This dissertation offers an examination of Delany's critical trajectory from structuralism to poststructuralism and postmodernism across a gamut of genres from SF to sword-and-sorcery, pornography, autobiography and literary criticism. Delany's engagement with semiotics, Foucault and deconstruction form the theoretical focus, together with his own theories of how SF functions as a literary genre, and its standing and reception within the greater realm of literature. The impact of Delany as a gay, black SF writer is also examined against the backdrop of his varied output. I have used the term 'dislocation' to describe Delany's tackling of traditional subjects and genres, and opening them up to further possibilities through critical engagement. Lastly, Delany is also examined as a postmodern icon. A frequent participant in his own texts, as well using pseudonyms that have developed into fully-fledged characters, Delany has become a critical signifier in his own work. / English Studies / M. A. (English)

This thesis consists of two parts ? theoretical and practical. The theoretical part is focused on the topics of beautiful book ? i.e. bibliophilia, artist?s book, illustration, and overall literary art. The basis for the practical part of this thesis is figure and work, namely ?The Day of the Triffids? by John Wyndham, as well as meaning and place of science fiction in the world of art. The practical part consists of set of illustrations, a cover design and a typographical solution of the book ?The Day of the Triffids? The aim of this work was to create a book, which could be classified as valuable literature, not only by its contents, but by its appearance as well.

This thesis investigates quantum physics narratives for non-physicists, covering four interlocking modes of writing for adults and children, fictional and nonfictional, from 1900 to the present. It brings together three separate scholarly fields: literature and science, science fiction, and science communication. The thesis has revealed parallels between the approaches to quantum physics in these disparate narratives that have not been addressed before, shedding new light on the mutual influences between science and narrative form. The thesis argues that similar narrative tropes have been employed in popular science writing and in fiction across all age groups, changing non-physicists' ideas of quantum physics. This understanding differs significantly from the professional understanding of quantum physics, as I establish by means of a series of case studies, including popular science books for adults by Alastair I.M. Rae, George Gamow and Robert Gilmore; popularizations for children by Lucy and Stephen Hawking, Russell Stannard, and Otto Fong; children's fiction by Philip Pullman and Madeleine L'Engle; and fiction for adults by Greg Egan, David Walton, Blake Crouch, and Iain Pears. An analysis of authors who wrote for various audiences or in multiple genres, such as Fred Hoyle, Stephen Hawking, and Ian Stewart, shows how the same concerns and conflicts surface in a wide range of stories. Quantum physics is not yet fully understood; the Copenhagen, conscious collapse, many-worlds and other interpretations compete for both scientific and public acceptance. Influential physics communicators such as John Gribbin and Brian Cox have written popularizations in which they express a personal preference for one interpretation, arguing against others. Scientific conflict, which tends to be omitted from university teaching, is thus explicitly present in popularizations, making it clear to the reader that quantum physics is in a constant state of flux. I investigate the conflicts between Fred Hoyle and George Gamow, and Stephen Hawking and Leonard Susskind, to see how they undermine the alleged objectivity of science. The interplay between the different stories of quantum physics shows how the science not only shapes the stories: the stories shape the science, too.

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-02Bitstream added on 2014-06-13T20:13:43Z : No. of bitstreams: 1 alegrette_ay_me_arafcl.pdf: 573460 bytes, checksum: 4e564e7284dc1d936b52f3ee5ff8275f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A dissertação de mestrado, “Frankenstein: uma releitura do mito de criação”, tem como principal objetivo demonstrar como a escritora inglesa Mary Wollstonecraft Shelley, por meio de seu romance Frankenstein, ou o moderno Prometeu (1818), conseguiu criar um novo mito, isto é, o mito de Frankenstein, contribuiu para a renovação do romance gótico e para a criação de uma nova modalidade literária - a ficção científica. No primeiro capítulo foi realizado um estudo sobre as origens, características e principais obras do romance gótico. No segundo capítulo é abordada a relação entre mito e literatura e são analisados quais mitos aparecem no enredo do romance de Mary Shelley, enfatizando-se a importância do relato mítico de Prometeu. No terceiro capítulo é estudada a construção do discurso narrativo mítico de Frankenstein e é demonstrada a intertextualidade dessa obra com outros textos, tais como poemas, romances e estudos filosóficos e científicos. No quarto e último capítulo é demonstrado a releitura do mito de criação feita por Mary Shelley, a conseqüente criação do mito de Frankenstein, e as diversas interpretações e releituras que o romance recebeu, terminando com Blade Runner (O caçador de andróides, 1982), filme do cineasta inglês Ridley Scott que, ao promover a atualização do mito de Frankenstein, deu uma contribuição significativa para sua permanência em nossa cultura / The main aim of this Master’s Thesis, “Frankenstein: a rewriting of the myth of creation, is demonstrate how the English writer Mary Shelley in her novel Frankenstein, or The Modern Prometheus (1818), created a new kind of myth, renewed the gothic novel and gave origin to a new literary genre - science fiction. The first chapter discusses – the origins, characteristics and main works of the Gothic literature. The second chapter explores the relationships between myth and literature, and analyses which myths are present in the plot of Mary Shelley’s novel, stressing the importance of the Promethean’s story. The third chapter is concerned with the construction of mythic narrative discourse and with the novel’s intertextuality with different kind texts, such as poems, another novels and philosophical and scientific studies. The fourth and last chapter concentrates on Mary Shelley’s rewriting of the myth of creation, on the different ways her novel was interpreted and read, and it finishes with study of the film by the English director Ridley Scott, Blade Runner (1982), that offered a major contribution to update and foster the permanence of the Frankenstein’s myth in our culture

Made available in DSpace on 2014-12-17T15:08:31Z (GMT). No. of bitstreams: 1 TheresaCBM_DISSERT.pdf: 1921455 bytes, checksum: b24e8be069a18c10abfe5a27894f7673 (MD5) Previous issue date: 2011-03-30 / This research presents a study that seeks to analyze the images of the future in science fiction movies, specifically those made through animation techniques, exploring particularly the representation of audiovisual communication medias in its dialogue with the approached societies in the movies chosen to be analyzed. The proposed discussion seeks approximations in order to answer to the question that initiated this research: how are we thinking the future nowadays? It also seeks to, according to Morin (1997), comprehend aspects of the contemporary society by using the cinema, and at the same time, to understand the cinema, aided by a social analysis / Essa pesquisa apresenta um estudo que objetiva analisar as imagens do futuro em obras de fic??o cient?fica do cinema de anima??o explorando a tem?tica espec?fica da representa??o das m?dias de comunica??o audiovisuais em seu di?logo com as sociedades retratadas nos filmes escolhidos para an?lise. A discuss?o proposta busca aproxima??es para responder ? pergunta que deu in?cio a esta pesquisa: como, nos dias de hoje, estamos pensando o futuro? Pretende tamb?m, pautada nas discuss?es propostas por Morin (1997), compreender aspectos da sociedade contempor?nea com a ajuda do cinema e, ao mesmo tempo, compreender o cinema, auxiliada por uma an?lise social

O objetivo deste estudo é fornecer uma análise dos dois principais movimentos dentro da ficção científica em língua inglesa vinculados ao pós-modernismo, a New Wave da década de 1960 e o Movimento Cyberpunk da década de 1980, estabelecendo comparações com a produção de ficção científica do mesmo período, dentro das Primeira e Segunda Ondas da Ficção Científica Brasileira. Questões de política literária serão sempre evocadas, como maneira de relativizar o peso teórico das discussões, tentando estabelecer que intenções, procedimentos e programas literários existem inseridos em contextos pessoais, sociais e mesmo nacionais. Essa abordagem é amparada pelo conceito do Campo de Poder, do sociólogo francês Pierre Bourdieu (1930-2002), e de diversos intérpretes de suas idéias. A partir dos trabalhos de críticos e teóricos como Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau e Robert Scholes, este trabalho propõe que a ficção científica, como gênero literário de raízes populares, é capaz de exercer o papel de uma literatura que faz a crítica da modernidade, sem recorrer necessariamente aos aspectos formais associados à literatura pós-modernista, incluindo o texto fragmentário, a mistura de gêneros e códigos literários. A pesquisa conduz a uma reflexão a respeito da situação da ficção de gênero vis-à-vis a predileção da ficção pós-modernista pela metaficção e pelo experimentalismo. / The objective of this study is to provide an analysis of the two main literary movements in English-written science fiction associated to postmodernism, the New Wave of the 1960s and the Cyberpunk Movement of the 1980s, establishing comparisons with science fictional production of the same periods in the First and Second Waves of Brazilian science fiction. Issues of literary politics will be constantly considered, as a way to relativize the theoretical charge of the arguments, trying to establish that intentions, proceedings, and literary programs exist inserted in personal, social, and even national contexts. This approach is supported by the French sociologist Pierre Bourdieus concept of Field of Power, and also by a number of readers of his ideas. Taking from the works of critics and theoreticians such as Clive Bloom, Scott McCracken, Ken Gelder, Michel de Certeau, and Robert Scholes, this work claims that science fiction as a literary genre of popular roots can play out the role of a literature that performs a criticism of modernity without relying on those formal aspects associated with postmodernist literature, including fragmentary prose and the mixing of genres and literary codes. The research leads to a reflection concerning the situation of genre fiction vis-à-vis postmodernist fictions propensity for metafiction and experimentalism.

Submitted by Miriam Lucas (miriam.lucas@unioeste.br) on 2018-05-17T17:52:17Z No. of bitstreams: 2 Jefferson_Jonathan_Santos_2018.pdf: 1149885 bytes, checksum: 5de4760a0c13254f8b1c28debae0f17e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-17T17:52:17Z (GMT). No. of bitstreams: 2 Jefferson_Jonathan_Santos_2018.pdf: 1149885 bytes, checksum: 5de4760a0c13254f8b1c28debae0f17e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The relationship between a work of fiction and empirical reality is much more intense than is sometimes thought. A work of science fiction can portray, for example, in a symbolic way, subjects of the reader's daily life. Thus, we talk about science fiction as a writing of ideological power and its ability to reflect social and political issues, for example, discussing about our world without representing it directly, but through artifice such as time travel and parallel universes. Thus, our general objective is to evidence the commonly unrecognized depth of the genre "science fiction" through the study of The Man in the High Castle, by Dick (2012), as well as The Grasshopper Lies Heavy, a meta-fiction book present within the work of Dick (2012), evaluating its relations with the reality observed outside the work of fiction, and the different reactions of its readers and the reasons why. In making use of the methodological tools of Literary Theory and interdisciplinary dialogue, we first contemplate the study of fiction, with authors such as Eco (1994), Perrone-Moisés (2006) and Wood (2011), and science fiction, with Jameson (2005) and Roberts (2002), as well as the biography of Dick, to present then the novel The Man in the High Castle. Then, a historical study of World War II, based on Fidelis and Rito (2011) and Fiorani (2009), showing its relevance to the construction of the work of fiction, and enter into discussions of society, culture and borders in the work of Dick (2012). Later, we study two works of literature in The Man in the High Castle, which are the I Ching, a real book, and The Grasshopper Lies Heavy, a fictitious book, to evaluate the reactions of the readers of this second work according to their national and ideological differences. Finally, we observe a last novum in Dick's work (2012), which expresses once more the possibilities of the genre of science fiction. / A relação existente entre uma obra de ficção e a realidade empírica é muito mais intensa do que às vezes se pensa. Uma obra de ficção científica pode, por exemplo, retratar, de forma simbólica, temas do cotidiano do leitor. Desse modo, falamos sobre a ficção científica como escrita de poder ideológico e sua capacidade de refletir temas sociais e políticos, por exemplo, tratando a respeito de nosso mundo sem representá-lo diretamente, mas através de artifícios como a viagem no tempo e os universos paralelos. Assim, nosso objetivo geral é evidenciar a profundidade comumente não reconhecida do gênero “ficção científica”, através do estudo tanto de O Homem do Castelo Alto, de Dick (2012), quanto de O Gafanhoto Torna-se Pesado, um metalivro de ficção científica presente dentro da obra de Dick (2012), avaliando suas relações com a realidade observada fora da obra de ficção, e as diferentes reações de seus leitores e porquês. Ao fazer uso das ferramentas metodológicas da Teoria Literária e do diálogo interdisciplinar, primeiramente contemplamos o estudo sobre ficção, com autores como Eco (1994), Perrone-Moisés (2006) e Wood (2011), e ficção científica, com Jameson (2005) e Roberts (2002), bem como a biografia de Dick, para então apresentarmos o romance O Homem do Castelo Alto. Em seguida, um estudo histórico da Segunda Guerra Mundial, a partir de Fidelis e Rito (2011) e Fiorani (2009), evidenciando sua relevância para a construção da obra de ficção, e adentramos em discussões de sociedade, cultura e fronteiras na obra de Dick (2012). Depois, estudamos duas obras da literatura dentro de O Homem do Castelo Alto, sendo elas o I Ching, livro real, e O Gafanhoto Torna-se Pesado, livro fictício, para avaliar as reações dos leitores dessa segunda obra de acordo com suas diferenças nacionais e ideológicas. Por fim, observamos um último novum na obra de Dick (2012) que, por sua vez, expressa novamente as possibilidades do gênero de ficção científica.

Primo Levi (1919-1987), de origem judaica, antifascista e químico de formação, passa quase um ano de sua vida como prisioneiro em um dos campos de concentração de Auschwitz. Preso como partigiano, deportado como judeu, e sobrevivente por acaso, Levi faz daquela experiência, através da necessidade de narrar, o ponto de partida de sua literatura. Seu percurso parte da literatura de testemunho, matéria de suas duas primeiras obras, Se questo è un uomo e La tregua. Porém, sua grande vocação narrativa faz com que cultive os mais diversos gêneros ao longo de sua carreira, indo desde a autobiografia, até a poesia, o romance e os contos fantásticos e de ficção científica. A análise da obra literária de Levi, obrigatoriamente, deve considerar dois aspectos, que estão na gênese e na construção de seus escritos: o primeiro é a origem de sua literatura, nascida da experiência como prisioneiro e da observação daquele universo e que dele nunca se desprendeu; o segundo é a sua formação, pois, como químico, o olhar que dirigia ao mundo era determinado pelos preceitos da ciência que escolheu, e pela qual era apaixonado. Assim sendo, pretendemos analisar a literatura de Levi a partir da relação que ela estabelece com a ciência, com a técnica e com a tecnologia, partindo de seu livro de estreia, no qual o olhar do cientista permitiu definir o Lager como um grande experimento biológico e social. As referências para a análise serão os dois primeiros volumes de contos, que se ligam à tradição do fantástico e da ficção científica Storie naturali e Vizio di forma e os dois livros da década de 70, que apresentam a técnica e o trabalho como símbolos de liberdade: Il sistema periodico, obra na qual a química, os químicos e o seu trabalho são protagonistas; e La chiave a stella, que apresenta a exaltação do trabalho liberatório, portador de satisfação e felicidade. Dessa forma, demonstraremos que nenhuma página da literatura de Primo Levi está dissociada de sua experiência como deportado ou de sua formação científica, e isso influencia diretamente o seu estilo, transformando-o em um dos principais representantes, na literatura universal, da relação entre as duas culturas, como também em um dos principais prosadores da segunda metade do século XX. / Primo Levi (1919-1987), of Jewish origin, anti-fascist and chemist of formation, passes nearly a year of his life as a prisoner at the Auschwitz concentration camp. Captured as partigiano, deported as Jew, and survivor by chance, Levi makes that experience, through the need of narrating, the starting point of his literature. His pathway starts from the testimonial literature, subject of his first two works, Se questo è un uomo and La tregua. However, his narrative vocation makes him cultivate the most diverse genres throughout his career, from autobiography to poetry, romance, fantastic tales and science fiction. The analysis of the literary work of Levi, mandatorily, must consider two aspects that are on the genesis and construction of his writings: the first one is the origin of his literature, born from his experience as prisoner and from the observation of that universe - and from which he never came off; the second one is his formation, since, as a chemist, the way he looked at the world was determined by the precepts of the science he chose, and to which he was passionate. Therefore, we intend to analyze Levis literature from the relationship it establishes with science, technique and technology, starting from his debut book, in which the look of the scientist allows to define the Lager as a great biological and social experiment. The references for this analysis will be the first two volumes of short stories, that bind to the tradition of fantastic and science fiction Storie naturali and Vizio di forma and the two books of the 70s, that present technique and work as symbols of freedom: Il sistema periodico, work in which chemistry, chemists and their work are protagonists; and La chiave a stella, that presents the exaltation of liberatory work, promoter of satisfaction and happiness. Thus, we will demonstrate that any page of Primo Levis literature is dissociated from his experience as deported or his scientific training, and it directly influences his style, transforming it into one of the leading representatives in world literature, from the relationship between \"the two cultures \", as well as one of the major prose writers of the second half of the 20th century.

O trabalho tem como objeto de estudo o volume de contos As Noites Marcianas (1960), de Fausto Cunha. Os contos serão lidos como uma tentativa de abordar, no plano estético, tensões entre a produção literária acolhida pelo cânone e a que não o é. Há o interesse de abordar a própria categorização genérica que cabe à obra como uma forma de alteridade, às margens da literatura oficialmente aceita como tal. No intuito de avaliar a opção por uma filiação genérica à ficção científica em contos que, tematicamente, parecem voltar um olhar negativo à uniformização do indivíduo conforme promovida pelas forças dominantes, o trabalho se ampara em proposições de Darko Suvin acerca do potencial subversivo da ficção científica e da cooptação pela indústria cultural de manifestações literárias a princípio passíveis de questionar os parâmetros da literatura oficialmente endossada. O conceito de alteridade é, no trabalho, discutido em relação com o familiarmente estranho, o efeito de unheimlich proposto por Sigmund Freud. À luz de proposições de Florestan Fernandes em Mudanças Sociais no Brasil, será avaliado o olhar que os contos, tanto internamente quanto no contexto de produção e recepção, voltam às instâncias conservadoras e às forças que procuram subvertê-las. / This work focuses on the anthology As Noites Marcianas (1960), by Fausto Cunha. The short stories will be read as an attempt to deal with, in the aesthetic dimension, tensions between the literary works acknowledged by the literary canon and those which are not. There\'s interest in addressing the generic categorization that fits the anthology as a form of alterity, on the margins of the literature officially accepted as such. To evaluate the option for a genre filiation to science fiction in short-stories that, thematically, seem to cast a negative look to the uniformization of the individual as promoted by the dominant forces, this work uses propositions by Darko Suvin about the subversive potential of the science fiction and about the co-optation by the cultural industry of literary manifestations originally capable of questioning the parametres of the officially endorsed literature. The concept of otherness will be discussed in connection with the familiarly strange, the unheimlich effect proposed by Sigmund Freud. In the light of propositions by Florestan Fernandes in Mudanças Sociais no Brasil, the work will evaluate how As Noites Marcianas deals with conservative instances as well as the forces which try to subvert them.

"I Have Dreamed a Dream..." is an analysis of the three short stories "Mr Skelmersdale in Fairyland", "The Door in the Wall" and "A Dream of Armageddon" by H.G. Wells. The essay makes a comparison of the three short stories from the perspectives of the dreamland, the inner struggle of the protagonist and the message of the story. The purpose is to show that the three seemingly similar short stories have different outcomes and deliver different messages to the reader. The essay finally presents a theory of how these messages coincide despite their differences. / "Jag har drömt en dröm..." är en analys av de tre novellerna "Mr Skelmersdale in Fairyland", "The Door in the Wall" och "A Dream of Armageddon" av H.G. Wells. Uppsatsen gör en jämförelse av de tre novellerna utifrån tre perspektiv: drömvärlden, huvudpersonens inre kamp och historiens budskap. Syftet är att visa hur de tre till synes lika novellerna har olika resultat och presenterar olika budskap till läsaren. Uppsatsen framför slutligen en teori för hur dessa budskap överensstämmer trots sina olikheter.