A Study on the Appearance of the Time Machine in the Movie and the Experience of Time Travel, its Optimistic Imagination: Through the Series “Back to the Future”

2019 ◽  
Vol 86 ◽  
pp. 211-244
Author(s):  
Chung-Beom Ham
2018 ◽  
Vol 11 ◽  
pp. 441-449
Author(s):  
Szymon Makuch

A MOUTAIN TIME MACHINE. THE LEGEND OF ROGER DODSWORTH IN LITERATURE AND CULTUREIn various legends and literary works the mountains often served as a place where time travel was possible, as they provided security for protagonists falling into deep sleep for years. It is no coincidence that legends of sleeping knights often place them in the mountains. In 1826 a rumour spread that Roger Dodsworth, who had been buried in an avalanche over 100 years earlier, came to life. The news was circulated by the press across Europe and attracted the interest of Mary Shelley, who devoted a short story to it. The present article is an analysis of press stories concerning the famous hibernatus and the story by the English writer, who saw the popular rumours as a background for reflections on a man from a different period transferred into the future, as well as an attempt to define the role of the mountains in the writings on Dodsworth.


2014 ◽  
Vol 7 (2) ◽  
pp. 136-151 ◽  
Author(s):  
Sung-Ae Lee

To displace a character in time is to depict a character who becomes acutely conscious of his or her status as other, as she or he strives to comprehend and interact with a culture whose mentality is both familiar and different in obvious and subtle ways. Two main types of time travel pose a philosophical distinction between visiting the past with knowledge of the future and trying to inhabit the future with past cultural knowledge, but in either case the unpredictable impact a time traveller may have on another society is always a prominent theme. At the core of Japanese time travel narratives is a contrast between self-interested and eudaimonic life styles as these are reflected by the time traveller's activities. Eudaimonia is a ‘flourishing life’, a life focused on what is valuable for human beings and the grounding of that value in altruistic concern for others. In a study of multimodal narratives belonging to two sets – adaptations of Tsutsui Yasutaka's young adult novella The Girl Who Leapt Through Time and Yamazaki Mari's manga series Thermae Romae – this article examines how time travel narratives in anime and live action film affirm that eudaimonic living is always a core value to be nurtured.


2020 ◽  
Author(s):  
Donna Rose Addis

Mental time travel (MTT) is defined as projecting the self into the past and the future. Despite growing evidence of the similarities of remembering past and imagining future events, dominant theories conceive of these as distinct capacities. I propose that memory and imagination are fundamentally the same process – constructive episodic simulation – and demonstrate that the ‘simulation system’ meets the three criteria of a neurocognitive system. Irrespective of whether one is remembering or imagining, the simulation system: (1) acts on the same information, drawing on elements of experience ranging from fine-grained perceptual details to coarser-grained conceptual information and schemas about the world; (2) is governed by the same rules of operation, including associative processes that facilitate construction of a schematic scaffold, the event representation itself, and the dynamic interplay between the two (cf. predictive coding); and (3) is subserved by the same brain system. I also propose that by forming associations between schemas, the simulation system constructs multi-dimensional cognitive spaces, within which any given simulation is mapped by the hippocampus. Finally, I suggest that simulation is a general capacity that underpins other domains of cognition, such as the perception of ongoing experience. This proposal has some important implications for the construct of ‘MTT’, suggesting that ‘time’ and ‘travel’ may not be defining, or even essential, features. Rather, it is the ‘mental’ rendering of experience that is the most fundamental function of this simulation system, enabling humans to re-experience the past, pre-experience the future, and also comprehend the complexities of the present.


Author(s):  
Erik Steinskog

A musical imagining of the future and an exposition of a challenge to the normative historical discourse are the subjects of Erik Steinskog’s chapter on Afrofuturism. These topics are dealt with through a discussion of “blackness” and a theoretical discourse that addresses the musical style and polemical and political stance of afrofuturist musicians such as Sun Ra and others following in his path. Steinskog suggests that afrofuturist music is a form of sonic time travel that intertwines the modalities of time represented by notions of past, present, and future, his argument being that reimaginations, reinterpretations, and revisions of a normative past are represented in the technology and music of the black future.


PMLA ◽  
1969 ◽  
Vol 84 (3) ◽  
pp. 530-535
Author(s):  
Robert M. Philmus

Most of the early science fantasies of H. G. Wells are, as he defines the term, prophetic: the myths that they develop to a logical conclusion represent a critique of some historical or essential aspect of the human condition. The Time Machine, his first scientific romance, explores the premises of prophetic fantasy at the same time that it embodies a myth of its own. In it Wells envisions the future devolution of man, already outlined in previous essays of his, as the ultimate consequence of what he perceived as a present attitude of complacent optimism, an attitude he dramatizes in the reaction of the Active audience to the Time Traveller's account of the world of 802,701 and beyond. Although the Time Traveller accepts this vision as literally true, his own theories about that world make it clear that its significance pertains to it only as a metaphoric projection of tendencies existing in the present. Thus the structure of The Time Machine reveals the Time Traveller's point of view, like that of his audience, to be limited: his final disappearance into the fantasied world of the future vindicates the rigorous integrity of Wells s prophecy.


1987 ◽  
Vol 9 (6) ◽  
pp. 171-172
Author(s):  
Robert H. Guinter

Just before Christmas, my 12-year-old son was reading The Time Machine by H. G. Wells. According to the story, the driver of this machine could travel to any date in the past or future, and he could return to the present time whenever he wished. We enjoyed talking about the story and about how much fun it would be to own a time machine. Where would we go and what would we see? He decided, among other things, that we should see his grandparents as children, to see whether their way of life really was as different from his as they say it was. Then we should visit some famous persons from the past and witness some great event, such as a Civil War battle. Then we should look to the future. What will we be like in 10 or 20 years? What will our city or country be like in 100 or 1,000 years? What will our planet be like in 1 million years? We thoroughly enjoyed ourselves as we talked about owning and using such a machine.


Author(s):  
Arlindo Oliveira

Some of the challenges and promises that would stem from the creation of digital minds are presented and discussed. In particular, this chapter addresses the possibility that, in the future, there may exist digital persons, digital minds that have personhood rights and duties. The non-obvious possibilities raised by the creation of digital minds are discussed in some detail, including the possibility of time-travel, eternal life, and unlimited duplication. Many of the questions raised by the existence of digital minds have no obvious solution in our current legal framework, and will need to be addressed in the coming decades. Digital minds may decide to live entirely in virtual reality, using technologies that are now under development. That would raise possibilities that are hard to phantom, given our present day knowledge.


Author(s):  
Stuart Moulthrop

This chapter reflects on John McDaid’s author traversal of his 1993 hypermedia novel, Uncle Buddy’s Phantom Funhouse, a groundbreaking work not just for its comprehensive exploration of Apple’s HyperCard authoring system, but also because of its principle of “modally appropriate” presentation, involving non-digital artifacts as well. Built around the science-fictional notion of time travel and multiverses, the Funhouse thus invites consideration of his own curious history, in which it figures as a kind of broken time machine. Comparing McDaid’s work with later, similar projects from the video game world, the chapter argues for an understanding of digital culture that moves beyond the harsh binaries of obsolescence. As McDaid says: “We win by losing.”


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