While much scholarly work has been done on American Cold-War science fiction, John Wyndham’s work has received relatively little attention from literary scholars. Only a handful of sustained...Show moreWhile much scholarly work has been done on American Cold-War science fiction, John Wyndham’s work has received relatively little attention from literary scholars. Only a handful of sustained literary discussions of his work have been published. An unfortunate event, since many of his books give a representation of post-war developments in the form of (post)-apocalyptic stories, and these narratives reflect the society’s fear of what humankind was able to invent, and how these inventions could be harmful to its very existence on a global scale. By embedding non-fictional post-war developments in his science fiction, Wyndham created stories that – even today – can be read as warnings against such dangers. This thesis examines the ways in which post-war social, political and economic developments are embedded in Wyndham's The Day of the Triffids (1951), The Kraken Wakes (1953), The Chrysalids (1955), and The Outward Urge (1959), and what rhetorical force his stories have. Moreover, the thesis concentrates on how the science fiction genre enabled Wyndham to warn his readership for the possible fatal consequences of the Cold War parties’ behaviour and how the genre facilitated Wyndham in expressing criticism of these two power blocs. Furthermore, it focuses especially on Cold War elements that affected British society, such as the nuclear threat, the Space Race, and the changing social position of women.Show less
In 2010 the BBC launched a new series called Sherlock, a contemporary adaption of the Holmes stories. In this recent adaption created by Stephen Moffat and Mark Gattis, the original characters are...Show moreIn 2010 the BBC launched a new series called Sherlock, a contemporary adaption of the Holmes stories. In this recent adaption created by Stephen Moffat and Mark Gattis, the original characters are presented with a modern twist. Gattis and Moffat are known for their work on the BBC series Dr Who, a programme with a central character himself notably indebted to Holmes. The villains in the BBC series Sherlock challenge Sherlock to commit wicked deeds, and therefore perhaps to become a villain himself. This thesis will argue that in this way the show sets out to destabilize and call into question notions of an essential distinction between heroism and villainy.Show less
This thesis will reveal that The Road contains many literary techniques, motifs and themes that can be traced back specifically to Romantic texts in the apocalyptic tradition, as well as...Show moreThis thesis will reveal that The Road contains many literary techniques, motifs and themes that can be traced back specifically to Romantic texts in the apocalyptic tradition, as well as philosophical ideas concerning human ethics that were developed within Romantic and later science fiction literature, initially in response to Kantian ethics. These specific themes and ideas will serve as the framework of reference for this research, to be introduced and placed in context in the following subsections.Show less
“One needs a lot of courage, to live”, observes Jean Rhys in Good Morning Midnight (1939) (16). It may just be the credo of her protagonist, Sasha Jansen, but could as easily have been that of Lady...Show more“One needs a lot of courage, to live”, observes Jean Rhys in Good Morning Midnight (1939) (16). It may just be the credo of her protagonist, Sasha Jansen, but could as easily have been that of Lady Brett Ashley in Ernest Hemingway’s The Sun Also Rises (1926). In fact, it is the very observation that implies the scorn and ridicule that the modern woman of the late nineteenth and early twentieth century faced as she pushed the boundaries of a male-dominated world. The ‘New Woman’, as she was called, spread out from the United Kingdom to Western Europe and the United States and demanded the right to vote, an equal share in jobs and education, and sexual freedom. She drove herself into public visibility and in turn made way for the ‘vamp’ and the ‘flapper’. In this essay I will take a closer look at the New Woman of the twenties and thirties and explore her different types through an analysis of Brett Ashley and Sasha Jansen. In doing so I attempt to determine where the New Woman could flourish and where she could not, what her internal, psychological problems were, which external challenges she met and how the texts represent these matters. Ever since their existence, Brett and Sasha have been critically and often acerbically labelled and categorised. “Bitch woman”, “prostitute” and “failure”, are just a few of a long list of derogatory terms that have been applied by their contemporaries and critics up to date. In this essay I will counteract such descriptions and argue that Brett Ashley and Sasha Jansen are, in fact, each in their own way, a late version of the ‘New Woman’ pushing the limits of their restrictions and struggling with the contemporary difficulties they encountered in this role. While the term New Woman is associated with a more serious and intellectual activist, concerned with education and politics, both the flapper and vamp connote fun. Both types take an aspect of the New Woman’s endeavours and magnify it. For the vamp this is seduction, for the flapper it is post-war hedonism in its broadest sense. It is no coincidence, then, that it is precisely this pursuit of pleasure that connects Brett Ashley and Sasha Jansen. Neither Brett nor Sasha pursues a structured path or noble purpose, neither aspire to a career, both, in fact, do whatever they want, whether society approves or not. However, in doing so Brett and Sasha do contribute to the process of women’s liberation. Not because they participate in feminist campaigns or operations – they don’t – but purely because they live how they choose to live. With their chosen acts both women rebel against male domination in general and the prevailing social norms of their respective decades. For Brett, the norms are a product of Victorian heritage, for Sasha they are the standards of a sober and sensible thirties conservatism.Show less
