Hybrids of the Romantic: Frankenstein,Olimpia, and Artificial Life

Hybride der Romantik: Frankenstein, Olimpia und das künstliche Leben . Dieser Beitrag untersucht Vorstellungen über die Möglichkeit der Erzeugung künstlicher Lebewesen in der Zeit der Romantik und die damit verbundenen Ängste am Beispiel zweier fiktionaler Texte: Mary Shelleys Frankenstein und Ernst Theodor Amadeus Hoffmanns Sandmann. Dr. Franksteins Monster und Dr. Spalanzanis Automat verkörpern – auf unterschiedliche Weise – die Möglichkeit einer Wendung wissenschaftlicher Produkte und insbesondere künstlicher Hybride ins Monströse. Ihre Geschichten thematisieren das Grauen, das vom drohenden Kontrollverlust ausgeht und als der modernen Wissenschaft innewohnende Gefahr selbst nach der Zerstörung der monströsen Kreaturen bestehen bleibt. Der Begriff des Unheimlichen, von Ernst Jentsch und Sigmund Freud mit Bezug auf Hoffmanns Sandmann formuliert und 1970 von dem japanischen Robotiker Masahiro Mori als Phänomen „des unheimlichen Tals“ (Uncanny Valley) weiterentwickelt, erlaubt weitere Einblicke in die Frage nach künstlichen Lebewesen und ihre Interaktion mit Menschen. Summary: Hybrids of the Romantic: Frankenstein, Olimpia, and Artificial Life . This essay analyzes fantasies and fears related to the possible creation of artificial humans in two influential pieces of Romantic literature, namely E.T.A. Hoffmann's Der Sandmann and Mary Shelley's Frankenstein. Both the automaton Olimpia and Dr. Frankenstein's monster are hybrid creatures. These dystopian figures represent the Romantic fear of the loss of control over the outcome of human endeavour, they symbolize the dangers immanent in modern science and technology. As hybrids, Olimpia and Frankenstein's monster are capable of breaking apparently unpenetrable boundaries, such as those between human and non-human, and between life and death. As such, these creatures become “unheimlich” (uncanny), a critical term developed by Ernst Jentsch and Sigmund Freud, who directly referred to Hoffmann's Sandman. The term “uncanny” was further developed by the Japanese roboticist Masahiro Mori in the 1970s. Mori's investigation of human responses to androids (“Uncanny Valley”), shows the persistence of doubts and fears surrounding artificial humans far beyond the Romantic times, and opens new questions related to the issues of creation, reproduction, hybrids, hubris and gender.     

Illuminating the Victorians

ABSTRACT

From the beginning of the twentieth century, Japanese roboticists have observed specific features in the physical designs of humanoid robots that cause users to react with either fear or affection. Analyzing the sources of these reactions, robotics egineers eliminated from robots those features that might trigger negative associations, and instead embedded their designs with cues to norms, theories, and cultural references valued by their society. By analyzing Nishimura Makoto’s building of an affable artificial human named Gakutensoku, Mori Masahiro’s discovery of the phenomenon of the ‘uncanny valley’, and Ishiguro Hiroshi’s current employment of cognitive, social, and psychological sciences to overcome the ‘uncanny’ impression of his robots, this essay claims that the development of the field of humanoid robotics in Japan was driven by concern with human emotion and cognition, and shaped by Japanese roboticists’ own associations with the social and intellectual environments of their time.     

归剑于鞘与再试新锋——鲁迅与森鸥外历史题材创作之比较

在同时具有最真实的理性色彩与最大的文学重创弯曲度的历史题材小说领域,鲁迅与森鸥外由于写作目的不同而体现出了社会批评意义上的差距,对现实的关怀、干涉程度与方法的不同也导致了文学风格上的差异。鲁迅始终坚持古为今用的立场,《故事新编》的风格较为统一,对史实的取舍与作家的虚构都服务于批判的主题;森鸥外则基于摆脱现实的目的而选择历史题材进行文学创作,其模糊的历史观导致了作品外部风格甚至内在主题上的矛盾。