Publications – Page 11

Critical Analysis of Margaret Atwood’s Oryx and Crake (2003)

Oryx and Crake is a near-future dystopian novel with strong satiric undertones that revolves around the innovations of gene splicing and their consequences. The novel follows Snowman, the survivor of a global and apocalyptic gene plague, in his every day struggle for survival and in his caretaking of a new race of bioengineered posthumans called the Crakers. In order to hunt for supplies Snowman returns to the bioengineering facility where he used to work, and in flashbacks reveals his pre-apocalypse life as Jimmy, best friend and unwitting accomplice to Crake, the genius behind both the plague and Crakers.Read More

Neil Stephenson: The Mongoliad

Neal Stephenson’s latest book project

The Mongoliad (2010-)

Neal Stephenson, Greg Bear et al. The Mongoliad. Subutai Corporation. Sep 2010. Web. Dec 2011.

Media Review – published in SFRA Review #297 (2011).Read More

Einleitung: Wahnsinn in der Kunst

Id commune malum, semel insanivimus omnes.
(Ecl. 1, 118. Battista Mantovano, Adulescentia, 1498)

Nine Inch Nails – Year Zero

Nine Inch Nails. Year Zero. Interscope. Halo 24. 2007.

“Year Zero Case Study”. 42Entertainment.com. 01 Oct 2010.

Media Review – published in SFRA Review 295 (2011)

Review: Fremde Welten Conference, October 2010

Fremde Welten – Wege und Räume der Fantastik im 21. Jahrhundert

Strange Worlds – Paths and Spaces of the Fantastic in the 21st Century

October 1^st of 2010 marks the beginning of a new era for the European fantastic as the German-based Gesellschaft für Fantastikforschung e.V. (GFF) (Association for Research on the Fantastic) inaugurated itself at its first annual conference at the University of Hamburg. The four-day event from Sep 30th to Oct 3rd offered its participants more than one hundred and thirty talks in four different strands, both in English and in German, discussing key issues of the fantastic in Europe and especially in European academia.

Rätselhafte Kunst – Zum Verhältnis von Kreativität, Kommerz und Autorschaft

Everything, today, is to some extent the reflection of something else.

William Gibson, Pattern Recognition

„Commodification will soon follow identification“ – Wechselwirkungen von Kunst und Kommerz in William Gibsons Pattern Recognition und Trent Reznors Year Zero

Welcome to convergence culture, where old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways.
Henry Jenkins

Dystopia, Alternate History and the Posthuman in BioShock

It is hard to say what ranks lower on the artistic food chain than video games. Comic books? TV sit-coms? X-rated films? These ratlike vermin at the bottom scurry to avoid the thunderous footfalls of the towering behemoths of the art world. […] Is that even art? (Robinett viii)Read More

Das Ende des Menschen? Biopolitik im dystopischen Roman

“Biomass?” Da5id says.

“A body of living stuff. It’s an ecology term. If you take an acre of rain forest or a cubic mile of ocean or a square block of Compton and strain out all the nonliving stuff – dirt and water – you get the biomass.” […]

“Industry expression,” Hiro says. “The Industry feeds off the human biomass of America. Like a whale straining krill from the sea.” Neal Stephenson [1]

Hypnos und Thanatos: Das Bild des Todes in Robert Schneiders Schlafes Bruder

1. Einleitung

Die Nacht aber gebar das verhaßte Geschick und das schwarze Verderben
und den Tod. Sie gebar auch den Schlaf. Sie gebar auch das Geschlecht der Träume.
Die dunkle Nacht gebar (diese alle) ohne mit irgendeinem (Mann) zusammengekommen zu sein.
Als nächsten aber gebar sie den Tadel und den schmerzlichen Jammer
und die Hesperiden, denen jenseits des berühmten Okeanos goldene
schöne Äpfel anvertraut sind und die Bäume, die diese Frucht tragen.
Hesiod (750 v. Christus)¹

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