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Terminal Visions: The Literature of Last Things
... La majeure partie des fictions apocalyptiques et postapocalyptiques contemporaines désigne une catastrophe séculière, bien que des oeuvres récentes continuent de s'inscrire dans une eschatologie chrétienne, à l'instar de la franchise Left Behind de Tim LaHaye , avec ses 63 romans, ses cinq films et ses quatre jeux vidéo, transpositions fictionnelles de la doctrine chrétienne du dispensationalisme. Claire P. Curtis (2010), à ce propos, distingue l'eschatologie séculièreune expression empruntée à Warren Wagar (1982) -ou l'apocalypse populaire, entendue comme la somme d'« événements finaux désastreux, violents et catastrophiques » (p. 5), et l'apocalypse technique figurant dans les religions judaïques et chrétiennes. ...
Lors d’une conférence prononcée en 1984, Umberto Eco dressait le constat d’un regain d’intérêt pour le Moyen Âge dans la culture occidentale d’alors. Cela reste vrai quatre décennies plus tard et le phénomène teinte un grand nombre de fictions postcatastrophiques dans lesquelles cette période historique est mise à profit pour dépeindre sous un jour dysphorique le retour de la barbarie après la chute de la civilisation telle que nous la connaissons ou, sous un jour euphorique, la possibilité de faire table rase d’une société complexe et chaotique, mais aussi de revoir la manière d’habiter la Terre en prenant pour inspiration un monde réputé simple, ordonné, à l’échelle humaine.
Dans cet essai de mésocritique, Christophe Duret cherche à comprendre le goût pour le Moyen Âge dans la fiction postcatastrophique des deux dernières décennies. Il y voit une réponse à un malaise dans l’habiter contemporain dont on retrouve de nombreux échos dans la littérature, la bande dessinée, le cinéma, les séries télévisées et les jeux vidéo, de Cloud Atlas à The Walking Dead, en passant par The Maze Runner, entre autres œuvres examinées, où sont esquissées des utopies nostalgiques à saveur médiévaliste.
... La majeure partie des fictions apocalyptiques et postapocalyptiques contemporaines désigne une catastrophe séculière, bien que des oeuvres récentes continuent de s'inscrire dans une eschatologie chrétienne, à l'instar de la franchise Left Behind de Tim LaHaye , avec ses 63 romans, ses cinq films et ses quatre jeux vidéo, transpositions fictionnelles de la doctrine chrétienne du dispensationalisme. Claire P. Curtis (2010), à ce propos, distingue l'eschatologie séculièreune expression empruntée à Warren Wagar (1982) -ou l'apocalypse populaire, entendue comme la somme d'« événements finaux désastreux, violents et catastrophiques » (p. 5), et l'apocalypse technique figurant dans les religions judaïques et chrétiennes. ...
Lors d’une conférence prononcée en 1984, Umberto Eco dressait le constat d’un regain d’intérêt pour le Moyen Âge dans la culture occidentale d’alors. Cela reste vrai quatre décennies plus tard et le phénomène teinte un grand nombre de fictions postcatastrophiques dans lesquelles cette période historique est mise à profit pour dépeindre sous un jour dysphorique le retour de la barbarie après la chute de la civilisation telle que nous la connaissons ou, sous un jour euphorique, la possibilité de faire table rase d’une société complexe et chaotique, mais aussi de revoir la manière d’habiter la Terre en prenant pour inspiration un monde réputé simple, ordonné, à l’échelle humaine.
Dans cet essai de mésocritique, Christophe Duret cherche à comprendre le goût pour le Moyen Âge dans la fiction post-catastrophique des deux dernières décennies. Il y voit une réponse à un malaise dans l’habiter contemporain dont on retrouve de nombreux échos dans la littérature, la bande dessinée, le cinéma, les séries télévisées et les jeux vidéo, de Cloud Atlas à The Walking Dead, en passant par The Maze Runner, entre autres œuvres examinées, où sont esquissées des utopies nostalgiques à saveur médiévaliste.
... The neo-Malthusian surge was also reflected in popular culture with an increase in popular characterizations of an ecological doomsday resulting from waste, pollution, or technology (Wagar 1982). ...
This paper critiques the so-called “Green Revolution” as a political myth of averted famine. A “political myth,” among other functions, reflects a narrative structure that characterizes understandings of causality between policy action and outcome. As such, the details of a particular political myth elevate certain policy options (and families of policy options) over others. One important narrative strand of the political myths of the Green Revolution is a story of averted famine: in the 1950s and 1960s, scientists predicted a global crisis to emerge in the 1970s and beyond, created by a rapidly growing global population that would cause global famine as food supplies would not keep up with demand. The narrative posits that an intense period of technological innovation in agricultural productivity led to increasing crop yields which led to more food being produced, and the predicted crisis thus being averted. The fact that the world did not experience a global famine in the 1970s is cited as evidence in support of the narrative. Political myths need not necessarily be supported by evidence, but to the extent that they shape understandings of cause and effect in policymaking, political myths which are not grounded in evidence risk misleading policymakers and the public. We argue a political myth of the Green Revolution focused on averted famine is not well grounded in evidence and thus has potential to mislead to the extent it guides thinking and action related to technological innovation. We recommend an alternative narrative: The Green Evolution, in which sustainable improvements in agricultural productivity did not necessarily avert a global famine, but nonetheless profoundly shaped the modern world. More broadly, we argue that one of the key functions of the practice of technology assessment is to critique and to help create the political myths that preserve an evidence-grounded basis for connecting the cause and effect of policy action and practical outcomes.
The Bachelor thesis comprises of introduction, two chapters, conclusion and reference list.
Actuality of subject, investigation level of the issue, goals and objectives of the study, structure of the thesis are interpreted in the introduction.
The first chapter of the thesis is titled "The History of Science Fiction and Literary Creativity of Brian W. Aldiss" In this part, we have explored genesis of science fiction as a literary genre, its typology and place in English literature in one hand, on the other hand, we have researched the life and literary creativity of Brian W. Aldiss.
The second chapter have been dedicated the elements of science fiction in the novel "Hothouse" that was written by Brian W. Aldiss. In this section, we have also researched the interaction between literary genre and characters in the practice of the novel.
In the end, the results of the research have been summarized.
First emerged as a religious term to designate the end of the world, the idea of apocalypse has evolved into manifold connotations that is associated with any cataclysmic event(s) and case(s) that end(s) up with the complete destruction of the present state with a new beginning. Although it is more often affiliated with the destruction(s) caused by climate crisis and advancements in science and technology, the destruction of a culture through cultural clash(es) between two opposing cultures, namely the East and West, and the results out of these that dehumanise the representatives of the weaker side/East can also be included in the analysis of apocalypse in a broader sense in the context of culture. It is within this focus of interest that E. M. Forster’s masterpiece A Passage to India (1924) has been evaluated as an example for the cultural apocalypse throughout the research, as a result of which the Indians - even their country - is plunged into total apocalypse and become subservient and considered nothing rather than a swine. Controlled under a civil station and isolated from the luxury and comfort the British are free to relish, Indians are drawn as character who are bereft of any freedom and respect from the British in their own land. Thus, the economic and political causes behind the ideology of imperialism that is also intertwined with capitalism in India have been considered as major consequences of the cultural clash that arise as a cultural apocalypse in the lives of native Indians.
Resumen:
En el presente escrito se muestra cómo el cine de las décadas posmodernistas ha plasmado un estado político singular, el de excepción, vinculado en estas películas a la propagación de una pandemia. Como arte popular, el cine ha sido una herramienta potentísima para crear imaginarios en la sociedad del capitalismo avanzado y para influir en lo que los ciudadanos estimen probable de una situación dada. El motivo de la declaración de emergencia, control militar y estado de excepción se ha convertido durante esas décadas en uno de los más utilizados, especialmente en los blockbusters de género fantástico.
Abstract:
In this paper it’s argued how the movies from the postmodernist decades have shown a singular political state, the state of exception, linked in these films to the spread of a pandemic. As a popular art, the cinema has been a powerful tool to create imaginary in the advanced capitalism society and to affect what citizens considerer possible in a given situation. The motif of emergency declaration, military control and state of exception has become during these decades in one of the most used, especially in the fantasy blockbusters.
In Russell Hoban’s Riddley Walker, Riddley enters ‘the woom of Cambry’, the epicentre of the nuclear blast that reduced England to a neolithic state over two thousand years earlier. Walking through the crypt of the devastated cathedral, he experiences a numinous revelation of the power that was at once the apex of civilization’s achievement and the architect of its destruction. Riddley struggles to articulate the sense of annihilation, of absence, he feels: ‘Some times theres mor in the emty paper nor there is when you get the writing down on it. You try and word the big things and they tern ther backs on you’ (Hoban 2002, 161). Riddley finds it difficult to come to terms with the nuclear holocaust that constitutes his primitive society’s point of origin. But his problem is also that of narrative: faced with the empty space that lies at the centre of this apocalypse, Riddley finds that the blank page expresses the totality of the annihilation better than any words could. Riddley’s experience illustrates the extent to which nuclear holocaust resists representation, defies narrative structure and eludes the very words with which we write.
States that numerous commentators have contended that we live in degenerate, degraded, decadent and soon-to-be discontinued times. Arguably a manifestation of “pre-millennial tension”, this eschatological world-view seems to be shared by many marketing theorists, for whom the end of marketing is nigh. Describes the background to the Marketing Eschatology Retreat and outlines six different ways in which marketing and eschatology can be related.
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