The aim of this study is to explore the relationship between gender, discourse and technology, and the resulting construction of bodily norms, in a contemporary environment dominated by info- and bio-technologies. The premise from which this study starts is that the ‘intra-action’ between gender, discourse and technology plays a central role in shaping contemporary identities. The study is based on close readings of material from three case studies: cyberpunk fiction, (in)fertility weblogs and the World Health Organisation guidelines on naming of biotechnologies. The distinctive combination of the three case studies provides a unique perspective on the relationship between gender, discourse and technology, showing how it shifts across different contexts, and demonstrating the socio-historical contingency of the bodily norms produced therein. This study is comprised of three empirical texts, one theoretical text and a kappa. The analysis shows how innovative cyberpunk narratives challenge not only human/non-human boundaries, but also genre and gender conventions. The specific format of the blog allows women’s experiences of infertility to be heard and produces hybrid discourses which challenge contemporary authoritative discourses about femininity. The third case study explores the assignment of International Nonproprietary Names to new biotechnologies, and the implications of this on the construction of patients’ bodies. Finally, the theoretical text contributes to existing feminist analyses of technoscience by proposing a new tool called abject/noise for examining disruptions to discursive and bodily coherence. This tool is then tested on a series of documents about the assignment of International Nonproprietary Names to new biotechnologies. Throughout, the importance of ‘situated knowledges’ is emphasised, both in how gender, discourse and technology are understood, but also in the norms produced and the position of the researcher. / Syftet med denna studie är att undersöka relationen mellan genus, diskurs och teknik och hur denna relation bidrar till att konstruera vissa typer av kroppsnormer, speciellt som vår samtid infärgas av informationsteknik och bioteknik. Utgångspunkten för denna studie är att ’intra-action’ mellan genus, diskurs och teknik spelar en central roll i utformningen av samtida identiteter. Studien bygger på närläsningar av material från tre fallstudier: cyberpunk-litteratur, in/fertilitetets-bloggar och Världs-hälsoorganisationens riktlinjer för namngivning av bioteknik. Kombinationen av de tre fallstudierna ger ett unikt perspektiv på relationen mellan genus, diskurs och teknik. Den visar hur relationen skiftar mellan olika sammanhang, och hur denna är kulturellt villkorad och därmed tillåter vissa kroppsliga normer att upstå och cirkulera. Denna undersökning består av tre empiriskt grundade texter, en mer teoretisk text och en kappa. Den försten analysen visar hur innovativa cyberpunk berättelser inte bara utmanar föreställningar kring det mänsklig / icke-mänskliga gränser, utan också själva genren i sig och dess kulturella konventionerna kring genus. Det specifika format webbloggen (eller blogg) i den andra fallstudien tillåter kvinnors upplevelser av infertilitet att höras och producerar genreöverlappningar och igen-kännanden som utmanar samtida normativ diskurser om reproduktiv kvinnlighet. Den tredje fallstudien undersöker tilldelningen av ett så kallat Internationellt generiskt namn till nya biotekniska produkter, och konsekvenserna detta får för konstruktionen av patienternas genusifierade kroppar. Slutligen bidrar den teoretiska texten till befintliga feministiska analyser av ’teknovetenskap’ genom att föreslå ett nytt verktyg som kallas ’abject/noise’ för att undersöka störningar i diskursiva och kroppsliga sammanhang. Detta verktyg testats sedan också analytiskt på dokumentar som rör tilldelningen av Internationellt generiskt namn till ny bioteknik. Genom hela avhandlingen läggs tonvikten på ’situerad kunskap’, både gäller hur genus, diskurs och teknik förstås kontextuellt, hur normer blir till och hur forskaren positionerar sig.

The aim of this research is to discuss the reception of Latin American cyberpunk fiction, in other words, the Latin American reception of cyberpunk fiction. The cyberpunk fiction emerged in North American social and economic context in the 1980 s, and it depicts several topics linked to place and moment of production: the failed States and neoliberalism; the emergence of cyberspace and free circulation of capital beyond national borderlines; the dystopian background, the disbelief in future and grand narratives collapse as it is proposed by the lyotardian postmodernity, etc. These characteristics lead to identify the cyberpunk fiction as the supreme representation of late capitalism (Jameson). However, how can the cyberpunk fiction in Latin America be thought, it means, a place that is inside and outside of the world system at the same time? The hypothesis of this research points out to utopian way of Latin American cyberpunk fiction that does not exist in North American version. The representation of utopia in this fiction is only possible due to places out of world system: marginalized urban groups, Indian ethnics, ecological enclaves, religious movements, etc. This research is composed by four chapters: the first one discusses science fiction, while a genre which involves cyberpunk fiction, contesting its values (ephemerality, particularity and imitation) in face to mainstream literature (eternity, universality and originality); the second one approaches the Marxist model base-superstructure, which is considered pertinent to analyze the relationship between text and context; the third one verifies the kind of reception produced by Latin American cyberpunk fiction, in order to that, it is elected the Argentinean magazine Neuromante Inc. as a sample of this reception; and the forth one analyzes some novels in order to prove the hypothesis: Mañana, las ratas ( Tomorrow, the rats , 1977), by José B. Adolph; Silicone XXI ( Silica 21st century , 1985), by Alfredo Sirkis; Flores para un cyborg ( Flowers for a cyborg , 1996), by Diego Muñoz Valenzuela; 2010: Chile en llamas ( 2010: Chile in flames , 1998), by Darío Oses; El viaje ( The trip , 2001), by Rodrigo Antezana Patton; El delirio de Turing ( Turing s Delirium , 2003), by Edmundo Paz Soldán; De cuando en cuando Saturnina ( From time to time Saturnina , 2004), by Alison Spedding; A mão que cria ( The hand that creates , 2006), by Octavio Aragão; La segunda enciclopedia de Tlön ( The second encyclopedia of Tlön , 2007), by Sergio Meier; Os dias da peste ( The days of the plague , 2009), by Fábio Fernandes; and Cyber Brasiliana (2010), by Richard Diegues. / O objetivo deste trabalho é discutir a recepção da ficção cyberpunk latino-americana, ou melhor, a recepção latino-americana da ficção cyberpunk. Surgida nos anos 1980, no contexto sócio-econômico norte-americano, a ficção cyberpunk representa vários tópicos ligados ao local e momento de produção: os Estados falidos e o neoliberalismo; a emergência do ciberespaço e a livre circulação do capital para além das fronteiras nacionais; o cenário distópico, a descrença no futuro e o fim dos grandes relatos históricos como propõe a pósmodernidade lyotardiana; etc. Estas características levam a identificar a ficção cyberpunk como representação suprema do capitalismo tardio (Jameson). Entretanto, como pensar a ficção cyberpunk na América Latina, ou seja, num lugar que se encontra ao mesmo tempo dentro e fora do sistema mundial? A hipótese que este trabalho apresenta aponta para o viés utópico da ficção cyberpunk latino-americana, inexistente na versão norte-americana. A representação da utopia nesta ficção somente é possível devido aos lugares que se encontram fora do sistema mundial: os grupos urbanos marginalizados, as etnias indígenas, os enclaves ecológicos, os movimentos religiosos, etc. Este trabalho organiza-se em quatro capítulos: no primeiro capítulo se discute a ficção científica, gênero que abarca a ficção cyberpunk, contrapondo seus valores (efemeridade, particularidade e imitação) aos da literatura mainstream (eternidade, universalidade e originalidade); no segundo capítulo se aborda o modelo marxista base-superestrutura, considerado pertinente para analisar as relações entre texto e contexto; no terceiro capítulo se verifica o tipo de recepção realizado pela ficção cyberpunk latino-americana, elegendo a revista argentina Neuromante Inc. como caso exemplar desta recepção; e no quarto capítulo se analisa alguns romances para comprovar a hipótese: Mañana, las ratas (1977), de José B. Adolph; Silicone XXI (1985), de Alfredo Sirkis; Flores para un cyborg (1996), de Diego Muñoz Valenzuela; 2010: Chile en llamas (1998), de Darío Oses; El viaje (2001), de Rodrigo Antezana Patton; El delirio de Turing (2003), de Edmundo Paz Soldán; De cuando en cuando Saturnina (2004), de Alison Spedding; A mão que cria (2006), de Octavio Aragão; La segunda enciclopedia de Tlön (2007), de Sergio Meier; Os dias da peste (2009), de Fábio Fernandes; e Cyber Brasiliana (2010), de Richard Diegues.

Made available in DSpace on 2015-05-07T14:46:43Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 13399363 bytes, checksum: b7d6318bfd4e27f11c5e7302369ad96f (MD5) Previous issue date: 2013-09-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Journalists, as an interpretative comunity, or tribe, define themselves through social traces and the mastery of pratical knowledges which allow them to claim an especific professional field. This journalistic culture is also rich of myths and social representations that try to legitimate the role played by the journalist into society. These myths very often cover their professional reality. Born in the papers, the modern comics have a tradition in represent journalists as comic characters. This representation, especially in superheroes, adventure and similar comics, has served to strenght the professional image passed by the myths. But, through time, as comics have narrative and themathically matured themselves, this representation has been problematized, unmasking the ideology behind the myths. This research tries to show this phenomenon through a study of case about a comic book called Transmetropolitan. This comic shows the adventures of a journalist called Spider Jerusalem, who lives at a chaotic metropolis in search of his stories. Our work was divided in two parts. The first one is a bibliographical review about themes that this study is based upon. In the second, it was made a content analysis of three editions of Transmetropolitan, and the data was used to guide our critical review of the comic. We argue that this comic book brings a contracultural vision about contemporary society and the role of the journalist, supported by the cyberpunk narrative and the style of report used by New Journalism to problematize this myths. / Os jornalistas, como comunidade interpretativa, ou tribo, se definem por meio de traços sociais e pelo domínio de saberes práticos que permitem a reivindicação de um campo profissional específico. Esta cultura jornalística também é rica em mitos e representações sociais que buscam legitimar o papel desempenhado pelo jornalista na sociedade, mitos estes que muitas vezes mascaram a realidade profissional. Nascidos dos jornais, os quadrinhos modernos têm tradição na representação de jornalistas como personagens. Esta representação, especialmente nos quadrinhos de super-heróis, de aventura e gêneros correlatos, serviu por muito tempo para reforçar a imagem profissional contida no mito. Porém, à medida que esses quadrinhos amadureceram narrativa e tematicamente, essa representação passou a ser problematizada, expondo a ideologia por trás desses mitos. Esta pesquisa busca mostrar esse fenômeno por meio de um estudo de caso sobre a série em quadrinhos Transmetropolitan. Este quadrinho de ficção científica narra as aventuras do jornalista Spider Jerusalem por uma metrópole urbana caótica na busca de suas pautas. O estudo se dividiu metodologicamente em duas partes. Na primeira, uma pesquisa bibliográfica exploratória sobre os temas que embasam o estudo. Na segunda, uma análise de conteúdo das três primeiras edições de Transmetropolitan, para em seguida realizarmos a leitura crítica do material a partir dos dados coletados. Defendemos que esses quadrinhos se apóiam numa visão contracultural em relação à sociedade contemporânea e ao papel do jornalista nela, ao recorrer à narrativa cyberpunk e um estilo de reportagem defendido pelo Novo Jornalismo para problematizar esses mitos.

O objetivo deste estudo é fornecer uma análise dos dois principais movimentos dentro da ficção científica em língua inglesa vinculados ao pós-modernismo, a New Wave da década de 1960 e o Movimento Cyberpunk da década de 1980, estabelecendo comparações com a produção de ficção científica do mesmo período, dentro das Primeira e Segunda Ondas da Ficção Científica Brasileira. Questões de política literária serão sempre evocadas, como maneira de relativizar o peso teórico das discussões, tentando estabelecer que intenções, procedimentos e programas literários existem inseridos em contextos pessoais, sociais e mesmo nacionais. Essa abordagem é amparada pelo conceito do Campo de Poder, do sociólogo francês Pierre Bourdieu (1930-2002), e de diversos intérpretes de suas idéias. A partir dos trabalhos de críticos e teóricos como Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau e Robert Scholes, este trabalho propõe que a ficção científica, como gênero literário de raízes populares, é capaz de exercer o papel de uma literatura que faz a crítica da modernidade, sem recorrer necessariamente aos aspectos formais associados à literatura pós-modernista, incluindo o texto fragmentário, a mistura de gêneros e códigos literários. A pesquisa conduz a uma reflexão a respeito da situação da ficção de gênero vis-à-vis a predileção da ficção pós-modernista pela metaficção e pelo experimentalismo. / The objective of this study is to provide an analysis of the two main literary movements in English-written science fiction associated to postmodernism, the New Wave of the 1960s and the Cyberpunk Movement of the 1980s, establishing comparisons with science fictional production of the same periods in the First and Second Waves of Brazilian science fiction. Issues of literary politics will be constantly considered, as a way to relativize the theoretical charge of the arguments, trying to establish that intentions, proceedings, and literary programs exist inserted in personal, social, and even national contexts. This approach is supported by the French sociologist Pierre Bourdieus concept of Field of Power, and also by a number of readers of his ideas. Taking from the works of critics and theoreticians such as Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau, and Robert Scholes, this work claims that science fiction as a literary genre of popular roots can play out the role of a literature that performs a criticism of modernity without relying on those formal aspects associated with postmodernist literature, including fragmentary prose and the mixing of genres and literary codes. The research leads to a reflection concerning the situation of genre fiction vis-à-vis postmodernist fictions propensity for metafiction and experimentalism.

O objetivo deste estudo é fornecer uma análise dos dois principais movimentos dentro da ficção científica em língua inglesa vinculados ao pós-modernismo, a New Wave da década de 1960 e o Movimento Cyberpunk da década de 1980, estabelecendo comparações com a produção de ficção científica do mesmo período, dentro das Primeira e Segunda Ondas da Ficção Científica Brasileira. Questões de política literária serão sempre evocadas, como maneira de relativizar o peso teórico das discussões, tentando estabelecer que intenções, procedimentos e programas literários existem inseridos em contextos pessoais, sociais e mesmo nacionais. Essa abordagem é amparada pelo conceito do Campo de Poder, do sociólogo francês Pierre Bourdieu (1930-2002), e de diversos intérpretes de suas idéias. A partir dos trabalhos de críticos e teóricos como Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau e Robert Scholes, este trabalho propõe que a ficção científica, como gênero literário de raízes populares, é capaz de exercer o papel de uma literatura que faz a crítica da modernidade, sem recorrer necessariamente aos aspectos formais associados à literatura pós-modernista, incluindo o texto fragmentário, a mistura de gêneros e códigos literários. A pesquisa conduz a uma reflexão a respeito da situação da ficção de gênero vis-à-vis a predileção da ficção pós-modernista pela metaficção e pelo experimentalismo. / The objective of this study is to provide an analysis of the two main literary movements in English-written science fiction associated to postmodernism, the New Wave of the 1960s and the Cyberpunk Movement of the 1980s, establishing comparisons with science fictional production of the same periods in the First and Second Waves of Brazilian science fiction. Issues of literary politics will be constantly considered, as a way to relativize the theoretical charge of the arguments, trying to establish that intentions, proceedings, and literary programs exist inserted in personal, social, and even national contexts. This approach is supported by the French sociologist Pierre Bourdieus concept of Field of Power, and also by a number of readers of his ideas. Taking from the works of critics and theoreticians such as Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau, and Robert Scholes, this work claims that science fiction as a literary genre of popular roots can play out the role of a literature that performs a criticism of modernity without relying on those formal aspects associated with postmodernist literature, including fragmentary prose and the mixing of genres and literary codes. The research leads to a reflection concerning the situation of genre fiction vis-à-vis postmodernist fictions propensity for metafiction and experimentalism.

Uppsatsen undersöker spelgrafik i Cyberpunk 2077, mot bakgrund av händelserna kring spelets offentliggörande – som väckte stort raseri och missnöje från inte bara spelarna själva, utan även aktieägare och spelrecensenter. Utgångspunkten i analysen är etablerandet av en diskursiv läsning inom en kvalitativ visuell analys av ett urval bilder som visar hur människor i spelet manipuleras till att köpa produkter som är skadliga för dem. Hur bilderna visar just detta – etableras i en andra, djupare läsning utifrån ett antal marxistiska positioner som alla har gemensamt att de beskriver processer relevanta för Karl Marx’ tankar om alienation och förfrämligande.Resultatet diskuteras sedan i relation till hur verkliga film-, spel-, data- och storföretag säljer produkter genom att paketera dem inuti berättelser om klasskamp, civilt uppror eller arbetarkultur. Sambandet mellan CD Projekt Red’s inbladning i fiktiv och verklig kapitalism, utgör det viktigaste resultatet och den röda tråden för arbetet. Huvudsakligen gestaltar sambandet sig genom upprättandet av en varufetischism och kommodifiering i fråga om hur de gestaltar- och kommunicerar till sina egna konsumenter. Jag diskuterar sedan riskerna med dataspel som tillämpning för en marxistisk kritik, då den interaktiva komponenten i spelandet förutsätter människan som en del av produkten / The essay surveys relevant game art inside Cyberpunk 2077, in the light of the recent and heavily criticized product launch. The study starts out with establishing a discourse reading through qualitative visual samples of how costumers are manipulated to buy hazardous products inside the fictive context of the game. The examples of how this manipulation takes place, are shown by applying pre-described Marxist positions that are generally connected to Marx phases of alienation (see keywords below).The results are then discussed in relation to how real movie-, game-, computer- and other big business markets products through appropriation of stories and themes such as class struggle, civil obedience or working-class culture. Establishing the comparison between the fictive and existing capitalism of CD Projekt Red is the main thesis that is followed through the work and verified in the result through evidence of 3 commodification and commodity fetishism. The main aspect of the arguments focuzes on how CD Projekt Red has shown the relationship between themselves and their followers through consumers and manufacturers. The thesis and subject matter is discussed in the end of the essay, also mentioning the risks of analysing a digital game through Marxist perspectives, since the interactive part of gaming requires the player to be viewed as connected to the product. / Filmen som gjordes inom ramen för frilansuppdraget åt NordAmps var i sin helhet en draft för videopitch till mottagare, bestående av fotografi, ljud och ett fåtal enkla tredimensionella modeller. Efter uppdragets slut ville jag se hur jag kunde förbättra min medieproduktion genom att applicera en metod som blandar animation och teknisk illustration. Detta fick mig att resonera kring; hur skulle jag kunna kommunicera bättre utifrån samma filmlängd, samma ljudbild och samma tempo - men bara genom att jobba med tecknat material i efterproduktionen? Vad är viktigt att lyfta – och hur undviker jag att komplicera istället för simplifiera budskapet?  Förutom att konkretisera och förenkla komplex information från avsändaren, så bidrar animationen till att skapa det övergripande visuella narrativet; det vill säga; vilka är NordAmps, varför är de viktiga och hur kommunicerar de kring sitt innehåll? Genom att blanda rörligt fotografi med animation och teckning så vill jag skapa en mer rik och pedagogisk medieproduktion - som visar på hur komplexa tekniska frågor kan kommuniceras effektivt till tittare som saknar förförståelse om ämnet.

Cyberpunk som litterär genre tar ofta upp teman som berör kroppen och dess förhållande till teknik på olika sätt. I denna uppsats studeras mäns och kvinnors förhållande till sin egen kropp och synen på manliga och kvinnliga kroppar i cyberpunk-romanen Neuromancer av William Gibson, utifrån Yvonne Hirdmans teorier om genus. I analysen av romanen kan man se två huvudsakliga spår utifrån Hirdmans tre formler för förhållandet mellan könen, varav det tydligaste är det som Hirdman kallar jämförelsens formel. Kvinnor ses som impulsstyrda och kroppsliga medan män står för intellektet och en längtan efter att lämna kroppen bakom sig. Eftersom kvinnor ses som kroppsliga, blir det kroppsliga också något kvinnligt och därmed något oönskat för de manliga karaktärerna. I cyberpunken modifierar kvinnor sina kroppar för att kunna stanna kvar i dem, medan män modifierar sina kroppar för att kunna lämna dem.

A hallmark of the cyberpunk era, virtual reality is now a real and readily available medium for technological entertainment and lifestyle. Cyberpunk texts and contemporary SF that incorporates virtual reality provide a framework for considering the implications of this newly popularized technology. By allowing the user to explore new forms of identity in an alternate reality, virtual reality poses many interesting opportunities for undermining current social constructs related to gender, race, and identity. This thesis investigates real and fictional examples of virtual reality and the significance of authorship and narrative construction, race and social hierarchies, death and selfpermanence, and gender performance across the boundary between virtual and material space. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

We live in a world where not only humans but also any object around us is believed to have agency. A shifting relationship exists between everything, specifically between humans and technology. However, the relationship between humans and technology has become much more complicated in the world of Neuromancer. Technology is projected to have much more agency than humans in the future, going as far as affecting the subjective consciousness and identity of the characters in the novel. This research paper seeks to prove whether the agency of technology has overwritten that of humans in the world of Neuromancer.

No description available.