Chasing Eden: Margaret Atwood’s MaddAddam trilogy and the value of reading in a technological age
- Authors: Bosman, Zoë June
- Date: 2020
- Subjects: Atwood, Margaret, 1939- MaddAddam trilogy , Speculative fiction -- History and criticism , Capitalism in literature , Dystopias in literature , Science fiction -- History and criticism , Technology in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/145796 , vital:38467
- Description: This thesis is focussed on Margaret Atwood’s MaddAddam trilogy: Oryx and Crake (2003) The Year of the Flood (2009) and MaddAddam (2013). Detailing Atwood’s own specifications as to why these texts should be categorised as works of speculative fiction, the thesis examines how this literary genre, and Atwood’s MaddAddam trilogy in particular, is uniquely capable of encouraging readers to interrogate critically the socio-economic, environmental, and ethical problems to which she, and the contemporary reader, bear witness in the present technological age. With reference to Atwood’s essays and critical writings, Darko Suvin’s Metamorphoses of Science Fiction, and Wolfgang Iser’s The Act of Reading, this project explores the value of reading speculative fiction and details how Atwood has constructed the fictional, yet plausible, possible future world of her trilogy by extrapolating our current scientific capabilities, environmental challenges, and political configurations to their logical conclusions. It explores the close relationship that exists between the near-future world of Atwood’s texts and the contemporary context from which she has drawn her subject matter, and argues that the trilogy demonstrates graphically the long-term consequences of capitalism, sustainability, and the doctrine of human exceptionalism, which this project, following Yuval Harari, defines as orthodox guiding narratives: fictions that humanity has created, and which structure our perception of reality and guide our behaviour. The project maintains that Atwood’s trilogy presents the reader with a hypothetical future that looks towards and beyond the end of contemporary technological society in order to urge her reader to imagine, and actualize, alternatives to the scenarios that these texts depict. The most significant question Atwood’s texts ask is whether contemporary technological society is willing and able to transform in order to avert the ecological apocalypse that is the logical conclusion to the Anthropocene?
- Full Text:
- Date Issued: 2020
- Authors: Bosman, Zoë June
- Date: 2020
- Subjects: Atwood, Margaret, 1939- MaddAddam trilogy , Speculative fiction -- History and criticism , Capitalism in literature , Dystopias in literature , Science fiction -- History and criticism , Technology in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/145796 , vital:38467
- Description: This thesis is focussed on Margaret Atwood’s MaddAddam trilogy: Oryx and Crake (2003) The Year of the Flood (2009) and MaddAddam (2013). Detailing Atwood’s own specifications as to why these texts should be categorised as works of speculative fiction, the thesis examines how this literary genre, and Atwood’s MaddAddam trilogy in particular, is uniquely capable of encouraging readers to interrogate critically the socio-economic, environmental, and ethical problems to which she, and the contemporary reader, bear witness in the present technological age. With reference to Atwood’s essays and critical writings, Darko Suvin’s Metamorphoses of Science Fiction, and Wolfgang Iser’s The Act of Reading, this project explores the value of reading speculative fiction and details how Atwood has constructed the fictional, yet plausible, possible future world of her trilogy by extrapolating our current scientific capabilities, environmental challenges, and political configurations to their logical conclusions. It explores the close relationship that exists between the near-future world of Atwood’s texts and the contemporary context from which she has drawn her subject matter, and argues that the trilogy demonstrates graphically the long-term consequences of capitalism, sustainability, and the doctrine of human exceptionalism, which this project, following Yuval Harari, defines as orthodox guiding narratives: fictions that humanity has created, and which structure our perception of reality and guide our behaviour. The project maintains that Atwood’s trilogy presents the reader with a hypothetical future that looks towards and beyond the end of contemporary technological society in order to urge her reader to imagine, and actualize, alternatives to the scenarios that these texts depict. The most significant question Atwood’s texts ask is whether contemporary technological society is willing and able to transform in order to avert the ecological apocalypse that is the logical conclusion to the Anthropocene?
- Full Text:
- Date Issued: 2020
“Something past provoked by something to come”: the dystopian complex in selected texts by Lauren Beukes
- Authors: Forrest, Catherine
- Date: 2017
- Subjects: Beukes, Lauren -- Moxyland , Beukes, Lauren -- Zoo City , Dystopias in literature , Science fiction -- History and criticism , South African fiction (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/18604 , vital:22360
- Description: This thesis examines Lauren Beukes’s novels, Moxyland and Zoo City, in relation to spectral theory, a tool of critique which enables an inspection of the author’s fictional societies, by looking at the return of that which has previously been repressed. It will be argued that, by portraying the country’s future imaginaries in a dystopian light, Beukes predicts the dissatisfaction that continues to be felt in the urbanised present as having extended into the near-future. Such discontent results not solely from the country’s history of apartheid and the poverty-stricken period of recovery that has followed, but in the lack of agency found in the future subject. The concerns of this thesis lie with the programmed conditions placed on the societies depicted in Beukes’s novels and the citizens that are made to inhabit these predetermined spaces. Arising from these fixed conditions are spectral subjectivities, protagonists who, having been denied recognition by the hegemonic powers at hand, are made inherently aware of the discourse of othering imposed upon them. Constructed from the writings of Jacques Derrida and contemporary spectral theorists, I present a framework capable of dealing with the popularity of ghosts/spectres, and the propensity for haunting, within post-transitional literature. Spectrality, then, is understood as a conceptual metaphor and a mode of characterisation that Beukes employs in her writing to highlight various inconsistencies about the spectralised subject and the future. By working with a theory capable of blurring the divide between the living and the dead, the self and other, it is possible to read Beukes’s fiction as possessing the potential to destabilise supposedly secure positions on otherness and alterity. Furthermore, it will be argued that, by tracking the spectre’s capacity to haunt and the multiplicity of responses which it invokes, it is possible to conceive of alterity, and the response which it generates, as responsible for determining the conditions for the coming of a radically unknowable and therefore open future.
- Full Text:
- Date Issued: 2017
- Authors: Forrest, Catherine
- Date: 2017
- Subjects: Beukes, Lauren -- Moxyland , Beukes, Lauren -- Zoo City , Dystopias in literature , Science fiction -- History and criticism , South African fiction (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/18604 , vital:22360
- Description: This thesis examines Lauren Beukes’s novels, Moxyland and Zoo City, in relation to spectral theory, a tool of critique which enables an inspection of the author’s fictional societies, by looking at the return of that which has previously been repressed. It will be argued that, by portraying the country’s future imaginaries in a dystopian light, Beukes predicts the dissatisfaction that continues to be felt in the urbanised present as having extended into the near-future. Such discontent results not solely from the country’s history of apartheid and the poverty-stricken period of recovery that has followed, but in the lack of agency found in the future subject. The concerns of this thesis lie with the programmed conditions placed on the societies depicted in Beukes’s novels and the citizens that are made to inhabit these predetermined spaces. Arising from these fixed conditions are spectral subjectivities, protagonists who, having been denied recognition by the hegemonic powers at hand, are made inherently aware of the discourse of othering imposed upon them. Constructed from the writings of Jacques Derrida and contemporary spectral theorists, I present a framework capable of dealing with the popularity of ghosts/spectres, and the propensity for haunting, within post-transitional literature. Spectrality, then, is understood as a conceptual metaphor and a mode of characterisation that Beukes employs in her writing to highlight various inconsistencies about the spectralised subject and the future. By working with a theory capable of blurring the divide between the living and the dead, the self and other, it is possible to read Beukes’s fiction as possessing the potential to destabilise supposedly secure positions on otherness and alterity. Furthermore, it will be argued that, by tracking the spectre’s capacity to haunt and the multiplicity of responses which it invokes, it is possible to conceive of alterity, and the response which it generates, as responsible for determining the conditions for the coming of a radically unknowable and therefore open future.
- Full Text:
- Date Issued: 2017
Pathologies of vision : representations of deviant women and the cyborg body
- Authors: Rheeder, Elle-Sandrah
- Date: 2015
- Subjects: Haraway, Donna Jeanne -- Criticism and interpretation , Deviant behavior in art , Cyborgs in art , Cyborgs in motion pictures , Women in art , Socialist feminism , Hysteria in literature , Hysteria -- History , Science fiction -- History and criticism , Visual communication in art
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2514 , http://hdl.handle.net/10962/d1020319
- Description: This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
- Full Text:
- Date Issued: 2015
- Authors: Rheeder, Elle-Sandrah
- Date: 2015
- Subjects: Haraway, Donna Jeanne -- Criticism and interpretation , Deviant behavior in art , Cyborgs in art , Cyborgs in motion pictures , Women in art , Socialist feminism , Hysteria in literature , Hysteria -- History , Science fiction -- History and criticism , Visual communication in art
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2514 , http://hdl.handle.net/10962/d1020319
- Description: This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
- Full Text:
- Date Issued: 2015
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