Chu? nghi~a Ha^.u hie^.n dda.i va` va(n chu+o+ng (5/5)
hytran
Vie^.t Ba'o Kinh Te^'
Steven Connor
Phan Ta^'n Ha?i chuye^?n di.ch
Pha^`n 5
Ca'c the^' gio+'i kha? the^?: Tie^?u thuye^'t khoa ho.c va` Cyberpunk
Mo^.t trong nhu+~ng pha't trie^?n dda'ng ghi nha^.n nha^'t trong sa'ng
ta'c ha^.u hie^.n dda.i va` vie^.c vie^'t ve^` ca'c sa'ng ta'c ha^.u
hie^.n dda.i trong suo^'t tha^.p nie^n 1970s chi'nh la` vie^.c ta(ng
u+u the^' va` the^' ddu+'ng cu?a tie^?u thuye^'t khoa ho.c (science
fiction, mo^.t so^' ngu+o+`i di.ch la` tie^?u thuye^'t khoa ho.c gia?
tu+o+?ng hay vie^~n tu+o+?ng. LND), dda(.c bie^.t la` loa.i tie^?u
thuye^'t khoa ho.c co' te^n go.i la` 'cyberpunk', ddu+o+.c nha^.n
die^.n vo+'i ca'c ta'c pha^?m cu?a ca'c nha` va(n nhu+ William Gibson,
Bruce Sterling, John Shirley va` Greg Bear, trong ddo' tu+. quan ta^m
ve^` ca'c ky~ thua^.t ha^.u hie^.n dda.i cu?a truye^`n tho^ng, tho^ng
tin va` sinh ho'a ho.c. Tie^?u thuye^'t khoa ho.c la` mo^.t tru+o+`ng
ho+.p hu+'ng thu' dda(.c bie^.t cho ly' thuye^'t ha^.u hie^.n dda.i,
mo^.t ca'ch chi'nh xa'c bo+?i vi` the^? loa.i tie^?u thuye^'t khoa ho.c
tu`y thuo^.c, i't nha^'t cu~ng trong ca'ch bie^n nie^n, va`o tho+`i ky`
ma` chu? nghi~a hie^.n dda.i ra ddo+`i. Thu+.c su+., 'the^? loa.i' hay
tie^?u thuye^'t khoa ho.c 'kinh ddie^?n' co' the^? ddu+o+.c nhi`n nhu+
mo^.t loa.i ddie^?m ddo^'i hay mo^.t ddi so'ng ddo^i
va(n-ho'a-qua^`n-chu'ng ddo^'i vo+'i ca'c thu+? nghie^.m hie^.n dda.i
cu?a dda^`u the^' ky? na`y. No+i ma` ca'c ta'c pha^?m hie^.n dda.i nhu+
"Ulysses, Pilgrimage" va` "The Waves" thu+o+`ng to^?ng ho+.p thu+?
nghie^.m chi'nh thu+'c vo+'i mo^.t no^.i dung thu+.c tie^~n va` quen
thuo^.c, tie^?u thuye^'t khoa ho.c su+? du.ng ca'c hi`nh thu+'c tie^?u
thuye^'t hie^.n thu+.c hay truye^`n tho^'ng ho+n dde^? tri`nh ba`y ca'c
the^' gio+'i ba^'t kha? hay ke'm quen thuo^.c. Chu? nghi~a hie^.n dda.i
thu+? nghie^.m vo+'i ca'c ca'ch nhi`n va` no'i le^n ca'i thu+.c; tie^?u
thuye^'t khoa ho.c thu+? nghie^.m mo^.t ca'ch thu+.c tie^~n vo+'i ca'c
hi`nh thu+'c cu?a thu+.c ta.i chi'nh no'. Ke^? tu+` tha^.p nie^n 1970s
ve^` sau, nhu+ mo^.t ke^'t qua? co' le~ la` vi` su+. do+`i chuye^?n
cu?a ca'i chi'nh ye^'u ma` Brian McHale no'i le^n, su+. pha^n bie^.t
tri thu+'c ho.c giu+~a the^' gio+'i ddu+o+.c ke^? va` ca'ch ke^?
chuye^.n dda~ da^`n da^`n khe'p la.i, khi tie^?u thuye^'t 'va(n
chu+o+ng' chie^'m la^'y tu+` tie^?u thuye^'t khoa ho.c ca'i hu+'ng thu'
'hu+~u the^? ho.c' trong vie^.c sa'ng ta.o va` tha'm hie^?m ca'c the^'
gio+'i kha'c. DDe^? thi' du., ca'c tha'ch ddo^' cho hi`nh thu+'c
chuye^.n ke^? ddu+a ra bo+?i cuo^'n "Gravity's Rainbow<R> cu?a Thomas
Pynchon, "The Infernal Desire Machines of Dr. Hoffman" cu?a Angela
Carter hay "Xorandor" cu?a Christine Brooke-Rose, thi` kho^ng ta'ch
ro+`i kho?i vie^.c lo^`ng va`o nhau ca'c the^' gio+'i di. bie^.t hay
ca'c tra^.t tu+. cu?a hie^.n thu+.c trong ca'c chuye^.n ke^? ddo'.
Trong khi tie^?u thuye^'t va(n chu+o+ng vay mu+o+.n nhie^`u ho+n tu+`
tie^?u thuye^'t khoa ho.c, thi` chi'nh tie^?u thuye^'t khoa ho.c cu~ng
u+'ng du.ng ca'c ca'ch sa'ng ta.o chi'nh thu+'c dda~ ddu+o+.c pha't
trie^?n trong tie^?u thuye^'t va(n chu+o+ng, cu~ng nhu+ tu+` ca'c pha^n
ti'ch ddang ddu+o+.c pha't trie^?n trong ly' thuye^'t va(n ho'a ha^.u
hie^.n dda.i. Nhu+ Brian McHale gia?i thi'ch, cyberpunk, nhu+ mo^.t
loa.i dda(.c bie^.t cu?a tie^?u thuye^'t khoa ho.c 'dda~ thu nha^.n
ca'c ye^'u to^' cu?a no' tu+` tie^?u thuye^'t chu? lu+u ha^.u hie^.n
dda.i va` ro^`i chi'nh loa.i na`y, to+'i phie^n cu?a no', dda~ bi.
"tie^?u-thuye^'t-khoa-ho.c-ho'a" to+'i mo^.t mu+'c ddo^. nhie^`u ho+n
hay i't ho+n' ddu+a ra chu+'ng co+', kho^ng pha?i ve^` su+. su.p ddo^?
cu?a ca'c su+. pha^n bie^.t va(n ho'a, nhu+ng la` ve^` vie^.c ta(ng
to^'c su+. hoa'n chuye^?n vai cu?a chu'ng.30 DDie^`u na`y xa?y ra mo^.t
ca'ch dda(.c bie^.t bo+?i vi` mo^.t y' nghi~a mo+'i ra(`ng hie^.n
thu+.c dda~ ba('t dda^`u ba('t ki.p vo+'i tie^?u thuye^'t khoa ho.c,
hie^?n lo^. su+. phong phu' cu?a ca'c the^' gio+'i kha? the^? ddang
ca`ng the^m ti'nh kha? ti'n nhu+ la` mo^.t tri`nh ba`y hie^.n thu+.c
ve^` ca'c ddie^`u kie^.n ddu+o+ng dda.i u+u tha('ng, dda(.c bie^.t la`
nhu+~ng the^' gio+'i ddu+o+.c ddu+a ra nho+` su+. pha't trie^?n cu?a
ca'c kinh nghie^.m so^' tu+. ho'a. (Digitized experiences, kinh
nghie^.m so^' tu+. ho'a. Mo^n ho.c bie^'n ta^'t ca? ca'c tri thu+'c
ve^` ca'c chuo^~i co' hai ma~ so^', so^' kho^ng va` so^' mo^.t, va`
nho+` dda^y sinh kho+?i ra ky~ nguye^n ddie^.n toa'n. LND)
Tie^?u thuye^'t khoa ho.c dde^'n dde^? dda'p u+'ng vo+'i thu+.c ta.i
cu?a xa~ ho^.i ky~ thua^.t, bo+?i vi` xa~ ho^.i ddo' dda~ tro+? tha`nh
tie^?u-thuye^'t-khoa-ho.c-ho'a; nhu+ Jonathan Benison dda~ nha^.n xe't,
'no' dda~ tro+? tha`nh kha? hu+~u... dde^? soi chie^'u the^' gio+'i
cu?a chu'ng ta nhu+ la` (mo^.t ca'ch ddo+n gia?n la`) mo^.t "the^'
gio+'i kha? the^?"'.31 DDie^`u na`y co' le~ gia?i thi'ch cho vie^.c
ho`a la^~n ky` di. cu?a ca'i quen thuo^.c va` ca'i vi. lai trong
nhie^`u tie^?u thuye^'t khoa ho.c ddu+o+ng dda.i. DDie^`u na`y dda(.c
bie^.t ddu'ng vo+'i cyberpunk, loa.i ho`a la^~n vie^.c ddu+a ra ca'c
kha? na(ng ky~ thua^.t cao to^.t vo+'i ca'c bu't pha'p ke^? chuye^.n
cu. the^? nha^'t ddu+o+.c vay mu+o+.n tu+` ca'c hi`nh thu+'c li.ch su+?
cu?a truye^.n trinh tha'm (detective story) va` phim dden (film noir,
ta'c gia? du`ng Pha'p ngu+~ no+i dda^y. LND), mo^.t kie^?u hie^?n lo^.
ddu+o+.c ca'i hu+'ng kho+?i ve^` tu+o+ng lai. Tie^?u thuye^'t khoa ho.c
kinh ddie^?n hay gia?-nhu+-hie^.n-dda.i du+. pho'ng mo^.t tu+o+ng lai
tu+` hie^.n ta.i, thie^'t la^.p vu+`a mo^.t su+. lie^n tu.c ho+.p ly'
vu+`a mo^.t su+. pha^n bie^.t gia? tu+o+?ng giu+~a ca'i hie^.n ta.i va`
tu+o+ng lai. Tie^?u thuye^'t khoa ho.c ddu+o+ng dda.i ddu+o+.c dda(.c
ti'nh ho'a bo+?i mo^.t ho^~n ho+.p phu+'c ta.p ho+n cu?a ca'c hi`nh
thu+'c tho+`i ti'nh, trong ddo' ca'i kha? the^? phong phu' cu?a tu+o+ng
lai xua^'t hie^.n ca'ch na`o ddo' dda~ bi. ta^.n du.ng va` lo^~i
tho+`i. Do va^.y ca'ch ho+.p nha^'t ky` la., trong ca'c ta'c pha^?m
nhu+ "Count Zero" va` "Mona Lisa Overdrive" cu?a William Gibson va`
"Schismatrix" cu?a Bruce Sterling, cu?a su+. pha't trie^?n ky~ thua^.t
va` su+. suy ta`n, ca'i y' nghi~a cu?a mong ddo+.i va` ca.n kie^.t
cu`ng mo^.t lu'c. Thi. kie^'n ddie^.n a?nh ve^` su+. gia(`ng co tho+`i
ti'nh na`y ddu+o+.c ti`m tha^'y trong ca'c mo^i tru+o+`ng tha`nh thi.
dden to^'i, bi. tra^'n a'p cu?a ca'c phim nhu+ "Brazil" cu?a Terry
Gilliam va` "Blade Runner" cu?a Ridley Scott. Ca'c tie^?u thuye^'t nhu+
va^.y dda~ da^~n to+'i vie^.c chie^m nghie^.m ve^` chu+'c na(ng cu?a
tie^?u thuye^'t khoa ho.c trong vie^.c go+.i ra va` hie^.n thu+.c ho'a
tu+o+ng lai, du+.ng la^.p kho^ng gian cu?a du+. pho'ng tie^?u thuye^'t
trong mo^.t khung cu?a ho^`i tu+o+?ng me^.t mo?i, trong mo^.t loa.i
hi`nh thu+'c tu+o+ng lai cu?a sie^u tie^?u thuye^'t su+? ho.c ddu+o+.c
mo^ ta? bo+?i Linda Hutcheon. Bie^'n the^? cu?a cyberpunk co`n go.i la`
'steampunk', trong ddo' vie^.c tri`nh ba`y ve^` tu+o+ng lai ddu+o+.c
ga('n va`o vie^.c vie^'t la.i li.ch su+? cu?a ca'c ky~ thua^.t hie^.n
dda.i hay co^? ddie^?n, nhu+ trong "The Difference Engine" cu?a William
Gibson va` Bruce Sterling, xa'c minh ca'ch vie^'t ga('n cha(.t va`o
nhau nhu+~ng gi` cu?a li.ch su+? va` gia? thuye^'t.
Mo^.t nha` phe^ bi`nh nhi`n cyberpunk va` tie^?u thuye^'t khoa ho.c
lie^n he^. nhu+ mo^.t loa.i hie^.n tu+o+.ng ho.c tie^n tri, mo^.t
phu+o+ng tie^.n cu?a ddi.nh hu+o+'ng tu+o+?ng tu+o+.ng cho ca'c kinh
nghie^.m ho^~n ddo^.n va` ddo^.c dda'o cu?a ne^`n va(n ho'a so^' tu+..
Vay mu+o+.n chu+~ tu+` William Burroughs, Scott Bukatman tha'm hie^?m
ve^` su+. pha't trie^?n cu?a ca'i ma` o^ng go.i la` 'ca(n cu+o+'c
dda^`u ma'y vi ti'nh' (terminal identity) dde^? chi? da^'u cho ca'i
tan bie^'n ddo^`ng tho+`i ra ngoa`i ti'nh chu? quan trong ca'c ta'c
ddo^.ng gia? bi. pha^n ta'n cu?a kho^ng gian ddie^.n toa'n (cyberspace)
va` vie^.c ta'i ta^.p ho+.p la.i cu?a no' trong 'ca?nh' mo+'i ddo' cu?a
kinh nghie^.m ha^.u hie^.n dda.i, ca'i tu+o+ng die^.n (interface) vo+'i
ma`n hi`nh hay la` ma`n a?nh ddie^.n toa'n. Theo do~i ca'i hu+'ng thu'
vo+'i vie^.c chuye^?n hu+o+'ng, ba^'t ddi.nh, nhu+ng la` ca'i 'a?o a?nh
ddo^`ng thua^.n' di. ky` cu?a kho^ng gian ddie^.n toa'n, xuye^n qua
tie^?u thuye^'t cu?a William Gibson, Bruce Sterling va` Walter Jon
Williams, va` ca'c lie^n he^. ddie^.n a?nh cu?a no' nhu+ ca'c phim
"TRON, Videodrome" va` "Terminator", Bukatman ta^.p trung va`o vie^.c
xo'a ddi ca'c bie^n gio+'i giu+~a ngu+o+`i va` ma'y, va` vie^.c ta'i
hi`nh tha`nh tha^n xa'c, hoa(.c la` trong ta'c ddo^.ng gia?
sinh-ho'a-so^'-tu+. (bioddegital simulation), hay la` ddo^i khi trong
ca'c ho+.p the^? co+-ho'a qua'i va^.t. (Ta'c ddo^.ng gia?, simulation,
chi? cho ca'c ta'c ddo^.ng thu+.c hie^.n cu?a mo^.t ke^' hoa.ch tre^n
ma'y ddie^.n toa'n. Thi' du., tru+o+'c khi My~ ddu+a tha'm hie^?m xa
le^n Ho?a Tinh, co+ quan NASA dda~ thu+.c ta^.p nhie^`u la^`n tre^n
ma'y ddie^.n toa'n dde^? ti`m sai so't va` tie^n lie^.u ca'c tru+o+`ng
ho+.p xu+? ly'. No'i theo kie^?u Vie^.t Nam la` la^.p sa ba`n va` ta^.p
tra^.n tre^n ddie^.n toa'n. Vie^.c thu+.c ta^.p ddo^.ng ta'c gia? na`y
go.i la` simulation. LND)
Mo^.t ca'ch dda(.c bie^.t quan tro.ng cho kha'i nie^.m cu?a Bukatman
ve^` ca'i ma` o^ng go.i la` 'chu? dde^` thu+.c a?o' (virtual subject)
cu?a tie^?u thuye^'t khoa ho.c ha^.u hie^.n dda.i nhu+ va^.y la` ca'c
quan he^. mo+'i giu+~a ca'c nha^n va^.t va` ca'c the^' gio+'i ma`
chu'ng cu+ tru'. Cyberpunk ga^y tha^n thie^.n vo+'i nha^n va^.t, vo^'n
dda~ quen suy nghi~ ve^` chi'nh no' trong ca'c y' nie^.m
kho^ng-gian-hi`nh, nhu+ la` mo^.t ddie^?m hay mo^.t dung ti'ch tha^'y
ddu+o+.c ddang di ddo^.ng mo^.t ca'ch nha^'t ddi.nh xuye^n qua mo^.t
kho^ng gian co' thu+.c, vo+'i vie^.c chuye^?n hu+o+'ng va` lu+u cha?y
nhu+ du+o+`ng la` ca'c kho^ng gian cu?a su+. kie^.n va` du+~ kie^.n.
Mo^.t ca'ch hu+'ng thu', tie^?u thuye^'t chuye^.n ke^?, vo^'n co'
truye^`n tho^'ng ddo`i ho?i ddo^.c gia? pha?i xa^y du+.ng ca'c kho^ng
gian tu+o+?ng tu+o+.ng tu+` ca'c go+.i y' ngo^n ngu+~, co' mo^.t lo+.i
the^' ho+n nga`nh truye^`n tho^ng hi`nh a?nh tru+.c tie^'p nhu+ la`
phim a?nh, trong ddo' ca'i tu+'c thi` va` ca'i ddang hie^.n hu+~u cu?a
su+. kie^.n tru+o+'c ma('t co' the^? la` mo^.t kie^?u ga^y pha^n ta^m
ra kho?i ca'c hoa.t ddo^.ng ca^'u tru'c quan ye^'u cho kinh nghie^.m
ve^` kho^ng gian ddie^.n toa'n. Phim a?nh co' the^? chi? ddu+a to+'i
qua' nhie^`u hie^.n tu+o+.ng ve^` thi. kie^'n, khi ddie^`u dda'ng ke^?
trong kho^ng gian ddie^.n toa'n la.i la` ca'i vo^ hi`nh cu?a ca'c co+
ca^'u ddang chu+'a ddu+.ng va` no^'i ke^'t ca'c tho^ng tin, va` ca'i
du+. pho'ng cu?a ca'c kho^ng gian tu+o+?ng tu+o+.ng vo^'n na(`m phi'a
sau hay la` giu+~a nhu+~ng ca'i hie^.n ra tre^n ma`n hi`nh ddie^.n
toa'n.
Mo^.t ca'ch thuye^'t phu.c, Bukatman co^ la^.p hai tra.ng tha'i ddo^'i
nghi.ch nhau trong su+. ba`y to? cu?a kho^ng gian ddie^.n toa'n. Mo^.t
ma(.t, co' su+. dda^`u ha`ng cu?a chu? dde^` ddo^'i vo+'i kinh nghie^.m
ve^` 'ca'c kho^ng gian song song' cu?a tie^?u thuye^'t khoa ho.c
ddu+o+ng dda.i, ma` trong ddo' 'ngu+o+`i ddo.c ti`m tha^'y mo^.t tra.ng
tha'i dda the^? cho vie^.c xo'a bo? ca'c bie^n gio+'i hu+~u the^? ho.c;
cho cuo^.c cha.m tra'n cu?a ca'c the^' gio+'i ddang ca.nh tranh va`
ddang chuye^?n ddo^?i', va` no' 'la`m su.p ddo^? ngo^n ngu+~, ly'
ti'nh, va` ti'nh chu? quan'.32 Vu+`a co' ca? so+. ha~i va` ca? hu+'ng
kho+?i trong su+. ma^'t ma't su+. o^?n ddi.nh va` ddi.nh nghi~a chu?
quan na`y. Cu`ng lu'c ddo', ca'i kha'i nie^.m ve^` mo^.t 'cuo^.c da`n
du+.ng' hay ca?nh nhi`n tha^'y a'm chi? to+'i mo^.t ca'i gi` nhu+ la`
mo^.t ca^'u tru'c bo^`i hoa`n, trong ddo' chu? the^? mo+`i go.i ca'i
a?o gia'c ve^` vi. tri' va` kho^ng gian co' the^? cu+ tru' tu+` nhu+~ng
kinh nghie^.m gia?i thu+.c cu+.c ddoan nhu+ va^.y. Khi mo^.t nha^n
va^.t nghi~ ve^` chi'nh na`ng trong cuo^'n "Mona Lisa Overdrive" cu?a
Gibson, '"Kho^ng co' no+i ddo', ddo'"': ca'c chu+~ nghi.ch nghi~a ba`y
to? y' nghi~a cu?a su+. hie^.n hu+~u lie^n tu.c nghi.ch ly' ve^` no+i
cho^'n ngay ca? trong ca'i gia?i tru+` phu? ddi.nh cu?a no'.33
Cyberpunk la` mo^.t ca'ch vu+`a la`m xa la. ngu+o+`i ddo.c/ngu+o+`i
nhi`n va` vu+`a la`m ho. quen thuo^.c vo+'i ddie^`u kie^.n na`y cu?a
su+. xa la.. Ca'c tie^?u thuye^'t nhu+ va^.y dda~ sa'ng ta.o nhu+
du+o+`ng no' la` ca'i the^' gio+'i linh tu+o+.ng (utopia) ta.m tho+`i
khai sinh tu+` nhu+~ng ca'i di. thu+o+`ng (atopia).
Trong mo^.t nghi~a, ca'c tie^?u thuye^'t nhu+ va^.y dda~ chi? to+'i
su+. su.p ddo^? cuo^'i cu`ng cho ne^`n tu+. tri. cu?a the^' gio+'i,
trong mo^.t the^' gio+'i cu?a nhu+~ng ta'c ddo^.ng gia? va` nhu+~ng
ta'c ddo^.ng gia? ca?m ti'nh tru+.c tie^'p ho+n, va` cu?a ca'c ho+.p
the^? ca?m ti'nh phu+'c ta.p ho+n. Cu`ng mo^.t lu'c, nhu+ chu'ng ta
tha^'y, ca'i phi va^.t the^? cu?a chu+~ cho no' mo^.t thu+' lo+.i the^'
tri thu+'c ho.c, du+.ng la^.p va`o trong ca'i ddu+o+`ng ta('t cu?a
ddo^.ng ta'c gia? truye^`n tho^ng va` dda'p u+'ng mo^.t
khoa?ng-ca'ch-tho+`i-gian, khoa?ng ca'ch na`y cho phe'p ca'i kha? the^?
cu?a ho^`i nho+' va` pha^n bie^.t. (DDo.c chu+~, chu'ng ta co' thi`
gio+` dde^? suy nghi~ bie^.n bie^.t, nhu+ng se~ kho^ng co' thi` gio+`
na`y khi xem phim, no+i suy nghi~ chu'ng ta pha?i cha.y theo to^'c
ddo^. cu?a ma('t. LND) DDie^`u na`y co' le~ la` ly' do ta.i sao tie^?u
thuye^'t cyberpunk co' the^? ddu+a ra ca'c pha'n ddoa'n nhu+ the^',
nhu+ cu?a Fredric Jameson, khi o^ng kha(?ng ddi.nh ra(`ng ddo' la`
'su+. ba`y to? "va(n chu+o+ng" to^'i thu+o+.ng ne^'u kho^ng thuo^.c
va`o chu? nghi~a ha^.u hie^.n dda.i, ro^`i thi` pha?i la` cu?a chi'nh
chu? nghi~a tu+ ba?n mo+'i dda^y'.34 Cyberpunk kho^ng chi? giu'p la`m
cho ca'c ddie^`u kie^.n xa la. cu?a ky~ thua^.t ddu+o+ng dda.i tro+?
ne^n quen thuo^.c va` so^'ng ddo^.ng, no' cu~ng co`n, y he^.t nhu+ ca'i
ly' thuye^'t ddang nha^n danh no' le^n tie^'ng, pha?n a'nh ca'i ti'nh
di. ky` cu?a vie^.c la`m cho quen thuo^.c ma` no' a?nh hu+o+?ng to+'i.
Ghi chu'
(Ca'c chu+~ vie^'t ta('t: pp., ca'c trang; ed., bie^n ta^.p bo+?i;
ibid., trong cu`ng sa'ch, hoa(.c cu`ng chu+o+ng. LND)
1 I. A. Richards, "Principles of Literary Criticism" (London: Routledge
va` Kegan Paul, 1924).
2 Xem Terry Eagleton, 'The End of English', cuo^'n "Textual Practice",
1:1 (1987), pp. 1-9.
3 Charles Newman, "The Aura of Postmodernism: The Act of Fiction in an
Age of Inflation" (Evanston: Northwestern, University Press, 1985), pp.
27-35.
4 Helmut Lethen, 'Modernism Cut in Half: The Exclusion of the
Avant-Garde and the Debate on Postmodernism', trong cuo^'n "Approaching
Postmodernism", ed. Hans Bertens va` Douwe Fokkema (Philadelphia va`
Amsterdam: John Benjamins, 1986), p. 233.
5 Andreas Huyssen, "Beyond the Great Divide: Modernism, Mass Culture,
Postmodernism" (Bloomington: Indiana University Press, 1986), pp.
206-16.
6 Virginia Woolf, 'Modern Fiction' (1925), trong "Collected Essays",
vol. 2 (London: Hogarth Press, 1966), pp. 106-7. Ve^` quan ddie^?m chu?
nghi~a hie^.n dda.i na`y, xem Michael Levenson, "A Genealogy of
Modernism" (Cambridge: Cambridge University Press, 1984), pp. 1-22.
7 Ly' gia?i trong "The Collected Essays of Leslie Fiedler", Vol. 2 (New
York: Stein and Day, 1971), pp. 461-85.
8 DDe^? kha?o sa't xe ho+n ve^` ca'ch su+? du.ng ca'c the^? loa.i pho^?
bie^'n trong tie^?u thuye^'t ha^.u hie^.n dda.i, xem Stefano Tani, "The
Doomed Detective: The Contribution of the Detective Novel to Postmodern
American and Italian Fiction" (Carbondale va` Edwardsville: Southern
Illinois University Press, 1984) va` Theo D'Haen, 'Popular Genre
Conventions in Postmodern Fiction: The Case of the Western', trong
"Exploring Postmodernism", ed. Matei Calinescu va` Douwe Fokkema
(Amsterdam va` Philadelphia: John Benjamins, 1987), pp. 161-74.
9 "The Dismemberment of Orpheus: Towards a Postmodern Literature", 2nd
edn. (New York: Oxford University Press, 1982), p. xvii. Ca'c tham
kha?o tu+` dda^y ve^` sau se~ vie^'t ta('t la` TPL.
10 "Horizons of Assent: Modernism, Postmodernism and the Ironic
Imagination" (Baltimore: Johns Hopkins University Press, 1981). Ca'c
tham kha?o tu+` dda^y vie^'t ta('t la` HA.
11 Xem Raymond Federman, 'Fiction Today, or the Pursuit of
Non-Knowledge', "Humanities in Society", 1:2 (1978), p. 122, va` ca'c
tie^?u lua^.n su+u tuye^?n bo+?i Federman du+o+'i nhan dde^`
"Surfiction: Fiction Now and Tomorrow", xua^'t ba?n la^`n dda^`u 1975
(Chicago: Swallow Press, 1981).
12 Xem Joseph Frank, 'Spatial Form in Modern Literature', trong "The
Widening Gyre" (Bloomington: Indiana University Press, 1963), pp. 3-62.
13 Outi Pasanen, 'Postmodernism: An Interview With William V. Spanos',
"Arbeiten aus Anglistik und Amerikanistik", 11:2 (1986), p. 197.
14 William V. Spanos, 'Heidegger, Kierkegaard and the Hermeneutic
Circle: Towards a Postmodern Theory of Interpretation as Disclosure',
trong "Martin Heidegger and the Question of Literature: Toward a
Postmodern Literary Hermeneutics", ed. William V. Spanos (Bloomington:
Indiana University Press, 1979), p. 121.
15 Ibid., p. 135.
16 Ibid., p. 139.
17 Pasanen, 'Interview with W. V. Spanos', p. 206.
18 'The Postmodernism of David Antin's "Tuning', College English", 48:1
(1986), p. 13.
19 David Antin, "Tuning" (New York: New Directions, 1984), p. 130.
20 'The Return of Story in Postmodern Poetry', trong "The Dance of the
Intellect: Studies in the Poetry of the Pound Tradition" (Cambridge:
Cambridge University Press, 1985), pp. 156-7.
21 'Postmodernism and the Impasse of Lyric', ibid., p. 181.
22 'Postmodernism and the Impasse of Lyric', ibid., p. 185; 'The World
as Such: Langauge Poetry in the Eighties', ibid., pp. 215-38; '"No More
Margins": John Cage, David Antin, and the Poetry of Performance', trong
"The Poetics of Indeterminacy: Rimbaud to Cage<R> (Evanston:
Northwestern University Press, 1981), pp. 288-340.
23 "Postmodern American Poetry" (Chicago: University of Illinois Press,
1980), p. vii.
24 'Ways of Looking at Fiction', trong "Romanticism, Modernism,
Postmodernism", ed. Harry R. Gavin (Lewisburg, PA: Bucknell University
Press, 1980). p. 156.
25 "After Theory: Postmodernism/Postmarxism" (London: Routledge, 1990),
p. 50. 26 Xem Linda Hutcheon, "Narcissistic Narrative: The
Metafictional Paradox" (Waterloo, Ont.: Wilfred Laurier University
Press, 1980).
27 "Postmodernism Fiction" (London: Methuen, 1987), p. 10.
28 Ibid., p. 7.
29 Linda Hutcheon, "A Poetics of Modernism: History, Theory, Fiction"
(New York va` London: Routledge, 1988).
30 Brian McHale, "Constructing Postmodernism", (London va` New York:
Routledge, 1992), p. 229.
31 'Science Fiction and Postmodernity', trong "Postmodernism and the
Re-Reading of Modernity", ed. Francis Barker, Peter Hulme va` Margaret
Iversen (Manchester: Manchester University Press, 1992), p. 149.
32 Scott Bukatman, "Terminal Identity: The Virtual Subject in
Postmodern Science Fiction" (Durham, NC: Duke University Press, 1993),
p. 18.
33 William Gibson, "Mona Lisa Overdrive" (London: HarperCollins, 1995),
p. 55.
34 "Postmodernism, or, The Cultural Logic of Late Capitalism" (London:
Verso, 1991), p. 419.
hytran@my deja.com
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