<p> </p><p> </p><p>Uppsatsen är en litteraturvetenskaplig analys av Vladimir Majakovskijs<em> Vägglusen (Клоп). Vägglusen</em> är en humoristik pjäs som utspelar sig dels under den unga Sovjetunionens NEP-period och dels i ett framtida socialistiskt samhälle. Uppsatsen syftar till att undersöka hur den komiska effekten i pjäsen uppstår samt att studera vilken roll som science fiction-miljön spelar för denna komik. Analysen har genomförts med hjälp av de generella humorteorier som presenterats av Olle Ferm och Paul Lewis samt teorier om science fiction och främmandegöring hämtade från verk av Viktor Šklovskij och Peter Stockwell. Avsnittet ”Tidigare forskning” innehåller en redogörelse för hur V<em>ägglusen </em>analyserats av slavister som Bengt Jangfeldt och Edward J. Brown. Till skillnad från dessa tolkningar utgår min undersökning i mindre utsträckning från ett biografiskt perspektiv vilket kastar nytt ljus på Majakovskijs verk. Uppsatsen är till stor del en exemplifiering av ovanstående teorier samt en klassificering av pjäsens stilistik och tematik. Utöver detta mynnar resultaten även ut i en reflektion kring de använda humorteorierna och hur de kan utvecklas.</p><p> </p><p> </p><p> </p>

<p>This Master´s thesis examines the conceptual ideas of science fiction and science fiction fandom produced in the Swedish fanzine Science Fiction Forum (1960-) between the years 1960 and 1980. Science Fiction Forum was and still is a fanzine published by Skandinavisk Förening för Science Fiction (Scandinavian Science Fiction Club). Both the club and the fanzine are a part of the phenomenon called fandom.</p><p>A fandom is a collective of people called fans who form a community by sharing a special interest in a special object. The fanzine is one of the many material products produced by fans within a certain fandom. Science Fiction Forum and Skandinavisk Förening för Science Fiction were founded in 1959 and are a part of swedish science fiction fandom, where the object of fandom is literary science fiction..</p><p>The primary focus of this thesis is the meta discussion on science fiction and science fiction fandom in Science Fiction Forum. The examination is organized around five different questions; what were the conceptual ideas of science fiction in the fanzine, how was the genre defined by the writers of the fanzine, what were the conceptual ideas of fandom, how did the writers of the fanzine view the status of the genre outside fandom and how did the writers of the fanzine answer the critics of the genre.</p><p>The analysis shows that the discussion on science fiction and fandom in Science Fiction Forum functioned as a way to interpretate and produce meaning to the reading of science fiction and fan identity. The result is supported by other research on fandom, which shows that there is an ongoing discussion between fans within fandom about the reading and understanding of the object of fandom. It is a constant discussion were different interpretations of the object of fandom are revalued and renegotiated.</p>

<p>Vonnegut envisions a plutocratic America where the </p><p>aforementioned periphery has been made obsolete, where a corporate </p><p>oligarchy supersedes the presidency in authority. An example of </p><p>this structure is the absent father of the main character Paul </p><p>Proteus, George Proteus, who was before his death the National </p><p>Industrial, Commercial, Communications, Foodstuffs and Resources </p><p>Director, a position which might have been below the presidency at </p><p>that time , but the scales have tilted towards total domination by </p><p>those who fuel the economy, i.e. the corporations. The </p><p>‘unenlightened’ Shah, spiritual leader of Bratpuhr who is visiting </p><p>America to learn about the great American society, shakes his head </p><p>and calls it “Communism” (21), which it is, with the exception that </p><p>there is no Communist Party. In its place is the oligarchy of the </p><p>corporations which the government allows to prevent inefficiency.</p><p> I argue that the hegemonic masculinity, or the masculinity of the </p><p>patriarchy, provides both motivation and justification for the men </p><p>who are constructing the totalitarian state of Player Piano. I will </p><p>furthermore look at the effects, on both society and the </p><p>individual, of a hegemonic masculinity.</p>

This thesis examines the ways in which cyberpunk science fiction novels and short stories reflect our cultural relation with technology, a series of relationships predicated on the way that corporate control of knowledge industries increased during the 1980s. The document begins by locating the means of corporate control in the increasing de-skilling of knowledge workers, a de-skilling similar to that experienced by craftsworkers in the late 19th century. This process as undertaken by corporations leads to several responses by these workers, making their relationship with technology a complex and ambiguous one - they earn their living using it, but they also find themselves being squeezed out of the core programming tasks that defined the profession in its beginning. This thesis uses theoretical texts by Karl Marx, John Cawelti, and James Beniger to provide a basis for the discussion. This fear of corporate control and the ambiguous relationship with technology that high technology workers experience is reflected in cyberpunk science fiction. In texts by Bruce Gibson, Bruce Sterling, and Greg Bear, the subcultural work of expressing these anxieties is done, with Artificial Intelligences becoming fictional characters who seek different means of finding freedom within this controlling environment. Gibson's Necromancer trilogy describes these cultural anxieties most clearly, as its heroes eventually escape to cyberspace with the help of a liberated Artificial Intelligence. Unfortunately, that cyberspace is physically located on the back of a robot that is endlessly tramping through the wastes of New Jersey, and it is dependent upon the life of the battery strapped to the robot's back. The thesis finishes with a discussion of Donna Haraway's review of the impact of this desire to escape into cyberspace. For Haraway, escape is a deadly fantasy, one that continues to relegate those unable to access cyberspace to the increasingly dystopic physical world. Her view is expressed in texts by several female cyberpunk writers, Gwyneth Jones, Melissa Scott, and Pat Cadigan. The cultural anxieties that these writers illustrate demonstrate our culture's increasingly complex relationship with technology, and also illuminate possible means of future subversion. / Graduation date: 2000

Thesis (M.A.)--Memorial University of Newfoundland, 2005. / Bibliography: leaves 93-102.

<p>Abstract</p><p>Titel: Myter som sanning i ”Battlestar Galactica”</p><p>Författare: Ulf Liedström och Maria Dovgan</p><p>Handledare: Malin Nilsson</p><p>Examinator: Veronica Stoehrel</p><p>Typ av arbete: C-uppsats i Medie- och Kommunikationsvetenskap, 15 hp HT-07</p><p>Plats: Högskolan i Halmstad</p><p>Syfte: Syftet med studien är att ta reda på vilka myter som finns i TV-serien ”Battlestar Galactica” och hur de används för att säga något om vår kontemporära syn på vetenskap, politik och religion.</p><p>Metod: Vi har använt oss av en kvalitativ semiotisk metod med djuppsykologiska teorier av C. G. Jung</p><p>Resultat: Vi har kommit fram till att myter i högsta grad används i serien och att de används för att få tittaren till att reflektera över det nutida samhällets brister och därmed är serien också väldigt samhällskritisk till sin karaktär.</p><p>Nyckelord: Battlestar Galactica, Science Fiction, Semiotik, Roland Barthes, Carl Gustav Jung</p>

This Master´s thesis examines the conceptual ideas of science fiction and science fiction fandom produced in the Swedish fanzine Science Fiction Forum (1960-) between the years 1960 and 1980. Science Fiction Forum was and still is a fanzine published by Skandinavisk Förening för Science Fiction (Scandinavian Science Fiction Club). Both the club and the fanzine are a part of the phenomenon called fandom. A fandom is a collective of people called fans who form a community by sharing a special interest in a special object. The fanzine is one of the many material products produced by fans within a certain fandom. Science Fiction Forum and Skandinavisk Förening för Science Fiction were founded in 1959 and are a part of swedish science fiction fandom, where the object of fandom is literary science fiction.. The primary focus of this thesis is the meta discussion on science fiction and science fiction fandom in Science Fiction Forum. The examination is organized around five different questions; what were the conceptual ideas of science fiction in the fanzine, how was the genre defined by the writers of the fanzine, what were the conceptual ideas of fandom, how did the writers of the fanzine view the status of the genre outside fandom and how did the writers of the fanzine answer the critics of the genre. The analysis shows that the discussion on science fiction and fandom in Science Fiction Forum functioned as a way to interpretate and produce meaning to the reading of science fiction and fan identity. The result is supported by other research on fandom, which shows that there is an ongoing discussion between fans within fandom about the reading and understanding of the object of fandom. It is a constant discussion were different interpretations of the object of fandom are revalued and renegotiated.

Abstract Titel: Myter som sanning i ”Battlestar Galactica” Författare: Ulf Liedström och Maria Dovgan Handledare: Malin Nilsson Examinator: Veronica Stoehrel Typ av arbete: C-uppsats i Medie- och Kommunikationsvetenskap, 15 hp HT-07 Plats: Högskolan i Halmstad Syfte: Syftet med studien är att ta reda på vilka myter som finns i TV-serien ”Battlestar Galactica” och hur de används för att säga något om vår kontemporära syn på vetenskap, politik och religion. Metod: Vi har använt oss av en kvalitativ semiotisk metod med djuppsykologiska teorier av C. G. Jung Resultat: Vi har kommit fram till att myter i högsta grad används i serien och att de används för att få tittaren till att reflektera över det nutida samhällets brister och därmed är serien också väldigt samhällskritisk till sin karaktär. Nyckelord: Battlestar Galactica, Science Fiction, Semiotik, Roland Barthes, Carl Gustav Jung

Vonnegut envisions a plutocratic America where the aforementioned periphery has been made obsolete, where a corporate oligarchy supersedes the presidency in authority. An example of this structure is the absent father of the main character Paul Proteus, George Proteus, who was before his death the National Industrial, Commercial, Communications, Foodstuffs and Resources Director, a position which might have been below the presidency at that time , but the scales have tilted towards total domination by those who fuel the economy, i.e. the corporations. The ‘unenlightened’ Shah, spiritual leader of Bratpuhr who is visiting America to learn about the great American society, shakes his head and calls it “Communism” (21), which it is, with the exception that there is no Communist Party. In its place is the oligarchy of the corporations which the government allows to prevent inefficiency. I argue that the hegemonic masculinity, or the masculinity of the patriarchy, provides both motivation and justification for the men who are constructing the totalitarian state of Player Piano. I will furthermore look at the effects, on both society and the individual, of a hegemonic masculinity.

Cyberpunkgenren definieras som en genre med en uttalad mörk framtidsbild med dystopiska inslag där bioteknik och artificiell intelligens är återkommande inslag och där majoriteten av verken som berör genren utspelar sig på natten. Syftet med denna studie har varit att undersöka om förändringar av det stereotypiska nattelementet som cyberpunkgenren förknippas med anses vara genrebrytande. Förändringen som gjordes var att nattbelysningen byttes ut mot dagsbelysning i en cyberpunkmiljö. För att genomföra detta skapades en stereotypisk cyberpunkmiljö med hjälp av datorgrafik som sedan presenterades i två versioner, en i nattbelysning och en i dagsbelysning. Bilderna visades därefter upp för en informantgrupp som var kunnig inom science fiction och cyberpunkgenren och som därefter fick besvara ett antal frågor under semistrukturerade kvalitativa intervjuer.