By Christopher Bolton, Istvan Csicsery-Ronay Jr., Takayuki Tatsumi
A suite of essays approximately eastern technological know-how fiction in all it's tastes and types. here's the content material, so that you can make a decision if it's whatever for you ;P
Part I. Prose technological know-how Fiction
1. Miri Nakamura: HORROR AND MACHINES IN PREWAR JAPAN - The Mechanical Uncanny in Yumeno Kyusaku’s Dogura magura
2. Thomas Schnellbächer: HAS THE EMPIRE SUNK but? - The Pacific in eastern technological know-how Fiction
3. Kotani Mari: ALIEN areas AND ALIEN our bodies IN jap WOMEN’S technological know-how FICTION
4. Azuma Hiroki: SF AS HAMLET - technology Fiction and Philosophy
5. William O. Gardner: TSUTSUI YASUTAKA AND THE MULTIMEDIA functionality OF AUTHORSHIP
Part II. technology Fiction Animation
6. Susan J. Napier: whilst THE MACHINES cease - myth, truth, and Terminal id in Neon Genesis Evangelion and Serial Experiments: Lain
7. Christopher Bolton: THE MECHA’S BLIND SPOT - Patlabor 2 and the Phenomenology of Anime
8. Naoki Chiba and Hiroko Chiba: phrases OF ALIENATION, phrases OF FLIGHT - Loanwords in technological know-how Fiction Anime
9. Sharalyn Orbaugh: intercourse AND the only CYBORG - jap pop culture Experiments in Subjectivity
10. Livia Monnet: INVASION OF the girl SNATCHERS - the matter of A-Life and the Uncanny in ultimate myth: The Spirits Within
11. Saito Tamaki: OTAKU SEXUALITY
Afterword. Takayuki Tatsumi: a really gentle TIME computing device - From Translation to Transfiguration
Read or Download Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime PDF
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Additional info for Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime
The epitome of Ichiro¯’s mechanization process takes place, however, when Ichiro¯’s body literally becomes a new weapon. Ichiro¯’s recovery of his past signals the end of the experiment, but portends a grim future. It is clear from the text that if the experiment is successful, humans like Ichiro¯ will be transformed into a new type of weapon. References to Ichiro¯ as a weapon appear throughout the text. Wakabayashi expresses concerns about the experiment, knowing that its success will result in a weapon surpassing even “Nobel’s dynamite, that which escalated all wars in the world” (36).
I may be crazy, but I am Japanese. I know that I have inherited the blood of the Japanese race” (674). In other words, Ichiro¯ the narrator believes strongly that he is of the “pure Japanese” race, but his doppelgänger is clearly marked as Chinese. There is obviously a strong nationalistic discourse at work here. The ease with which the novel distinguishes between what is “foreign” and what is “Japanese” is astounding. 44 In fact, there is something strangely “foreign” about Ichiro¯ from the beginning.
In classic narratives of the double, the double behaves almost like the protagonist’s evil twin and threatens his or her existence. This is the case in “The Sandman” and “William Wilson,” by E. T. A. Hoffman and Edgar Allan Poe, Miri Nakamura 16 respectively, two writers Yumeno is often compared with. Here, however, Ichiro¯ refuses to accept the fact that the doppelgänger is really a copy of himself, and he continues the search for his own identity. He convinces himself that it is the double who is the real murderer Kure Ichiro¯ and that he himself is just an innocent look-alike.