's world; the defense of a autochthonist monogenist theory that assimilates the Native American to the myth of Brazil as a country where humanity had its origin, turning this other a part of the dominating culture; and the representation of the civilized other in the alien character. Through the review of specialized literature, be it in anthropology, science history or fiction, we present a historical reconstruction of the thought of Augusto Emílio Zaluar, delimiting his role in the disclosure of the beginning science of the differences between men and how they use the anthropological concept of other. To go beyond the discussion of the differences between men in the History of Science, our analysis made us draw a line from Zaluar's representation of other as in how he presents the alien as a character in his fiction to the form as it continues to be a cultural myth in modern Brazilian science fiction, identifying the continuity as well as the overcoming of the form the other is represented in the Brazilian literature, always in the anthropology perspective.
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Bacon, Edwin Bruce. "Confronting eternity : strange (im)mortalities, and states of undying in popular fiction." Thesis, University of Canterbury. English, 2014. http://hdl.handle.net/10092/9680.
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When the meritless scrabble for the bauble of deity, they ironically set their human lives at the “pin’s fee” to which Shakespeare’s Hamlet refers. This thesis focuses on these undeserving individuals in premillennial and postmillennial fiction, who seek immortality at the expense of both their humanities, and their natural mortalities.
I will analyse an array of popular modern characters, paying particular attention to the precursors of immortal personages. I will inaugurate these analyses with an examination of fan favourite series
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Steinmetz, Melissa A. "National Insecurity in the Nuclear Age: Cold War Manhood and the Gendered Discourse of U.S. Survival, 1945-1960." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1406582200.
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Martins, Flavia de Paiva Brites. "Fantasias de guerra e paz no pós-Guerra Fria de Jornada nas estrelas: nova geração." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-31072015-154947/.
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Propõe-se neste trabalho analisar as elaborações culturais relativas à política externa estadunidense no seriado televisivo Jornada nas Estrelas: Nova Geração em sua primeira temporada (1987-1988), produzido em um momento de mudanças históricas em que um discurso político de nova ordem mundial estava sendo gestado. Expectativas do fim da Guerra Fria trariam consigo, como evento simbólico, a necessidade de uma nova elaboração simbólica das relações entre Estados Unidos e o mundo. Assim, esta pesquisa buscou discernir na série as características de uma estrutura discursiva diferente dos discursos de guerra e paz mais típicos do período de Guerra Fria na ficção científica. Articulando-se, na série, com os temas da ajuda humanitária e da não interferência, articulação ambígua aqui denominada de militarismo benfazejo, o discurso do seriado antecede um debate que se intensifica na década de 1990 sobre a aceitação ou não do princípio de interferência em outros Estados por via das causas humanitárias. Na tentativa de acompanhar a dispersão do discurso de guerra e paz no campo discursivo, procurou-se ampliar a análise para as articulações discursivas de guerra e paz em ramos discursivos não ficcionais, mantendo como foco o discurso do seriado, na análise minuciosa de sua construção e da forma como este articulou valores pertinentes ao seu discurso de guerra e paz. Buscou-se nas narrativas das imagens o que se evidenciou como a formulação de um novo objeto simbólico para a política externa estadunidense daquele momento.This work analyzes cultural elaborations relative to American international affairs in the first season of the television series Star Trek: the Next Generation (1987-1988). That moment of historical changes saw the dawn of a new world order discourse. Expectations of a nearing end to the Cold War brought forth the need of new symbolic elaborations concerning the relations between the United States and the rest of the world. Thus, this research aimed to pinpoint the features of a new war and peace discursive structure, differing, comparatively, from the war and peace discourses proper to Cold War culture. Preceding the intense 1990s debate about the admission of the principle of intervention in other states on humanitarian grounds, the series associates its war and peace discourse with themes of humanitarianism and non-interference in an ambiguous symbolic articulation here denominated benevolent militarism. In an attempt to follow its dispersion in the discursive field that permeates fictional and non-fictional discursivities, the discursive articulation of war and peace was, at least in part, observed in other fictional and non-fictional constructs. Yet, the main focus was kept on the series: a detailed analysis of its symbolic, imagerial and narrative construction was carried out, leading to the investigation of the ways in which the series articulated values pertaining to its war and peace discourse. This work addresses what seems to be partaking in the beginnings of the formulation of a new symbolic object of the American international affairs at the time.
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Yost, Kimberly S. "A Search for Home: Navigating Change in Battlestar Galactica." Antioch University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1347903521.
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