En traditionell uppfattning som den humanistiska tolkningen tog över från tidigare tolkningar var att Utopia är att betrakta som Mores egen idealstat, något som innebar att den ursprungliga frågeställningen främst gällde vilken sorts ideal denne strävat efter att beskriva. Som vi senare kommer att se så tycks det dock som att denna bild gradvis har framstått som alltmer problematisk när man väl börjat analysera Utopia som ett verk författat inom en viss historisk och kulturell kontext, varför man började anpassa den för att överensstämma med en ökad kunskap om More och hans samtid. Från att ursprungligen ha betraktas som relativt självklar har således bilden av Utopia som en utopi under 1900-talet kommit att bli föremål för debatt, såväl när det gäller vilken sorts ideal More ville förmedla, i vilken grad han avsåg att göra detta, och till slut också huruvida detta alls var hans avsikt. Ett övergripande syfte med denna uppsats är att studera denna utveckling för att undersöka hur och varför bilden av Utopia som en entydig skildring av ett idealsamhälle kom att förändras när verket studerades under den humanistiska tolkningens premisser. För att klargöra detta förhållande lyfts ett antal läsningar av Utopia inom den humanistiska tolkningen fram för att analyseras. Styrande frågeställningar blir här hur man inom dessa väljer att framställa Mores verk, vilka argument man använder sig av för att befästa denna tolkning och eventuella bakomliggande motiv för dessa, hur man förhåller sig till de problem som uppstår när den traditionella bilden av Utopia möter den humanistiska tolkningens perspektiv, samt hur de olika tolkningarna förhåller sig till varandra. En genomgående tes i denna undersökning blir att förändringen i perspektiv har drivits av en växande insikt om att det utopiska samhällsystemet representerar en moral- och samhällssyn som är oförenlig med de ideal som historiskt kan kopplas till More, och att det är denna motsättning mellan den traditionella bilden av Utopia och den kunskap som uppnåtts genom det tillgängliga historiska materialet som har format diskussionen inom den humanistiska tolkningen, och som har lett den i riktning mot en alltmer ambivalent inställning till Utopia som utopi. Ett sekundärt syfte är att använda slutsatserna från denna undersökning till att analysera hur de förändringar som skett inom den humanistiska tolkningen har kommit att påverka synen på verket som helhet, samt vilka tolkningsmöjligheter de öppnar för. Härigenom öppnas även möjligheten att diskutera Utopia på ett mer abstrakt plan som ett exempel på en av de många klassiska texter som har lästs om omtolkats under lång tid. Genom att betraktas ur detta perspektiv kan frågan om Utopias mening anses belysa en mer allmängiltig frågeställning gällande vår förståelse av historiska texter. På samma sätt avses även forskningen kring Utopia att betraktas ur ett större perspektiv. Tanken är att denna kan lyftas fram som ett exempel på den utveckling som skett inom studiet av historiska texter under 1900-talet, men även på de strukturella förändringar som ständigt pågår inom den vetenskapliga forskningen generellt. Fokus ligger här på den inre dynamik som kan urskiljas i den forskning som utgör studieobjektet, men även på de yttre omständigheter som kan anses ha påverkat den allmänna bilden av Utopia, och därmed även hur man har kommit att betrakta verket.

Providing a new perspective on The Adventures of David Simple and its sequel David Simple: Volume the Last, this thesis reveals the utopian disillusion that causes the collapse of the ideal community in Sarah Fielding¡¦s novels. David Simple idealizes human relationships, but at a price of glossing the weakness in David and his family members that stains their ideal utopia. The problematic feminine utopia and the simulated intention of the utopian leader¡XDavid Simple¡Xgive rise to the ruin of this benevolent community. The thesis consists of five chapters. The first chapter attempts to interpret the novel by emphasizing what it glosses over rather than by celebrating the admirable virtues in the David family; such a skeptical frame of mind with respect to Sarah Fielding¡¦s David Simple is rarely seen. Chapter Two connects Utopianism further with Sarah Fielding¡¦s novels. Sarah Fielding adopts not only the traditions of the utopian genre but also innovates it in David Simple. Some features of it, however, develop utopian disillusions that can hardly be overcome. In the third chapter, we switch our focus to the feminine perspective, reading the novels as a feminine utopia. The ambiguities within their feminine utopia within the utopian community bring on its final failure. Chapter Four investigates the human relationships of the David family, exhibiting the unspoken intentions of the protagonist¡XDavid Simple. Both in The Adventures of David Simple and in Volume the Last, money is an essential instrument for plot movement; David wisely uses money to exchange it for friendship and a new-styled family. We are stunned to find that, what David searches for, however, is not true friendship. He attempts to reconstruct an ideal family by collecting friends. At the end of the novels, David successfully purchases a new family, but he disappoints the expectant readers who shared his adventure for more than nine years in searching for and believing in true friendship. The conclusion of this thesis indicates the need of a suspicious attitude in reading David Simple. Such an attitude does justice to the growing darkness in Fielding¡¦s own vision, and deepens her achievement as a writer.

京都大学 / 新制・課程博士 / 博士(人間・環境学) / 甲第24113号 / 人博第1050号 / 新制||人||246(附属図書館) / 2022||人博||1050(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生人間学専攻 / (主査)教授 廣野 由美子, 教授 桒山 智成, 教授 小島 基洋, 教授 荘中 孝之 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

No description available.

This thesis explores the depictions of the relationship between utopia and ideology by looking at metaphors of the wall in of utopian and dystopian science fiction, such as Ursula K. Le Guin’s The Dispossessed, George Orwell's Nineteen Eighty-Four and the Strugatsky brothers' Roadside Picnic. The wall is an image symbolising the ambiguity between ideology and utopia: the wall could be perceived to be the barrier protecting utopia while it is in fact the symbol for ideological restrictions and containment which are generating dystopia. The thesis looks at how these novels engage with the theme of the wall: it is used as an image altering history, constricting space and as a linguistic barrier. The characters' presence in and experience of the worlds is restricted by the ideological walls, and an alternate reality is created. The thesis looks at how the novels create such alternate, ideological realities and how the wall becomes the entity altering time, history, space and language. This alternate reality is used as an image of stability, but this takes on negative connotations: it becomes a constrictive force, embodying Fredric Jameson's idea that science fiction creates images of “world reduction”, caging the characters' desires, disabling the utopian impulse. The thesis therefore instigates the possibility of utopia: the wall negates all possibility of change and denies the hopes of the utopian impulse; however the characters' desire to regain humanity by destroying the ideological walls offers hope and opens up utopia, thus concluding that utopia is change and progress.

No description available.

O projecto de investigação desenvolvido ao longo desta dissertação pretende colmatar uma lacuna dos estudos morrisianos, concedendo particular ênfase ao tratamento da questão do futuro que, em News from Nowhere, é apostrofado com confiança, enquanto que nas Utopias anteriores da tradição da literatura utópica inglesa é posto entre parêntesis, não constituindo necessariamente um ponto de referência para o projecto utópico. Esta dissertação versa pois sobre a mais relevante transformação detectável na tradição da literatura utópica inglesa: a substituição da utopia pela eucronia, da utopia estática pela utopia dinâmica.

My statement of purpose covers the story I have been writing as well as my journey on how I got to where I am today. The beginning is an introduction to the entirety of my work. From there, it goes into my personal life, and what inspired me to write in the first place. As it is read through, the reader will get hints of harsh times in life, the elements of history, and the inspiration of the literature of video games. With all of these elements combined, it explains the purpose of my writing being closely entwined with dealing with the roughness of situations, and finding a way to bust through despite the disadvantages dealt to someone.

The meaning of this essay is to look at how the narrative strategies, description of character and society differ between the two novels "This Perfect Day" and "Neuromancer". By looking at the different narrative techniques used by the authors and the results we can see why some of these strategies work very well in one novel but would not suit the other because of the contrasts in style it would produce.

This thesis offers an interpretative framework of Italo Calvino’s later work (the cosmicomic stories, Le città invisibili, and Palomar), based on the notions of myth, desire, utopia and science. Its aim is to suggest a reading of these texts as a common literary project best described as being deeply influenced by mythological elements and structures, while clearly bearing the mark of enlightened thought. The study exposes both the intellectual implications of such a project, and the aesthetic mechanisms by which it takes its form. The research was informed by Calvino’s own relevant critical work, a network of secondary criticism approaching either the texts which were of interest to this particular work or the themes and notions that were to be explored, and a set of tertiary texts, which helped to consolidate pivotal notions. The latter include the work of thinkers who had a major influence on Calvino as it is known from his essays and his letters (like Charles Fourier or Giorgio de Santillana), but also other figures, such as Anton Chekhov or Albert Camus, who emerged as interesting comparative opportunities for our study. The analysis of the cosmicomic stories explores the relationship between myth-making and individual responsibility. It draws parallels between intellectual commitment and literary projection, and defines Calvino’s utopian project, including it in a reflection on knowledge, myth and the tyranny of abstract thought. Individual responsibility emerges as a prospective and a retrospective activity, which is explained alongside the idea of ‘poetics in the making’. Le città invisibili is studied as an illustration of Calvino’s precise poetics using the image of the city. The notions of the episode and the frame are the central concepts around which the inquiry is articulated. Discussing the ideas of desire and the search for the ideal, it is possible to draw solid links with the cosmological project of the cosmicomics and Calvino’s idea of utopia and myth. With an examination of characterisation in Palomar and a close analysis of the quest for meaning, this thesis also attempts a definition of Calvino’s aesthetics as the ‘aesthetics of earthly transcendence’. It moves on to a comparative study of Palomar and Le Mythe de Sisyphe by Albert Camus, in order to suggest an interpretation of the main character, as a man who lives and observes his life in the face of the absurd; the literary consequence being the immediate confrontation between writing and death, and the presence of silence threatening understanding and communication.