Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Trans/Post-humanist Poetics in Jeanette Winterson’s The Stone Gods

100%
Podgajna P.
Roczniki Humanistyczne
|
2018
|
vol. 66
|
issue 11: Anglica. Zeszyt specjalny
87-97
EN
Among various philosophical and cultural paradigms, it is transhumanism and posthumanism that increasingly foreground the impact of technological and bioscientific advancements on the concept of mankind. Although conceptually divergent, these two theoretical approaches serve to convey respectively utopian and dystopian tensions in Jeanette Winterson’s novel The Stone Gods (2007) in which technology is presented both as a tool of progress and destruction. Scrutinizing the interplay between the transhumanist and posthumanist poetics, the aim of this paper is to analyze the role of technology in reconfigurating the traditional idea of the human. By projecting a dystopian vision of excessive technological advancements, Winterson not only foregrounds the issue of dehumanization in a post-anthropocentric world, but she also implies a possibility of redemption through a new form of human/non-human connectedness, which constitutes a post-postmodern turn in her novel.
PL
Pośród licznych paradygmatów filozoficznych oraz kulturowych, teoria transhumanizmu oraz posthumanizmu znacząco uwypukla wpływ postępu technologicznego na pojęcie człowieczeństwa. Chociaż rozbieżne konceptualnie, te dwa podejścia teoretyczne służą odpowiednio do zarysowania utopijnego oraz dystopijnego modelu świata w powieści Jeanette Winterson’s The Stone Gods (2007), w której technologia prowadzi zarówno do postępu jak i do destrukcji. Rozpoczynająca się od ukazania zaawansowanej technologicznie planety Orbus powieść Winterson stopniowo projektuje obraz świata na skraju ekologicznej katastrofy, w którym odczłowieczone społeczeństwo obsesyjnie poddaje się manipulacjom genetycznym. Bazując na poetyce transhumanizmu oraz posthumanizmu, praca omawia wpływ technologii na tradycyjne pojęcie kategorii człowieka. W swojej dystopijnej wizji technicyzacji świata oraz ludzkiej egzystencji, Winterson nie tylko ukazuje postępującą dehumanizację społeczeństwa, ale jednocześnie w posthumanistycznej formie relacji między ludźmi i maszynami upatruje możliwości uniknięcia katastrofy gatunku ludzkiego.
2
Publication available in full text mode
Content available

Between reality and simulation – dissolving generic boundaries in Jonathan Lethem’s Chronic City (2009)

100%
Podgajna P.
Lublin Studies in Modern Languages and Literature
|
2018
|
vol. 42
|
issue 2
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
In their attempt to reflect the increasing sense of unreality and media-saturated culture, many contemporary writers show a particular penchant for blurring the boundaries between different generic territories. However, rather than employing typically postmodern subversive practices and metanarrative games in their appropriation of popular genres, post-postmodern writers tend to treat them with more appreciation and respectability, by recognising their potential in expanding new literary possibilities and reflecting the complexities of contemporary existence. Analyzing the overlapping between the mimetic and the fantastic elements inscribed in the urban representation of New York in Chronic City, the main aim of this paper is to demonstrate that Lethem’s incorporation of the supernatural into a seemingly realistic urban fiction serves not only to foreground ontological instability of the projected world, but also as a world-building practice designed to dissolve generic boundaries so as to subvert the role of genre in the meaning-making process.
FR
Le numéro contient uniquement les résumés en anglais.
RU
Том содержит аннотаций на английском языке.
3
Content available remote

BETWEEN THE WASTE LAND AND NO PLACE: CHRISTOPHER NOLAN’S FUTURISTIC DYSTOPIA INTERSTELLAR (2014)

100%
Podgajna P.
Studia Humanistyczne AGH
|
2016
|
vol. 15
|
issue 2
EN
Since the 1990s the number of dystopian films projecting apocalyptic visions of global catastrophe and dra- matizing an ecological agenda has radically increased. Much of this trend is inspired by anxieties about the future repercussions of today’s actions and the collective responsibility for the future of our planet. One film that aptly represents this category is Christopher Nolan’s futuristic dystopia Interstellar (2014). Blending ge- neric conventions of space-travel, science-fiction and moral fable, the film, with its bleak vision of ecological disaster, social unrest, and economic decline, clearly evokes the dystopian paradigm in which the projected reality is perceived as significantly worse than the here and now (sensu Sargent 1994:5). However, contrary to many dystopias offering nihilistic or anti-utopian denouements, Christopher Nolan’s apocalyptic vision clearly posits a progressive and definite possibility of utopian impulse, which is encapsulated by the final resolution of the global catastrophe. The core of the argument is that the neutralization of the dystopian impulse and the resulting projection of the utopian vision are facilitated by the imposition of an interstitial space constructed in the vein of postmodern poetics: an ambiguous fifth dimensional library, in which books perform a two-fold function. While intratextually, they serve as a catalyst between the tangibly dystopian present and the possibly utopian future, extratextually, they function as a universal mode of communication transcending the constraints of time and space. 
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.