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Cyberpunk at the Intersection of the Postmodern and Science Fiction
Series:
Postmodern Studies, Volume: 34
Author:
Virtual Geographies is the first detailed study to offer a working definition of cyberpunk within the postmodern force field. Cyberpunk emerges as a new generic cluster within science fiction, one that has spawned many offspring in such domains as film, music, and feminism. Its central features are its adherence to a version of virtual space and a deconstructivist, punk attitude towards (high) culture, modernity, the human body and technology, from computers to prosthetics. The main proponents of cyberpunk are analyzed in depth along with the virtual landscapes they have created - William Gibson’s Cyberspace, Pat Cadigan’s Mindscapes and Neal Stephenson’s Metaverse. Virtual reality is examined closely in all its aspects, from the characteristic narrative constructions employed to the esthetic implications of the ‘virtual sublime’ and its postmodern potential as a discursive mode. With its interdisciplinary approach Virtual Geographies opens up fresh perspectives for scholars interested in the interaction between popular culture and mainstream literature. At the same time, the science fiction fan will be taken beyond the conventional boundaries of the genre into such revitalizing domains as postmodern architecture and literature, and into cutting-edge aspects of science and social thought.
Cyberpunk at the Intersection of the Postmodern and Science Fiction
Series:
Postmodern Studies, Volume: 34
Author:
Virtual Geographies is the first detailed study to offer a working definition of cyberpunk within the postmodern force field. Cyberpunk emerges as a new generic cluster within science fiction, one that has spawned many offspring in such domains as film, music, and feminism. Its central features are its adherence to a version of virtual space and a deconstructivist, punk attitude towards (high) culture, modernity, the human body and technology, from computers to prosthetics. The main proponents of cyberpunk are analyzed in depth along with the virtual landscapes they have created - William Gibson’s Cyberspace, Pat Cadigan’s Mindscapes and Neal Stephenson’s Metaverse. Virtual reality is examined closely in all its aspects, from the characteristic narrative constructions employed to the esthetic implications of the ‘virtual sublime’ and its postmodern potential as a discursive mode. With its interdisciplinary approach Virtual Geographies opens up fresh perspectives for scholars interested in the interaction between popular culture and mainstream literature. At the same time, the science fiction fan will be taken beyond the conventional boundaries of the genre into such revitalizing domains as postmodern architecture and literature, and into cutting-edge aspects of science and social thought.
Author:
For decades postwar Austrian literature has been measured against and moulded into a series of generic categories and grand cultural narratives, from nostalgic ‘restoration’ literature of the 1950s through the socially critical ‘anti-Heimat’ novel to recent literary reckonings with Austria’s Nazi past. Peering through the lens of film adaptation, this book rattles the generic shackles imposed by literary history and provides an entirely new critical perspective on Austrian literature. Its original methodological approach challenges the primacy of written sources in existing scholarship and uses the distortions generated by the shift in medium as a productive starting point for literary analysis. Five case studies approach canonical texts in post-war Austrian literature by Gerhard Fritsch, Franz Innerhofer, Gerhard Roth, Elfriede Jelinek, and Robert Schindel, through close readings of their cinematic adaptations, concentrating on key areas of narratological concern: plot, narrative perspective, authorship, and post-modern ontologies. Setting the texts within the historical, cultural and political discourses that define the ‘Alpine Republic’, this study investigates fundamental aspects of Austrian national identity, such as its Habsburg and National Socialist legacies.
Author:
For decades postwar Austrian literature has been measured against and moulded into a series of generic categories and grand cultural narratives, from nostalgic ‘restoration’ literature of the 1950s through the socially critical ‘anti-Heimat’ novel to recent literary reckonings with Austria’s Nazi past. Peering through the lens of film adaptation, this book rattles the generic shackles imposed by literary history and provides an entirely new critical perspective on Austrian literature. Its original methodological approach challenges the primacy of written sources in existing scholarship and uses the distortions generated by the shift in medium as a productive starting point for literary analysis. Five case studies approach canonical texts in post-war Austrian literature by Gerhard Fritsch, Franz Innerhofer, Gerhard Roth, Elfriede Jelinek, and Robert Schindel, through close readings of their cinematic adaptations, concentrating on key areas of narratological concern: plot, narrative perspective, authorship, and post-modern ontologies. Setting the texts within the historical, cultural and political discourses that define the ‘Alpine Republic’, this study investigates fundamental aspects of Austrian national identity, such as its Habsburg and National Socialist legacies.
Volume Editor:
Vous ne lisez pas les notes en bas de page ? Vous avez tort. Rien de plus passionnant qu’une note infrapaginale, ou marginale, ou finale car il est vrai que nos dispositifs d’annotation sont divers. Souvent c’est la note qui contient l’essentiel. C’est alors par elle qu’il faut commencer. Nous distinguons entre le texte et le paratexte mais le paratexte est aussi une autre sorte de texte. Une « frange d’incertitude » (Genette) nous permet de passer d’un régime à l’autre. Les choses deviennent intéressantes à ce moment. Imaginez la note à la place du texte, le texte à la place de la note. Votre univers bascule, vous entrez dans un monde parallèle. La littérature est le lieu où la frontière entre le texte et les notes devient indécidable. Le présent volume passe en revue les pratiques d’annotation en contexte européen et ailleurs. Il offre au lecteur une riche série « d’études de cas » où le geste de l’annotateur est observé in actu. Parmi les auteurs étudiés : Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, et bien d’autres.
You don’t read footnotes? You are mistaken. There’s nothing more passionate than a footnote, a sidenote, or an endnote. The essential part of the message is the footnote. Narratologists distinguish between texte and paratexte, but the paratexte is just a different kind of texte. A frange d’incertitude (Genette) allows one to switch from one system to another. Imagine the note in the position of the text and the text in the position of the note. Your universe switches: you enter into a parallel world. Literature is the place where the border between the text and the notes becomes undecidable. The current volume reviews annotation practices in and outside of the European context. It offers a substantial series of “case studies” to the reader, where the actions of the annotateur are observed in actu. Among the studied authors: Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, and many others.
Avec des contributions de / With contributions from Anikó Ádám, Emmanuel Bouju, Maria de Jesus Cabral, Riccardo Campi, Ana Paula Coutinho, Andrea Del Lungo, Karen Haddad, Vincent Jouve, Fatima Outereirinhou, Claude Perez, Marika Piva, Nathalie Roelens, Franc Schuerewegen.
You don’t read footnotes? You are mistaken. There’s nothing more passionate than a footnote, a sidenote, or an endnote. The essential part of the message is the footnote. Narratologists distinguish between texte and paratexte, but the paratexte is just a different kind of texte. A frange d’incertitude (Genette) allows one to switch from one system to another. Imagine the note in the position of the text and the text in the position of the note. Your universe switches: you enter into a parallel world. Literature is the place where the border between the text and the notes becomes undecidable. The current volume reviews annotation practices in and outside of the European context. It offers a substantial series of “case studies” to the reader, where the actions of the annotateur are observed in actu. Among the studied authors: Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, and many others.
Avec des contributions de / With contributions from Anikó Ádám, Emmanuel Bouju, Maria de Jesus Cabral, Riccardo Campi, Ana Paula Coutinho, Andrea Del Lungo, Karen Haddad, Vincent Jouve, Fatima Outereirinhou, Claude Perez, Marika Piva, Nathalie Roelens, Franc Schuerewegen.
Volume Editor:
Vous ne lisez pas les notes en bas de page ? Vous avez tort. Rien de plus passionnant qu’une note infrapaginale, ou marginale, ou finale car il est vrai que nos dispositifs d’annotation sont divers. Souvent c’est la note qui contient l’essentiel. C’est alors par elle qu’il faut commencer. Nous distinguons entre le texte et le paratexte mais le paratexte est aussi une autre sorte de texte. Une « frange d’incertitude » (Genette) nous permet de passer d’un régime à l’autre. Les choses deviennent intéressantes à ce moment. Imaginez la note à la place du texte, le texte à la place de la note. Votre univers bascule, vous entrez dans un monde parallèle. La littérature est le lieu où la frontière entre le texte et les notes devient indécidable. Le présent volume passe en revue les pratiques d’annotation en contexte européen et ailleurs. Il offre au lecteur une riche série « d’études de cas » où le geste de l’annotateur est observé in actu. Parmi les auteurs étudiés : Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, et bien d’autres.
You don’t read footnotes? You are mistaken. There’s nothing more passionate than a footnote, a sidenote, or an endnote. The essential part of the message is the footnote. Narratologists distinguish between texte and paratexte, but the paratexte is just a different kind of texte. A frange d’incertitude (Genette) allows one to switch from one system to another. Imagine the note in the position of the text and the text in the position of the note. Your universe switches: you enter into a parallel world. Literature is the place where the border between the text and the notes becomes undecidable. The current volume reviews annotation practices in and outside of the European context. It offers a substantial series of “case studies” to the reader, where the actions of the annotateur are observed in actu. Among the studied authors: Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, and many others.
Avec des contributions de / With contributions from Anikó Ádám, Emmanuel Bouju, Maria de Jesus Cabral, Riccardo Campi, Ana Paula Coutinho, Andrea Del Lungo, Karen Haddad, Vincent Jouve, Fatima Outereirinhou, Claude Perez, Marika Piva, Nathalie Roelens, Franc Schuerewegen.
You don’t read footnotes? You are mistaken. There’s nothing more passionate than a footnote, a sidenote, or an endnote. The essential part of the message is the footnote. Narratologists distinguish between texte and paratexte, but the paratexte is just a different kind of texte. A frange d’incertitude (Genette) allows one to switch from one system to another. Imagine the note in the position of the text and the text in the position of the note. Your universe switches: you enter into a parallel world. Literature is the place where the border between the text and the notes becomes undecidable. The current volume reviews annotation practices in and outside of the European context. It offers a substantial series of “case studies” to the reader, where the actions of the annotateur are observed in actu. Among the studied authors: Balzac, Chateaubriand, Eliot, Mallarmé, Nabokov, Proust, Rimbaud, Oliver Rolin, and many others.
Avec des contributions de / With contributions from Anikó Ádám, Emmanuel Bouju, Maria de Jesus Cabral, Riccardo Campi, Ana Paula Coutinho, Andrea Del Lungo, Karen Haddad, Vincent Jouve, Fatima Outereirinhou, Claude Perez, Marika Piva, Nathalie Roelens, Franc Schuerewegen.