Charles Dickens in Cyberspace: The Afterlife of the Nineteenth Century in Postmodern Culture

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Oxford University Press, 2003 M08 7 - 280 páginas
Charles Dickens in Cyberspace opens a window on a startling set of literary and scientific links between contemporary American culture and the nineteenth-century heritage it often repudiates. Surveying a wide range of novelists, scientists, filmmakers, and theorists from the past two centuries, Jay Clayton traces the concealed circuits that connect the telegraph with the Internet, Charles Babbage's Difference Engine with the digital computer, Frankenstein's monster with cyborgs and clones, and Dickens' life and fiction with all manner of contemporary popular culture--from comic books and advertising to recent novels and films. In the process, Clayton argues for two important principles: that postmodernism has a hidden or repressed connection with the nineteenth-century and that revealing those connections can aid in the development of a historical cultural studies. In Charles Dickens in Cyberspace nineteenth-century figures--Jane Austen, Charles Darwin, Charles Dickens, Thomas Hardy, Henry James, Ada Lovelace, Joseph Paxton, Mary Shelley, and Mary Somerville--meet a lively group of counterparts from today: Andrea Barrett, Greg Bear, Peter Carey, Hélène Cixous, Alfonso Cuarón, William Gibson, Donna Haraway, David Lean, Richard Powers, Salman Rushdie, Ridley Scott, Susan Sontag, Neal Stephenson, Bruce Sterling, and Tom Stoppard. The juxtaposition of such a diverse cast of characters leads to a new way of understanding the "undisciplined culture" the two eras share, an understanding that can suggest ways to heal the gap that has long separated literature from science. Combining storytelling and scholarship, this engaging study demonstrates in its own practice the value of a self-reflective stance toward cultural history. Its personal voice, narrative strategies, multiple points of view, recursive loops, and irony emphasize the improvisational nature of the methods it employs. Yet its argument is serious and urgent: that the afterlife of the nineteenth century continues to shape the present in diverse and sometimes conflicting ways.

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Contenido

Dickens Browses the World Wide Web
3
The Past in the Future of Cultural Studies Crystal Palace to Millennium Dome
11
The Voice in the Machine Hazlitt Austen Hardy and James
50
Undisciplined Cultures Peacock Mary Somerville and Mr Pickwick
81
Hacking the Nineteenth Century Babbage and Lovelace in The Difference Engine and Arcadia
105
Concealed Circuits Frankensteins Monster Replicants and Cyborgs
124
Is Pip Postmodern? Or Dickens at the Turn of the Millenn1um
146
Genome Time New Age Evolution The Cold Bug Variations and Gottaca
166
Convergence of the Two Cultures A Geeks Guide
190
Notes
215
Works Cited
237
Index
259
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Página 129 - Learn from me, if not by my precepts, at least by my example, how dangerous is the acquirement of knowledge, and how much happier that man is who believes his native town to be the world, than he who aspires to become greater than his nature will allow.
Página 115 - You deem you are in darkness, and I see a dawn. The new generation of the aristocracy of England are not tyrants, not oppressors, Sybil, as you persist in believing. Their intelligence, better than that, their hearts, are open to the responsibility of their position.
Página 69 - To put it in a formula: he must turn his own unconscious like a receptive organ towards the transmitting unconscious of the patient. He must adjust himself to the patient as a telephone receiver is adjusted to the transmitting microphone.
Página 133 - Too bad for them if they fall apart upon discovering that women aren't men, or that the mother doesn't have one. But isn't this fear convenient for them? Wouldn't the worst be, isn't the worst, in truth, that women aren't castrated, that they have only to stop listening to the Sirens (for the Sirens were men) for history to change its meaning? You only have to look at the Medusa straight on to see her. And she's not deadly. She's beautiful and she's laughing.
Página 26 - Questions about the constructed nature of experience, about how subjects are constituted as different in the first place, about how one's vision is structured — about language (or discourse) and history — are left aside.
Página 86 - I rose early and made such arrangements with regard to my children and family affairs that I had time to write afterwards ; not, however, without many interruptions. A man can always command his time under the plea of business, a woman is not allowed any such excuse. At Chelsea I was always supposed to be at home, and as my friends and acquaintances came so far out of their way on purpose to see me, it would have been unkind and ungenerous not to receive them. Nevertheless, I was sometimes annoyed...
Página 54 - Canst thou lift up thy voice to the clouds, That abundance of waters may cover thee? Canst thou send lightnings, that they may go, And say unto thee, Here we are?
Página 117 - While the rest of the party gazed at this beautiful instrument with the same sort of expression and feeling that some savages are said to have shown on first seeing a looking glass or hearing a gun, Miss Byron, young as she was, understood its working and saw the great beauty of the invention.
Página 73 - It is no secret," she said, smiling. "'Paula to Charlotte,' it begins." "That's very pretty." "Oh — and it is about — you," murmured Miss De Stancy. "Me?" The architect blushed a little. She made no answer, and the machine went on with its story. There was something curious in watching this utterance about himself, under his very nose, in language unintelligible to him. He conjectured whether it were inquiry, praise, or blame, with a sense that it might reasonably be the latter, as the result...
Página 58 - The picturesque and dramatic do not keep pace with the useful and mechanical. The telegraphs that lately communicated the intelligence of the new revolution to all France within a few hours are a wonderful contrivance; but they are less striking and appalling than the beacon-fires (mentioned by Aeschylus), which, lighted from hilltop to hilltop, announced the taking of Troy and the return of Agamemnon.

Acerca del autor (2003)

Jay Clayton is Professor of English at Vanderbilt University.

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