Philip K. Dick: Contemporary Critical Interpretations

Samuel J. Umland
Greenwood Publishing Group, 1995 - 228 páginas

This book contains 11 essays and a comprehensive bibliography. The essays reveal the extent to which Philip K. Dick's personal obsessions pre-figured postmodernist concerns with humanity's self-alienation, cultural and personal paranoia, and the politics of simulation, deceit, and self-deception. The contributors reveal how Dick's ontological concerns, stated in his repeated questioning of What is real?, are also political concerns. Thus, they examine the philosophical and religious foundations on which his work rests, offering much-needed arguments which reveal both his philosophical depth and the extent to which he drew from esoteric and occult religions. His cultural critique also receives significant exposition, as the contributors reveal how Dick's fiction enacts the larger cultural struggles of cold war America, with its conflicting private visions and public realities, and its personal and political loyalties. The contributors argue for the significance of heretofore neglected or marginalized texts of Dick as well, including in their discussions many early short stories from the early 1950s and neglected novels of the mid-1960s, arguing that there is a need to understand how Dick shaped (or misshaped) his fictions so as to reimagine the life of his society.

No interior do livro

Opinião das pessoas - Escrever uma crítica

Não foram encontradas quaisquer críticas nos locais habituais.

Páginas seleccionadas


Towards a Theory of Paranoia The Science Fiction of Philip K Dick
DianoiaParanoia Dicks Double Impostor
Worlds of Chance and Counterfeit Dick Lem and the Preestablished Cacophony
Philip K Dick and the Nuclear Family
To Flee from Dionysus Enthousiasmos from Upon the Dull Earth to VALIS
The Swiss Connection Psychological Systems in the Novels of Philip K Dick
Unrequited Love in We Can Build You
Man Everywhere in Chains Dick Rousseau and The Penultimate Truth
Two Cases of Conscience Loyalty and Race in The Crack in Space and CounterClock World
Chinese Fingertraps or A Perturbation in the Reality Field Paradox as Conversion in Philip K Dicks Fiction
Primary Bibliography
Secondary Bibliography
Direitos de autor

What Is This Sickness? Schizophrenia and We Can Build You

Outras edições - Ver tudo

Palavras e frases frequentes

Passagens conhecidas

Página 86 - Who is Silvia ? what is she, That all our swains commend her ? Holy, fair, and wise is she, The heaven such grace did lend her, That she might admired' be. Is she kind as she is fair ? For beauty lives with kindness : Love doth to her eyes repair, To help him of his blindness; And, being helped, inhabits there.
Página 15 - Representation ' of the Imaginary Relationship of Individuals to their Real Conditions of Existence...
Página 10 - Value, therefore, does not have its description branded on its forehead; it rather transforms every product of labour into a social hieroglyphic. Later on, men try to decipher the hieroglyphic, to get behind the secret of their own social product: for the characteristic which objects of utility have of being values is as much men's social product as their language.
Página 8 - The form of wood, for instance, is altered if a table is made out of it. Nevertheless the table continues to be wood, an ordinary, sensuous thing. But as soon as it emerges as a commodity, it changes into a thing which transcends sensuousness. It not only stands with its feet on the ground, but, in relation to all other commodities, it stands on its head, and evolves out of its wooden brain grotesque ideas, far more wonderful than if it were to begin dancing of its own free will.
Página 8 - It not only stands with its feet on the ground, but, in relation to all other commodities, it stands on its head, and evolves out of its wooden brain grotesque ideas, far more wonderful than if it were to start dancing of its own accord.
Página 82 - The daemonic-divine object may appear to the mind an object of horror and dread, but at the same time it is no less something that allures with a potent charm, and the creature, who trembles before it, utterly cowed and cast down, has always at the same time the impulse to turn to it, nay e\'en to make it somehow his own. The "mystery...
Página 158 - MAN is born free ; and everywhere he is in chains. One thinks himself the master of others, and still remains a greater slave than they. How did this change come about? I do not know. What can make it legitimate? That question I think I can answer.
Página 32 - To the extent that what I say has meaning, I am a different "other" for myself when I am speaking; and to the extent that I understand, I no longer know who is speaking and who is listening.23 Through language I discover myself and others, in talking, listening, reading and writing.
Página 84 - Hymn to Joy" into a painting; let your imagination conceive the multitudes bowing to the dust, awestruck—then you will approach the Dionysian. Now the slave is a free man; now all the rigid, hostile barriers that necessity, caprice, or "impudent convention" have fixed between man and man are broken. Now, with the gospel of universal harmony, each one feels himself not only united, reconciled, and fused with his neighbor, but as one with him, as if the veil of maya had been torn aside and were now...
Página 7 - The ultimate in paranoia is not when everyone is against you but when everything is against you. Instead of 'My boss is plotting against me,' it would be 'My boss's phone is plotting against me.' Objects sometimes seem to possess a will of their own anyhow, to the normal mind; they don't do what they're supposed to do, they get in the way, they show an unnatural resistance to change.

Acerca do autor (1995)

SAMUEL J. UMLAND is Associate Professor of English at the University of Nebraska at Kearney. He was educated at schools in Kansas and Nebraska, and received his Ph.D. from the University of Nebraska at Lincoln. He is the author of numerous articles on film, film theory, and the teaching of literature, and has written four unproduced screenplays.

Informação bibliográfica