東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Post-Utopian Science Fiction in Post...

Gerhard, Julia.

Linked to FindBook

Google Book

Amazon

博客來

Post-Utopian Science Fiction in Postmodern American and Russian Literatures.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Post-Utopian Science Fiction in Postmodern American and Russian Literatures./
Author:	Gerhard, Julia.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	298 p.
Notes:	Source: Dissertations Abstracts International, Volume: 79-12, Section: A.
Contained By:	Dissertations Abstracts International79-12A.
Subject:	Slavic literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10792478
ISBN:	9780355966183

Post-Utopian Science Fiction in Postmodern American and Russian Literatures.
Gerhard, Julia.

Post-Utopian Science Fiction in Postmodern American and Russian Literatures. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 298 p.

Source: Dissertations Abstracts International, Volume: 79-12, Section: A.

Thesis (Ph.D.)--University of Colorado at Boulder, 2018.

This item must not be sold to any third party vendors.

This dissertation examines how the new modality of science fiction-post-utopia-incorporates two seemingly opposite discourses, utopian and dystopian, and how an oscillation between these discourses is manifested in the twentieth/twenty-first century American and Russian science fiction. While the simultaneous presence and vacillation between the utopian and dystopian discourses is evident in all the texts, some gravitate more toward the utopian pole, while others favor the dystopian. What my analysis reveals is that American novels exhibit a predisposition towards utopian visions, while their Russian counterparts largely give preference to the dystopian ones. Specifically, in chapter two, which focuses on the analysis of the American steampunk novel The Difference Engine (1990) by William Gibson and Bruce Sterling and the Russian text The Blizzard (2010) by Vladimir Sorokin, we are presented with two opposing views on the representation of history: one (utopian), exhibited by the American narrative, envisions history as flexible, while the other (dystopian), exemplified by the Russian text, sees history as unable to receive change. Chapter three, by analyzing the cyberpunk genre through William Gibson's Neuromancer (1984) and the Russian texts by Victor Pelevin Homo Zapiens (1999), S.N.U.F.F. (2011) and Anna Starobinets's The Living (2012), demonstrates contrasting attitudes toward the conception of cyberspace. While Gibson, highlighting the detrimental effects of the emerging cybertechnologies, nonetheless acknowledges the utopianism of the technological progress, Pelevin and Starobinets primarily present technology as oppressive means for human manipulation. In chapter four, which discusses the exemplars of the post-apocalyptic genre-Walter Miller's A Canticle for Leibowitz (1959) as an American representative, and Georgii Daneliia's Kin-Dza-Dza! (1986) and Dmitry Glukhovsky's Metro 2033 (2005) as its Russian counterparts-dichotomous views on the dialectic of the sacred and the profane are exposed. Utopianism here is exemplified through Miller's novel, which roots its post-apocalyptic setting in a revived mythical time, hoping to attain the sacred. Russian narratives, by portraying an evident disenchantment with the sacred, envision their :after the end" scenarios in a mostly dystopian light. Overall, this dissertation proposes that post-utopian SF reflects the larger tendencies in the postmodernist movement, which has been experiencing a revival of modernist ideals.

ISBN: 9780355966183Subjects--Topical Terms:

2144740
Slavic literature.

Post-Utopian Science Fiction in Postmodern American and Russian Literatures.
LDR:03594nmm a2200325 4500 001 2205688
005 20190828135844.5
008 201008s2018 ||||||||||||||||| ||eng d
020 $a 9780355966183
035 $a (MiAaPQ)AAI10792478
035 $a (MiAaPQ)colorado:15439
035 $a AAI10792478
040 $a MiAaPQ $c MiAaPQ
100 1 $a Gerhard, Julia. $3 3432555
245 1 0 $a Post-Utopian Science Fiction in Postmodern American and Russian Literatures.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2018
300 $a 298 p.
500 $a Source: Dissertations Abstracts International, Volume: 79-12, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Leiderman, Mark N.
502 $a Thesis (Ph.D.)--University of Colorado at Boulder, 2018.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation examines how the new modality of science fiction-post-utopia-incorporates two seemingly opposite discourses, utopian and dystopian, and how an oscillation between these discourses is manifested in the twentieth/twenty-first century American and Russian science fiction. While the simultaneous presence and vacillation between the utopian and dystopian discourses is evident in all the texts, some gravitate more toward the utopian pole, while others favor the dystopian. What my analysis reveals is that American novels exhibit a predisposition towards utopian visions, while their Russian counterparts largely give preference to the dystopian ones. Specifically, in chapter two, which focuses on the analysis of the American steampunk novel The Difference Engine (1990) by William Gibson and Bruce Sterling and the Russian text The Blizzard (2010) by Vladimir Sorokin, we are presented with two opposing views on the representation of history: one (utopian), exhibited by the American narrative, envisions history as flexible, while the other (dystopian), exemplified by the Russian text, sees history as unable to receive change. Chapter three, by analyzing the cyberpunk genre through William Gibson's Neuromancer (1984) and the Russian texts by Victor Pelevin Homo Zapiens (1999), S.N.U.F.F. (2011) and Anna Starobinets's The Living (2012), demonstrates contrasting attitudes toward the conception of cyberspace. While Gibson, highlighting the detrimental effects of the emerging cybertechnologies, nonetheless acknowledges the utopianism of the technological progress, Pelevin and Starobinets primarily present technology as oppressive means for human manipulation. In chapter four, which discusses the exemplars of the post-apocalyptic genre-Walter Miller's A Canticle for Leibowitz (1959) as an American representative, and Georgii Daneliia's Kin-Dza-Dza! (1986) and Dmitry Glukhovsky's Metro 2033 (2005) as its Russian counterparts-dichotomous views on the dialectic of the sacred and the profane are exposed. Utopianism here is exemplified through Miller's novel, which roots its post-apocalyptic setting in a revived mythical time, hoping to attain the sacred. Russian narratives, by portraying an evident disenchantment with the sacred, envision their :after the end" scenarios in a mostly dystopian light. Overall, this dissertation proposes that post-utopian SF reflects the larger tendencies in the postmodernist movement, which has been experiencing a revival of modernist ideals.
590 $a School code: 0051.
650 4 $a Slavic literature. $3 2144740
650 4 $a American literature. $3 523234
690 $a 0314
690 $a 0591
710 2 $a University of Colorado at Boulder. $b Comparative Literature. $3 1273087
773 0 $t Dissertations Abstracts International $g 79-12A.
790 $a 0051
791 $a Ph.D.
792 $a 2018
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10792478