You Can\u27t Get There from Here: Movement SF and the Picaresque

This dissertation examines the crisis of authenticity in postmodern culture and argues that contemporary science fiction, specifically the subgenre of Movement SF, has evolved a unique answer to this crisis by adopting, perhaps spontaneously, the picaresque narrative structure. Postmodern fiction has a tenuous relationship with the issue of authenticity, such that the average postmodern subject is utterly without true authenticity at all, alternately victim to the socioeconomic conditions of his or her culture and to the elision of the self as a result of the homogenizing effects of advertising, television, etc. Postmodern SF also carries this bleak perception of the possibility of agency; William Gibson\u27s Sprawl and Bridge trilogies are rife with negations of human agency at the metaphorical hands of various aspects and incarnations of what Fredric Jameson terms the technological sublime. This dissertation puts forth the argument that a group of post-Eighties SF texts all participate in a spontaneous revival of the picaresque mode, using the picaresque journey and related motifs to re-authenticate subjects whose identity and agency are being erased by powerful social and economic forces exterior to and normally imperceptible by the individual. This dissertation is organized around three loosely connected parts. Part 1 attempts to define Movement SF by separating the various, often confusing marketing labels (such as cyberpunk, postcyberpunk, etc.) and extracting a cluster of core characteristics that have shaped the genre since its inception in the early 80s. Part 1 further examines how these core characteristics (or premises) of Movement SF provide fertile ground for picaresque narrative strategies. Part 2 describes in detail the picaresque as it appears in Movement SF, examining worldbuilding strategies, the persistence and evolution of tropes and motifs common to the traditional picaresque, and the generation of new tropes and motifs unique to Movement picaresques. Part 3 examines the spatial tactics used in Movement picaresque narratives to enable picaresque marginality in totalized, globalized environments. Furthermore, Part 3 examines the use of psychological plurality as an internal tactic to escape closed environments

The Affect-Emotion Gap: Soft Power, Nation Branding, and Cultural Administration in Japan

This dissertation analyzes the appropriation of the political theory "soft power" within Japanese national bureaucracies as a discursive mechanism through which anxious concerns for Japan's present are manufactured into hopeful sentiments for its future. In doing so, it examines how certain nonconscious capacities to feel, affects , are made knowable in more formally narrated and perceived sentiments, emotions . These terms constitute the two sides of what I call the affect-emotion gap , whereby the slippages between what one feels and what one knows about what one feels are made into sites of political and economic investment. Based on two years of fieldwork conducted at the major national bureaucracies engaged with cultural diplomacy and policy in Japan--the Ministry of Foreign Affairs, the Agency for Cultural Affairs, the Ministry of Economy, Trade and Industry, and the Japan Foundation--I observe how soft power ideologies are translated into administrative policies that seek to turn aesthetic production, specifically within the field of Japanese popular culture, into political resource. Ultimately, I argue that the uneasy accommodation of soft power ideology to everyday bureaucratic practice reveals a contradictory movement in which soft power is at once delegitimized as practical policy and activated as discursive ideology which, in suturing economic anxiety in the present to hope for Japan's culture industries in the future, nonetheless sustains soft power's circulation

Public poetry, memory, and the historical present: 1660-1745

Public Poetry, Memory, and the Historical Present: 1660-1745 examines the role public poetry played in the fashioning of social memory during the so-called Augustan age of English literature; further, it traces in the rise and decline of public poetry during this period the emergence and subsequent estrangement of two distinctive modes of public memory: one highly emblematic and allusive in nature, fostering and indeed dependent upon a well-endowed collective sense of historical and literary tradition; the other far more literal and individualistic, fashioning social memory of the historical present--the present moment set against the backdrop of historical consciousness--by encouraging a personal awareness of the immediate, prosaic realities of the everyday world. Both modes of memory, the figurative and prosaic, were made broadly available to English society at large with the rise of public poetry in the years after the Restoration. They are generally united in the work of John Dryden, whose rise as a public figure coincides with the rise of public poetry itself in England, but it was the fate of Dryden\u27s greatest literary inheritor, Alexander Pope, to preside over--even accelerate--what one might call the divorce between the figurative and literal modes of public memory, the subsequent decline of the commercial appeal and cultural authority of formal verse, and the gradual eclipse of the figurative mode of public memory, which had tended to accommodate the habits of mind and memory inculcated by poetry. This divorce coincides with the gradual supplanting of occasional, journalistic poetry (broadsheet ballads as well as formal verse) by prose journalism and the novel, but also at work were the continuing shift from orality to literacy and an evolving sensibility--rationalist, individualist, and mercantilist in nature--in which the habit of emblematic allusion to a shared historical and literary tradition ceased to be relevant and viable. In tracing the broad cultural effects of an important poetic mode, therefore, I explore an important moment in the evolution of social consciousness, a moment that stands as the proximate origin of our own habits of memory

Late capitalism and its fictitious future(s) : the postmodern, science fiction, and the contemporary dystopia

My study investigates the various changes global capitalism underwent in the past three decades and analyses how these changes are reflected in contemporary dystopian literature. lt is widely recognized as a fact that our current economic order constitutes a distinct phase of capitalism as opposed to the phase of industrial capitalism that preceded it. There are various names for this originally new phase of capitalism, e.g., In formation capitalism, biocapitalism, post-industrial capitalism, cybernetic capitalism, totalitarian capitalism, and late capitalism. This study aims to investigate the various aspects of the  current economic order that these different monickers refer to. In the first part of the study, the transformations capitalism underwent in the last three decades are going to be investigated at length. lt is the aim of the first part of the study to give a comprehensive oveview over how our current economic order evolved and what are its specific characteristics with a particular emphasis on the role neo-liberal ideology played and plays in these processes. In the second part, the categories of postmodernism and postmodernity shall be examined with the goal of seeking an answerto the question whether it is still possible to speak of a postmodern condition in the contemporary. The third part investigates how our new phase of capitalism is represented in the realm of literature, especially dystopian science fiction literature. Science Fiction arguably constitutes the representative fiction of late capitalism. In this sense Science Fiction is a form of postmodern realism. Therefore, both postmodern and Science Fiction literature are going to be discussed in detail in the final part of this study