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Essay from the year 2004 in the subject English Language and Literature Studies - Literature, grade: Distinction, University of Newcastle upon Tyne (School of English Literature, Language and Linguistics), course: Reading the Past, 9 entries in the bibliography, language: English, abstract: The semantic field opened up by the term modernity describes a multifaceted body of experiences that are seen as somehow different from earlier, more traditional modes of experience. This modern "experience of space and time, of the self and others, of life's possibilities and perils" seems to be marked by a sense of perpetual change brought about by the continuous and relentless application of techno-scientific knowledge (Berman 1983:2). The perpetually shifting paradigms of scientific knowledge and the social consequences of the application of techno-science to the subjugation of nature undermine any notion of stability and continuity. Pierre Nora's use of the phrase "acce leration of history" to signify "an increasingly rapid slippage of the present into a historical past that is gone for good" crystallizes the general sense of uncertainty which is often seen as an integral part of modern experience (Nora 1989:7). In the following passage Nora introduces a distinction between memory and history: On the hand, we find an integrated, dictatorial memory - unself-conscious, commanding, allpowerful, spontaneously actualizing, a memory without a past that ceaselessly reinvents tradition, linking the history of its ancestors to the undifferentiated time of heroes, origins, and myth - and on the other hand, our memory, nothing more in fact than sifted and sorted historical traces (Nora 1989:8) . In order to critique "how our hopelessly forgetful modern societies, propelled by change, organize the past" Nora juxtaposes an archaic, undifferentiated, mythical form of memory, which ties a community organically to its past with modern historiography, which produces simulacra of a memory th
New Worlds for Old, which appeared in some later editions with the subtitle "A Plain Account of Modern Socialism," was one of several books and pamphlets that H.G. Wells wrote about the socialist future in the period 1901-1908, while he was engaged in an effort to reform the Fabian Society. Contents: Chapter I. The Good Will in Man Chapter II. The Fundamental Idea of Socialism Chapter III. The First Main Generalization of Socialism Chapter IV. The Second Main Generalization of Socialism Chapter V. The Spirit of Gain and the Spirit of Service Chapter VI. Would Socialism Destroy the Home? Chapter VII. Would Modern Socialism Abolish All Property? Chapter VIII. The Middle-Class Man, the Business Man, and Socialism Chapter IX. Some Common Objections to Socialism Chapter X. Socialism a Developing Doctrine Chapter XI. Revolutionary Socialism Chapter XII. Administrative Socialism Chapter XIII. Constructive Socialism Chapter XIV. Some Arguments Ad Hominem Chapter XV. The Advancement of Socialism Herbert George "H. G." Wells (1866 – 1946) was an English writer, now best known for his work in the science fiction genre. He was also a prolific writer in many other genres, including contemporary novels, history, politics and social commentary, even writing textbooks and rules for war games. Wells was now considered to be one of the world's most important political thinkers and during the 1920s and 30s he was in great demand as a contributor to newspapers and journals.
Bridging modernist studies and science fiction scholarshipModernism and Time Machines places the fascination with time in canonical works of twentieth-century literature and art side-by-side with the rise of time-travel narratives and alternate histories in popular culture. Both modernism and this cardinal trope of science fiction produce a range of effects and insights that go beyond the exhilarations of simply sliding back and forth in history. Together the modernist time-obsession and the fantasy of moving in time help us to rethink the shapes of time, the consistency of timespace and the nature of history.Key FeaturesDraws on insights from a range of sources, including critical geography, postcolonial theory, science and technology studies, and time studiesExamines different kinds of objects together: SF, Impressionism, and Henri Lefebvre's rhythmanalysis; evolutionary biology, Eliot's The Waste Land, and Leinster's "e;Sidewise in Time"e;; Woolf, Philip K. Dick's alternate history, and the film Interstellar; bullet time, Faulkner's racialized lag, and Jessica Hagedorn's postcolonial anachronism; "e;big history,"e; Olaf Stapledon's two-billion-year novel of the human species, and Terrence Malick's film Tree of Life
The present work is a study in the history of an enduring idea that defines the inner life of the mind and also supplied a substratum for the twentieth-century literary imagination and substance for philosophical thinking, producing a unique alliance between philosophy and literature. This special union was forged by a new holistic conception of time which supplemented, and even supplanted, the conventional sense of chronological time. This temporal turn animated the existential insights of Husserl, Heidegger, and Bergson, but it was grounded in nineteenth-century advances in the biological sciences, the hegemony of Hegelianism, and even stretched back to Augustine's early meditation on time in Book XI of his Confessions. In linking together a set of thinkers who addressed this form of temporal consciousness, Gabriel R. Ricci illuminates a common intellectual preoccupation from the vantage point of a concept. The authors do not together assemble the thought; it is the thought that produced a collective voice. This voice appears in the episodes outlined in each chapter, and they are framed by an introduction, which explores Joseph Frank's insights into the new spatial forms in literature, and an epilogue, which resurrects J.W. Dunne's peculiar dream experiments and theory of precognition. Ricci employs Frank's seminal essay to draw comparisons between literature's adaptation of the new time sense and philosophy's expression of the new compatibility between space and time. Dunne's theory serves to demonstrate the continuity between literary form and philosophical speculation.
David Lodge is a much-loved novelist and influential literary critic. Examining his career from his earliest publications in the late 1950s to his more recent works, David Lodge and the Tradition of the Modern Novel identifies Lodge's central place within the canon of twentieth-century British literature. J. Russell Perkin argues that liberalism is the defining feature of Lodge's identity as a novelist, critic, and Roman Catholic intellectual, and demonstrates that Graham Greene, James Joyce, Kingsley Amis, Henry James, and H.G. Wells are the key influences on Lodge's fiction. Perkin also considers Lodge's relationship to contemporary British novelists, including Hilary Mantel, Julian Barnes, and Monica Ali. In a study that is both theoretically informed and accessible to the general reader, Perkin shows that Lodge's work is shaped by the dialectic of modernism and the realist tradition. Through an approach that draws on diverse theories of literary influence and history, David Lodge and the Tradition of the Modern Novel provides the most thorough treatment of the novelist's career to date.
In Victorian England, an eccentric scientist unveils his latest invention: a machine capable of travelling through time. Demonstrating its capabilities, the Time Traveller embarks on a journey to the distant future, arriving in the year 802,701. He discovers a seemingly utopian society inhabited by the gentle Eloi, but soon uncovers a dark and terrifying underworld ruled by the sinister Morlocks. As the Time Traveller delves deeper into this bifurcated world, he realises the grim consequences of societal decay and the potential fate of humanity. H.G. Wells’ The Time Machine is a pioneering work in the science fiction genre, introducing the concept of time travel and coining the term »time machine«. First published in 1895, it has since become a classic, influencing countless works of fiction and shaping the genre’s development. H. G. WELLS [1866-1946] was a British author and pioneer in the science fiction genre. His works, including The Time Machine and The War of the Worlds, delved into futuristic and societal critique themes. Wells’s visionary portrayals of technology, social structures, and extraterrestrial life made him one of the most influential writers in his field and a precursor to modern science fiction.
This book aims to put the fiction back into utopian fictions. While tracing the development of fiction in the writing of modern utopias, especially in Britain, it seeks to demonstrate in specific ways how those utopias have become increasingly literary--possibly as a reaction not only against the "social scientification" of modern utopias but also in reaction against the modern attempt to institute "utopia" in reality, notably in the former Soviet Union but also in consumerist, late-twentieth-century America.
The Time Machine by H. G. Wells is a science fiction classic, which lends itself well to visualization. This version, illustrated by Yoann Laurent-Rouault, an illustrator master who graduated from the Beaux-Arts, and published in the international literary collection Memoria Books, is a reference on the time travel theme. Wells transports us in the year 802 701, in a society made up of the “Elois”, who live peacefully in a kind of big Garden of Eden, eating fruits and sleeping high up, while underground lives another species, also descending from men, the “Morlocks”, who do not stand the light anymore, living in the dark for too long now. At night, they return to the surface, going back up by the wells, in order to kidnap some Elois that they eat ; these last became livestock unknowingly. In The Time Machine, made into a movie several times, the last of them in 2002 by Simon Wells, the great-grandson of H. G. Wells, time is both a pretext to move the class struggle and warn... and also, in a way, a full character, who fascinates, arbitrates, transcends... The illustrations come to reinforce the time travel and provide a new experience to the reader.
Now an ABC television series available on streaming platforms! In 1979 Karl Alexander's Time After Time burst upon the literary world with a brash, exciting novel with a unique concept: H. G. Wells, the famous, bestselling author of such sensations as The Time Machine and War of the Worlds had actually invented a time machine. When H.G. Wells showed his friends his fantastic time machine he never suspected that his college friend, Leslie John Stevenson, was in truth the Jack the Ripper. But, when Scotland Yard detectives show up at Wells's house looking for Stevenson, he steals the machine and flees to the future—1979 San Francisco. Knowing that he was responsible for the infamous murderer’s escape, Wells pursues the Ripper into the future. Once in San Francisco, Wells realizes that he must now save a city, and a particular lovely young woman, from a new reign of terror at the hands of the feared Terror of Whitechapel. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.