scholarly journals Crimes of the Near Future: Baudrillard / Ballard

Ícone ◽  
2007 ◽  
Vol 9 ◽  
pp. 29-38
Author(s):  
Benjamin Noys

In his key work Simulacra and Simulations (1981) Jean Baudrillard lauded the British science-fiction writer J. G. Ballard's novel Crash (1973) as 'the first great novel of the universe of simulation' (1994: 119). The novel explored a world of perverse obsession with the erotic potential of the car-crash saturated by media imagery.

2016 ◽  
Vol 1 (3) ◽  
pp. 141
Author(s):  
Rana Sağıroğlu

Margaret Atwood, one of the most spectacular authors of postmodern movement, achieved to unite debatable and in demand critical points of 21st century such as science fiction, postmodernism and ecocriticism in the novel The Year of The Flood written in 2009. The novel could be regarded as an ecocritical manifesto and a dystopic mirror against today’s degenerated world, tending to a superficial base to keep the already order in use, by moving away from the fundamental solution of all humanity: nature. Although Atwood does not want her works to be called science fiction, it is obvious that science fiction plays an introductory role and gives the novel a ground explaining all ‘why’ questions of the novel. However, Atwood is not unjust while claiming that her works are not science fiction because of the inevitable rapid change of 21st century world becoming addicted to technology, especially Internet. It is easily observed by the reader that what she fictionalises throughout the novel is quite close to possibility, and the world may witness in the near future what she creates in the novel as science fiction. Additionally, postmodernism serves to the novel as the answerer of ‘how’ questions: How the world embraces pluralities, how heterogeneous social order is needed, and how impossible to run the world by dichotomies of patriarchal social order anymore. And lastly, ecocriticism gives the answers of ‘why’ questions of the novel: Why humanity is in chaos, why humanity has organized the world according to its own needs as if there were no living creatures apart from humanity. Therefore, The Year of The Flood meets the reader as a compact embodiment of science fiction, postmodernism and ecocriticism not only with its theme, but also with its narrative techniques.


2021 ◽  
pp. 51-56
Author(s):  
William Klinger ◽  
Denis Kuljiš

This chapter discusses the Sixth Congress, Comintern, which was run by Soviet bigwigs and a few representative party leaders from the West that sat as its steering Political Secretariat. It highlights the Balkan Bureau that was headed by Bohumír Šmeral, one of the founders of the Communist Party of Czechoslovakia. It also mentions British science-fiction writer H. G. Wells, a socialist and communist sympathizer, who visited Moscow in the early 1920s as a guest of Vladimir Lenin and realized that even the highest-ranking officials' clothes were falling apart. The chapter recounts how tried to loosen up the revolutionary course by introducing the NEP, which was supposed to stimulate small farms on private plots to produce basic market supply. It demonstrates how the advance of fascism pushed more parties underground, leading them to become utterly dependent on organizational and material assistance from abroad.


Author(s):  
Don Riggs

Frank Herbert was born on 8 October 1920 in Tacoma, Washington, to Frank Patrick Herbert Sr. and Eileen (McCarthy) Herbert. In 1938 he graduated from high school and moved to Southern California, where he lied about his age to work for the Glendale Star, the first of many newspaper jobs. He married Flora Parkinson in 1940 and they had one daughter, Penny, but they divorced in 1945. He enlisted in the United States Navy in 1941, joining the Seabees, but was given a medical discharge six months later. In 1946 he entered the University of Washington. He met Beverly Ann Stuart in a creative writing class, and they married in June that year. They had two sons, Brian Patrick (1947) and Bruce Calvin (1951). Brian would himself become a writer, continuing his father’s Dune series with sequels and prequels, as well as a 2003 biography, Dreamer of Dune. Bruce would become a photographer and LGBT activist, and died of AIDS in 1993. Herbert published his first story, “Survival of the Cunning,” which was not science fiction, in Esquire in 1945; his first science fiction story, “Looking for Something,” appeared in 1952 in Startling Stories. He published his first science fiction novel in 1956: based on a story titled “Under Pressure,” the 1956 novel was titled The Dragon of the Sea, and was reprinted with the title 21st-Century Sub. Many of the themes from this work would appear in the later Dune novels. During these years, Herbert wrote for various newspapers, but took time off to work on his fiction; his wife Beverly worked as an advertising copywriter. A newspaper assignment to cover the USDA’s effort to reclaim dune lands inspired much background research—over 200 books, according to Brian Herbert’s biography—and resulted in the novel Dune, which was initially published in editor John W. Campbell’s magazine Analog in 1963 and 1964; after twenty rejections, Chilton Books, an auto-repair manual publisher, offered to publish it, which it did in 1965. Dune won the Hugo Award that year, and tied for the Nebula Award in 1966. It became an underground cult classic and ultimately the greatest-selling science fiction novel of all time. Herbert wrote the novel with his wife Beverly’s constant response and comments, and he modeled the Lady Jessica on her. Herbert wrote five sequels, generally regarded as being of lesser quality than Dune itself. However, much of the scholarship analyzes the original novel in the “universe” established within the series of sequels, so Dune appears in relation to the novels from Dune Messiah, Children of Dune, and God Emperor of Dune in particular.


2018 ◽  
pp. 183-200
Author(s):  
Hanna-Riikka Roine ◽  
Hanna Samola

This chapter analyzes the Finnish author Johanna Sinisalo’s 2013 novel Auringon ydin [The core of the sun] in the contexts of speculative fiction, dystopia, and fairy tale to provide an illustrative example of Sinisalo’s oeuvre. The novel combines various elements, genres, and text-types in a self-reflexive and parodic way, which both gives the novel a peculiar twist and offers an interesting viewpoint on the Finnish weird. The novel’s fabulous thought experiment combines the depiction of human domestication with real documents addressing eugenics and sterilization and the domestication of silver foxes. The chapter also discusses dystopian and fairy-tale elements in the novel and suggests that while Sinisalo draws from multiple sources in her writing, she can be considered a science-fiction writer due to her focus on the thought experiment.


Author(s):  
Jessica Aliaga-Lavrijsen ◽  

After the boom of feminist science fiction in the 1970s, many such novels have tackled the different sociocultural understandings of gender and sexual reproduction. Conventionally, patriarchal thinking tends to posit a biological explanation for gender inequality: women are supposed to be child bearers and the primary caregivers, whereas men should provide for the family through their work. However, if men could share procreation, would these views change? A recent work of fiction exploring this question from multiple perspectives is Helen Sedgwick’s The Growing Season (2017), a novel that presents a near future in which babies can be grown in artificial wombs that can be carried around. As an analysis of the novel will show, The Growing Season creatively explores the existing tensions among contemporary understandings of motherhood and feminism(s), as well as developments in reproductive biotechnology, through the different perspectives offered by the heterodiegetic third-person narration and multiple focalisation. Ultimately, the voices of the different characters in the novel convey a polyhedral vision of possible future feminist motherhood(s) where ideas of personal freedom and codependency are radically reconceptualised—a rethinking that becomes especially important nowadays, for the biotechnological elements of this fictional dystopia are already a reality.


Elem Sci Anth ◽  
2018 ◽  
Vol 6 ◽  
Author(s):  
Kate O’Neill

John Brunner’s 1972 novel, The Sheep Look Up, is the story of the year leading up to a global ecological and political catastrophe. Set primarily in the United States in an unspecified near future, The Sheep Look Up tells the story of “death by a thousand cuts”: problem upon problem, malfeasance upon malfeasance, which accumulate, reinforce each other and are met only by a failing political and economic system that ultimately collapses under its own weight. This article reflects on themes and topics of the novel that resonate for social science theorists and teachers in the environmental social sciences, including global environmental politics. First, it provides a type of counterfactual analysis. It opens a window into how the world might have been had certain actions not been taken. Second, it provides a warning: how the world might be if we do not act. Third, it provides a model of how a disastrous transition might unfold as social resilience has been worn down. Looking back on the almost fifty years since the novel was written demonstrates how its scenario was averted through concerted government and societal actions, but the article also points out how Brunner’s work has strong resonance with our present – and at different times in the recent past.


Author(s):  
Gavin Miller

This chapter explores science fiction’s deployment of behaviourism and social constructionism, which insist on the malleability of human psychology. B.F. Skinner’s near-future utopia. Walden Two (1948), authorizes the behaviourist model of the self by inscribing operant conditioning into long-standing progressivist discourses. But this is subverted by the novel itself, which persistently endorses historical, philosophical, and ethical discourses that have supposedly been rendered obsolete. Behaviourism is further undermined by Anthony Burgess’s A Clockwork Orange (1962), Ursula Le Guin’s The Lathe of Heaven (1971), and William Sleator’s House of Stairs (1974). These narratives juxtapose against behaviourism counter-discourses from different sources, including wisdom traditions such as world religions, and also antagonistic discourses such as psychoanalysis and existentialism. Social constructionism encourages science fiction to dissolve psychological and cultural givens of our time (such as heterosexuality or patriarchy) in a future or alternative social order. With enormously varying complexity and ethical sensitivity, Joanna Russ’s The Female Man (1975), Edmund Cooper’s 1972 Who Needs Men? and Naomi Mitchison’s Solution Three (1974), explore the utopian and dystopian reconstruction of gender relations, but are troubled by issues of natural and cultural diversity.


1988 ◽  
Vol 98 ◽  
pp. 134-137
Author(s):  
Zdenek Kviz

Who is an amateur-astronomer? We would certainly find several definitions if we tried to get answers from the audience. I am not trying to force anyone to accept my definition, in fact I do not know if I really have one. Someone who likes to read books about astronomy? Professional scientist, expert in other areas of science, but interested in astronomy? Science fiction writer who writes about space travel? Retired professional astronomer who is no longer paid for his work in astronomy? Constructor of telescopes or astronomical instruments? Well, each of these could be discussed. But we will rely, on this occasion, on common sense and take any one who is interested in astronomy and contributes to its progress either by observation or by construction of astronomical equipment and has not an official education in astronomy. He/she simply likes the idea that he/she is contributing by his/her work to our knowledge of the universe and feels proud of it.


Author(s):  
K. A. Ozherelyev

In the article, based on the material of micro story of F. Brown “The answer” (1954) the spectrum of key philosophical problems is analysed which are raised by the science fiction writer: from the issue about existence of higher intelligence in the Universe to the fundamental value foundations of being. In the course of analysis and interpretation there are viewed in detail artistic concept sphere and story symbolism, there are revealed its intertextual and motivational parallel with Judeo-Christian theology (Bible tradition) and general philosophical context (consonance with some ideological installations of Xenophanes of Colophon, L. Feuerbach and others). By the opinion of the article author, specified text must be attributed to the category of “stories-warnings”, containing consistent anti-utopian critics of scientific (cybernetic) model of surviving. Within the last one there is inevitably paradoxical reversal of roles of creator and its creation, leading of fatal end.


PMLA ◽  
1999 ◽  
Vol 114 (1) ◽  
pp. 64-77 ◽  
Author(s):  
Bradley Butterfield

Like today's masses, the characters in J. G. Ballard's Crash are fascinated by what Jean Baudrillard calls the accident, especially when it involves the death of a celebrity. Ballard's characters, however, reenact their accidents as sexual rituals of a marriage between technology and death that are beyond the realm of moral judgment, making Crash sci-fi, hypothetical, unrealistic. Calling Crash “the first great novel of the universe of simulation,” Jean Baudrillard has drawn heavy criticism for missing the alleged moral point, both in Crash and in the still-real world. As a fiction writer, Ballard is given a wide moral berth, but when Baudrillard's theory turns sci-fi, the question of ethical boundaries is broached, and leniency is less likely. In defense of Baudrillard, I read him, like Ballard, in the Nietzschean tradition of a purposefully amoral, negative aestheticism, which I argue is of value to ethics and radical politics in a world governed by instrumental simulacra.


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