Submitted by Marta Toyoda (1144061@mackenzie.br) on 2016-11-28T19:42:28Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Karen Stephanie Melo.pdf: 7297628 bytes, checksum: 1bfe8746a376099ee2c44b1cb271b713 (MD5) / Made available in DSpace on 2016-11-28T19:42:28Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Karen Stephanie Melo.pdf: 7297628 bytes, checksum: 1bfe8746a376099ee2c44b1cb271b713 (MD5) Previous issue date: 2016-02-22 / Science Fiction is popularly known for movies that usually present spaceships, interplanetary travels, futuristic scenarios, and men living with highly advanced technology. However, even before the movies, Science Fiction is a literary genre originated in the beginning of the 20th century, in the United States, in magazines known as pulp fiction. With that, the genre started to develop itself, as magazine fans would give their opinion about the stories and, also, tried to write their own stories. One of these readers has become a great author of the genre and with his short stories he enabled readers to imagine how the world would be if there were robots so smart as human beings. This author, named Isaac Asimov, ended up influencing several other writers, movie directors and TV series producers who would create other very popular stories, such as Star Wars, Star Trek, Terminator, 2001: Space Odyssey, and others. As in Asimov’s short stories, these narratives will always put men before robots, which are sometimes friendly and helpful, and other times are mean and threatening to humans. In light of this, this paper proposes a study of three of Isaac Asimov’s short stories, published in pulp magazines in the 1940s and published as a compilation in the 1950s under the title of I, Robot, and of the movie Artificial Intelligence, directed by Steven Spielberg in 2001. The analysis of the corpus aims to comprehend how the relation between men and machine is established in Science Fiction and what this relation means, both in the 20th century literature and in the contemporary cinema. / A Ficção Científica é popularmente conhecida por filmes que, quase sempre, apresentam espaçonaves, viagens interplanetárias, cenários futurísticos e homens convivendo com tecnologias extremamente avançadas. No entanto, antes mesmo do cinema, a Ficção Científica é um gênero literário que teve sua origem no início do século XX, nos Estados Unidos, em revistas conhecidas como pulp fiction. Com isso, o gênero foi se desenvolvendo conforme os fãs das revistas emitiam suas opiniões sobre as narrativas e, também, se aventuravam em escrever suas próprias histórias. Um dos leitores dessas revistas tornou-se um grande autor do gênero e, com seus contos, levou os leitores a imaginarem como seria o mundo se existissem robôs tão inteligentes quanto os seres humanos. Esse autor, chamado Isaac Asimov, acabou por influenciar diversos outros escritores, diretores de cinema e produtores de séries de TV que viriam a criar outras narrativas bastante populares, como Star Wars, Star Trek, Terminator, 2001: Space Odyssey, entre outros. Assim como nos contos de Asimov, essas narrativas sempre colocam o homem diante da figura de um robô que ora é amigo e auxiliador, ora volta-se contra o ser humano. Diante disso, este trabalho propõe um estudo de três contos de Isaac Asimov, publicados em revistas pulp ao longo da década de 1940 e reunidas em coletânea em 1950 com o título de I, Robot (Eu, Robô) e do filme Artificial Intelligence, dirigido por Steven Spielberg e lançado em 2001. A análise do corpus tem como propósito entender de que modo se estabelecem as relações entre o homem e a máquina e seus sentidos na Ficção Científica, tanto na literatura do início do século XX, quanto no cinema contemporâneo.

This work adopts a feminist perspective to analyse and compare the patriarchal oppression and objectification of humans and robots in the Foundation universe. It analyses the relationships between males and females, between humans from different social and cultural backgrounds, and between humans and robots. The study attempts to capture changes that span a long period and multiple locations, exploring how those changes are triggered by different forms of patriarchal oppression and objectification. This essay concludes that various forms of patriarchal oppression and objectification exist in the beginning but start slowly disintegrating as humanity, guided by robots, move towards a greater goal of establishing a better society.

Uppsatsen beskriver utveckling av medvetandets filosofi i science fiction mellan 1800-talet och mitten av 1900-talet. För analysen används Mary Shelleys Frankenstein och Isaac Asimovs the Bicentennial Man. Utvecklingen i science fiction går parallellt med utveckling inom filosofin. Utvecklingen går mot en fysikalisk lösning på kropp och medvetande problemet med argument från behaviorismen, identitetsteorin, samt funktionalismen.

In 1971, Isaac Asimov observed in humanity, a science-important society. For this he credited the man who had been his editor in the 1940s during the period known as the golden age of American science fiction, John W. Campbell, Jr. Campbell was editor of Astounding Science-Fiction, the magazine that launched both Asimov's career and the golden age, from 1938 until his death in 1971. Campbell and his authors set the foundation for the modern sci-fi, cementing genre distinction by the application of plausible technological speculation. Campbell assumed the science-important society that Asimov found thirty years later, attributing sci-fi ascendance during the golden age a particular compatibility with that cultural context. On another level, sci-fi's compatibility with "science-important" tendencies during the first half of the twentieth-century betrayed a deeper agreement with the social structures that fueled those tendencies and reflected an explication of modernity on capitalist terms. Tethered to an imperative of plausibly extrapolated technology within an American context, sci-fi authors retained the social underpinnings of that context. In this thesis, I perform a textual analysis of stories published in Astounding during the 1940s, following the sci-fi as it grew into a mainstream cultural product. In this, I prioritize not the intentions of authors to advance explicit themes or speculations. Rather, I allow the authors' direction of reader sympathy to suggest the way that favored characterizations advanced ideological bias. Sci-fi authors supported a route to success via individualistic, competitive, and private enterprise. They supported an American capitalistic conveyance of modernity. / Master of Arts

Made available in DSpace on 2016-04-28T14:16:25Z (GMT). No. of bitstreams: 1 CARLOS A LOIOLA DE SOUZA.pdf: 415449 bytes, checksum: d861caf6da8174df5e70f24cd0bc6748 (MD5) Previous issue date: 2006-05-29 / Sci - fi books depending on how they are structured by their authors, might be in our case, the astronomer Carl Sagan, be used as reference texts in Science History by his indisciplinity. The specific case of interplanetary trips, theorized and thought scientificaly and advertised under a sci - fi language in books of Carl Sagan, is what this dissertation talks about.The authors of fiction texts, such as Sagan Arthur Charles Clarke and Issac Asimov, try to found their extrpolate in careful notes of trends that happen in society and science, and develop the ( narration, in Asmov and Clarke´s case ) implication or advertising with rigidity and consistency.On the other hand, part of the futuristic literature would be an important History of Science analysis instrument, for it to be possible of thinking in alternative proposals for a scientific policy and taught which may have a social reach. A kind of experiment or imaginary exercise. In other words, what is studied here, is the relation between sci - fi and science, which talks about interplanetary trips, and how they are explained in Sagan´s books. However, the dissertation, delimitates, in the first instance, must be considered about interplanetary trips, its dissimilation from the 30´s to the 60´s and the adverstising through two of the best sci - fi writers of the twentieth century, whose work was to advertise scientific ideas or Astronautic for a better understanding of the science, its role and the impact of science and technology, in a society which moves really fast, but without many details. After all, as it was a relevant realization of some of these realized fantasies by Carl Sagan´s commitment, initially, with the American industial military complexduring the Cold War against USSR, and after that by NASA.And what we have learned scientifically from the exploration of the Solar Sistem and the nearest planets, in a way that the results of this spacial exploration could be advertised with the help from literature and fiction, in a type of alert about the problems that we will have to face in a near future. At last, the mankind destiny, imagined by Sagan in a kind of manifest advertised by himself in his main books and analysed here for it to be possible to keep its parallelism of contents and trends between sci - fi books and the academic literatureabout the development of science and technology and the destiny of mankind and the individuals that make itself. This is a conclusion that History students having a beginning or complementary graduation in humanities, will be able to find on the shelves of science history, a worthy manifest for an unexpective reflection or for a militancy / Obras de ficção científica podem, dependendo de como estiverem estruturadas por seus autores, em nosso caso, o astrônomo Carl Sagan, ser usadas como textos de referência em História da Ciência por sua interdisciplinaridade. O caso específico das viagens interplanetárias, pensadas e teorizadas cientificamente e divulgadas sob a linguagem da ficção científica nos livros de Carl Sagan, é o de que se ocupa esta dissertação. Os autores de textos de ficção, como os colegas de Sagan Arthur Charles Clarke e Isaac Asimov, procuram, como acontece com textos teóricos acadêmicos, assim como também eram alguns dos textos de Sagan, fundamentar suas extrapolações em observações cuidadosas de tendências em ação na sociedade e na ciência e desenvolver sua (narração, no caso de Asimov e Clarke) implementação ou divulgação com rigor e consistência. Ou seja, parte da literatura futurística seria um instrumento importante de análise de História da Ciência para que esta possa pensar em propostas alternativas para uma política científica e de ensino científico que tenha um alcance social. Uma espécie de experimento ou exercício imaginário. Em outras palavras, o que aqui se estuda é a relação entre ficção científica e ciência que fale das viagens interplanetárias e como elas estão expressas nas obras de Sagan. Portanto, a dissertação delimita o que, em primeiro lugar, deve-se considerar sobre as viagens interplanetárias, sua disseminação nos anos de 1930 a 1960 e sua divulgação através de dois dos melhores escritores de ficção científica do século XX, que se empenharam em divulgar idéias científicas ou de Astronáutica para uma melhor compreensão da ciência, do papel da ciência e do impacto da ciência e tecnologia numa sociedade com uma velocidade em movimento rápido, mas sem muitos detalhes. Depois, como foi a realização primordial de algumas dessas fantasias realizadas pelo envolvimento de Carl Sagan, inicialmente, com o complexo militar industrial dos Estados Unidos da América durante a Guerra Fria com a URSS e depois pela NASA. E o que se aprendeu, cientificamente, com a exploração de nosso sistema solar e de nossos planetas mais próximos, de maneira que esses resultados da exploração espacial pudessem ser divulgados com a ajuda da literatura de ficção em forma de alerta sobre os problemas que teremos de enfrentar num futuro bem próximo. E, por último, o destino da humanidade imaginado por Sagan numa espécie de manifesto divulgado por ele mesmo em seus principais livros e aqui analisado para que se pudesse manter o paralelismo de conteúdo e tendências entre as obras de ficção e a literatura acadêmica sobre o desenvolvimento da ciência e da tecnologia e o destino da humanidade e dos indivíduos que a compõem. Isto nos leva a concluir que o estudante de História da Ciência, tendo uma formação inicial ou complementar em humanidades, poderá encontrar na estante de História da Ciência um valioso manifesto para uma reflexão despretensiosa ou para a militância

Does the individual really matter in the post-modern world, brimming with countless signs and signifiers? My main objective in this writing is to demonstrate how this happens in Verhoeven's films, exploring his central themes and subtext and doing what science fiction does: hold a mirror up to the contemporary world and critique it, asking whether our species' current trajectory is beneficial or hazardous.; Dutch director Paul Verhoeven is a polarizing figure. Although many of his American made films have received considerable praise and financial success, he has been lambasted on countless occasions for his gratuitous use of sex, violence, and contentious symbolism--1995s Showgirls was overwhelmingly dubbed the worst film of all time and 1997s Starship Troopers earned him a reputation as a fascist. Regardless of the controversy surrounding him, his science fiction films are a move beyond the conventions of the big blockbuster science fiction films of the 1980s (E.T. and the Star Wars trilogy are prime examples), revealing a deeper exploration of both sociopolitical issues and the human condition. Much like the novels of Philip K. Dick (and Verhoeven's 1990 film Total Recall--an adaptation of a Dick short story), Verhoeven's science fiction work explores worlds where paranoia is a constant and determining whether an individual maintains any liberty is regularly questionable. In this thesis I am basically exploring issues regarding power. Although I barely bring up the term power in it, I feel it is central. Power is an ambiguous term; are we discussing physical power, state power, objective power, subjective power, or any of the other possible manifestations of the word? The original Anglo-French version of power means "to be able," asking whether it is possible for one to do something. In relation to Verhoeven's science fiction work each demonstrates the limitations placed upon an individual's autonomy, asking are the protagonists capable of independent agency or rather just environmental constructs reflecting the myriad influences surrounding them.