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"Voyeurism Fiction."
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Reading the Dystopian Imagination in Films: Parallels Between the Science-Fiction Narrative and Reality
A post-apocalyptic scene in the dystopian world is usually set in an uninhabitable place with clear signs of disintegration, characterized by extreme suffering, fear of oppression, violence, segregation and class-division based on identity politics for complete control of the general population. The narrative is often built around a large-scale disaster and raises crucial questions about the future. The reason why dystopian narratives matter in the present scenario is in relation to the political situation as well as the condition of women in modern society which is alarmingly concerning. Reality mirrors the dystopian imagination which embodies these socio-political concerns. It launches a dialogue about the future and in doing so, becomes a form of resistance towards it. This paper explores the fascination with dystopian narratives in science-fiction films while drawing parallels between fiction and reality considering the recent pandemic, in order to address the appeal of dystopia as a genre. It presents science-fiction narratives as a necessary step towards the possibility of a better world through the critique of the present, despite the overwhelmingly melancholic imagination the genre embodies.
Journal Article
The visible man : a novel
Treating a delusional scientist who has been using cloaking technology from an aborted government project to render himself nearly invisible, Austin therapist Victoria Vick becomes obsessed with his accounts of spying on the private lives of others.
Book
Painting America: The Related Obsessions of Thomas Wolfe and Edward Hopper
Thomas Wolfe has similar scenes in his novels, when his characters approach life by looking through windows at the lives of others or when they look out their city windows to make sense of the world beyond them. Within a train car, there is both togetherness with people and an expected social distance, which Wolfe and Hopper portray in complex and fascinating ways. The protagonist, George Webber, and his lover, Esther Jack, peer through George's New York City apartment window repeatedly throughout the summer as they contemplate a man behind another window across the street at a warehouse called The Security Distributing Corp. Before him, all that summer of 1929, in the broad window of the warehouse, a man sat at a desk and looked out into the street, in a posture that never changed. Though they watch him day after day, like museum-goers analyzing a work of art, the warehouse man never shows any awareness of them.
Journal Article
Snowglobe
\"Given the opportunity to enter Snowglobe, the last place on Earth that's warm, where its residents, in exchange for fame, fortune and safety, broadcast their lives 24/7 to the less fortunate outside, Chobahm discovers reality is a lie--and the truth is out of reach\"-- Provided by publisher.
Book
Fictional Crimes/Historical Crimes: Genre and Character in Philip Kerr’s Berlin Noir Trilogy
This paper will explore Philip Kerr’s Berlin Noir trilogy, composed of March Violets (1989), The Pale Criminal (1990), and A German Requiem (1991), discussing the overlap and blurring of generic boundaries in these novels and the ability of this form to reckon with the Holocaust. These detective stories are not directly about the Holocaust, and although the crimes investigated by the mordant Bernie Gunther are fictional, they are interweaved with the greater crimes committed daily by the Nazi Party. The novels are brutally realistic, violent, bleak, and harsh, in a narrative style highly appropriate for crime novels set in Nazi Germany. Indeed, with our knowledge of the enormity of the Nazi crimes, the violence in the novels seems not gratuitous but reflective of the era. Bernie Gunther himself, who is both hard-boiled protagonist and narrator, is a deeply flawed human, even an anti-hero, but in Berlin, which is “alive” as a character in these novels, his insights, cloaked in irony and sarcasm, highlight the struggle to resist, even passively, even just inside one’s own mind, the current of Nazism. Although many representations of the Holocaust in popular fiction strive towards the “feel good” story within the story, Kerr’s morally and generically ambiguous novels never give in to this urge, and the solution of the crime is never redemptive. The darkness of these novels, paired with the popularity of crime fiction, make for a significant vehicle for representing the milieu in which the Holocaust was able to occur.
Journal Article
Fair Readers of Pornography: Narrative Intervention & Parodic-Didactic Style in Captain Charles Deveraux’s Venus in India
[ 2 ] Devereaux uses narrative interventions to address a promiscuous audience (an audience of men and women—but also here a term that plays on various characters’ sexual promiscuity), and he pays sustained and specific attention to his female narratees (and by extension to a female narrative audience(2)). Vignettes in volume one recount Devereaux and Louie’s passionate marriage; Devereaux’s disappointment with the lack of pornographic detail in Theophile Gautier’s Mademoiselle de Maupin; Lizzie’s memories of losing her virginity; Searles’s predilection for sodomy and Searles’s wife’s new career as a high-priced prostitute as her means of punishing her husband for sodomizing her; and Searles’s attempted rape of Lizzie and subsequent beating by the enlisted men. Presenting himself as a man both deeply in love with his wife and deeply interested in sex (he repeatedly refers to sex as a form of worship, hence the novel’s title), Devereaux leads his narratees and narrative audience into wilder and wilder sexual situations, building on their acceptance of one sex act as “normal” in order to have them accept more sex acts as “normal.” [...]Phelan argues that the narratological narratee and the rhetorical narrative audience (in a slightly revised form) are complementary theories; “Let Prince’s definition of narratee stand: the audience addressed by the narrator (the enunciatee).
Journal Article
Reading Rape
Reading Rapeexamines how American culture talks about sexual violence and explains why, in the latter twentieth century, rape achieved such significance as a trope of power relations.
Through attentive readings of a wide range of literary and cultural representations of sexual assault--from antebellum seduction narratives and \"realist\" representations of rape in nineteenth-century novels toDeliverance, American Psycho, and contemporary feminist accounts--Sabine Sielke traces the evolution of a specifically American rhetoric of rape. She considers the kinds of cultural work that this rhetoric has performed and finds that rape has been an insistent figure for a range of social, political, and economic issues.
Sielke argues that the representation of rape has been a major force in the cultural construction of sexuality, gender, race, ethnicity, class, and indeed national identity. At the same time, her acute analyses of both canonical and lesser-known texts explore the complex anxieties that motivate such constructions and their function within the wider cultural imagination. Provoked in part by contemporary feminist criticism,Reading Rapealso challenges feminist positions on sexual violence by interrogating them as part of the history in which rape has been a convenient and conventional albeit troubling trope for other concerns and conflicts.
This book teaches us what we talk about when we talk about rape. And what we're talking about is often something else entirely: power, money, social change, difference, and identity.
eBook
JOSEPH ADDISON’S LUCRETIAN IMAGINATION
This essay argues for the haunting presence of Titus Lucretius Carus in Joseph Addison's aesthetics. Two of the ten essays in the series on the pleasures of the imagination present marginal citations from De rerum natura. I use these epigraphs, as well as the discussion of Lucretius in Spectator number 110, to reconstruct the role of Lucretius for Addison's account of the imagination. Inspired by the literary performance of the Roman poet, Addison conceives the imagination as a faculty that naturalizes self-possession. Lucretius thus plays a vital role in Addison's defense of John Locke's fragile invention, the modern liberal subject.
Journal Article