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Skrivprojektet Tillfälligheter består av sju texter som på olika sätt binds ihop av tematiken i ordet tillfälligheter. Jag har haft intentionen att utforska hur jag i mitt skrivande kan närma mig genren science fiction. Genren är bred och ger stora möjligheter till variation och användning av fantasin utan begränsningar. Eftersom man gärna skriver det man själv gillar att läsa är det mjuk sf, alternativa världar, tidsresor och dystopier samt så kallad New Weird jag främst har fokuserat på. Science fiction försöker ofta besvara frågan "What if?" och jag har anammat den utgångspunkten i mitt arbete med projektet och utgått från att det är just tillfälligheter som har fått styra händelserna i de sju berättelserna. De sju texternas genreanpassning och stil kan kortfattat beskrivas som följer: Equinox – tidsresor; uppbyggd som en vetenskaplig uppsats och med ett retrospektivt berättande utifrån ett förstapersonsperspektiv Kalejdoskop – New Weird; hur namnens betydelser får personifiera karaktärerna 22:43 – en alternativ värld; skriven endast med dialog utan sägeverb Brunnen – dystopisk saga med stark verklighetsförankring och några stänk av skräck CCTV – teknologi, AI; om ett inanimat objekts upplevelse och tolkning av mänskligt beteende Tom Taylor – dystopi, mjuk sf (psykologi, ekologi) och samhällskritik; retrospektivt blandat med rak kronologi och cirkelrörelse Eschatos – en dystopisk omvänd travesti på Första Moseboks skapelseberättelse skriven som en dikt

Scénarios d’aveuglement dans la littérature d’Orhan Pamuk, d’Ernesto Sábato, et de José Saramago analyse trois œuvres importantes de trois auteurs contemporains : Mon nom est Rouge d’Orhan Pamuk ; « Rapport sur les aveugles » du roman Héros et tombes d’Ernesto Sábato ; et L’aveuglement de José Saramago. Malgré leurs différences, ces romans ont des points communs évidents, synthétisés dans la figure de l’aveuglement. Cette figure signale l’avènement, dans les textes, d’un régime de connaissance alternatif, centré moins sur le primat de la raison et du visuel que sur une nouvelle capacité cognitive, basée sur une logique spéciale du destin. L’aveuglement s’ouvre également sur une nouvelle compréhension de l’histoire, grâce à une capacité du récit de fiction qui passe par le point de fuite de la cécité. Pour Pamuk, l’aveuglement est le couronnement paradoxal d’une vision du monde, gravement mise en crise à la fin du XVIe siècle par le perspectivisme et le réalisme de la Renaissance, la voie d’entrée vers un monde imaginal qui n’est plus accessible à l’imaginaire occidental. Pour Sábato, il représente la variante renversée d’une quête de l’absolu qui passe par les antres de l’inceste, de l’enfer et du crime, tandis que le monde décrit par Saramago est un monde qui sombre sur la pente de la déchéance, en suivant une logique implacable. Il est l’équivalent de plusieurs formes de cécité qui menacent le monde contemporain, comme le fondamentalisme religieux, l’homogénéité préconisée par la société de masse, l’exclusion raciale, l’oppression idéologique. La thèse se divise en trois parties, La violente beauté du monde, Un mythe hérétique de la caverne et Une épidémie à cause inconnue, chacune d’entre elles analysant l’œuvre d’un auteur, mais établissant également des liens avec les autres chapitres. L’approche adoptée est interdisciplinaire, un croisement entre études littéraires, philosophie et histoire de l’art. Dans leur quête de nouveaux concepts et de nouvelles formes de pensée qui s’écartent du modèle rationnel dominant de la modernité, les trois auteurs partent de la présupposition que regarder les choses n’est pas du tout l’équivalent de voir les choses. Ils tentent d’articuler une logique du voir qui ressemble plutôt à la vision et à la clairvoyance qu’à la conformité logique. La figure de l’aveuglement sert de tremplin vers le monde imaginal (Pamuk), la pensée magique (Sábato) et la vision dystopique (Saramago) – des espaces ontologiquement différents où les auteurs mènent leurs attaques contre la rationnalité à tout prix. C’est précisément ces espaces que nous avons choisi d’explorer dans les trois romans. Nous soutenons également que ces trois textes proposent un nouveau régime de « connaissance » qui met en question les règles de pensée héritées de la Renaissance et surtout des Lumières, qui constituent un discours dominant dans la culture visuelle et philosophique moderne. / Blindness in the Literature of Orhan Pamuk, Ernesto Sábato, José Saramago examines three important texts by three well-known contemporary authors: My Name is Red by Orhan Pamuk; the chapter « Report on the Blind » from the novel On Heroes and Tombs by Ernesto Sábato; and Blindness by José Saramago. The trope of blindness is a common theme in these novels, despite their significant differences. Blindness introduces an alternative regime of knowledge, centered less on the primacy of the rational and the visual than on a new cognitive capacity, grounded in a specific logic of destiny. It proposes new understandings of history, due to a fictionalizing capacity, which passes through the fault lines of blindness. For Pamuk, blindness represents the paradoxical culmination of a traditional, Islamic world view, which was challenged in the 16th century by the perspectivism and the realism of Renaissance. This conception is regarded as the royal road to an imaginal world that remains inaccessible to the western imaginary. In Sábato’s novel, blindness prompts the reversed version of a quest for absolute, which passes through incest, hell and crime. In the dystopic world depicted by Saramago, this trope is symptomatic of a continuous decay, which follows an implacable logic. It also points to the many forms of blindness that threaten the contemporary world, such as religious fundamentalism, the leveling produced by mass culture and mass society, racial exclusion, ideological oppression. The thesis is divided in three chapters: The Violent Beauty of the World, A Heretical Myth of the Cave and An Epidemic with an Unknown Reason. Each chapter examines one of the three novels, but connections and cross-links among the individual chapters are also established. My investigation provides an interdisciplinary approach, which relies on paradigms from literary studies, philosophy and art history. All three authors examined in the dissertation start from the assumption that looking is not equivalent to seeing. Their texts attempt to formulate a logic of seeing indebted to vision rather than to logical accuracy. The figure of blindness serves as a springboard towards the imaginal world (Pamuk), magical thought (Sábato) and dystopia (Saramago) – ontologically different spaces where the authors counter rationality with new modes of vision. The dissertation explores the articulation of these spaces in the three novels. It argues that these texts on blindness propose a regime of « knowledge » that challenges the dominant discourses on vision, rationality, and the mind – the legacy of the Renaissance and the Enlightenment – in modern visual culture and modern philosophy.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

The thesis aims to give an overview of the treatment of media in texts that have formed modern dystopian writing and to which new additions in the genre necessarily relate. This set of texts consists of George Orwell's Nineteen Eighty-Four, Aldous Huxley's Brave New World and When the Sleeper Awakes by H. G. Wells; first chapter substantiates this selection and proceeds to define the concepts of "media" and "dystopia". Second chapter is concerned with the understanding of history in dystopian societies and shows that the very concept of historicity is undesirable for a totalitarian state, which seeks to blur history and reduce it to a three-point schema "before the Event - the Event (revolution) - after the Event". Closer analysis then shows that the Event itself can be divided into a further triad that has to be completed in order to pass into eternal post-Event society. Third chapter describes the use of citizens as media and shows that while Huxley's society uses what Michel Foucault calls "biopower" to achieve this goal, Orwell's society rather uses the concept of "discipline". Fourth chapter turns to printed media a the privileged role they are ascribed in the novels: The authors see literature as an embodiment of individuality and, at the same time, as a guarantee of tradition established by an...

[pt] A presente dissertação pretende investigar e definir, levando-se em consideração a deflagração da crise do sujeito iluminista do século XVIII e o sério abalo na Razão Ocidental, sofrido no pós-guerra, o conceito de distopia contemporânea, uma vez que esta pode assumir várias nuances e matizes. Pretende, ainda, analisar, de que forma possíveis fenômenos ditos distópicos: errância, fragmentação, ausência de valores universais, melancolia, inadequação ou desajuste face aos padrões preestabelecidos, enquanto desencadeadores de diferentes modos de construção literária, aparecem inscritos nas narrativas da ficção brasileira contemporânea, em especial, em duas obras significativas da produção literária, a saber: Solidão continental, de João Gilberto Noll, e Mongólia, de Bernardo Carvalho. / [en] This dissertation aims to investigate and define, taking into consideration the outbreak of the Eighteenth century Elinghtenment Subject crisis and the serious blow in the Western Reason, suffered in the postwar period, the concept of contemporary dystopia, since this can take various hues and tints. It also attempts to analyze how possible phenomena said dystopian : wandering, fragmentation, lack of universal values, gloom, inadequacy or maladjustment compared to pre-established standards, while triggering different modes of literary construction, appear registered in the narratives of Brazilian contemporary fiction, in particular, in two significant works of literature, namely : Solidão continental, by João Gilberto Noll, and Mongólia, by Bernardo Carvalho.

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.

Made available in DSpace on 2016-04-28T19:58:42Z (GMT). No. of bitstreams: 1 Eliane Rosa de Goes.pdf: 256443 bytes, checksum: 7bd2fe161d4021894ba72ae17f56152f (MD5) Previous issue date: 2011-10-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Study of the novelistic structure of Parábola do Cágado Velho (2005), by Angolan writer Pepetela or Artur Carlos Maurício Pestana dos Santos, who reenacts in his fiction the history of Angola in the universal context. Among the ethnic and linguistic, socio-economic, political and religious disparities raised, the denial of hopeful utopian projections gave place to dystopias reversals. On the basis of the reversal of the utopian gender, the dystopia acts as a non-place and a way of thinking new models in Pepetela s novel, as they are incorporated into the utopian essence of Parábola do Cágado Velho. From the mythical tradition emerges a reading of the narrative plot in the form of a review and dialogue on the relationship between past and present, suggesting historical changes for the future and other so-called meta-utopias. In these, the idea of continuity, taken as a leitmotiv by the author, between the short story and novel close to the anti-epic, prevails in the hybrid fictional text of the parable. The myth provides the first step to this reading of time and differentiation between the sacred and profane space. Rereading from which paradigms have emerged of a critical work with the non-time in non-dissociation with space, conjunction built by an ironic look between fiction and history, (dys) topias about the fictional truth of Parábola do Cágado Velho. The three references derived from this reading receive the following titles in this thesis: the novelistic structure of Parábola do Cágado Velho; place and non-place in defining the narrative- imaginary structure; Pepetela and the mythical symbols in translation (dystopian). In its three faces, utopianism is revealed as a way of thinking founding possibilities of transformations which multiply utopias: structural difference of this Angolan novel / Estudo da estrutura novelesca da Parábola do Cágado Velho (2005), do escritor angolano Pepetela ou Artur Carlos Maurício Pestana dos Santos, que reencena, em sua ficção, a história de Angola no contexto universal. Dentre as disparidades étnicas e lingüísticas, sócio-econômicas, políticas e religiosas levantadas, a negação de projeções esperançosas utópicas deu lugar às inversões das distopias. Na base do reverso do gênero utópico, a distopia atua como um não lugar e modo de pensar novos modelos na novela de Pepetela, uma vez incorporados à essência utópica da parábola do cágado velho. Da tradição mítica emerge uma leitura da trama narrativa em forma de reavaliação e diálogo na relação passado e presente, sugerindo mudanças históricas para o futuro e outras chamadas metautopias. Nestas, prevalece a idéia de continuidade, tomada como leitmotiv pelo autor, no texto ficcional híbrido da parábola, entre o conto e a novela, próximo à anti-epopeia. O mito oferece o primeiro passo para esta leitura do tempo e da diferenciação entre o espaço profano e o sagrado. Releitura da qual emergiram paradigmas de um trabalho crítico com o não-tempo em indissociação com o espaço, conjunção construída por um olhar irônico entre ficção e história, (dis) utopias sobre a verdade ficcional da Parábola do Cágado Velho. As três referências originadas desta leitura recebem a seguinte titulação nesta dissertação: A estrutura novelesca de Parábola do Cágado Velho; lugar e não-lugar na definição da estrutura do imaginário narrativo; Pepetela e os símbolos míticos em tradução (distópica). Em suas três faces, o utopismo é revelado como uma forma de pensar possibilidades fundantes de transformações que multiplicam utopias: diferença estrutural desta novela angolana

This study is a research on how dystopian features are expressed within different genres. The purpose is to discuss films that contain dystopian features in relation to genre and to examine if there are shared conventions in the films that can make dystopia a film genre on its own. The theoretical base includes genre theory and Rick Altman’s semantic/syntactic approach to film genre. Five films from different genres, all produced within the time period of 2000-2010, are analyzed with a semantic/syntactic approach to genre and then discussed in relation to dystopia and prior research. By using a semantic/syntactic approach to film genre it is possible to identify shared conventions. Only by using a co-ordinate semantic/syntactic approach is it possible to fully understand the interaction between conventions within a genre. The result shows that there are conventions that are characteristic for dystopia and dystopia can thus be considered a subgenre. The films analyzed in this essay share conventions characteristic for dystopia but also offer variation in form of, for example, theme. The subgenre dystopia therefore offers something familiar but also variation which is central in film genre. The analysis also shows that there are symbols that carry meaning within these films which implies that they have a common iconography.