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I apply enchantment theory to William Gibson's Neuromancer and several works by the Japanese SF author Masaki Goro to reveal shared assumptions about Japan as the locus of an emergent techno-social hybridity. Both Gibson and Masaki register signs of widespread disenchantment stemming from an increasingly technologically advanced society with a ruthlessly efficient take on capitalism. However, they mobilize their portrayals to different ends. I demonstrate that the authors diverge in their assessments of a technologically-mediated reenchantment. I also argue that the authors' use of conventions from hard-boiled fiction performs several functions. First, it ironically highlights the impossibility of nostalgia in such a future world, where the concept of home is divested of stability. Second, it evinces an anxiety over the transition from individualistic subjectivity to decentered posthumanity. Third, it reinforces the theme of the supplantation of the traditional nation-state by hyper-capitalist forms.

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Since William Gibson includes a Rastafarian Enclave and a theological compass in <i>Neuromancer</i>, this can be used to examine the troublesome natures of the two Artificial Intelligences, Wintermute and Neuromancer. The Rastafarian's beliefs and interpretations of Babylon and Zion, the oppressors and the liberated, add political significance to the Tessier-Ashpool's and their enslaved Artificial Intelligences. Since the Artificial Intelligences are both created of Babylon the Tessier-Ashpools and also wanting to be free of them, they are something outside of both. In the Artificial Intelligences, then, Gibson collapses the straightforward dichotomy of Babylon and Zion.

Since William Gibson includes a Rastafarian Enclave and a theological compass in <i>Neuromancer</i>, this can be used to examine the troublesome natures of the two Artificial Intelligences, Wintermute and Neuromancer. The Rastafarian's beliefs and interpretations of Babylon and Zion, the oppressors and the liberated, add political significance to the Tessier-Ashpool's and their enslaved Artificial Intelligences. Since the Artificial Intelligences are both created of Babylon the Tessier-Ashpools and also wanting to be free of them, they are something outside of both. In the Artificial Intelligences, then, Gibson collapses the straightforward dichotomy of Babylon and Zion.

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.

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.