Bibliographies thématiques / William Gibson

Littérature scientifique sur le sujet « William Gibson »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 21 février 2023

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  1. Articles de revues
  2. Thèses
  3. Livres
  4. Chapitres de livres
  5. Actes de conférences

Articles de revues sur le sujet "William Gibson":

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Russell Blackford. « William Gibson Overdrive ». Science Fiction Studies 39, no 1 (2012) : 133. http://dx.doi.org/10.5621/sciefictstud.39.1.0133.

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Schroeder, Randy. « Neu-Criticizing William Gibson ». Extrapolation 35, no 4 (janvier 1994) : 330–41. http://dx.doi.org/10.3828/extr.1994.35.4.330.

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Carnegie, Garry D. « Vale Robert William Gibson ». Accounting History 19, no 4 (novembre 2014) : 431–33. http://dx.doi.org/10.1177/1032373214549271.

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Rutkow, Ira M. « William Gibson (1788-1868) ». Archives of Surgery 135, no 6 (1 juin 2000) : 743. http://dx.doi.org/10.1001/archsurg.135.6.743.

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Hermayani, Dian, et Supeno Supeno. « CHARACTER AND MORAL VALUE IN “MIRACLE WORKER” BY WILLIAM ». INFERENCE : Journal of English Language Teaching 3, no 3 (1 novembre 2020) : 222. http://dx.doi.org/10.30998/inference.v3i3.5752.

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<p>This research aims to analyze the characters and moral values contained in the film "Miracle Worker" by William Gibson. Based on the theories of character and moral values collected, four main points are analyzed, they are: 1) How is the character appear in "Miracle Worker" by William Gibson based on the theory put forward by Russel How is moral values that appear in "Miracle Worker" by William Gibson based on the theory put forward by Milhorn. 3) There are three kinds of characters that appear in the characters in "Miracle Worker" by William Gibson based on Russel’s theory, those are the Protagonist, the protagonist played by Kate Keller, Annie Sullivan, Captain Arthur Keller, Mr. Anagnos, and Viney, the Foil, played by Hellen Keller, James Keller, and Aunt Ev, 4) There are six types of moral values that appear in “Miracle Worker" by William Gibson based on Milhorn’s theory, they are: belief, fairness, kind-hearted honesty, responsibility, and tolerance, belief is the most dominant moral values of all moral values that arise.</p><p>Keywords: character; moral value; moral value; film.</p>
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Frelik, Paweł. « Introducing William Gibson. Or Not. » Polish Journal for American Studies, no 12 (Autumn 2018) (30 avril 2022) : 271–74. http://dx.doi.org/10.7311/pjas.12/2/2018.01.

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Ashbaugh, Dennis, et William Gibson. « Dennis Ashbaugh and William Gibson ». Art Journal 52, no 4 (1993) : 79. http://dx.doi.org/10.2307/777636.

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CONN, MATTHEW. « THE CYBERSPATIAL LANDSCAPES OF WILLIAM GIBSON AND TAD WILLIAMS ». Journal of the Australasian Universities Language and Literature Association 96, no 1 (novembre 2001) : 207–19. http://dx.doi.org/10.1179/aulla.2001.96.1.013.

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Sharp, Michael D. « Remaking Medieval Heroism : Nationalism and Sexuality in Braveheart ». Florilegium 15, no 1 (janvier 1998) : 251–66. http://dx.doi.org/10.3138/flor.15.013.

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Mel Gibson's movie Braveheart tells the story of the life of William Wallace, one of Scodand's great national heroes. Originally released in the late spring of 1995, the film received predominandy glowing reviews, and later in the year enjoyed a second run in theatres as Paramount Studios began marketing the film for consideration in the many end-of-the-year awards shows. Early in 1996 Mel Gibson was honoured at the Golden Globe Awards as the year's Best Director, and in March of the same year, Braveheart won five Academy Awards, including another Best Director award for Gibson as well as the award for Best Motion Picture of the Year.
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Finkelstein, David. « Cyberpunk and Cyberculture : Science Fiction and the Work of William Gibson. Dani Cavallaro , William Gibson ». Library Quarterly 72, no 3 (juillet 2002) : 386–88. http://dx.doi.org/10.1086/lq.72.3.40039769.

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Articles de revues Thèses Livres

Thèses sur le sujet "William Gibson":

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Forsberg, Daniel. « The Future Societies of Ira Levin and William Gibson ». Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7776.

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The meaning of this essay is to look at how the narrative strategies, description of character and society differ between the two novels "This Perfect Day" and "Neuromancer". By looking at the different narrative techniques used by the authors and the results we can see why some of these strategies work very well in one novel but would not suit the other because of the contrasts in style it would produce.
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Griffin, Brent. « "Plagues of the New World Order" : Technology and Political Alternatives in William Gibson's Neuromancer ». Fogler Library, University of Maine, 2006. http://www.library.umaine.edu/theses/pdf/GriffinBX2006.pdf.

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Becker, Christophe. « L'Influence de William. S. Burroughs dans l’œuvre de William Gibson et de Genesis P-Orridge ». Paris 8, 2010. http://www.theses.fr/2010PA084168.

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L’influence de l’écrivain américain William S. Burroughs (1914-1997) sur des artistes d’horizons différents, est aujourd’hui bien documentée. Peu d’artistes ont toutefois dépassé le stade de la simple influence pour véritablement travailler à prolonger son œuvre et la porter dans des directions inédites. Notre travail a consisté à étudier l’influence de William S. Burroughs sur deux artistes qui ont précisément fait ce choix : l’écrivain américain William Gibson et le musicien, « performer » et essayiste anglais Genesis P-Orridge. Nous nous sommes penché sur l’univers représenté dans les romans de Gibson et les textes programmatiques de Orridge, affirmant l’influence de l’œuvre burroughsienne sur le « Cyberpunk », sous-genre de la science-fiction, mais aussi sur la « Musique Industrielle », apparue en Angleterre et aux Etats-Unis en 1976-1977. Nous avons étudié les groupes fictionnels qui émergent de ces mondes dystopiques, ainsi que l’idée de société alternative qu’ils proposent tout en soulignant l’actualité des questions ainsi posées au lecteur (redéfinition des notions de « copyright » ou de « propriété intellectuelle »). Nous avons étudié les évocations, mentions et citations de William S. Burroughs dans les œuvres de Gibson et Orridge, en nous posant la question de leur fonction précise, et nous avons analysé les nouvelles modalités textuelles et narratives qu’ils proposent. Enfin, nous nous sommes concentré sur le sens que prend, chez Orridge, la substitution du corps vivant à la page, et chez Gibson la programmation d’un texte destiné à s’effacer au fur et à mesure que le lecteur en a pris connaissance
The influence of the American writer William S. Burroughs (1914-1997) on artists from various horizons is now fairly well documented. While many have been influenced by his work, few have actually tried to pursue it in new and original ways. Our work consists in studying William S. Burroughs’ influence on two artists who adopted this very course : the American writer William Gibson and the English musician, performer, and essayist Genesis P-Orridge. The thesis focuses on the universe represented in Gibson’s novels and Orridge’s programmatic texts, confirming the influence of Burroughs on the “Cyberpunk” genre – a variant of science-fiction – but also on “Industrial Music” that appeared in England and the United States in 1976-1977. We have studied the groups of fictional characters which emerged from these dystopic worlds and the type of alternative society that they exemplify, emphasizing at the same time the topicality of the questions thus raised to the reader (such as : the redefinition of “copyright” and “intellectual property”). We have studied the references, mentions, and quotations of and by William S. Burroughs in Gibson’s and Orridge’s work, and analyzed the new textual and narrative modalities that they offer. Finally, we investigated the way the page is replaced by a living body in Orridge’s work, and the implications of a text written and programmed by Gibson to be erased as it is being read
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McFarlane, Anna M. « A gestalt approach to the science fiction novels of William Gibson ». Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6263.

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Gestalt psychologists Kurt Koffka and Wolfgang Köhler argue that human perception relies on a form, or gestalt, into which perceptions are assimilated. Gestalt theory has been applied to the visual arts by Rudolf Arnheim and to literature by Wolfgang Iser. My original contribution to knowledge is to use gestalt theory to perform literary criticism, an approach that highlights the importance of perception in William Gibson's novels and the impact of this emphasis on posthumanism and science fiction studies. Science fiction addresses the problem of difference and the relationship between self and other. Gestalt literary criticism takes perception as the interface between the self and the other, the human and the inhuman. Gibson's work is of particular interest as his early novels are representative of 1980s cyberpunk while his later novels push the boundaries of science fiction through their contemporary settings. By engaging with Gibson the thesis makes its contribution to contemporary science fiction criticism explicit. In Gibson's Sprawl trilogy autopoiesis defines life and consciousness, elevating the importance of perception (Chapter I). The Bridge trilogy uses the metaphor of chaos theory to examine dialectic tensions, such as the tension between space and cyberspace (Chapter II). Faulty pattern recognition is a key theme in Gibson's post-9/11 work as gestalt perception allows and limits knowledge (Chapter III). Chapter IV explains how the gestalt in psychoanalysis creates a fragmented subject in Spook Country (2007). Finally, the gestalt appears as a parallax view, a view that oscillates between the world we experience and the world as represented in the text (Chapter V). I conclude that gestalt literary criticism offers an exciting new reading of Gibson's work that recognises its engagement with visual culture and cyberpunk as a whole.
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Haggis, Timothy Edward Matazone. « Hidden cyberspace : narrative and identity in the work of William Gibson ». Thesis, University of Winchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502246.

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The work of William Gibson has had a profound influence over the way that technology is viewed in modern society, but since the mid-1980s criticism of his work has been largely based on Cyberpunk manifestos and interpretations of the genre in which his career began. His first novel Neuromancer (1984) has been critically regarded as the pinnacle of his career due, in part, to his later works not evoking the same resonance with the thematic discourses of Cyberpunk. The themes of the Cyberpunk genre have been used to interpret Gibson's subsequent output, despite the novels' movement away from Cyberpunk motifs such as implanted technology and futuristic urban landscapes. The insights into his early works revealed by the changes in his narrative style and content have remained unstudied due to the dominant influence of the Cyberpunk discourses over approaches to Gibson's texts. This thesis examines the entirety of Gibson's fiction output to assess the relevance of a Cyberpunk-based approach to his later works, focussing primarily on his novels and the processes applied by other critics to their study. It uncovers new overarching motifs in his work that are used to reinterpret Neuromancer in a way that unites it thematically with his later texts. This thesis argues that his novels consistently address three main issues: these are the use of technology as a metaphor for the unconscious mind, change being a signifier of authenticity, and his association of information with the nature of God. It is these motifs that define Gibson's construction of narrative and identity. Their study reveals that his work consistently relies on introducing aspects of the unknown into technologically controlled environments. This thesis presents an approach to Gibson's work that reassesses core assumptions previously used in the study of this influential modern author.
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Ferreira, Alberto José Viralhadas. « "Futurshocked Zombies or Hopeful Monsters" : discursos (pós)-humanistas em Neuromancer de William Gibson ». Master's thesis, Porto : [Edição de Autor], 2009. http://hdl.handle.net/10216/13692.

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Esta dissertação analisa a presença do Humanismo enquanto corrente filosófica, e de que forma esta voz se coaduna com as perspectivas pós e transhumanistas presentes na literatura cyberpunk, especificamente, na obra Neuromancer da autoria de William Gibson. Partindo de um fundo metafórico, a dissertação congrega diversos instrumentos metodológicos do campo da sociologia, filosofia e estudos culturais, encontrando-se dividida em três partes, sendo que as duas primeiras destinam-se a fundamentar teoricamente o estudo das posições narrativa acima descritas na terceira e última parte.
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Ferreira, Alberto José Viralhadas. « "Futurshocked Zombies or Hopeful Monsters" : discursos (pós)-humanistas em Neuromancer de William Gibson ». Dissertação, Porto : [Edição de Autor], 2009. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000193047.

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Esta dissertação analisa a presença do Humanismo enquanto corrente filosófica, e de que forma esta voz se coaduna com as perspectivas pós e transhumanistas presentes na literatura cyberpunk, especificamente, na obra Neuromancer da autoria de William Gibson. Partindo de um fundo metafórico, a dissertação congrega diversos instrumentos metodológicos do campo da sociologia, filosofia e estudos culturais, encontrando-se dividida em três partes, sendo que as duas primeiras destinam-se a fundamentar teoricamente o estudo das posições narrativa acima descritas na terceira e última parte.
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Junior, Newton Ribeiro Rocha. « Creator and creature in William Gibson´s "Neuromancer" : the promethean motif in science fiction ». Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/ECAP-7E2KKV.

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The human pursuit of knowledge is the core of the Prometheus myth and science fiction (SF). The punishment of Prometheus is a reflection of the double nature of know­ledge: it can be used for the benefit or the destruction of humanity. SF shares this topic, representing the complex relation between the human race and knowledge through many forms: the encounter with alien cultures and extraterrestrials, the consequences of technologi­cal development, and the confrontation between civilization and its creations. SF works are contemporary representations of the Promethean drama, especially in the narratives that deal with the relation between creators and creatures. This relation is a reaction to what Hans Blu­menberg calls the "absolutism of reality": humankind's belief that it cannot fully control the conditions of its existence. The creator-versus-creature drama in SF evolves through a pro­gressive selection of narratives that aim to give the Prometheus myth a final interpretation. From the monstrous creature of Mary Shelley's Frankenstein to the godlike artificial intelli­gences of William Gibson's Neuromancer, the relation between creator and creature in SF de­veloped into new and complex configurations. SF's cyberpunk genre attempts to overcome the creator and creature dichotomy through the humanization of the creature and the objecti­fication of human identity, summarized in the figure of the cyborg. Contemporary cyberpunk literature unifies humankind and its machines in a post human existence, where the differenc­es between organic and artificial self-awareness are demoted. The Prometheus myth is then turned into a quest of identity by beings that are both creators and creatures.
A busca humana do conhecimento é o núcleo principal do mito de Prometeus e da literatura de ficção científica (FC). A punição de Prometeus é um reflexo da natureza dupla do conhecimento: ele pode ser usado para o benefício ou a destruição da humanidade. A FC também lida com este tópico, representando a relação complexa entre a humanidade e o conhecimento através de várias formas: o encontro com culturas alienígenas, as conseqüências do desenvolvimento tecnológico e o confronto entre a civilização e suas criações. As obras de FC são representações contemporâneas do drama prometeico, especialmente nas narrativas que lidam com a relação entre criadores e criaturas. Esta relação é uma reação ao que Hans Blumenberg chama de absolutistmo da realidade, a crença da humanidade de que não pode controlar completamente as condições de sua existência. O drama do criador versus a criatura na FC evolve através de uma progressiva seleção de narrativas que procura dar ao mito de Prometeus uma interpretação final. Da monstruosa criatura do Frankenstein, de Mary Shelley até as inteligências artificiais com características divinas presentes em Neuromancer, de William Gibson, a relação entre o criador e criatura na FC desenvolveu-se em novas e complexas configurações. O subgênero cyberpunk da FC tenta superar a dicotomia entre o criador e a criatura através da humanização da criatura e da objetificação da identidade humana, sumarizada na figura do ciborgue. A literatura cyberpunk contemporânea unifica a humanidade e suas máquinas em uma existência pós-humana, na qual a diferença entre consciências orgânicas e artificiais são esquecidas. Assim, o mito de Prometeus se transforma em uma busca pela identidade de seres que são ao mesmo tempo criadores e criaturas.
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Kneale, James Robert. « Lost in space ? : readers' constructions of science fiction worlds ». Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309071.

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Forshaw, Mark. « Affectless subjects, atrocious bodies : thematics and history in fictions by Burroughs, Ballard and Gibson ». Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391222.

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Livres sur le sujet "William Gibson":

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Olsen, Lance. William Gibson. San Bernardino, Calif : Borgo Press, 1992.

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Olsen, Lance. William Gibson. San Bernadino, Calif : Borgo Press, 1992.

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Miller, Gerald Alva. Understanding William Gibson. Columbia, SC : The University of South Carolina Press, 2016.

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Henthorne, Tom. William Gibson : A literary companion. Jefferson, N.C : McFarland, 2011.

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Kelling, Fred. Fisherman of Faroe : William Gibson Sloan. Göta, Faroe Islands : Leirkeriđ Publications, 1993.

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Rapatzikou, Tatiani G. Gothic motifs in the fiction of William Gibson. Amsterdam : Rodopi, 2004.

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Rapatzikou, Tatiani G. Gothic motifs in the fiction of William Gibson. Amsterdam : Rodopi, 2004.

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Dalgaard, Niels. Tekn ologi og identitet : William Gibson og science fiction. Frederiksberg : Science Fiction Cirklen, 1995.

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Cavallaro, Dani. Cyberpunk and cyberculture : Science fiction and the work of William Gibson. London : Athlone Press, 2000.

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Odets, Clifford. The time is ripe : The 1940 journal of Clifford Odets ; with an introduction by William Gibson. New York, N.Y : Grove Press, 1988.

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Chapitres de livres sur le sujet "William Gibson":

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Punter, David. « William Gibson, Neuromancer ». Dans Modernity, 181–92. London : Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-05030-4_28.

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Klepper, Martin. « Gibson, William (Ford) ». Dans Kindlers Literatur Lexikon (KLL), 1. Stuttgart : J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5362-1.

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Schuhmann, Karl. « William Ralph Boyce Gibson ». Dans Edmund Husserl : Briefwechsel, 1885–900. Dordrecht : Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-0745-7_106.

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Klepper, Martin. « Gibson, William (Ford) : Neuromancer ». Dans Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart : J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5363-1.

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Wenzel, Theresa. « Gibson, William (Ford) : Pattern Recognition ». Dans Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart : J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5364-1.

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Berressem, Hanjo. « The Poetics of Patination in the Work of William Gibson ». Dans Cultures of Obsolescence, 173–89. New York : Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137463647_10.

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Mason, Nicholas. « William Maginn, John Gibson Lockhart, Thomas Hamilton et al. ‘“Luctus” on the Death of Sir Daniel Donnelly, Late Champion of Ireland’ ». Dans Blackwood's Magazine, 1817-25, Volume 1, 149–84. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003312611-21.

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Jakovljević, Mladen M., et Mirjana N. Lončar-Vujnović. « William Gibson’s Fictional Worlds : To Virtual Existence and Back Again (There) ». Dans Les Migrations postmodernes : Le Canada = Postmodern Migrations : Canada, 319–30. Beograd : Univerzitet u Beogradu, Filološki fakultet, Srpska asocijacija za kanadske studije, 2021. http://dx.doi.org/10.18485/asec_sacs.2021.9.ch23.

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Lanska, D. J. « Spiller, William Gibson ». Dans Encyclopedia of the Neurological Sciences, 252–53. Elsevier, 2014. http://dx.doi.org/10.1016/b978-0-12-385157-4.00997-0.

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Lanska, D. J. « Spiller, William Gibson ☆ ». Dans Reference Module in Neuroscience and Biobehavioral Psychology. Elsevier, 2017. http://dx.doi.org/10.1016/b978-0-12-809324-5.04085-2.

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Actes de conférences sur le sujet "William Gibson":

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Anugrah Santoso, Dea, et Mamik Tri Wedawati. « Hyperreal Identity in William Gibson’s Neuromancer ». Dans Proceedings of the Social Sciences, Humanities and Education Conference (SoSHEC 2019). Paris, France : Atlantis Press, 2019. http://dx.doi.org/10.2991/soshec-19.2019.15.

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Choo, Jae-Uk. « RE-ENVISIONING OF POSTHUMAN AND TRANSHUMAN : CYBORG, ROBOT, AND A.I IN WILLIAM GIBSON'S NEUROMANCER ». Dans 36th International Academic Conference, London. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/iac.2018.036.007.

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