STYLISTIC MEANS OF EXPRESSING TRANSHUMANISM IN OLES BERDNYK'S EARLY NOVELS

Author(s):  
Paul Donets

The article examines stylistic devices in which distinguished Ukrainian writer Oles Berdnyk expresses transhumanist ideas. The author is famous for being one of the brightest representatives of native science fiction. His early novels “Paths of Titans”, “The Arrow of Time” and “Children of Infinity”, which depict a utopian future, have been chosen as an object to be studied. It is found out that the message translated by the author in a given period of his creative activity reproduces primarily the techno-optimistic discourse that prevailed in the middle of the twentieth century and has some obvious transhumanist and immortalist indications, which can be observed both at substantive (the evolution of a man into an omnipotent immortal being is being depicted) and stylistic level. In its simplest form, this is manifested in the active use of positively colored epithets, hyperbolized metaphors, metonymic embodiments and other stylistic means which shape central features of the author's idiostyle. The tropes and figures of speech used by the author are in most cases emotionally expressive, that is, they contain elements of value (mostly positive, in this case). One common characteristic of Berdnyk’s prose is its high expressiveness, that is, solemn and pompous style, contrast and bright images. Building on the ideas of cosmism philosophy, he follows the scientistic trends of the Golden Age of western science fiction on the one hand and introduces some distinctive elements of national Ukrainian conceptosphere into the established genre on the other. His late works, however, underwent drastic philosophical changes, resulting in a gradual departure from his previous views.

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.


Author(s):  
Marlou Schrover

This chapter discusses social exclusion in European migration from a gendered and historical perspective. It discusses how from this perspective the idea of a crisis in migration was repeatedly constructed. Gender is used in this chapter in a dual way: attention is paid to differences between men and women in (refugee) migration, and to differences between men and women as advocates and claim makers for migrant rights. There is a dilemma—recognized mostly for recent decades—that on the one hand refugee women can be used to generate empathy, and thus support. On the other hand, emphasis on women as victims forces them into a victimhood role and leaves them without agency. This dilemma played itself out throughout the twentieth century. It led to saving the victims, but not to solving the problem. It fortified rather than weakened the idea of a crisis.


2021 ◽  
Vol 3 (1) ◽  
pp. 53-67
Author(s):  
Ghenadie Mardari

The phenomenon of quantum erasure exposed a remarkable ambiguity in the interpretation of quantum entanglement. On the one hand, the data is compatible with the possibility of arrow-of-time violations. On the other hand, it is also possible that temporal non-locality is an artifact of post-selection. Twenty years later, this problem can be solved with a quantum monogamy experiment, in which four entangled quanta are measured in a delayed-choice arrangement. If Bell violations can be recovered from a “monogamous” quantum system, then the arrow of time is obeyed at the quantum level.


1969 ◽  
Vol 63 (2) ◽  
pp. 427-441 ◽  
Author(s):  
Kenneth Prewitt ◽  
Heinz Eulau

Scholars interested in theorizing about political representation in terms relevant to democratic governance in mid-twentieth century America find themselves in a quandary. We are surrounded by functioning representative institutions, or at least by institutions formally described as representative. Individuals who presumably “represent” other citizens govern some 90 thousand different political units—they sit on school and special district boards, on township and city councils, on county directorates, on state and national assemblies, and so forth. But the flourishing activity of representation has not yet been matched by a sustained effort to explain what makes the representational process tick.Despite the proliferation of representative governments over the past century,theoryabout representation has not moved much beyond the eighteenth-century formulation of Edmund Burke. Certainly most empirical research has been cast in the Burkean vocabulary. But in order to think in novel ways about representative government in the twentieth-century, we may have to admit that present conceptions guiding empirical research are obsolete. This in turn means that the spell of Burke's vocabulary over scientific work on representation must be broken.To look afresh at representation, it is necessary to be sensitive to the unresolved tension between the two main currents of contemporary thinking about representational relationships. On the one hand, representation is treated as a relationship between any one individual, the represented, and another individual, the representative—aninter-individualrelationship. On the other hand, representatives are treated as a group, brought together in the assembly, to represent the interest of the community as a whole—aninter-grouprelationship. Most theoretical formulations since Burke are cast in one or the other of these terms.


PMLA ◽  
1959 ◽  
Vol 74 (4-Part1) ◽  
pp. 356-364
Author(s):  
Virgil W. Topazio

With the emergence of philosophy in the nineteenth century as a separate discipline which stressed primarily questions insoluble by empirical or formal methods, Voltaire's reputation as a philosopher has gone into gradual eclipse. It has become unfashionable and degrading for philosophers to concern themselves with the practical aspects of philosophical enquiry. In eighteenth-century France, on the other hand, the identification of philosophy with science, which by twentieth-century standards had vitiated philosophical thought, produced the “philosophes” or natural philosophers who were on the whole more interested in human progress than in the progress of the human mind. And Voltaire was by popular consent the leader of this “philosophe” group, the one who had unquestionably contributed the most in the struggle to make man a happier and freer member of society. Yet, ironically, despite a lifelong effort in behalf of humanity, Voltaire's reputation as a destructive thinker has steadily grown even as the critics have pejoratively classified him as a “practical” rather than a “real” philosopher. Typical of this criticism of Voltaire is Macaulay's statement: “Voltaire could not build: he could only pull down: he was the very Vitruvius of ruin. He has bequeathed to us not a single doctrine to be called by his name, not a single addition to the stock of our positive knowledge.”


2020 ◽  
Vol 12 (4) ◽  
pp. 443-454

Sons and Lovers (1913) is one of D.H. Lawrence’s most prominent novels in terms of psychological complexities characteristic of most, if not all, of his other novels. Many studies have been conducted on the Oedipus complex theory and psychological relationship between men and women in Lawrence’s novels reflecting the early twentieth century norms of life. This paper reexamines Sons and Lovers from the perspective of rivalry based on Alfred Adler’s psychological studies. The discussion tackles the sibling rivalry between the members of the Morels and extends to reexamining the rivalry between other characters. This concept is discussed in terms of two levels of relationships. First, between Paul and William as brothers on the one hand, and Paul and father and mother, on the other. Second, the rivalry triangle of Louisa, Miriam and Mrs. Morel. The qualitative pattern of the paper focuses on the textual analysis of the novel to show that Sons and Lovers can be approached through the concept of rivalry and sibling Rivalry. Keywords: Attachment theory, Competition, Concept of Rivalry, Favoritism, Sibling rivalry.


PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 381-388
Author(s):  
William Park

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.


2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.


2021 ◽  
Author(s):  
◽  
Brendan Vize

<p>Consider Lt. Commander Data from Star Trek: The Next Generation, the droid C3PO from Star Wars, or the Replicants that appear in Bladerunner: They can use language (or many languages), they are rational, they form relationships, they use language that suggests that they have a concept of self, and even language that suggests that they have “feelings” or emotional experience. In the films and TV shows that they appear, they are depicted as having frequent social interaction with human beings; but would we have any moral obligations to such a being if they really existed? What would we be permitted to do or not to do to them? On the one hand, a robot like Data has many of the attributes that we currently associate with a person. On the other hand, he has many of the attributes of the machines that we currently use as tools. He (and other science-fiction machines like him) closely resembles one of the things we value the most (a person), and at the same time, one of the things we value the least (an artefact), leading to an apparent ethical paradox. What is its solution?</p>


2021 ◽  
Author(s):  
◽  
Brendan Vize

<p>Consider Lt. Commander Data from Star Trek: The Next Generation, the droid C3PO from Star Wars, or the Replicants that appear in Bladerunner: They can use language (or many languages), they are rational, they form relationships, they use language that suggests that they have a concept of self, and even language that suggests that they have “feelings” or emotional experience. In the films and TV shows that they appear, they are depicted as having frequent social interaction with human beings; but would we have any moral obligations to such a being if they really existed? What would we be permitted to do or not to do to them? On the one hand, a robot like Data has many of the attributes that we currently associate with a person. On the other hand, he has many of the attributes of the machines that we currently use as tools. He (and other science-fiction machines like him) closely resembles one of the things we value the most (a person), and at the same time, one of the things we value the least (an artefact), leading to an apparent ethical paradox. What is its solution?</p>


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