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Prince, John S. "Utopia Victoriana : the utopian novel in late Victorian Britain, 1871-1905." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259302.
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This study focuses on three significant issues addressed by utopian literature of the late Victorian period: the class struggle and the resulting debate about capitalism and socialism, the nature and significance of language, and the influence of Darwin's theory of evolution on attitudes toward human existence. The utopian reaction to each of these three issues reflects the increasingly scientific investigation and analysis of specialized fields of knowledge that developed throughout the nineteenth century. Within the context of major scientific advancements in biology, geology, linguistics, and technology, utopian literature of the late-Victorian period, c. 1871-1905, responds primarily to two opposing nineteenth-century attitudes, the complacent optimism of laissez-faire individualism and the resigned pessimism of naturalistic determinism. Literary utopianism of the late nineteenth century is an attempt to resolve the philosophical and epistemological conflict between the impersonal and seemingly unalterable natural laws of science and the indomitable human will. I contend that the utopian novel re-emerges in the last third of the nineteenth century at the intersection of scientific discourse and literary discourse. I further argue that the late Victorian utopia marks a critical transition between the classic utopia the modern utopia.Department of English
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Weir, Susan Leigh. "Lettres d'une Peruvienne: An Enlightenment Utopian Novel." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4912.
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This thesis examines Franc;oise de Graffigny's eighteenthcentury novel, Lettres d'une Peruvienne. focusing on the aspects that demonstrate its consideration as a utopian work, or moreover, as a feminist utopian work. The first chapter is developed from the premise about utopian fiction that the author's life must be considered since it is out of his or her "lived social experience" that utopian visions are born. Utopias, many have argued, are born out of reactions to social inequities and injustices. This chapter thus presents and analyzes, Graffigny's life especially where it shows needs for a future utopia. The second chapter explores definitions of utopias, especially feminist literary utopias, in order to build a framework for analyzing Graffigny's work. It will be shown that this novel exhibits many of the traits found in a woman's utopia as opposed to those found in a man's. The third and fourth chapters directly analyze the text, Lettres d'une Peruvienne, using the research from the previous chapters as the groundwork to draw out the utopian aspects of the novel.
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Hales, Scott. "Of Many Hearts and Many Minds: The Mormon Novel and the Post-Utopian Challenge of Assimilation." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1399374574.
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Young, Erin S. "Corporate heroines and utopian individualism: A study of the romance novel in global capitalism." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11460.
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x, 195 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome.
Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao
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Millar, Darren. "Fiction and affect: Studies in the mid-twentieth century American novel and its utopian contexts." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/29305.
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This dissertation examines selected mid-Twentieth Century novels by four American writers (Carson McCullers, James Baldwin, William Styron, and Vladimir Nabokov) in order to offer a reappraisal of a difficult and often overlooked moment in the history of American fiction. Specifically, it considers how writers with liberal tendencies respond to the political inhibitions of a culture increasingly dominated by the consensus discourse of the Cold War. Rather than giving over to cynicism by adopting strictly apolitical themes, these writers demonstrate a commitment to liberal society through the values of tolerance, diversity, and a distinctively liberal openness to the future community. This optimistic way of reading of the often superficially bleak fiction of mid-century rests on a rejection of the common premise that the postwar moment marks the end of history, of ideology, and of utopia. I undertake this initiative by means of a theoretical engagement with the concepts of affect and utopia. First, I offer a reconsideration of the concept of utopia in order to understand how utopian thinking may survive the historicist crisis in which it becomes neither possible nor desirable to imagine a political alternative to the status quo. Postwar (or post-historicist) utopia does not depend on the articulation of a specific future state or goal but dwells in the potential for change and future possibility inherent in the present moment. This revision of utopia provides a unique opportunity to engage the mid-century novel, for the latter's preoccupation with the meaning of affective experience represents a similar attempt to locate social potential within the present moment. The various readings of mid-century American novels that follow collectively strive to express and explore the connection between the fictional treatment of affect and the unique terms and conditions of liberal utopia as it emerges in the context of mid-century American culture.
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Andolfatto, Lorenzo. "Paper worlds : the chinese utopian novel at the beginning of the twentieth century, 1902-1910." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30033.
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A travers cette recherche, nous souhaitons identifier et définir le genre duroman utopique de la fin des Qing via la lecture attentive d'une sélection deromans chinois écrits entre 1902 et 1910. A partir de l'analyse de romans telsque Xin Zhongguo weilai ji de Liang Qichao (1902 ), Shizi hou de Chen Tianhua(1905), Xin shitou ji de Wu Jianren (1908) et Xin Zhongguo de Lu Shi'e(1910), nous pensons qu'un tel genre littéraire puisse être considéré à la foiscomme un produit particulier du climat de fragmentation socio-historique quicaractérise la période de la fin des Qing, et comme un prisme utile à sacompréhension. La structure de cette thèse est celle d'un itinéraire critique àtravers l’imaginaire utopique chinois moderne. Cet itinéraire est débuté par latraduction de l’histoire courte Xinnian Meng, écrite par Cai Yuanpei en 1905. Lecorps de cette recherche est divisé en cinq chapitres: dans le premier, lalégitimité de la catégorie générique de "wutuobang xiaoshuo" comme outilcritique valable est questionnee; le deuxième chapitre concerne les deuxromans inachevés de Liang Qichao et Chen Tianhua, dont l'étatd’«incomplétude» est utilisé comme métaphore pour la compréhension de laconstruction utopique; le troisième chapitre touche à la relation entre le romanutopique de la fin des Qing et ses modèles étrangers; enfin, dans les deuxderniers chapitres, les éléments critiques développés dans les sectionsprécédentes de la thèse sont appliqués à la lecture attentive de Xin shitou ji deWu Jianren et de Xin Zhongguo de Lu Shi'e, deux des romans les plusintéressants écrits durant cette périodeWith this research it is our intention to identify and define the genre of the lateQing utopian novel from the close reading of a selection of Chinese novelswritten between 1902 and 1910. With the analysis of novels such as LiangQichao's Xin Zhongguo weilai ji (1902), Chen Tianhua's Shizi hou (1905), WuJianren's Xin shitou ji (1908) and Lu Shi'e's Xin Zhongguo (1910), we believethat such a literary genre can be considered both as a peculiar product of theclimate of socio-historical fragmentation that characterises the late Qingperiod, and as a useful lens for its understanding. The structure of this thesis isthat of a critical itinerary within the Chinese modern utopian imaginary. Thisitinerary is introduced by the translation of the short story Xinnian meng,written by Cai Yuanpei in 1905. The body of this research is divided into fivechapters: in the first one, the legitimacy of the generic category of “wutuobangxiaoshuo” as a viable critical tool is put under question; the second chapterconcerns the two unfinished novels by Liang Qichao and Chen Tianhua, whosecondition of “incompleteness” is adopted as metaphor for the understanding ofthe utopian construct; the third chapter concerns the relation between the lateQing utopian novel and its foreign models; while in the last two chapters, thecritical framework developed in previous sections of the thesis is applied to theclose reading of Wu Jianren's Xin shitou ji and Lu Shi'e's Xin Zhongguo, two ofthe most interesting novels written in this period
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Thorell, Julia. "UTOPIA." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6910.
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Mitt examensarbete består av en skriftlig del och en gestaltande del. Den skriftliga delen är en DROP, med beskrivande text och bild kring arbetsprocessen av mitt examensarbete. Den gestaltande delen består av mitt examensarbete, den grafiska novellen UTOPIA.
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McLaughlin, Hannah Christina. "Pauline Oliveros and the Quest for Musical Utopia." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6828.
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This thesis discusses music's role in utopian community-building by using a case study of a specific composer, Pauline Oliveros, who believed her work could provide a positive "pathway to the future" resembling other utopian visions. The questions of utopian intent, potential, and method are explored through an analysis of Oliveros's untraditional scores, as well as an exploration of Oliveros's writings and secondary accounts from members of the Deep Listening community. This document explores Oliveros's utopian beliefs and practices and outlines important aspects of her utopian vision as they relate to three major utopian models: the traditional "end-state" model, the anarchical model, and the postmodern "method" utopian model. Oliveros exhibits all three models within her work, although this thesis argues that she is, for the most part, a method utopian. While her ceremonial group improvisations like Link/Bonn Feier resemble anarchical works by John Cage, they exhibit a greater interest in the past and in process than most anarchical models allow. Likewise, while her visions of a future aided by AI and bio-technologies appear end-state, her improvisational works with her Electronic Instrument System (EIS) suggest a more process-based, method utopian approach. Her Deep Listening practice is deeply method-utopian, and her Center for Deep Listening can be viewed as an attempt at bringing these method utopian principles to the real world.
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Vladimir, Kirda Bolhorves. "Utopija u delu Herberta Džordža Velsa i Gabrijela Kosteljnika." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. https://www.cris.uns.ac.rs/record.jsf?recordId=101178&source=NDLTD&language=en.
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U ovoj disertaciji istražuju se mnogobrojni oblici utopije unekolikim, prvenstveno u književnim segmentima složenog i obimnogopusa H. Dž. Velsa, kao i u nekolikim, prvenstveno u književnimsegmentima ne tako obimnog, ali takođe složenog opusa G. Kosteljnika.Studiju čine trinaest poglavlja.Prvo je uvodno, te se u njemu najpre objašnjavaju predmet, cilj imetodologija istraživanja, a potom se razmatraju najfrekventniji pojmovi:opšta i naučna fantastika, i, iznad svih, glavni pojam, utopija. Osvetljavajuse i njena geneza, i njene karakteristike, i njene funkcije.U drugom poglavlju su najpre izloženi faktori nastajanja, postojanja inestajanja utopija, a u nastavku je prezentirana iscrpna tipologija utopija.U trećem i četvrtom poglavlju govori se o formiranju stvaralačkihličnosti H. Dž. Velsa i G. Kosteljnika.Narednih šest poglavlja ispunjeno je odeljcima putem kojih seosvetljava romaneskno, pripovedačko i diskurzivno (esejističko,sociološko, politikološko, naučnopopularno i publicističko) stvaralaštvo H.Dž. Velsa, kao i poetsko, pripovedačko, dramsko i diskurzivno (esejističko,teološko, književnokritičko, lingvističko i publicističko) stvaralaštvo G.Kosteljnika.Jedanaesto poglavlje je zaključno. U njemu je još jednom razmotrenznačaj utopije uopšte, a naročito u delu dvojice protagonista ove disertacije:H. Dž. Velsa i G. Kosteljnika.This thesis researches numerous forms of utopia in several, primarilyliterary segments from complex and comprehensive opus of H. G. Wells, aswell as in several, primarily literary segments of not so comprehensive, butalso complex opus of G. Kosteljnik.The study consists of thirteen chapters.The first chapter is introductory, where the subject matter, aim andmethodology of the research are explained, and the most frequent notionsare considered: general fantasy and science fiction, and, above all, the mainnotion, utopia. Some light is being shed on its genesis, its characteristicsand its functions.In the second chapter, the factors for its emergence, existence anddisappearance are presented, along with exhaustive typology of utopias.The tird and fourth chapter deals with formation of creativepersonalities of H. G. Wells and G. Kosteljnik.The following six chapters include the extracts through which Ithrow light on romanesque, narrative and discursive (essayistic,sociological, politicological, popular scientific and publicistic) artisticcreation of H. G. Wells, as well as poetic, narrative, dramatic anddiscursive (essayistic, theological, literary-critical, linguistic andpublicistic) artistic creation of G. Kosteljnik.The eleventh chapter is conclusion. It once again considers thenotion of utopia in general, and particularly in the works of the twoprotagonists of this thesis: H. G. Wells and G. Kosteljnik.
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Moichi, Yoriko. "Losing Utopia? a study of British and Japanese Utopian novels in the face of postmodern consciousness." Thesis, University of Edinburgh, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488682.
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Benton, Justin Richard. "Suburban Heights." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/202.
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Campbell, Françoise. "Pursuing the impossible : the ambivalence of utopia in the novels of Michel Houellebecq." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC331.
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Cette thèse examine les représentations utopiques dans l’œuvre littéraire de Michel Houellebecq. En se démarquant des précédentes interprétations qui ont classifié ses romans comme soit utopiques, soit dystopiques, soit anti-utopiques, elle explore comment une approche par l’ambivalence permet de réévaluer ces textes en accord avec les nouvelles tendances critiques du genre utopique. De cette manière, cette thèse démontre qu’au-delà de la figuration du déclin de la civilisation occidentale pour laquelle ces textes sont connus, la question-clé soulevée dans ces récits s’avère être l’imagination de moyens pour s’échapper de notre monde.En se focalisant sur l’étude de sept textes écrits par Houellebecq, comptant six romans et une nouvelle, cette thèse analyse le rôle de l’ambivalence à travers quatre aspects de la représentation utopique : l’espace, la rhétorique, l’idéologie, et la forme. Pour ce faire, elle s’appuie sur les études critiques des théoriciens Louis Marin, Fredric Jameson, Ernst Bloch et Tom Moylan, dont les études procurent une base méthodologique pour identifier et interpréter l’ambivalence utopique du corpus. Par cette analyse, cette thèse révèle un cadre qui permet de relire l’utopie houellebecquienne comme une réflexion critique sur le désir et l’imagination utopique. En outre, elle approfondit l’interprétation des romans de Houellebecq en tant que produits littéraires et sociaux complexes, pluriels et dynamiques.Ainsi, cette thèse soutient que les romans de Houellebecq sont des représentations d’un utopisme ambivalent. En proposant une lecture des romans de Houellebecq qui ne se limite pas nécessairement à l’anti-utopisme et le désespoir, cette étude offre une démonstration exhaustive de la complexité par laquelle Houellebecq met en scène la possibilité et l’impossibilité du désir utopique de notre époque. De cette façon, elle démontre comment, en poursuivant l’impossible, l’écriture de Houellebecq offre une extension de la fonction critique propre à l’utopie, amenant le lecteur face aux limites de sa propre imagination tout en exprimant le désir persistant de sa poursuiteThis thesis examines utopian representations in the novels of Michel Houellebecq. Moving beyond previous definitions of Houellebecq’s utopias as either utopian, dystopian, or anti-utopian, it explores the ways in which the reading of ambivalence may provide the means for a re-evaluation of these works, in line with critical trends in the utopian genre. In doing so, this thesis seeks to show that beyond the depiction of Western decline that these texts are typically known for, one of the driving questions of Houellebecq’s writing is how to imagine a way out of our current bind.Focussing on a corpus of seven primary texts, comprising Houellebecq’s six novels and one novella, this thesis analyses the role of ambivalence across four key aspects of Houellebecq’s utopian representation: space, rhetoric, ideology, and form. In doing so, it draws on the critical utopian theory of Louis Marin, Fredric Jameson, Ernst Bloch and Tom Moylan to provide the methodological framework for the identification and interpretation of utopian ambivalence in the corpus. Through this line of enquiry, this thesis demonstrates the potential for reading Houellebecq’s utopias as critical reflections on utopian desire and imagination within the context of our contemporary society, and, in doing so, it illustrates how the study of ambivalence offers a greater understanding of Houellebecq’s texts as complex literary and social products. As such, this thesis argues for the understanding of Houellebecq’s novels as complex and ambivalent portrayals of utopianism. By proposing an interpretation of Houellebecq’s utopian paradigms that is not necessarily limited to the reading of anti-utopianism and despair, this thesis thus provides a comprehensive demonstration of the complexity by which Houellebecq foregrounds the contingency of utopian desire, through his representations. In this way, this thesis shows how, by pursuing the impossible, Houellebecq’s writing offers an extension of utopia’s critical function, bringing the reader face to face with the limits of their own utopian imagination while portraying the continued desire for utopian pursuits
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Rüsche, Ana. "Utopia, feminismo e resignação em The left hand of darkness e The handmaid\'s tale." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09092015-164853/.
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Os romances norte-americanos The left Hand of Darkness de Usula Le Guin (1969) e The Handmaids Tale de Margaret Atwood (1985) traduzem os anseios dos ideários políticos e feministas em seus momentos de publicação. As obras são consideradas, respectivamente, u m romance utópico do gênero ficção científica e um romance distópico que se tornou best seller. The left Hand of Darkness coloca, em fragmentos, a questão do planeta Gethen, que se vê diante de uma ginada histórica: ingressar ou não, figurando como uma nação periférica, no Ekumen, uma liga interplanetária. O planeta é habitado por seres ambissexuais e recebe a visita do Enviado, um homem, o incumbindo em trazer esta questão. The Handmaids Tale traz relatos da Aia Offred, residente de Gilead, nação que seria um fantasmagórico duplo dos Estados Unidos dos anos de 1980, onde se instituiu um governo teocrático, abolindo os direitos mais básicos de todas as mulheres, embora restem mantidas a propriedade privada e a produção capitalista. Offred é uma Aia, o seu útero é tutelado por este Estado e seus relatos foram reconstituídos por dois professores em um simpósio acadêmico no ano de 2195. No trabalho, discute-se a impossibilidade da configuração da utopia nos romances, observando-se as teorias feministas e estudos de gênero na segunda metade do século XX; as formas literárias dentro da noção do que seria o romance no pós - modernismo; a crítica da representação e suas funções ideológicas e a emergência de impulsos utópicos em produtos da cultura de massa, tendo em vista a medologia desenvolvida pela crítica materialista, com ênfase nas análises de Fredric Jameson na obra Archaeologies of the future: the desire called utopia and other science fictions.The North American novels The Left Hand of Darkness by Usula Le Guin (1969) and The Handmaid\'s Tale by Margaret Atwood (1985) reflect the political and feminist aspirations at the time they were each published. They are considered, respectively, a science-fiction utopian novel and a best-seller dystopian novel. The Left Hand of Darkness presents, in a fragmented way, the question faced by the planet Gethen at a turning point in its history: to join or not, as a peripheral nation, the interplanetary league known as Ekumen. The planet is inhabited by \"ambisexuals\" beings and receives a visit from the Envoy\", a male, who is tasked with presenting this choice to Gethen. The Handmaid\'s Tale tells the story of the handmaid Offred, a resident of Gilead, a nation that represents a phantasmagoric version of the United States in the 1980s, where a theocratic government was stablished, suppresing the most basic rights of all women, while mantaining capitalism and private property. Offred is a handmaid, which uterus is managed by this state and her story is reconstituted by two professors in an academic symposium in the year 2195. In this paper, I discuss the impossibility of the utopia in these novels, taking in account feminist theo ry and gender studies in the second half of the twentieth century; literary forms and the idea of what would constitute the postmodern novel; the critique of representation and its ideological functions and the emergence of utopic impulses in the products of mass culture, having in mind the to metodology developed by the materialist critique, with emphasis in Fredric Jameson and his work Archaeologies of the future: the desire called utopia and other science fictions.
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Ågren, Mattias. "Phantoms of a Future Past : A Study of Contemporary Russian Anti-Utopian Novels." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-108169.
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The aim of this dissertation is to study the evolution of the Russian anti-utopian literary genre in the new post-Soviet environment in the wake of the defunct Soviet socialist utopia. The genre has gained a renewed importance during the 2000s, and has been used variously as a means of dealing satirically with the Soviet past, of understanding the present, and of pondering possible courses into the future for the Russian Federation. A guiding question in this study is: What makes us recognize a novel as anti-utopian at a time when the idea of utopia may appear obsolete, when the hegemony of nation states has been challenged for several decades, and when art has been drawn towards the aesthetics of hybridity? The main part of the dissertation is comprised of detailed analyses of three novels: The Slynx (Kys', 2001) by Tatyana Tolstaya; Homo Zapiens/Babylon (Generation ‘P’, 1999) by Viktor Pelevin; and Ice Trilogy (Ledianaia Trilogiia, 2002−2005) by Vladimir Sorokin. The further development of the genre is subsequently discussed on the basis of seven novels published in the past decade. A main argument in the dissertation is that the genre has been modified in ways which can be seen as a response to social and political changes on a global scale. The waning power of the nation state, in particular, and its broken monopoly as the bearer of social projects marks a new context, which is not shared by the classic works of the genre. Analysis of this evolution in post-Soviet anti-utopian novels draws on sociological as well as literary studies. The dissertation shows how the analysed novels use the possibilities of the genre to problematize various forms of societal discourse, and how these discourses work as mutations of utopia. Prominent among these are historical discourses, which reflect the increasing importance of historical narratives in public political debates in the Russian Federation.
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Avignon, Nathalie. "Modèle musical et rêve d'abolition du temps dans le roman contemporain : Helmut Krausser, Léonid Guirchovitch, Richard Powers." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20092.
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La musique est art du temps, puisque celui-ci lui donne sa matière. Elle le stylise et recrée les effets de son déroulement circonscrits dans une durée close. Pourtant, les représentations associent fréquemment l’art des sons à une tentative d’oubli voire de négation de l’écoulement temporel. Elles s’inscrivent alors dans une perspective idéaliste qui fait de la musique une utopie consolante, un baume apaisant sur un sujet en proie aux déchirements intérieurs et à la rupture avec le monde – ainsi que l’on peut le lire chez Schopenhauer et Proust à sa suite ou, plus tard, chez Lévi-Strauss. Cette étude a pour but d’examiner le devenir de cette conception du temps musical à l’aune de trois romans contemporains qui semblent l’illustrer mais aussi la mettre en procès : Melodien, de l’allemand Helmut Krausser (1993), Prajs, du russe Léonid Guirchovitch (1998), et The Time of Our Singing, de l’américain Richard Powers (2003). Certains éléments du langage musical, reposant essentiellement sur les principes de polyphonie et d’organicité, dessinent ainsi les contours d’un modèle esthétique (nommé ici « idéal éternitaire ») que ces trois auteurs, marqués par la tentation « compositionnelle », mettent à l’épreuve des transpositions intersémiotiques. L’analyse se porte ensuite sur ce que Paul Ricœur définit comme l’« expérience temporelle fictive », afin de voir comment le rêve d’abolition du temps associé à un sujet musical affecte à la fois le temps intime des personnages et les vastes chronosophies du temps collectif. L’idéal éternitaire, enfin, est à son tour plongé dans le temps : discrédité par les faillites historiques du XXe siècle, il se pense désormais à l’heure postmoderne, sommé de désigner ironiquement sa part anachronique et de confronter la Kultur germanique dont il est issu à la diversité des modèles musicauxMusic is an art of time, since it gives it its matter. It gives it style and recreates the effects of its process confined in a closed period. However, representations commonly associate the art of sound with an attempt to neglect or even to deny the temporal flow. Accordingly, they fit into an idealistic perspective that makes music a consoling utopia, a soothing balm on a subject beset by internal rifts and rupture with the world – as can be seen in Schopenhauer and Proust after him or, later, in Levi-Strauss. This study aims to examine the future of this conception of musical time in the light of three contemporary novels that seem to illustrate it but also challenge it: Melodien (1993), by the German writer Helmut Krausser, Prajs (1998), the work of Leonid Guirchovitch, a Russian writer, and The Time of Our Singing (2003), by the American novelist Richard Powers (2003). Some elements of the musical language, based primarily on the principles of polyphony and organicity, delineate an aesthetic model (here called “ideal éternitaire”) that these three authors, marked by “compositional” temptation, challenge through intersemiotic transpositions. The analysis then turns into what Paul Ricœur defines as the “fictive temporal experience” to see how the dream of abolishing time associated with a musical subject affects both the intimate time of characters and vast chronosophies of the collective time. Finally the “ideal éternitaire” is in turn immersed in time: discredited by the historical bankruptcies of the twentieth century, it now looks upon itself in the light of postmodern times, ironically bound to refer to its anachronistic share and to confront the German Kultur it comes from with the diversity of musical styles
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Dix, Andrew. "Ideology and Utopia in novels by William Gaddis and Thomas Pynchon." Thesis, University of Cambridge, 1995. https://www.repository.cam.ac.uk/handle/1810/283702.
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Rocha, Paulo Victor de Souza. "A névoa do tempo: o pensamento utópico na trilogia crítico-religiosa de José Saramago." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6981.
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Na trilogia crítico-religiosa de José Saramago, constituída pelos romances Memorial do Convento, O Evangelho Segundo Jesus Cristo e Caim, torna-se possível perceber a presença recorrente do pensamento utópico, que, nas três obras em questão, não se revela como percepção idealística de uma realidade imutável, mas, tendo em vista a perspectiva filosófica de Ernst Bloch, revela-se como consciência aguda tanto do processo histórico quanto da práxis libertária. Na dinâmica constitutiva dessa consciência, pode-se delinear o encontro interativo dos tempos: um passado reconstituído criticamente pela ótica contemporânea, um presente permeado por intensa militância ideológica e, principalmente, a consciência de um futuro aberto como possibilidade concreta, o que viabiliza, naqueles romances, aspirações humanas por transformações radicais da ordem vigente. Esse encontro dos tempos, do ponto de vista estético-literário, substancializa-se na trilogia por intermédio essencialmente do recurso paródico: a revisitação crítica dos ícones e temas provenientes do universo judaico-cristão. Seja nas imagens desiderativas que retoma, seja no quadro conceitual que ironiza, seja, ainda, na constituição híbrida do romance, que esfacela o teor totalizante da narrativa tradicional, José Saramago parece extrair dos arquétipos religiosos uma intensidade subversiva que, na tessitura ficcional que elabora, atinge e questiona a construção metafísica erigida por séculos de judaísmo e cristianismo. Nos três romances do escritor lusitano, esse processo de releitura do passado aponta não somente para a impossibilidade, no contexto contemporâneo, de experiência com a cosmovisão totalizante da religião ocidental como também para a reconstituição existencial do mundo moderno, uma vez que, a partir de sonhos frustrados daquele passado, se tornaria possível materializar anseios utópicos latentes, represados na memória coletiva. Assim, o pensamento utópico, na trilogia saramaguiana, converte-se em névoa do tempo: no espaço múltiplo e complexo do romance, desnuda-se a dialética entre passado, presente e futuro, que, na sua dinamicidade constitutiva, abriga e gesta o novum, o ainda nãoOn José Saramagos critical religious trilogy, formed by the novels Memorial of the Convent, The Gospel According to Jesus Christ and Cain, the constant presence of an utopic way of thinking is perceptible. Thus it does not reveal itself primarily as an idealistic perception of an immutable reality. It is only when aiming at Ernst Blochs philosophical mindset that it appears as an acute awareness on both historical process and libertary practice. Through the dynamic constitution of this conscience, it is possible to outline the interactive encounter of times: a contemporary and rebuilt past, a present time full of ideological activism and most important of all, the conscience of an open, concrete and possible future. On those novels, this possibility enables a human craving for radical changes on the effective order feasible. This encounter of times, from an esthetic literary point of view, takes shape essentially through parody: the constant criticizing of icons and themes coming from the Judeo-Christian universe. Either on the heated images presented, on the mocked conceptual framework, or even on the hybrid constitution of the novel, which destroys the totalitarian tenor of a traditional narrative, José Saramago seems to draw out of religious archetypes a seditious intensity where, on the fictional weaving elaborated, he teases and questions the metaphysical construction supported by centuries of Jewish and Christian models. On a contemporary context of the novels, this revisited past reading process points out not only the impossibility of an all-absorving worldview existing on the occidental religion model but also to a modern world existential rebuilding process, considering that, through frustrated dreams from that past, an enabling of utopic desires trapped into collective memory would be possible. Therefore, the utopic thinking, on Saramagos trilogy, turns into mist: on the multiple and complex field of novel, a past- present- future dialectic is revealed, which through its dynamic constitution manages and keeps the novum, the not yet
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Humphreys, Christopher John. "(Re-)Writing the End: Apocalyptic Narratives in the Postmodern Novel." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/6563.
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This thesis investigates the relationship between the apocalyptic narrative and the postmodern novel. It explores and builds on Patricia Waugh‟s hypothesis in Practising Postmodernism: Reading Modernism (1992) which suggests that that the postmodern is characterised by an apocalyptic sense of crisis, and argues that there is in fact a strong relationship between the apocalyptic and the postmodern. It does so through an exploration of apocalyptic narratives and themes in five postmodern novels. It also draws on additional supporting material which includes literary and cultural theory and criticism, as well as historical theory.
In using the novel as a medium through which to explore apocalyptic narratives, this thesis both assumes and affirms the novel‟s importance as a cultural artefact which reflects the concerns of the age in which it is written. I suggest that each of the novels discussed in this thesis demonstrates the close relationship between the apocalyptic and the postmodern through society‟s concern over the direction of history, the validity of meta-narratives, and other cultural phenomenon, such as war, the development of nuclear weaponry, and terrorism.
Although the scope of this thesis is largely confined to the historical-cultural epoch known as postmodernity, it also draws on literature and cultural criticism from earlier periods so as to provide a more comprehensive framework for investigating apocalyptic ideas and their importance inside the postmodern novel. A number of modernist writers are therefore referred to or quoted throughout this thesis, as are other important thinkers from preceding periods whose ideas are especially pertinent.
The present thesis was researched and written between March 2010 and August 2011 and is dedicated to all of those people who lost their lives in the apocalyptic events of the February 22nd Christchurch earthquake.
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Russell, Jamie Edward. "Bodies of light : homosexuality, masculinity and ascesis in the novels of William S. Burroughs." Thesis, Royal Holloway, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313561.
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Ipinza, María Ignacia. "Apocalipsis y utopía : reformulaciones discursivas en dos novelas chilenas : La próxima y 2010 Chile en llamas." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/111479.
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Tesis para optar al grado de Magíster en LiteraturaEl siguiente trabajo tiene como propósito principal el estudio de dos novelas chilenas, las cuales han sido seleccionadas en base a la temática que estas constituyen, siendo obras que presentan tanto una mirada apocalíptica como utópica. Ambas se enmarcan dentro de un contexto de siglo XX chileno y representan de alguna u otra forma momentos decisivos de este siglo, ya sean a nivel nacional como mundial. Para este propósito, se ha seleccionado la novela “La próxima”, publicada el año 1934 por Vicente Huidobro, enmarcándose dentro del contexto de principios de siglo. Por otro lado, se ha elegido la novela “2010: Chile en llamas” de Darío Oses, publicada en 1997, estableciéndose como obra representativa de fin de siglo chileno.
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Dench, Tracy Johnson. "'An archaeology in search of a utopia' : reading women's writing of the interwar years in the light of Kristeva's concept of the third space." Thesis, University of Aberdeen, 2000. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU155525.
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Julia Kristeva's 1979 essay, 'Le temps des femmes', translated as 'Women's Time' in 1981, most explicitly articulates her approach to feminist thought, addressing women's troubled relationship to patriarchy in terms of time and space. In the essay, Kristeva identifies three distinct positions in the history of feminism: 'equality' feminism, 'difference' feminism; and finally, an anticipated 'third-generation' feminism that will integrate the previous two attitudes, representing what she defines as a new 'signifying space'. The value of the 'third space' is that is offers a method for proceeding beyond the either/or status offered by previous stages of feminist thought and analysis, challenging gender identity per se, and bringing out of the singularity of each individual subject. Women's literature of the interwar period provides a rich source of material in terms of the construction of the gendered subject, as political and military pressures transformed masculine and feminine roles. While literary giants such as Sassoon and Faulkner have committed the experience of the trenches to print, women's writing of this era often explores the effects of the First World War on the community at home, away from the front and its visceral nightmares. This thesis therefore examines the destabilising effect of war on both combatants and civilians as evident in this writing, and each chapter identifies a space in the text where identity is challenged and thrown into debate by the hardships of the War. The resulting signifying space is configured in varying ways, often bringing happiness and personal satisfaction to the protagonist, but it may also represent the darker aspects of Kristevan thought, resulting in negativity and even death.
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Cabrera, Hormazábal Javier. "Panorámica de la ciencia ficción mexicana: mundos posibles y utopía en Ruido gris de Juan José Rojo." Tesis, Universidad de Chile, 2013. http://repositorio.uchile.cl/handle/2250/113087.
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Informe de Seminario de grado para optar al grado de Licenciado en Lengua y Literatura HispánicaEn este trabajo pretendo hacerme cargo de dos ideas sobre la ciencia ficción no tan explotadas por la teoría de las últimas décadas, con algunas excepciones de autores como Fredric Jameson, cuya propuesta teórica me ha inspirado a realizar este trabajo. El primero de estas problemáticas es la idea de las posibilidades de la utopía y de los temas asociados a su conceptualización, y la literatura de ciencia ficción. De tal modo, en esta tesina se indagará sobre las semejanzas que tiene el proceso creativo del autor en la ciencia ficción con el del autor utópico. Esto implica profundizar en el concepto de "utopia" desde un análisis de su forma y temas en la tradición y la recuperación que hace la ciencia ficción de ella. El segundo aspecto tiene relación con los mundos posibles creados en esta literatura, y la manera en que estos aúnan el quehacer cotidiano del tiempo presente con un discurso sobre un imaginario tecnológico y su implicancia en la sociedad. Además de cómo, por qué y desde dónde arrancan estos mundos creados en la ficción. Estos dos aspectos además serán los utilizados para realizar un análisi de la obre de Ruido de Gris de Juan José Rojo.
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Vieira, Fabricio. "O utópico e o trágico antunianos na construção de Que Farei Quando Tudo Arde?" Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/14942.
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Previous issue date: 2010-06-08This dissertation provides a study of the novel What Can I Do When Everything's On Fire?, by Portuguese writer António Lobo Antunes, in his poetic journey. This novel represents one of the most dense and complex moments in the artistic project of Antunes. Beginning with the literary criticism and literary theories, this study was developed in three chapters. In the first chapter it was discussed the author's literary project and its utopian character; we still review his literary cycles. In the second chapter it was discussed the importance of poetry and tragedy for the composition of What Can I Do When Everything's On Fire?. In the last chapter it was analyzed in the novel, in its most original and characteristic form, the poetic language and the linguistics strategies by Antunes
Esta dissertação estabelece um estudo do romance Que Farei Quando Tudo Arde?, do escritor português António Lobo Antunes, visando destacar seu percurso poético. Esse romance representa, como buscamos evidenciar, um dos momentos mais densos e complexos da criação literária de Antunes. A partir de pesquisa bibliográfica, que abrangeu fortuna crítica e teorias de base, o estudo foi desenvolvido em três capítulos. No primeiro, buscou-se desvendar o projeto literário do autor e seu caráter utópico, além de ser feita uma revisitação aos diversos ciclos que formam sua obra. No segundo capítulo, discutiu-se a relevância da poesia e da tragédia para a composição de Que Farei Quando Tudo Arde?. Uma análise mais centrada da linguagem poética antuniana e das estratégias utilizadas pelo autor para arquitetar o romance constitui o terceiro e último capítulo
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Rocchi, Valérie. "Du religieux au thérapeutique : étude sociologique des réseaux psycho-mystiques contemporains." Paris 5, 1999. http://www.theses.fr/1999PA05H064.
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La multiplication, ces dernières années en France, de groupes informels mêlant croyances ésotériques, pratiques spirituelles et psychothérapies parallèles interroge nécessairement le sociologue. Peut-on encore les définir comme étant le mouvement du nouvel-âge, apparu il y a environ vingt ans ? Si les croyances religieuses constituaient l'axe majeur des activités du nouvel-âge, il n'en est plus rien aujourd'hui. Le système symbolique et les activités des groupes actuels se sont construits autour d'une demande thérapeutique forte les références religieuses mises en avant dans la littérature interne symbolisent, en fait, l'état idéal de sante auquel aspire l'adepte. C’est en cela que nous avons qualifié ces groupes de "nébuleuse psycho-mystique". La prédominance de l'activité thérapeutique et les réinterprétations des religions traditionnelles dans un sens simplement psychologique montrent bien qu'il ne peut s'agir d'une nouvelle forme religieuse. L'écart constate entre les écrits et les pratiques tient, selon nous, a un usage du religieux fonde sur une logique protestataire euphémisme issue de la contre-culture. L'engouement pour les pratiques psycho-mystiques révèle les difficultés de l'individu moderne face à une pression sociale l'enjoignant a se réaliser soi-même et à la souffrance qui en découle.
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Concha, Villanueva Sebastian. "Mitologías de Ni por mar ni por tierra y Quién llama en los hielos de Miguel Serrano : hacia una utopía sin cultura de masas." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/116160.
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Riofrio, Espinoza Jhon Arístides. "El paraíso en la otra esquina de Mario Vargas Llosa : el narrador y el desmantelamiento de las nociones de Utopía." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2011. http://tesis.pucp.edu.pe/repositorio/handle/123456789/895.
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Roman, Sébastien. "Conflit civil et imaginaire social : une approche néo-machiavélienne de la démocratie par l'espace public dissensuel." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2011. http://tel.archives-ouvertes.fr/tel-00682490.
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Le point de départ des travaux entrepris est la définition lefortienne de la démocratie par opposition au totalitarisme. Le totalitarisme est l'institution d'une société organique, une et homogène, dans laquelle aucune division sociale, aucun désaccord avec l'idéologie véhiculée par le parti ne sont possibles. La spécificité de la démocratie, a contrario, est de s'enrichir de la désintrication du pouvoir, du droit, et du savoir. Les citoyens, dotés de droits fondamentaux, sont juges de la légitimité du pouvoir établi. Leurs désaccords ainsi que l'antagonisme entre les classes sociales nourrissent l'exercice d'un commun litigieux. De là, une question fondamentale : une telle définition de la démocratie est-elle historiquement datée, ou continue-t-elle d'être pertinente aujourd'hui ? Doit-on encore concevoir la démocratie, pour la rendre authentique, par le conflit civil érigé en principe politique, ou faut-il l'envisager de manière consensualiste au lendemain de son opposition avec le totalitarisme ? Claude Lefort s'inspirait de Machiavel pour dépasser les limites du marxisme et repenser la démocratie par la valorisation du conflit civil, indissociable de la figure de l'imaginaire social. La thèse ici soutenue adopte différemment une perspective néo-machiavélienne. Elle revient à proposer un espace public dissensuel à partir du modèle machiavélien de l'entente dans le conflit, par confrontation avec l'espace public habermassien et d'autres conceptions du tort et du conflit dans les démocraties contemporaines. Comment concevoir aujourd'hui les figures du conflit civil et de l'imaginaire social, en s'inspirant paradoxalement de Machiavel pour interroger la démocratie ?
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Piep, Karsten H. "Embattled Homefronts: Politics and Representation in American World War I Novels." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1109634736.
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Ivarsson, Marcus. "Ultima Thule." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6918.
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The graduation work Ultima Thule made up by four parts, the first one is a science fiction world buliding made up of scripts, notes and sketches, the second one is a science fiction comic book in the edition of 200 with the name Everything in one place, this is the first part of the Ultima Thule-world. The third part is this report with text explaining the work process, and the third part was the participation in the Konstfack Spring Exhibition, this is also described in the report. Ultima Thule is a narrative about the end of humanity set in three Swedish cities; Västerås, Uppsala and Stockholm.
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Piep, Karsten H. "Embattled homefronts politics and representation in American World War I novels /." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1109634736.
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Glover, Jayne Ashleigh. ""A complex and delicate web" : a comparative study of selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy /." [S.l. : s.n.], 2007. http://eprints.ru.ac.za/1001/.
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Nienaber, J. E. "Distopie in die grafiese roman : V for Vendetta as voorbeeld." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/21688.
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Thesis (MPhil)--Stellenbosch University, 2008.ENGLISH ABSTRACT: This thesis examines the genre of dystopian fiction in the graphic novel, V for Vendetta in which a futuristic police state, run by a totalitarian regime is portrayed. Since V for Vendetta draws on a number of other dystopian texts, New Historicist theory is employed which begins its analysis of literary texts by attempting to look at other texts as well as the historical context in which it originated, to aid in the understanding of that text. Therefore, V for Vendetta with its thorough character development and multi-dimensional storyline that the larger format of the graphic novel allows, is studied alongside other highly regarded novels. The characteristics of the nightmarish anti-utopia is identified and analysed in V for Vendetta by looking at real examples of totalitarian regimes from history. The chapters are divided into what I identified as the main themes of the totalitarian dystopia. Chapter one explains the concept of the utopia in order to grasp the concept of dystopia, and more specifically, the Totalitarian dystopia. Chapter two looks at the social structure of V for Vendetta as well as the common Totalitarian dystopia. Chapter three discusses the issue of censorship which is a recurring theme in dystopian fiction. Chapter four examines the manner in which the totalitarian regime manipulates the populace of the dystopia through propaganda. Chapter five discusses the systems of surveillance and lack of privacy in the Totalitarian dystopia and a chapter on the protagonist in dystopia concludes this study.
AFRIKAANSE OPSOMMING: In hierdie studiestuk word die genre van distopiese fiksie in die grafiese roman, V for Vendetta behandel, wat ’n futuristiese polisiestaat teen die agtergrond van ’n totalitêre staatsbestel uitbeeld. Omdat V for Vendetta by soveel ander distopiese tekste leen, word dit vanuit die teoretiese oogpunt van New Historicism bestudeer, wat in die ontleding van ’n roman ander tekste asook die geskiedkundige konteks van daardie roman ondersoek, ten einde dit beter te begryp. Daarom word V for Vendetta, wat vanweë die grafiese roman se langer formaat wat ruimte skep vir deeglike karakterontwikkeling en ’n veelvlakkige storielyn, as volwaardige roman naas ander hoogaangeskrewe romans behandel. Aan die hand van ware voorbeelde van totalitêre regimes uit die geskiedenis word die eienskappe eie aan ’n nagmerriestaat in V for Vendetta geïdentifiseer en geanaliseer en dit is waardeur ek my laat lei het ten opsigte van die hoofstukindeling. In hoofstuk een word die begrip van utopie eers duidelik gemaak om die distopie, en meer spesifiek die Totalitêre distopie te verstaan. In hoofstuk twee word daar gekyk na die sosiale samestelling en magstruktuur binne V for Vendetta en die Totalitêre distopie in die algemeen. Hoofstuk drie bespreek die kwessie van sensuur - ’n gewilde tema in distopiese fiksie. In hoofstuk vier word ondersoek ingestel na die manier waarop die Totalitêre-distopie die burgery breinspoel deur propaganda. Hoofstuk vyf bespreek die verskynsel van bewaking en die skending van privaatheid in die totaliêre distopie en in die sesde hoofstuk word daar gefokus op die protagonis in die distopie.
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Glover, Jayne Ashleigh. ""A complex and delicate web" : a comparative study of selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002241.
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This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.
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Koumba, Jean Steiner. "Le roman et le mouvant : essai sur l'oeuvre romanesque d'Edouard Glissant et Jean-Marie Gustave Le Clézio." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA132/document.
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Le roman contemporain apparait comme le lieu d’un double questionnement : le premier est lié à sa forme, tandis que le second renvoie à une longue interrogation sur un monde marqué par de grands bouleversements d’ordre anthropologique, politique, culturel ou sociologique. Chez Glissant et Le Clézio, ce questionnement prend l’allure d’une problématisation du monde et imprègne, d’un bout à l’autre, leur production romanesque. Ainsi, la présente thèse analyse les mécanismes et les enjeux de l’art romanesque à l’épreuve du mouvant. Elle évoque l’idée d’une déconstruction de la forme et la structure romanesques pour arriver à une nouvelle pensée du roman qui permet, en même temps, de penser la complexité du monde. Cette complexité se donne à lire dans le roman à travers l’idée de contrepoint qui permet le mélange de voix narratives, des personnages, des formes, des genres, ou encore des mondes. Parler d’une poétique du mouvant revient, dès lors, à penser la multidimensionnalité de l’être ainsi que les liens qui se tissent entre des individus présentés comme des producteurs et des produits des cultures. La pensée du mouvant prend ainsi une orientation politique du monde. Elle exalte, non pas la dénaturation de le l’individu, la perte de son identité ou encore sa dilution, mais sa propension à penser l’autre dans sa différence, comme un élément d’un tout complexe, avec finalement l’idée de « différence dans l’unité » et d’ « unité dans la différence » qui permet d’aller au-delà de la simple juxtaposition des cultures. Le mouvant devient, dès lors, l’autre nom du métissage, de la complexité et de l’interculturalitéThe usual contemporary novel appears as the place of a double questioning: the first is linked to its form, and the second drives to a long interrogation on a world marked by great anthropological, political, cultural and social upheavals. For Glissant and Le Clézio this interrogation takes the form of an everlasting questioning on the concept of the world and this can be seen along all theirs novels. Thereby, the present thesis investigates the mechanisms and the stakes of the art of the novel compared to the concept of "mouvant". This work treats about the deconstruction of the usual form and the structure of the novel driving to a new approach of the novel allowing, at the same time, to glimpse the complexity of the world. This complexity can be seen in the novel through the mechanisms of the counterpoint which allows the mixing of narrative voices, forms, characters, genres or even worlds. To speak about a poetics of " mouvant" it is necessary to consider the multidimensional aspect of the concept of the living being, as well as the links between individuals presented both as producers of cultures and as themselves a product of cultures. Thus, the concept of "mouvant" takes a political orientation of the world. This concept exalts, neither the denaturation of the individual nor the loss or the dilution of his identity, but the propensity to see the other one in his difference, as a part of a complex whole, and ultimately the idea of “Difference in unity” and “Unity in difference”, which allows us to go beyond the simple juxtaposition of cultures. Therefore, the concept of "mouvant" becomes the other name of the mixing, the complexity of the world and the interculturalism
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Poulain, Sebastien. "Les radios alternatives : l'exemple de Radio Ici et Maintenant." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30020/document.
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Dans cette thèse, nous nous demandons comment les mouvements contreculturels ont trouvé de nouveaux lieux d’expression grâce à la plus grande accessibilité de l’audiovisuel, grâce aussi au combat des « radios libres ». Plus précisément, nous cherchons à savoir pourquoi et comment la société et l’audiovisuel français ont permis la constitution d’un média alternatif radiophonique comme Radio Ici et Maintenant (RIM) et comment cette radio a trouvé un modèle économique viable pour diffuser son idéologie. Nous verrons que l’existence et la persistance de RIM est due à la conjonction de deux phénomènes : d’une part la diminution du coût d’entrée dans la radiophonie grâce au développement et au combat des « radios libres » qui ont donné naissance aux radios associatives (avec leur modèle juridico-économique spécifique), et d’autre part la diminution du coût d’entrée dans le marché religieux avec le développement de la contreculture New Age française issue de la contreculture américaine, elle-même issue des pensées religieuses alternatives occidentales (liées à l’ésotérisme, au médiumnisme) et des religions orientales (l’hindouisme et le bouddhisme). Ainsi, le modèle juridico-économique spécifique des radios associatives a permis de faire vivre puis persister l’idéologie « radiolibriste » et New Age au sein de RIM. Mais ajoutons que ce modèle n’aurait pas été possible s’il n’avait pas été porté par des animateurs bénévoles, des invités militants et des auditeurs actifs dont nous analysons ici le profil sociologique. L’intérêt scientifique de ce sujet provient du fait qu’il s’agit principalement d’étudier RIM qui est une ancienne « radio libre ». Elle a été l’une des radios les plus importantes au sein du mouvement. C’est la plus ancienne des radios locales privées parisiennes. C’est aujourd’hui une radio associative de catégorie A. Cette catégorie correspond à un grand nombre de radios (environ 600), mais celles-ci sont peu étudiées. Enfin, c’est une radio New Age et l’un des seuls médias audiovisuels français New Age. Croisant histoire et sociologie du religieux, des médias, de la communication, de la politique, des sciences, cette thèse repose sur une écoute assidue, sur de nombreux entretiens et discussions informelles, sur l’étude de différents fonds d’archives (papier, audio, numérique) et sur de nombreuses observations de type ethnographique. Nous donnons dans une première partie les outils scientifiques pour pouvoir analyser ce phénomène. Nous verrons ensuite dans quel contexte historique, radiophonique, économique, social, juridique et politique RIM fait son apparition et continue d’exister aujourd’hui. Enfin, nous nous focalisons sur le modèle radiophonique proposé, et sur les acteurs de cette radioIn this thesis, we wonder how countercultural movement found new places of expression through the increased accessibility of audiovisual, thanks to "free radio" fight. Specifically, we want to know why and how society and the French media have enabled the establishment of an alternative media like Radio Ici et Maintenant (RIM) and how this radio has found a viable business model to spread its ideology. We shall see that the existence and persistence of RIM is due to the combination of two factors: firstly the reduction in the cost of entry into the radio broadcasting through the development and struggle of "free radio" that gave birth to associative radios (with their specific legal and economic model) and also the decrease in the cost of entering the religious market with the development of the French New Age counterculture issue of the American counterculture, itself the result of religious thoughts Western alternatives (related to the esoteric, the mediumship) and Eastern religions (Hinduism and Buddhism). Thus, the specific legal and economic model of associative radios allowed to live and persist "radiolibriste" and New Age ideology within RIM. But add that this model would not have been possible if it had not been worn by volunteer facilitators, invited activists and active listeners which we analyze the sociological profile. The scientific interest of this subject is the fact that it is mainly to study RIM which is an old "free radio". She was one of the most important radio stations in the movement. It is the oldest Parisian private local radio station. Today, it is a community radio (category A). This category corresponds to a large number of radio stations (about 600), but these are little studied. Finally, this is a New Age radio and one of the only French audiovisual media New Age. Crossing history and sociology of religion, media, communication, politics, science, this thesis is based on a constant listening, on numerous interviews and informal discussions on the study of different archives (paper, audio, digital) and numerous ethnographic observations. We give in the first part scientific tools to analyze this phenomenon. We will then see in which historical, radio, economic, social, legal and political context RIM appeared and continues to exist today. Finally, we focus on the proposed radio model and the actors of this radio
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Hua, Hsien Hsiu, and 謝綉華. "The Utopian Morals of Laoshir’s Novels." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/81172560320642749972.
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碩士中國文化大學
中國文學研究所
94
This thesis is divided into six chapters. Chapter One is “ Opening Introduction ”, describing the motivation and methods of this study. Chapter Two includes an introduction to Laoshir’s life and the process of his writing. Chapter Three describes the original thoughts of utopianism in the Western world and China, and defines the deep meanings of utopia. Chapter Four analyzes the utopian motif and writing motivation in three of Laoshir’s novels, Zhao zi you, Xiaopo’s Birthday, and Cat Country. Chapter Five analyzes three real utopian meanings in Laoshir’s novels. The first meaning is to strictly criticize a decayed society, the second is to escape from the real world and then establish utopia, and the third is to reform society positively and predict the future. Chapter Six is to sum up the utopian morals in Laoshir’s novels. It summarizes the concept of utopianism in it’s proper sequence, the establishment of the perfect world, the hope of reforming real society, and the salient thoughts of a peaceful haven.
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Chen, Wei-lin, and 陳惠齡. "THE UTOPIAN WRITING OF CONTEMPORARY TAIWAN NOVELS." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/6txnr4.
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Méthot, Benoit. "Redéfinition du concept d'utopie et des termes qui lui sont étymologiquement apparentés." Thèse, 2008. http://hdl.handle.net/1866/7918.
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Hronová, Marie. "Rozdíl v přístupu Aldouse Huxleyho ke konceptu dystopie ve 30. a 60. letech 20. století s odkazem na jeho vybraná díla." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-349496.
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TITLE: The difference in Aldous Huxley's approach to the concept of dystopia in the 1930s and 1960s with references to his selected works AUTHOR: Marie Hronová DEPARTMENT: Department of English Language and Literature SUPERVISOR: PhDr. Petr Chalupský, Ph.D. ABSTRACT: This thesis is focused on the approach of Aldous Huxley to dystopian fiction. To explore this topic it analyses his two major novels, namely Brave New World (1932) and Island (1962). The aim of the theoretical part is to provide a context to these two works. Therefore, it describes the most important social changes which emerged after the First World War and further developed after the Second World War. This part is also concerned with the development of psychopharmacology and its consequences since it plays a major role in both analysed novels. Further context is given by outlining the basic ideas of selected eastern philosophies as they are crucial for one of Huxley's works. The practical part then analyses Huxley's imaginary society in Brave New World in order to pinpoint the features of the author's dystopian novel and his criticism of the society of the 1930s. Island is explored as a counterpart of Brave New World, since both novels deal with the same topic but in different perspectives. The aim of this part is to analyse and compare the...
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Letendre, Daniel. "Le discours utopique dans la Possibilité d'une île de Michel Houellebecq." Thèse, 2008. http://hdl.handle.net/1866/7247.
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Chang, Miao-ju, and 張妙如. "A Feminist Quest for Utopia: Ursula K. Le Guin's Three Novels." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/78926259144129453593.
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碩士國立臺灣大學
外國語文學系研究所
87
Feminist utopia can be seen as a feminist rebuttal to utopian tradition. While the canonical utopia has been regarded as "all but dead" in the twentieth century, feminist ideology has rejuvenated the genre and made utopia come alive. Gender distinction, the rationale of patriarchy, is the first target for scrutiny in feminist utopian novels. Since feminism is itself a heterogeneous discourse, feminist utopists depict diverse ideal futures, wherein are presented not only a powerful critique of patriarchal oppression on women, but also various gender modes closely related to the goals of women's movement. Though varied in approaches and experiments, feminist utopian writers have a shared ambition to construct a utopia where woman can be freed from sexual hierarchy, and live as an equal to man. Feminist utopists have challenged not only the gender politics in conventional utopias, but also their utopian vision and narrative in general. The focus of feminist utopists has shifted from efficient government systems to human relationships and personalities. People in feminist utopias are portrayed as prone to value process and cooperation rather than result and competition as endorsed in male utopias. Feminist eulogy of cultural diversity is further reinforced by the emphasis on the relationship between humanity and nature. In revolt against human exploitation of nature for endless economic growth and material affluence, feminist utopian writers usually advocate the values of scarcity and ecology. Not meant to regress to pre-civilization tribalism, such feminist utopias are portrayed as having high technology, but in a limited use. Feminist utopists explore new feminist behavioral modes rather than any technological transformation in the novel. As to narrative strategy, feminist utopian writers employ a number of postmodern ideas and uphold the active role of the reader by using the strategies of multiple narrators, non-linear narrative, and self-reflexive commentary on the textual operations. The narrative tradition of realism is thoroughly subverted. As a major feminist utopian writer, Ursula K. Le Guin has not only laid bare gender as a social construct in her utopian novels, but also helped modify the canonical tradition of utopia. In this paper, I will focus on Le Guin's three chief utopian novels-The Left Hand of Darkness (1969), The Dispossessed (1974) and Always Coming Home (1985). These three novels of Le Guin's represent different phases in Le Guin's treatment of gender politics, utopian vision and narrative strategy and will be respectively discussed in three chapters. Through a study of Le Guin's three novels, I attempt to show that contemporary feminist utopias have opened a broad utopian horizon of possibilities as a point of departure to construct our futures.
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Hráchová, Michaela. "Mlýn na mumie jako postmoderní utopie magické Prahy." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-346131.
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This very writing is examining the two ultimate books "Mlýn na mumie" from the talented Petr Stančík, and "Sedmikostelí" and "Lord Mord" from the extremely obscure Miloš Urban. The main and most significant purpose of this work is to find and distinguish characteristics of each author, diving deeper into their unique styles, finding possible similarities while trying to learn about one of the very few raw original writing styles. Despite the books being multi-genre, they do try to characterize the exact genres along the way, after a proper introduction of the authors themselves, of course. The genres appearing in these books are clearly shown in individual excerpts below original text. A dominant part of my work is an analysis of the time space and the main character or hero if you prefer - again shown in excerpts as key parts of novels. Towards the end you can find the so-called great myth of the nation as a frequently repeated topic. By the conclusion of this work is a final comparison of previous analyses.
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Boucher, David. "Les représentations dystopiques de la société dans le nouveau roman d'anticipation francophone (Nelly Arcan, Michel Houellebecq, Antoine Volodine)." Thèse, 2017. http://hdl.handle.net/1866/20458.
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