玛格丽特·阿特伍德《最后的心》与《西部世界》(第一季)中的怀旧、媚俗与大衰退

Q2 Arts and Humanities Brno Studies in English Pub Date : 2019-01-01 DOI:10.5817/BSE2019-1-9
Ewa A. Kowal
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引用次数: 0

摘要

本文对2015年玛格丽特·阿特伍德的反乌托邦小说《心到最后》和2016年由乔纳森·诺兰和丽莎·乔伊创作的HBO科幻电视剧《西部世界》(第一季)进行了比较研究。借鉴苏珊·法露迪的《恐怖之梦》和玛丽塔·斯特肯的《历史游客》,本文将重点放在美国边疆神话、怀旧和媚俗的概念(特别是斯特肯的雪花玻璃球的象征)上,分析这两部作品对最近大衰退的文化反应。虽然这两部被分析的作品都可以说反映了对日益扩大的阶级差距的焦虑,表达了对富人的怨恨,但它们对危机时期大众对舒适的需求做出了不同的回应。虽然《西部世界》以一种受压抑者解放的间接体验而振奋人心,但阿特伍德的讽刺讽刺地保留了一个幸福的结局,而是为读者提供了一个教训和挑战。
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Nostalgia, Kitsch and the Great Recession in Margaret Atwood's The Heart Goes Last and Westworld (Season 1)
The paper is a comparative study of Margaret Atwood’s 2015 dystopian novel The Heart Goes Last and the 2016 HBO science-fiction TV series Westworld (Season 1) created by Jonathan Nolan and Lisa Joy. Drawing upon Susan Faludi’s The Terror Dream and Marita Sturken’s Tourists of History, the paper focuses on the American frontier myth, and the concepts of nostalgia and kitsch (in particular, Sturken’s symbol of the snow globe) to analyse both works as cultural reactions to the recent Great Recession. While both analysed works can be said to reflect an anxiety about the growing class gap and express resentment against the rich, they respond differently to the popular demand for comfort in times of crisis. While Westworld uplifts with a vicarious experience of the underdog’s emancipation, Atwood’s satire ironically withholds a happy ending, providing readers with a lesson and a challenge instead.
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来源期刊
Brno Studies in English
Brno Studies in English Arts and Humanities-Literature and Literary Theory
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