Pub Date : 2019-09-05DOI: 10.14321/crnewcentrevi.19.2.0117
Keren Omry
{"title":"Ozeki's Mirror Rooms: Posthumanism and A Tale for the Time Being","authors":"Keren Omry","doi":"10.14321/crnewcentrevi.19.2.0117","DOIUrl":"https://doi.org/10.14321/crnewcentrevi.19.2.0117","url":null,"abstract":"","PeriodicalId":45935,"journal":{"name":"CR-THE NEW CENTENNIAL REVIEW","volume":"45 1","pages":"117 - 137"},"PeriodicalIF":0.0,"publicationDate":"2019-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74305166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-08DOI: 10.14321/CRNEWCENTREVI.19.1.0277
Marcia Klotz
AS W I L L B E O B V I O U S T O T H E M O S T C A S U A L V I E W E R, S P E C U L A T I V E F I C T I O N of the twenty-first century has been characterized by an extraordinary proliferation of apocalyptic narratives, all featuring the end of the world as we know it. Sometimes the end comes through a gradual fraying of the social fabric, as in Octavia Butler’s Parable of the Sower series (1993; 1998) or Edan Lapucki’s California (2015), until society is reduced to a Hobbesian world ruled by roving bands of thugs, arsonists, and cannibals. Or maybe it’s a nuclear conflict that initiates Armageddon, as in Cormac McCarthy’s The Road (2007) or the Hughes brothers’ The Book of Eli (2010). Some visions of the end, like Margaret Atwood’s Maddaddam trilogy (2002–14) or Paolo Bacigalupi’s The Windup Girl (2009), feature a biogenetic-induced ecological catastrophe. In others, various threats to planetary survival mutually reinforce one another; in John Howard Kunstler’s World Made by Hand series (2009; 2011; 2015) or Omar El
W I L L B E O B V I O U S T O T H E M O S T L C S U V I E W E R, S P E C U L T I V E F I C T I O N 21世纪的特征是一个非凡的扩散末日故事,所有为我们所知的世界末日。有时，结局是通过社会结构的逐渐磨损来实现的，就像奥克塔维亚·巴特勒(Octavia Butler)的《撒种者的寓言》系列(1993;或者伊丹·拉普基(Edan Lapucki)的《加州》(California)(2015)，直到社会沦为霍布斯式的世界，由暴徒、纵火犯和食人族组成的流浪乐队统治。也可能是一场核冲突引发了世界末日，就像科马克·麦卡锡(Cormac McCarthy)的《路》(The Road)(2007)或休斯兄弟的《以利之书》(The Book of Eli)(2010)那样。一些关于世界末日的设想，比如玛格丽特·阿特伍德的《疯狂亚当》三部曲(2002-14)或保罗·巴奇加卢皮的《发条女孩》(2009)，都以生物基因引发的生态灾难为特征。在其他情况下，对地球生存的各种威胁相互加强;约翰·霍华德·昆斯特勒的《手工世界》系列(2009年);2011;2015)或Omar El
{"title":"Of Time Loops and Derivatives: Christopher Nolan's Interstellar and the Logic of the Futures Market","authors":"Marcia Klotz","doi":"10.14321/CRNEWCENTREVI.19.1.0277","DOIUrl":"https://doi.org/10.14321/CRNEWCENTREVI.19.1.0277","url":null,"abstract":"AS W I L L B E O B V I O U S T O T H E M O S T C A S U A L V I E W E R, S P E C U L A T I V E F I C T I O N of the twenty-first century has been characterized by an extraordinary proliferation of apocalyptic narratives, all featuring the end of the world as we know it. Sometimes the end comes through a gradual fraying of the social fabric, as in Octavia Butler’s Parable of the Sower series (1993; 1998) or Edan Lapucki’s California (2015), until society is reduced to a Hobbesian world ruled by roving bands of thugs, arsonists, and cannibals. Or maybe it’s a nuclear conflict that initiates Armageddon, as in Cormac McCarthy’s The Road (2007) or the Hughes brothers’ The Book of Eli (2010). Some visions of the end, like Margaret Atwood’s Maddaddam trilogy (2002–14) or Paolo Bacigalupi’s The Windup Girl (2009), feature a biogenetic-induced ecological catastrophe. In others, various threats to planetary survival mutually reinforce one another; in John Howard Kunstler’s World Made by Hand series (2009; 2011; 2015) or Omar El","PeriodicalId":45935,"journal":{"name":"CR-THE NEW CENTENNIAL REVIEW","volume":"18 1","pages":"277 - 297"},"PeriodicalIF":0.0,"publicationDate":"2019-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73517392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-08DOI: 10.14321/CRNEWCENTREVI.19.1.0001
D. M. Higgins, H. O’Connell
{"title":"Introduction: Speculative Finance/Speculative Fiction","authors":"D. M. Higgins, H. O’Connell","doi":"10.14321/CRNEWCENTREVI.19.1.0001","DOIUrl":"https://doi.org/10.14321/CRNEWCENTREVI.19.1.0001","url":null,"abstract":"","PeriodicalId":45935,"journal":{"name":"CR-THE NEW CENTENNIAL REVIEW","volume":"32 1","pages":"1 - 9"},"PeriodicalIF":0.0,"publicationDate":"2019-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85233126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-08DOI: 10.14321/CRNEWCENTREVI.19.1.0061
D. M. Higgins
SP E C U L A T I V E F I C T I O N S O F T E N R E F U S E T O A C C E P T T H E I N E V I T A B I L I T Y O F the world-as-we-know-it in order to explore cognitive estrangements—story elements that are broadly imaginative yet grounded in the complexity of real-world conditions—that aspire toward alternative visions of social, political, and economic life (Suvin 2016). Not all speculative fictions, of course, invoke utopian possibilities: some serve as propaganda for technoscientific modernity, others revel in shallow escapism, and still others engage in fantasies of empire and racial supremacy (Rieder 2008). At its best, however, speculative fiction refuses to take the existing conditions of the world for granted, and this refusal enables it to challenge the ideological hegemony of capitalist realism as well as to counter the poisonous forms of abstraction that drive neoliberal accumulation and dispossession (Fisher 2009). Because speculative fictions often avoid taking naturalized economic worldviews at face value, they sometimes have a unique capacity to expose
SP E C U L T I V E I C T I O N S O F T E N R F E U S E T O C C E P T T H E我N E V T B L I T Y O F世界的实际情况,以探索认知estrangements-story元素广泛想象力还建立在真实世界的复杂性条件:追求向往另类的社会、政治和经济生活(Suvin 2016)。当然，并不是所有的投机小说都唤起了乌托邦的可能性:有些是作为技术科学现代性的宣传，有些是肤浅的逃避现实，还有一些是对帝国和种族至上的幻想(里德2008)。然而，在最好的情况下，投机小说拒绝将世界的现有条件视为理所当然，这种拒绝使它能够挑战资本主义现实主义的意识形态霸权，并对抗推动新自由主义积累和剥夺的有毒抽象形式(Fisher 2009)。由于投机小说通常避免从表面上理解自然化的经济世界观，因此它们有时具有独特的揭露能力
{"title":"A Glorious Mythology of Loss: Speculative Finance in Alan Moore's Jerusalem","authors":"D. M. Higgins","doi":"10.14321/CRNEWCENTREVI.19.1.0061","DOIUrl":"https://doi.org/10.14321/CRNEWCENTREVI.19.1.0061","url":null,"abstract":"SP E C U L A T I V E F I C T I O N S O F T E N R E F U S E T O A C C E P T T H E I N E V I T A B I L I T Y O F the world-as-we-know-it in order to explore cognitive estrangements—story elements that are broadly imaginative yet grounded in the complexity of real-world conditions—that aspire toward alternative visions of social, political, and economic life (Suvin 2016). Not all speculative fictions, of course, invoke utopian possibilities: some serve as propaganda for technoscientific modernity, others revel in shallow escapism, and still others engage in fantasies of empire and racial supremacy (Rieder 2008). At its best, however, speculative fiction refuses to take the existing conditions of the world for granted, and this refusal enables it to challenge the ideological hegemony of capitalist realism as well as to counter the poisonous forms of abstraction that drive neoliberal accumulation and dispossession (Fisher 2009). Because speculative fictions often avoid taking naturalized economic worldviews at face value, they sometimes have a unique capacity to expose","PeriodicalId":45935,"journal":{"name":"CR-THE NEW CENTENNIAL REVIEW","volume":"2 1","pages":"61 - 84"},"PeriodicalIF":0.0,"publicationDate":"2019-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75366870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-08DOI: 10.14321/CRNEWCENTREVI.19.1.0085
Joel Mason, M. Hornblow, Anique Vered
In an age of collapse, and the temporality of many potential 2008’s, monstrous conceptualfigures appear on a mythic and symbolic landscape: fiat money, crypto-currency, blockchain,machines of abstraction, factions of value operating at the borders of the recognized.
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Pub Date : 2019-05-08DOI: 10.14321/CRNEWCENTREVI.19.1.0205
Meghanne Flynn, Sarah Hardstaff
WH E N SU Z A N N E CO L L I N S’S TH E HU N G E R GA M E S W A S P U B L I S H E D I N 2008, it was critically praised as the “antidote” to Stephenie Meyer’s Twilight Saga, with Collins’s Katniss Everdeen heralded as the active feminist agent to counter Meyer’s passive Bella Swan. Meyer’s series drew to a close as Collins’s began, both in the midst of the 2008 financial crisis. Both series are compellingly connected to speculative finance. The Hunger Games caught the imagination of youth punished and excluded by a crash they did not cause, while facing uncertainty about the future; economist Noreena Hertz has dubbed today’s youth “Generation K” after Katniss (Hertz 2016). Meanwhile, critiques of Twilight’s Edward Cullen as “compensated psychopath” (Merskin 2011, 157)
{"title":"\"Trust Me\": Volatile Markets in Twilight and The Hunger Games","authors":"Meghanne Flynn, Sarah Hardstaff","doi":"10.14321/CRNEWCENTREVI.19.1.0205","DOIUrl":"https://doi.org/10.14321/CRNEWCENTREVI.19.1.0205","url":null,"abstract":"WH E N SU Z A N N E CO L L I N S’S TH E HU N G E R GA M E S W A S P U B L I S H E D I N 2008, it was critically praised as the “antidote” to Stephenie Meyer’s Twilight Saga, with Collins’s Katniss Everdeen heralded as the active feminist agent to counter Meyer’s passive Bella Swan. Meyer’s series drew to a close as Collins’s began, both in the midst of the 2008 financial crisis. Both series are compellingly connected to speculative finance. The Hunger Games caught the imagination of youth punished and excluded by a crash they did not cause, while facing uncertainty about the future; economist Noreena Hertz has dubbed today’s youth “Generation K” after Katniss (Hertz 2016). Meanwhile, critiques of Twilight’s Edward Cullen as “compensated psychopath” (Merskin 2011, 157)","PeriodicalId":45935,"journal":{"name":"CR-THE NEW CENTENNIAL REVIEW","volume":"25 1","pages":"205 - 227"},"PeriodicalIF":0.0,"publicationDate":"2019-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75465652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-08DOI: 10.14321/CRNEWCENTREVI.19.1.0181
Steve Asselin
PO P U L A R F I C T I O N I N T H E C L O S I N G D A Y S O F T H E N I N E T E E N T H C E N T U R Y W A S awash with apocalyptic scenarios, ranging from stories of future wars and alien invasions to narratives about global ecological collapse, arising from spaceborne catastrophe or from the result of humanity’s own dangerous meddling in the global environment. Many (if not most) of the narratives that make up the late Victorian apocalyptic fad were squarely situated in the realm of speculative fiction, especially in their imagining of new technological innovations. The new forms of weaponry in such narratives included early versions of nuclear bombs and other technological weapons that had the potential to wipe out all (human) life on the planet (Gannon 2005). The recent revival and recontextualization of nuclear criticism away from weaponry in the strictest sense, however, and toward all forms of technology with the potential to endanger global survival (Wallace 2016) is an apt reminder that technology
阿宝P U L R F I C T I O N I N T H E C L O S I N G D Y S O F T H E N I N E T E E N T H C E N T U R Y W S充斥着世界末日场景,从未来战争和外星人入侵的故事叙述对全球生态崩溃,星载引起的灾难或从人类自身的危险的干涉的结果,全球环境。许多(如果不是大多数的话)构成维多利亚时代晚期末世预言风潮的叙述完全处于投机小说的领域，特别是在他们对新技术创新的想象中。在这样的叙述中，新形式的武器包括早期版本的核弹和其他有可能消灭地球上所有(人类)生命的技术武器(甘农2005)。然而，最近对核批评的复兴和重新语境化，从最严格的意义上讲，远离武器，转向所有可能危及全球生存的技术形式(Wallace 2016)，这是一个恰当的提醒，技术
{"title":"Apocalypse, Inc. Incorporating the Environment into the Boom/Bust Cycle in Fin-de-Siècle Science Fiction","authors":"Steve Asselin","doi":"10.14321/CRNEWCENTREVI.19.1.0181","DOIUrl":"https://doi.org/10.14321/CRNEWCENTREVI.19.1.0181","url":null,"abstract":"PO P U L A R F I C T I O N I N T H E C L O S I N G D A Y S O F T H E N I N E T E E N T H C E N T U R Y W A S awash with apocalyptic scenarios, ranging from stories of future wars and alien invasions to narratives about global ecological collapse, arising from spaceborne catastrophe or from the result of humanity’s own dangerous meddling in the global environment. Many (if not most) of the narratives that make up the late Victorian apocalyptic fad were squarely situated in the realm of speculative fiction, especially in their imagining of new technological innovations. The new forms of weaponry in such narratives included early versions of nuclear bombs and other technological weapons that had the potential to wipe out all (human) life on the planet (Gannon 2005). The recent revival and recontextualization of nuclear criticism away from weaponry in the strictest sense, however, and toward all forms of technology with the potential to endanger global survival (Wallace 2016) is an apt reminder that technology","PeriodicalId":45935,"journal":{"name":"CR-THE NEW CENTENNIAL REVIEW","volume":"73 1","pages":"181 - 203"},"PeriodicalIF":0.0,"publicationDate":"2019-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83291961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-08DOI: 10.14321/crnewcentrevi.19.1.0129
H. O’Connell
What happens to speculative fiction (sf) under a perpetual winter of financial crisis? If, as John Rieder (2008) and Istvan Csicsery-Ronay Jr. (2003) have argued, sf’s advent is coterminous with and ideologically pinned to the rise of imperialism, its development also takes place from within the regime of productive, Fordist capitalism. Sf’s technological novums—from the Nautilus to the time machine, faster than light engines to robots, quantum computing to nanotechnology—bare this imprint of production’s dominance. But what happens to sf as the mode of production shifts from the material to the immaterial, from the dominance of the commodity form to the dominance of
{"title":"The Novums of Fiscalmancy: Speculative Finance and Speculative Fiction in Ian McDonald's The Dervish House","authors":"H. O’Connell","doi":"10.14321/crnewcentrevi.19.1.0129","DOIUrl":"https://doi.org/10.14321/crnewcentrevi.19.1.0129","url":null,"abstract":"What happens to speculative fiction (sf) under a perpetual winter of financial crisis? If, as John Rieder (2008) and Istvan Csicsery-Ronay Jr. (2003) have argued, sf’s advent is coterminous with and ideologically pinned to the rise of imperialism, its development also takes place from within the regime of productive, Fordist capitalism. Sf’s technological novums—from the Nautilus to the time machine, faster than light engines to robots, quantum computing to nanotechnology—bare this imprint of production’s dominance. But what happens to sf as the mode of production shifts from the material to the immaterial, from the dominance of the commodity form to the dominance of","PeriodicalId":45935,"journal":{"name":"CR-THE NEW CENTENNIAL REVIEW","volume":"58 1","pages":"129 - 154"},"PeriodicalIF":0.0,"publicationDate":"2019-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91111666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-05-08DOI: 10.14321/CRNEWCENTREVI.19.1.0037
M. Nilges
“BY N O W,” CH R I S T I A N MA R A Z Z I A R G U E S I N H I S 2011 B O O K TH E VI O L E N C E of Financial Capitalism, “finance permeates from the beginning to the end the circulation of capital.” And because today “every productive act and every act of consumption is directly or indirectly tied to finance,” Marazzi continues, we must understand our moment in time as the period in which finance’s “speculative logic” has become the logic of capitalism’s dominant form (Marazzi 2011, 107). But when speculation becomes the dominant logic of material reality, what happens to speculative fiction (sf)? The editors of this special issue have chosen a poignant title for this collection of essays, one that, as I will show in what follows, gets at the heart of the logical and structural relationship between speculative finance and speculative fiction today. In fact, I would suggest, one could think of this issue’s title—“Speculative Finance/Speculative Fiction”—as shorthand for the dialectic of speculation
{"title":"The Realism of Speculation: Contemporary Speculative Fiction as Immanent Critique of Finance Capitalism","authors":"M. Nilges","doi":"10.14321/CRNEWCENTREVI.19.1.0037","DOIUrl":"https://doi.org/10.14321/CRNEWCENTREVI.19.1.0037","url":null,"abstract":"“BY N O W,” CH R I S T I A N MA R A Z Z I A R G U E S I N H I S 2011 B O O K TH E VI O L E N C E of Financial Capitalism, “finance permeates from the beginning to the end the circulation of capital.” And because today “every productive act and every act of consumption is directly or indirectly tied to finance,” Marazzi continues, we must understand our moment in time as the period in which finance’s “speculative logic” has become the logic of capitalism’s dominant form (Marazzi 2011, 107). But when speculation becomes the dominant logic of material reality, what happens to speculative fiction (sf)? The editors of this special issue have chosen a poignant title for this collection of essays, one that, as I will show in what follows, gets at the heart of the logical and structural relationship between speculative finance and speculative fiction today. In fact, I would suggest, one could think of this issue’s title—“Speculative Finance/Speculative Fiction”—as shorthand for the dialectic of speculation","PeriodicalId":45935,"journal":{"name":"CR-THE NEW CENTENNIAL REVIEW","volume":"68 1","pages":"37 - 59"},"PeriodicalIF":0.0,"publicationDate":"2019-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80331176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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