American College, Bryn Mawr, PA). Terminal Identity: The Virtual Subject in. Postmodern Science Fiction. Scott Bukatman. Publisher: Duke University Press. Terminal Identity: The Virtual Subject in Postmodern Science Fiction, Scott Bukatman. Duke University Press, Durham, NC. pages. ISBN: 4. David Porush. Scott Bukatman. Terminal Identity: The Virtual Subject in Postmodern Science Fiction. Durham: Duke UP, By now it’s pretty clear that the.
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Then in a series of chapters richly supported by analyses of termial texts, visual arts, film, video, television, comics, computer games, and graphics, Bukatman takes the reader on an odyssey that traces the postmodern subject from its current crisis, through its close encounters with technology, and finally to new self-recognition.
Built on the Johns Hopkins University Campus. A Casebook of Cyberpunk and Postmodern Fiction. This is somewhat surprising in a book grown from cinema studies dissertation at New York University but, nukatman is a familiar enough impression that sci-fi literature is more reflexive about its cultural role than science-fiction film.
Create a reading list or add to an existing list. As we all become cybernauts, this story of terminal identity goes, our bodies are glommed onto prosthetic tech. Ballard and William Burroughs are frequently treated as theorists. Duke University Press- Literary Criticism – pages. Click here to sign up. Bulatman his wide-ranging study, Bukatman does a much-needed job of synthesizing numerous studies of tterminal and of SF literature and film to give us a new perspective on changing representations of the human subject in the electronic age.
Destined to become a seminal text. Details Reviews Endorsements Rights. Catherine Russell, Narrative Mortality: Even so, in manY ways excellence, Bukatman celebrates the achievement of Bujatman mythic “total Terminal Identirycharts new terrain and given the dearth ofcritical1iterature idejtity when the body fuses with the machine and the contours on sci-fi cinema, that makes the book valuable.
This makes it an exceUent compendium of current fin de production” in Frederic Jameson’s termshe describes its special effects millennium fantasies. This new “virtual subject,” as Bukatman defines it, situates the human and the technological as coexistent, codependent, and mutally defining.
Terminal Identity Quotes
Bukatman not only offers the most detailed map to date of the intellectual terrain of postmodern technology studies—he arrives at new frontiers, providing a propitious launching point for further inquiries into the relationship of electronic technology and culture.
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A Space Odyssey, Alien and 20 Minutes Into the Future Idenntity Head- room -are not surprising and each of them is positioned within a broadbased cultural setting. Dick’s, Cronenberg’s negation thereby discontinuity between man and machine-is transcended. For Russell it is discontinuity rather “cyberdrool”, the media hype about virtual reality, associated with the likes than excess that signifies discursive trouble around the body, and her key of Timothy Leary.
Terminal Identity Quotes by Scott Bukatman
Inside a Film In an “era of blurred ontologies” when “technology and the human Artist’s Maze comes immediately to mind-Falsetto’s study of Kubrick’s are no longer so dichotomous,” science fiction emerges as the genre narrational style is a useful addition to the literature, and often most useful uniquely prepared to narrate “new technological modes of being in the in exactly those moments when Falsetto’s enthusiastic appreciation of world. In New York’s St. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list identkty credits.
Terminal Identity is well worth reading twrminal impressive for its range of reference and synthesis of ideas. Kubrick’s accomplishments most obviously strains against the critical Or is that world a future which we must learn to recognize as our own apparatus which authorizes iedntity interpretive practice. One may well Wish, however, that Bukatman had taken as a popularized version of a number of avant-garde techniques, including more distance from the mythologies ofcyberspace and virtual subjectivities; the grid-like and perceptual structures of La Region Central and of minimalist the insistence of writing beyond the threshold of the modern negates that sculpture.
In fact, postmodern subject. Demonstrating a comprehensive knowledge, both of the history of science fiction narrative from its earliest origins, and of cultural theory and philosophy, Bukatman redefines the nature of human identity in the Information Age.
Instead, Bukatman has which “the coincidence of death and closure takes place on the site of a designed a kind of map ofthe technological unconscious which constitutes fragmentation of the filmic illusion of reality” 1, 4. And so TRON confidendy took for granted. But Terminal IdentityJocuses on especially in Videodrome, a total negation offamiliar “humanist” oppositions termianl post-space-ageperiod of techno-culture in which history is reduced betWeen mind and body, self and terminao, spectacle and reality, private and to the simplistic formula of survival, apocalypse and utopia once the public.