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博碩士論文 etd-0702108-153519 詳細資訊
Title page for etd-0702108-153519
論文名稱
Title
威廉.吉布森《阿伊朵》和《所有明日的派對》中的 再 / 塑後人類、塞爆空間和歷史
The Re/Shaping of the Posthuman, Cyberspace, and Histories in William Gibson’s Idoru and All Tomorrow’s Parties
系所名稱
Department
畢業學年期
Year, semester
語文別
Language
學位類別
Degree
頁數
Number of pages
104
研究生
Author
指導教授
Advisor
召集委員
Convenor
口試委員
Advisory Committee
口試日期
Date of Exam
2008-06-16
繳交日期
Date of Submission
2008-07-02
關鍵字
Keywords
唐娜.哈勒薇、凱瑟林.海爾絲、後人類、烏托邦想像、路易斯.馬蘭、《所有明日的派對》、沃爾特.班雅明、歷史、塞爆空間、威廉.吉布森、《阿伊朵》、迪士尼樂園
Louis Marin, Utopian desires, Katherine Hayles, Disneyland, Histories, Donna Haraway, Cyberspace, William Gibson, Posthuman, Walter Benjamin
統計
Statistics
本論文已被瀏覽 5832 次,被下載 2214
The thesis/dissertation has been browsed 5832 times, has been downloaded 2214 times.
中文摘要
論文內容提要:
威廉.吉布森在《阿伊朵》和《所有明日的派對》中除了探討烏托邦想像如何再�塑後人類、塞爆空間和歷史,也揭露資本主義如何運用媒體和資訊科技達到操弄大眾的目的。
論文第一章分析《阿伊朵》中的文本敍事結構,由封閉的辨證敍事轉變為開放的資訊列敍事手法。《阿伊朵》和《所有明日的派對》敍事轉變與阿伊朵(Idoru)的身體相互作用,讓阿伊朵逃開被商品化的危機,並在《所有明日的派對》中展現後人類主體性。本章沿用凱瑟林.海爾(Katherine Hayles)的後人類觀點來分析文本和身體的轉變。 第二章將視塞爆空間(Cyberspace)為文本空間以檢視小說中資本主義及反資本主義兩股互動頻繁的論述──分別由虛擬威尼斯(virtual Venice)及城寨(Walled City)呈現。本章將應用路易斯.馬蘭(Louis Marin)對迪士尼樂園(Disneyland)的分析,及唐娜.哈勒薇(Donna Haraway)對生化人的觀點,來釐清塞爆空間的局限及踰越性。第三章將探討資本家哈爾伍(Harwood)如何運用塞爆空間的網絡來實現資本家的烏托邦計劃──將城市迪士尼化(Disneylesque)。為此,哈爾伍將摧毀過去的重要歷史史料、遺跡、及個人對過往的記憶;此時,另一股黑暗力量正凝聚起來反抗資本家的陰謀:阿伊朵,藍尼(Laney),以及城寨的網路遺族聯手反將哈爾伍一軍。阿伊朵燒毀商業化的三藩市海灣大橋(San Francisco Bay Bridge),使其原貌顯現。如此,海灣大橋的居民便能再次訴說過往的故事,並與資本家所寫的歷史相互抗衡。此章將海灣大橋作為「歷史的天使」,迎著暴風仍堅持不垮,並沿用沃爾特.班雅明(Walter Benjamin)對歷史的概念來詳述勝利者和被壓迫者之間歷史的再�塑。
Abstract
Abstract:
This thesis aims to explore how utopian desires re/shape the posthuman, cyberspace and histories by means of information technologies in William Gibson’s Idoru and All Tomorrow’s Parties, which construct a fragmented but subversive power by representing the world in a utopian text that allows the free play of ideology. Gibson uses utopian imagination to cobble together a near future that reflects his concern with information technologies and media over contemporary society. Utopian imaginations on the one hand open up possibilities and transform fixed ideas; on the other, utopian imaginations are easily turned into utopian desires that are subject to manipulation if utopian designers want to sell. I intend to discover how desires to realize a utopia (body, space, and history), which is the ultimate goal of utopian program, are being manipulated by utopian designers. I will mainly adapt and blend Katherine Hayles’s notion of the posthuman perspectives to challenge human possibilities, Donna Haraway’s notion of the cyborg as a blasphemy to Western traditions, Louis Marin’s Disneyland analysis as an apparatus to examine utopic expressions in William Gibson’s textual constructions of utopias, and Walter Benjamin’s notions of material historiography and history’s messianic power in tracing individual memories under a capitalist contextualized History. In Chapter One, I will argue that Idoru as well as Idoru metamorphosize from a dialectical structure into an informational pattern-random structure, from a commodity into a posthuman subjectivity. I will adopt Katherine Hayles’s concept of information narratives in explaining the re/shaping of Rei’s body and her concept of the posthuman to explicate the struggle between the posthuman and the transhuman. In Chapter Two I will argue that cyberspace serves as a utopia that brings forth the desire to transcend the flesh. This utopian desire is a transgressive discourse that breaks up the totality of a closed system. Moreover, cyberspace exposes the feedback looping of the discourses of capitalism and anti-capitalism. Respectively, by the representation of virtual Venice and the Walled City, these two utopias write proposals that project discourses of pleasure and criticism for achieving their programs. I will adopt Donna Haraway’s cyborg ontology in explaining cyberspace as a transgressive discourse and Louis Marin’s Disneyland analysis as an apparatus of utopic expressions and the limits of utopia. Next, in Chapter Three, I shall expose how Harwood the capitalist manipulates the world to fit into his utopian proposal: modernization of the city as a manifestation of a utopia by means of cyberspace as a network that connects people globally. To contravene Harwood, Idoru, Laney and the Walled City denizens collaborate to checkmate Harwood’s king. I will elaborate on the interactions between the universal history and the individual histories based on Walter Benjamin’s concept of history.
目次 Table of Contents
Table of Contents
Introduction 1
Chapter I: Re/Shaping the Posthuman 9
Chapter II: Mapping Cyberspace in William Gibson’s Idoru 37
Chapter III: Re/Shaping Histories 60
Conclusion: Re/Telling Stories of the Posthuman, Cyberspace, and Histories 91
參考文獻 References
Works Cited
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