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Ymchwil i Gymru Fydd: Datblygiad a Delweddau Ffuglen Wyddonol yn y Gymraeg
Abstract
Eir ati yn y ddoethuriaeth hon i gyflwyno ffuglen wyddonol drwy gyfrwng y Gymraeg fel
pwnc i’w astudio’n academaidd. Dadansoddir datblygiad y genre yn y Gymraeg, gan
edrych ar y datblygiad hwnnw yng nghyd-destun llenyddiaeth Gymraeg ac yng nghyddestun llenyddiaeth ffuglen wyddonol yn fyd-eang. Yn y bennod gyntaf, cwestiynir pam nad oes yna drafodaethau academaidd yn trafod ffuglen wyddonol yn y Gymraeg eisoes ac ymdrechir i ddiffinio’r genre gan edrych ar waith beirniaid llenyddol sy’n arbenigo yn y maes. Yn y tair pennod ganlynol, archwilir delweddau a themâu ffuglen wyddonol drwy gyfrwng y Gymraeg dan chwyddwydr y damcaniaethau llenyddol canlynol: strwythurol, ôl-strwythurol, ôl-drefedigaethol a ffeminyddol.
Yr hyn a ddaw i’r amlwg yw’r cysyniad o Aralledd (Otherness) sy’n clymu’r gweithiau oll
ynghyd. Trafodir yr Arall o sawl persbectif gwahanol, gan sylwi ar genre ffuglen wyddonol
fel Arall yn y cyd-destun llenyddol Cymraeg. Ynghyd â hynny, sylwn fod ffuglen wyddonol
fel genre yn cynnig cyfle i lenorion o gefndiroedd ac o gyfnodau amrywiol (gyda’r cynharaf
o’r gweithiau a ddarganfyddwyd yn dyddio o 1856) i draethu am eu presennol a chynnig
mewnwelediad o safbwynt dieithr. Cyflwynir ffuglen wyddonol felly fel genre sy’n cynnig
gofod newydd a chyfle arbennig i awduron sy’n llenydda ‘o’r ymylon’.
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Cities are the typical settings for science-fiction films, often as much part of the action as the actors themselves. This article explores the nature and meaning of the urban environments depicted in such films. The first section outlines the context of the city in science-fiction film and the second draws on films from 75 years of cinema history to identify the key urban prototypes that appear. The third section stresses the influence that traditional polarities between town and country exert on science-fiction representations of the city. The conclusion recognises the note of warning found in science-fiction film, considering the implications of the exploitation, environmental degradation and violence that stalk the cinematic city.
Seminal essay on Afrofuturism, in which the term is coined and theorized in depth.
There is a wealth of literature on "Star Trek", and this book is a welcome and original contribution to it. The book not only sets "Star Trek" in dialogue with ideas and stories of utopia, community, self-improvement, that are central to American culture and history, but goes further to examine the ways in which these are taken up and used by 'ordinary' fans, who engage with "Star Trek" in complex and significant ways. Lincoln Geraghty explores, for example, "Star Trek's" multiple histories and how "Star Trek" has used the Puritan American Jeremiad, one of the nation's foundational texts to create a narrative that relates how through communal effort and personal change, utopia can be achieved. He discusses how fans define the series as a blueprint for the solution of such social problems in America as racism and war and shows how they have used the series to cope with personal trauma and relate to such characters as Data and Seven of Nine in moments of personal transformation. This is all in all an enjoyable and revealing book on "Star Trek's" active relationship with its many thoughtful fans.
One of the most innovative and interesting areas of contemporary literary production is feminist genre fiction - the feminist appropriation of the generic 'popular' literary forms, including science fiction, fantasy, utopian fiction, detective fiction and romance. This is genre fiction written frJPl a self-consciously feminist perspective, consciously encoding an ideology which is in direct opposition to the dominant gender ideology of Western society, patriarchal ideology. Not all women writers are feminist writers. Many writers work conscientiously within the dominant ideologies of gender, race and class; after all, that is the best way to make a living (Lovell, 1987 (A) f - and it does not preclude the expression of oppositional views within their texts, even if one suspects that these views are effectively subsumed by the conservatism which colours the text as a whole. The fiction in which I am interested here, however, does not admit this compromise.
In his discussion of power, Foucault establishes a new, interpretation that challenges the typical view of power as a possession held by certain people and groups in a society. Foucault argues that it is the set of force relations that constitute a perpetual struggle among people as well as the strategies that people employ as they attempt to control the behavior of others. This differs from previous views of power in that it sees power as existing everywhere and deriving from everywhere. No person holds power. Rather, power is expressed in relationships between people. Related to this view is Foucault's argument that resistance is inextricably linked with power and also exists everywhere. No single point of power or resistance can be found. Each point at where power is exercised also reveals a point of resistance. Power is also intimately connected with discourse because discourse becomes a mechanism of power. Not only is discourse both an instrument and an effect of power, but discourse can serve both to liberate and oppress.
Diweddariad golygedig o erthygl a gyhoeddwyd yn wreiddiol yn Dwned yn 1995.
An edited book, comprising ten individual articles defining Prof Hywel Teifi Edward's contribution to the development of drama and theatre in twentieth century Wales. Two 8000 word contribution by editor, Anwen Jones.
Ystyried yr ymdeimlad o golled mewn llenyddiaeth Gymraeg rhwng y ddeunawfed ganrif a'r unfed ganrif ar hugain
Bwriad yr astudiaeth hon yw taenu goleuni newydd ar farddoniaeth Christine James, ffigur cyhoeddus nad yw ei gwaith wedi derbyn rhyw lawer o sylw beirniadol cyn hyn, er ei bod fel unigolyn wedi ei serio ar yr ymwybod cenedlaethol drwy ei swyddogaeth fel Archdderwydd Gorsedd y Beirdd. Dadleuir bod gwaith y bardd yn dangos crefft a dawn arbennig, a cheisir codi ymwybyddiaeth o dreiddgarwch y cerddi gan ganolbwyntio ar dair thema benodol: ffeminyddiaeth, ecffrasis ac aralledd. Ystyria?r bennod gyntaf gyd-destun hanesyddol beirdd benywaidd yng Nghymru, gan edrych ar y datblygiadau a fu mewn barddoniaeth gan ferched yn ystod yr ugeinfed ganrif a lle Christine James yn y canon hwn. Eir ymlaen yn ail ran y bennod i gynnig dadansoddiad ffeminyddol o?i cherddi, gan fanylu ar y defnydd o ?criture feminine a ddefnyddir ganddi, yn ogystal ? phenderfynu a oes llinyn cyswllt rhwng y merched sy?n cael sylw yn y gwaith. Yn yr ail bennod, trafodir ei barddoniaeth ecffrastig. Ystyrir i ddechrau y canu ecffrastig a gafwyd eisoes yn Gymraeg, cyn mynd ati i drafod lle Christine James yn y traddodiad hwn, a sut y mae ei hymdriniaeth yn wahanol i eiddo?i rhagflaenwyr. Yn y drydedd bennod, ystyrir yr ystrydeb o fardd Cymraeg traddodiadol, ac edrychir ar le Christine James yn yr olyniaeth mewn perthynas ? hyn. Erbyn diwedd y bennod, dadansoddir y gwahanol weddau ar aralledd a geir yn ei gwaith.
Preface Definitions Science Fiction and the Ancient Novel Interlude: AD400 - AD1600 Seventeenth-Century Science Fiction Eighteenth-Century Science Fiction Early Nineteenth-Century Science Fiction Science Fiction 1850 - 1900 Jules Verne and H.G. Wells The Early Twentieth-Century: High Modernist Science Fiction Golden Age Science Fiction: 1940-1960 The Impact of New Wave Science Fiction: 1960s - 1970s Science Fiction Screen Media 1960s - 2000: Hollywood Cinema and TV Prose Science Fiction: 1970s - 1990s Late Twentieth Century SF: Multimedia, Visual Science Fiction and Others Postscript: Twenty-First-Century Science Fiction Chronology of Key Titles in Science Fiction and Developments in Science Notes Further Reading Index
Cult archaeology and professional reactions are of interest for at least four reasons: (1) their general cultural significance, from their political and economic to their symbolic meanings; (2) their direct effect on professional archaeology; (3) their contribution to a better understanding of the similar and different natures of knowing in science and religion, the meaning of meaning in different contexts, systems and audiences, (4) their contribution to a clearer understanding of the sciencing process by reference to what it is not. Similar to more traditional cults, some cult archaeologies attempt to give meaning and not just explanation to being human, and they are often steeped in symbolism and ritual activity. They are self-consciously eclectic or syncretistic, recombining extant cultural forms into new shapes that nevertheless fit recognizable patterns. Cult membership is fluid and interchangeable. People drift in and out, and frequently overlap with other cults, even though few probably adopt every cult archaeology as simultaneously as Jeffrey Goodman would seem to wish. Professional archaeologists may be eclectic but do not move very easily between theoretical and topical extremes, opposing paradigms, and organizations, however open-minded or holistic they may be. This chapter discusses some perceived issues that may or may not represent majority opinion highlighting the significance of relationships between cult archaeology and professional archaeology.
In this comprehensive study, Williamson traces the literary history of the fantasy genre from the eighteenth century to its coalescence following the success of Tolkien's work in the 1960s. While some studies have engaged with related material, there has been no extended study specifically exploring the roots of this now beloved genre.
Dafydd Iwan, the current President of the Welsh nationalist party, Plaid Cymru, has been a key figure in the significant renewal of national identity Wales has witnessed since the 1960s. While his contribution has been many-faceted, it is arguably as a singer-songwriter that he has been most influential. A master of satirical, political song, his work is a complex plethora of indigenous Welsh and Anglo-American influences, which can only be fully appreciated by being placed in the context of the preservation and modernization of Welsh culture on the one hand, and of the post-war folk revival and the international rights and justice movement of the 1960s on the other. Although not well-knonn outside Wales, Dafydd Iwan is a figure of international signficance, both as an embodiment in a specfic cultural context of the singer-songwriter par excellence and as a concrete example of the power and influence of popular song.
Memories are not confined to those who experience them firsthand. Rather, they can be transmitted and repeated by subsequent generations as prosthetic and moral memories, not linked solely to specific geographic locations but extending to affect and inform contemporary political debates. This paper investigates how and why the 1965 flooding of the village of Capel Celyn in the Tryweryn valley, north Wales is remembered through textual analysis of Welsh literature and popular music. It also highlights the profound impact that struggles over resources can have on social, cultural and political landscapes. The flooding, arguably the most dramatic hydropolitical event in the history of the United Kingdom, created tension between the need to protect cultural identity on the one hand and on the other, the need to provide essential natural resources for industry and urban development. The memory of this event has been sustained in Wales in a number of ways. Visually, graffiti calling on the public to 'remember Tryweryn' has become a tangible symbol of Welsh nationalism, and a potent part of the Welsh landscape. In Welsh literature (poems and songs) the memory of Tryweryn has been expressed in terms of loss and shame and the defilement of nature. Politically, Tryweryn provided the context for the rise of Welsh nationalism and devolution and has become a regularly used symbol of a culture under threat. Crucially, the memories now influence and inform contemporary debates around precipitation, drought and any forced removal justified in the name of progress.
Ngugi describes this book as 'a summary of some of the issues in which I have been passionately involved for the last twenty years of my practice in fiction, theatre, criticism and in teaching of literature. North America: Heinemann; Kenya: EAEP
Alien-encounter Science Fiction involves the introduction of sentient alien beings into the actantial system of the fictional universe; one or more of the actants are nonhuman or superhuman or subhuman. By staging a confrontation between an alien actant and a terran representative, alien-encounter Science Fiction broaches the question of Self and the Other. The reader recuperates this fiction by comparing human and alien entities, measuring the Self by examining the Other. Alien encounters can be discriminated according to the extent to which the alien actant adheres to or departs from anthropocentric norms; in simple terms, we can distinguish between "human aliens" and "alien aliens." This article examines the nature of human aliens by analyzing Orson Scott Card's Ender trilogy, a work which theorizes and surveys possible sets of relations between terran and alien actants. It explores the problematics of alien aliens by looking at appropriate texts by Lem, Benford and Clarke.
This essay first tries to answer two questions: Why did the question of the woman writer disappear from the feminist theoretical agenda around 1990? Why do we need to reconsider it now? I then begin to develop a new analysis of the question of the woman writer by turning to the statement `I am not a woman writer'. By treating it as a speech act and analysing it in the light of Simone de Beauvoir's understanding of sexism, I show that it is a response to a particular kind of provocation, namely an attempt to force the woman writer to conform to some norm for femininity. I also show that Beauvoir's theory illuminates Virginia Woolf's strategies in A Room of One's Own before, finally, asking why we still should want women to write.
The article argues that literary genres cannot be defined on strictly formal grounds, since they are determined by the representational goals pursued by literary works. A survey of the subgenres of the novel shows that the differences between them are linked to the way in which they imagine fictional worlds. Generic differences are normative only in the sense that they are good trade habits, useful recipes that help writers achieve representational success.
Nothing appears more ancient, and linked to an immemorial past, than the pageantry which surrounds British monarchy in its public ceremonial manifestations. Yet, as a chapter in this book establishes, in its modern form it is the product of the late nineteenth and twentieth centuries. ‘Traditions’ which appear or claim to be old are often quite recent in origin and sometimes invented. Anyone familiar with the colleges of ancient British universities will be able to think of the institution of such ‘traditions’ on a local scale, though some - like the annual Festival of Nine Lessons and Carols in the chapel of King’s College, Cambridge on Christmas Eve - may become generalized through the modern mass medium of radio. This observation formed the starting-point of a conference organized by the historical journal Past & Present, which in turn forms the basis of the present book. The term ‘invented tradition’ is used in a broad, but not imprecise sense. It includes both ‘ traditions’ actually invented, constructed and formally instituted and those emerging in a less easily traceable manner within a brief and dateable period - a matter of a few years perhaps - and establishing themselves with great rapidity. The royal Christmas broadcast in Britain (instituted in 1932) is an example of the first; the appearance and development of the practices associated with the Cup Final in British Association Football, of the second. It is evident that not all of them are equally permanent, but it is their appearance and establishment rather than their chances of survival which are our primary concern. © E. J. Hobsbawm, Hugh Trevor-Roper, Prys Morgan, David Cannadine, Bernard S. Cohn, Terence Ranger. 1983.
Stories of captivity among North American Indians dating from the 17th century in many ways parallel the more recent narratives of alien abduction. Telling a story inevitably involves elements of selection, and in both Indian captivity narratives and alien abduction narratives the elements included are often analogous. They share a number of common structures, conventions, themes, and images. I will begin by outlining the origin and some of the salient features of Indian captivity and the alien abduction phenomenon. Next, some explicit compar- isons will be drawn between the narratives of Indian captivity and alien abduction. Finally, some interpretations of these similarities are suggested.
