“情动”(affect)一词由荷兰哲学家斯宾诺莎(Baruch de Spinoza)提出,德勒兹基于此提出了“情动”理论。作为一种情动媒介,以《流浪地球》系列为代表的新主流科幻电影通过中国特色的现代性符号意象、空间想象与现实镜像的叙事,在个体与...“情动”(affect)一词由荷兰哲学家斯宾诺莎(Baruch de Spinoza)提出,德勒兹基于此提出了“情动”理论。作为一种情动媒介,以《流浪地球》系列为代表的新主流科幻电影通过中国特色的现代性符号意象、空间想象与现实镜像的叙事,在个体与集体、东方和西方、现代和未来的张力结构之间,建构出一种关于个体主体性、文化主体性和身体主体性的多重想象,表达出中国对人类面临的现代性危机和未来存在方式的终极关怀与反思,体现具有中国特色的民族精神和济世情怀,以此达到主旋律思想的传播和身份认同的维系。在此过程中,新主流科幻电影实现了多元主体间“情动”生成与联结。展开更多
Chaviano＇s Fables of an Extraterrestrial Grandmother is a pioneering Cuban science fiction novel with four interconnected plots that manifest their separate worlds--the Havana of Ana, the protagonist writer, the Neol...Chaviano＇s Fables of an Extraterrestrial Grandmother is a pioneering Cuban science fiction novel with four interconnected plots that manifest their separate worlds--the Havana of Ana, the protagonist writer, the Neolithic Celtic world of Merlin and Stonehenge, Faidir, the planet of Ijj e and the winged psyches with three eyes, and Rybel, the world of Ana＇s character Arlena, the ＂jumen＂ on the run in an alien planet after being wrecked in a space ship---through Ana＇s writing. Ana uses mental exercises and automatic writing to temporarily regress to a pre-rational state of consciousness where these parallel universes interpenetrate and cross in the locus of her subconscious. Writing for her is a form of possession that withdraws her fi＇om her immediate reality into a visionary state resembling that of a shaman. She is a writer being invented and written by her own characters. Her stories are not fictions, but already existing realities, and she is a channel by which they are able to manifest their existence through her writing. This science fiction vision of worlds within worlds suggests another origin of science fiction in the ancient literary genre of Menippean satire, a type of fiction that appeals to highly cosmopolitan, alienated readers who seek to renew contact with the sources of consciousness from which technological and social change have alienated them.展开更多
Alice Ridout and Susan Watkins offers a best perspective in their book Doris Lessing： Border Crossings, to contemplate Lessing’s writing. In her 57-year publishing career, Lessing always crosses the borders： as a f...Alice Ridout and Susan Watkins offers a best perspective in their book Doris Lessing： Border Crossings, to contemplate Lessing’s writing. In her 57-year publishing career, Lessing always crosses the borders： as a feminist or anti-feminist, as a science fiction writer or a realist who lost her way, as a Marxist or a reactionary, as a British writer or a postcolonial one. Lessing’s border-crossing not only lies in her different genres of writing or in different novels, but even in a single comparatively traditional novel. The Summer Before the Dark is a representative work of Lessing’s women portrayal transition from focusing on their outside world exploration to on their inner world seeking. This essay tries to look at the content and form of the novel, and to illustrate that Lessing’s border-crossing is also fulfilled in one single novel. She successfully crosses the border of convention and innovation： conventional in content, while innovative in form.展开更多
When Merlin first appears in Chaviano＇s Fables of an Extraterrestrial Grandmother as the wizard Soio, he reflects the imagination of Ana, the adolescent protagonist of the science fiction novel as she is in the proce...When Merlin first appears in Chaviano＇s Fables of an Extraterrestrial Grandmother as the wizard Soio, he reflects the imagination of Ana, the adolescent protagonist of the science fiction novel as she is in the process of writing the very novel the reader is reading. Later she will discover that her fictional creations are not the invention of her imagination but exist autonomously in parallel universes and are using her as a vehicle of inter-dimensional travel through time and space. Soio/Merlin gazes into his crystal ball, a microcosm that gathers the space-time energy fields of the parallel universes, and sees visions of the protagonists whose modes of existence are real in one and fictional in another parallel universe. Merlin is a Druid in exile from the Neolithic world of Celtic Britain who has crossed over from earthly life to existence in Rybel, a parallel universe. He had crossed over by lining up the Stone of the Past and the Mirror of the Future at the great circle of Stonehenge. The stone circle functioned as an astronomical observatory. Stonehenge is a microcosm, a circle that reflects and coordinates the larger circle of the universe, symbolized and embodied in the sphere or crystal ball that Merlin transmits to Ana in the form of the novel being read. All the characters are trying to coordinate dimensions of space and time in order to fly from one parallel universe to another. Chaviano emphasizes crossing boundaries of time and space. Her characters live in one world but belonging to another, yearn to make contact with the forces of the universe that will bring them home. Chaviano＇s use of the Merlin legend is original and takes into account archaeological evidence about the Celts, Druids, and Stonehenge.展开更多
文摘“情动”(affect)一词由荷兰哲学家斯宾诺莎(Baruch de Spinoza)提出,德勒兹基于此提出了“情动”理论。作为一种情动媒介,以《流浪地球》系列为代表的新主流科幻电影通过中国特色的现代性符号意象、空间想象与现实镜像的叙事,在个体与集体、东方和西方、现代和未来的张力结构之间,建构出一种关于个体主体性、文化主体性和身体主体性的多重想象,表达出中国对人类面临的现代性危机和未来存在方式的终极关怀与反思,体现具有中国特色的民族精神和济世情怀,以此达到主旋律思想的传播和身份认同的维系。在此过程中,新主流科幻电影实现了多元主体间“情动”生成与联结。
文摘Chaviano＇s Fables of an Extraterrestrial Grandmother is a pioneering Cuban science fiction novel with four interconnected plots that manifest their separate worlds--the Havana of Ana, the protagonist writer, the Neolithic Celtic world of Merlin and Stonehenge, Faidir, the planet of Ijj e and the winged psyches with three eyes, and Rybel, the world of Ana＇s character Arlena, the ＂jumen＂ on the run in an alien planet after being wrecked in a space ship---through Ana＇s writing. Ana uses mental exercises and automatic writing to temporarily regress to a pre-rational state of consciousness where these parallel universes interpenetrate and cross in the locus of her subconscious. Writing for her is a form of possession that withdraws her fi＇om her immediate reality into a visionary state resembling that of a shaman. She is a writer being invented and written by her own characters. Her stories are not fictions, but already existing realities, and she is a channel by which they are able to manifest their existence through her writing. This science fiction vision of worlds within worlds suggests another origin of science fiction in the ancient literary genre of Menippean satire, a type of fiction that appeals to highly cosmopolitan, alienated readers who seek to renew contact with the sources of consciousness from which technological and social change have alienated them.
文摘Alice Ridout and Susan Watkins offers a best perspective in their book Doris Lessing： Border Crossings, to contemplate Lessing’s writing. In her 57-year publishing career, Lessing always crosses the borders： as a feminist or anti-feminist, as a science fiction writer or a realist who lost her way, as a Marxist or a reactionary, as a British writer or a postcolonial one. Lessing’s border-crossing not only lies in her different genres of writing or in different novels, but even in a single comparatively traditional novel. The Summer Before the Dark is a representative work of Lessing’s women portrayal transition from focusing on their outside world exploration to on their inner world seeking. This essay tries to look at the content and form of the novel, and to illustrate that Lessing’s border-crossing is also fulfilled in one single novel. She successfully crosses the border of convention and innovation： conventional in content, while innovative in form.
文摘When Merlin first appears in Chaviano＇s Fables of an Extraterrestrial Grandmother as the wizard Soio, he reflects the imagination of Ana, the adolescent protagonist of the science fiction novel as she is in the process of writing the very novel the reader is reading. Later she will discover that her fictional creations are not the invention of her imagination but exist autonomously in parallel universes and are using her as a vehicle of inter-dimensional travel through time and space. Soio/Merlin gazes into his crystal ball, a microcosm that gathers the space-time energy fields of the parallel universes, and sees visions of the protagonists whose modes of existence are real in one and fictional in another parallel universe. Merlin is a Druid in exile from the Neolithic world of Celtic Britain who has crossed over from earthly life to existence in Rybel, a parallel universe. He had crossed over by lining up the Stone of the Past and the Mirror of the Future at the great circle of Stonehenge. The stone circle functioned as an astronomical observatory. Stonehenge is a microcosm, a circle that reflects and coordinates the larger circle of the universe, symbolized and embodied in the sphere or crystal ball that Merlin transmits to Ana in the form of the novel being read. All the characters are trying to coordinate dimensions of space and time in order to fly from one parallel universe to another. Chaviano emphasizes crossing boundaries of time and space. Her characters live in one world but belonging to another, yearn to make contact with the forces of the universe that will bring them home. Chaviano＇s use of the Merlin legend is original and takes into account archaeological evidence about the Celts, Druids, and Stonehenge.
