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Funding Utopia: Utopian Studies and the Discourse of Academic Excellence 资助乌托邦:乌托邦研究与卓越学术论述
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0517
Adam Stock
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引用次数: 0
Found in Translation: “New People” in Twentieth-Century Chinese Science Fiction 翻译中的发现:二十世纪中国科幻小说中的 "新人"
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0591
Yingying Huang
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引用次数: 0
No Exit: Death Drive, Dystopia, and the Long Winter of the American Dream in Harold Ramis’s The Ice Harvest 没有出口:哈罗德-雷米斯的《冰雪收获》中的死亡驱动、乌托邦和美国梦的漫长寒冬
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0380
Eric D. Smith
This article examines Harold Ramis’s 2005 noir comedy The Ice Harvest as the critically dystopian counter-panel to his beloved 1993 film Groundhog Day, a film frequently discussed within the paradigm of utopia. While starkly different in genre, tone, and reception, the two films comprise a dialectical dyad that registers the historical transition from the utopian cultural effervescence of the early 1990s to the tragic foreclosure of imaginative horizons and the dystopian transformation of economic, political, and social landscapes in the new millennium. In The Ice Harvest, the author argues, this is achieved through a strategic reactivation of film noir as a variant of the critical dystopia.
本文探讨了哈罗德-雷米斯 2005 年的黑色喜剧片《冰雪收获》,该片是他 1993 年的心爱之作《土拨鼠日》的反面教材,而《土拨鼠日》是一部经常在乌托邦范式下讨论的影片。虽然两部电影在类型、基调和接受程度上截然不同,但它们构成了一个辩证的二元对立,记录了从 20 世纪 90 年代初的乌托邦文化热潮到新千年中想象力视野的悲剧性丧失以及经济、政治和社会景观的乌托邦式转变的历史过渡。作者认为,在《冰雪收获》中,这是通过战略性地重新激活黑色电影作为批判性乌托邦的变体来实现的。
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引用次数: 0
Response 1: Acting Up in Utopia 回应 1:在乌托邦中行动起来
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0538
Adam Stock, Julia Ramírez-Blanco
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引用次数: 0
The Past and Future of Utopian Studies 乌托邦研究的过去与未来
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0478
Laurence Davis
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引用次数: 0
(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship (P)rescription Narratives:女性主义医学小说与美国审查制度的失败
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0612
Etta M. Madden
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引用次数: 0
Response 2: “Pessimism of the Intellect, Optimism of the Will” 回应 2:"理智的悲观主义,意志的乐观主义"
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0544
Antonis Balasopoulos
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引用次数: 0
The Noble Impermanence of Waystations 路站的高贵无常
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0570
Miriam Rowntree
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引用次数: 0
Response 4: The Summer of Our Discontent 回应 4:我们不满的夏天
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0554
Caroline Edwards
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引用次数: 0
Archibald Marshall’s “Motley Mixture of Crying Contradictions”: Upsidonia as Utopian Farce 阿奇博尔德-马歇尔的 "令人啼笑皆非的矛盾杂烩":作为乌托邦闹剧的乌普西多尼亚
IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-11-01 DOI: 10.5325/utopianstudies.34.3.0418
P. Sinnema
Karl Marx’s acerbic observation in the opening lines of The Eighteenth Brumaire that “all facts and personages of great importance in world history occur the first time as tragedy, the second as farce” may be profitably applied to a reconsideration of literary farce sui generis, a genre represented in this article by a long-neglected work of utopian fiction, Archibald Marshall’s Upsidonia (1915). Although Upsidonia’s current disregard is arguably undeserved, the article’s chief interest is not to reclaim the novel on aesthetic grounds but to illuminate the mechanics of what Marx would call its “serious buffoonery.” In its persistent reversal of capitalist principles and relations, Upsidonia naturally invites readers to revisit Marx, whose mordant gambit may serve as a key to Marshall’s own farcical plot and praxis, rooted in return and repetition, the essential maneuvers of farce itself.
卡尔-马克思在《十八日勃鲁梅尔》开篇中尖锐地指出,"世界历史上一切重大的事实和人物,第一次是作为悲剧出现的,第二次则是作为闹剧出现的",这一观点或许可用于对自成一类的文学闹剧的重新思考,而本文中的这一流派则是一部长期被忽视的乌托邦小说作品,即阿奇博尔德-马歇尔的《乌普西多尼亚》(1915 年)。尽管《乌普西多尼亚》目前受到的漠视可以说是咎由自取,但本文的主要兴趣并不在于从美学角度重新审视这部小说,而在于阐明马克思称之为 "严肃小丑 "的创作机制。乌普西多尼亚》不断颠覆资本主义的原则和关系,自然而然地邀请读者重温马克思,而马克思的诙谐赌局可能是马歇尔自己的闹剧情节和手法的一把钥匙,它植根于返回和重复,而这正是闹剧本身的基本手法。
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引用次数: 0
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Utopian Studies
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