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首页> 外文OA文献 >'The whole earth as village' : a chronotopic analysis of Marshall McLuhan's 'Global Village' and Patrick McGoohan's The Prisoner
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'The whole earth as village' : a chronotopic analysis of Marshall McLuhan's 'Global Village' and Patrick McGoohan's The Prisoner

机译：“整个地球都是村庄”：对marshall mcLuhan的“地球村”和patrick mcGoohan的“囚徒”的时间分析

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Marshall McLuhan's "global village", and his theories on communications andtechnology, in conjunction with Patrick McGoohan's television series The Prisoner(ATV, 1967-1968) are explored in this thesis. The Prisoner, brainchild of McGoohan, isabout the abduction and confinement of a British government agent imprisoned withinthe impenetrable boundaries of a benign but totalitarian city -state called "The Village".The purpose of his abduction and imprisonment is for the extraction of informationregarding his resignation as a government spy. Marshall McLuhan originally popularizedthe phrase "the global village" in The Gutenberg Galaxy: The Making o/the TopographicMan (1962), asserting that, "The new electronic interdependence recreates the world inthe image of a global village" (p. 31). This thesis argues that valid parallels exist betweenMcGoohan's conception of "village", as manifested in The Prisoner, and McLuhan'sglobal village.The comprehensive methodological stratagem for this thesis includes MarshallMcLuhan's "mosaic" approach, Mikhail Bakhtin's concept ofthe "chronotope", as wellas a Foucauldian genealogicallhistorical discourse analysis. In the process ofdeconstructing McLuhan's texts and The Prisoner as products of the 1960s, an historical"constellation" (to use Walter Benjamin's concept) of the same present has beenexecuted. By employing this synthesized methodology, conjunctions have been madebetween McLuhan's theories and the series' main themes of bureaucracy as dictatorship,the perversion of science and technology, freedom as illusion, and the individual inopposition to the collective.A thorough investigation of the global village and The Prisoner will determinewhether or not Marshall McLuhan and/or Patrick McGoohan visualize the village as anenslaving technological reality.
机译：本文探讨了马歇尔·麦克卢汉（Marshall McLuhan）的“全球村”及其通信和技术理论，以及帕特里克·麦克高汉（Patrick McGoohan）的电视连续剧《囚徒》（ATV，1967-1968）。麦戈汉的心血来潮的囚犯，是关押和监禁被囚禁在良性但极权城市国家“村庄”的通透边界内的英国政府特工。他的绑架和监禁目的是为了提取有关其辞职的信息。作为政府间谍。马歇尔·麦克卢汉（Marshall McLuhan）最初在“古腾堡银河：制图人/地形人”（1962）中普及了“全球村庄”一词，他宣称：“新的电子相互依存以全球村庄的形象重现了世界”（第31页）。本文认为，麦高恩（McGoohan）在“囚徒”中体现的“村庄”概念与麦克卢汉（McLuhan）的全球村庄之间存在着有效的相似之处。本文的综合方法论策略包括马歇尔·麦克卢汉（MarshallMcLuhan）的“镶嵌”方法，米哈伊尔·巴赫金（Mikhail Bakhtin）的“年代记”概念以及福柯族谱学史话语分析。在解构麦克卢汉的著作和《囚徒》作为1960年代的产品的过程中，已经执行了同一礼物的历史“星座”（使用沃尔特·本杰明的概念）。通过使用这种综合方法论，麦克卢汉的理论与一系列以官僚主义为独裁统治，科学技术的扭曲，自由为幻觉以及个人对集体的反对的主题之间形成了联系。囚犯将确定马歇尔·麦克卢汉（Marshall McLuhan）和/或帕特里克·麦克高汉（Patrick McGoohan）是否将村庄形象化为奴役的技术现实。

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    Maggio Nicole.;

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