Publicação
Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente
| Resumo: | Brazilian writer João Paulo Cuenca uses futuristic Tokyo as a venue for his antithetical love story that portrays a father ensnaring his adult son through a city-wide surveillance network. Foucault’s panopticism in Discipline and Punish (1975) reflects the wire taps and hidden cameras in Cuenca’s dystopic novel, revealing how technology intensifies the scale ranging from virtual invasion to physical brutality. Much as social media has changed the definition of “friend” and blurred the division between public and private life, the protagonist’s social web reveals that alliances are deceiving. Cuenca’s work exhibits the alarming reality in which concepts like identity and friendship are manipulated by society’s most powerful members. Cuenca’s dystopic society permits and encourages the multifaceted dehumanization of women’s bodies and analogizes media presence as a tool for personal freedom, illicit surveillance, and violence. |
|---|---|
| Autores principais: | Holloway, Olivia |
| Assunto: | Dystopia Panopticon Media Gender identities Exile Digital footprints João Paulo Cuenca |
| Ano: | 2022 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | unknown |
| Instituição associada: | Universidade Católica Portuguesa |
| Idioma: | inglês |
| Origem: | Diffractions |
| _version_ | 1868421891376545792 |
|---|---|
| author | Holloway, Olivia |
| author_facet | Holloway, Olivia |
| author_role | author |
| country_str | PT |
| creators_json_txt | [{\"Person.name\":\"Holloway, Olivia\"}] |
| datacite.creators.creator.creatorName.fl_str_mv | Holloway, Olivia |
| datacite.rights.fl_str_mv | http://purl.org/coar/access_right/c_abf2 |
| datacite.subjects.subject.fl_str_mv | Dystopia Panopticon Media Gender identities Exile Digital footprints João Paulo Cuenca |
| datacite.titles.title.fl_str_mv | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente |
| dc.creator.none.fl_str_mv | Holloway, Olivia |
| dc.format.none.fl_str_mv | application/pdf |
| dc.identifier.none.fl_str_mv | https://doi.org/10.34632/diffractions.2022.10218 |
| dc.language.none.fl_str_mv | eng |
| dc.publisher.none.fl_str_mv | Universidade Católica Portuguesa |
| dc.rights.none.fl_str_mv | http://purl.org/coar/access_right/c_abf2 |
| dc.rights.rights.copyright.fl_str_mv | https://creativecommons.org/licenses/by/4.0 |
| dc.source.none.fl_str_mv | Diffractions; No. 5 (2022): Latin American Digitalities; 26-45 Diffractions; N.º 5 (2022): Latin American Digitalities; 26-45 2183-2188 10.34632/diffractions.2022.n5 |
| dc.subject.none.fl_str_mv | Dystopia Panopticon Media Gender identities Exile Digital footprints João Paulo Cuenca |
| dc.title.fl_str_mv | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente |
| dc.type.none.fl_str_mv | http://purl.org/coar/resource_type/c_6501 |
| description | Brazilian writer João Paulo Cuenca uses futuristic Tokyo as a venue for his antithetical love story that portrays a father ensnaring his adult son through a city-wide surveillance network. Foucault’s panopticism in Discipline and Punish (1975) reflects the wire taps and hidden cameras in Cuenca’s dystopic novel, revealing how technology intensifies the scale ranging from virtual invasion to physical brutality. Much as social media has changed the definition of “friend” and blurred the division between public and private life, the protagonist’s social web reveals that alliances are deceiving. Cuenca’s work exhibits the alarming reality in which concepts like identity and friendship are manipulated by society’s most powerful members. Cuenca’s dystopic society permits and encourages the multifaceted dehumanization of women’s bodies and analogizes media presence as a tool for personal freedom, illicit surveillance, and violence. |
| dirty | 0 |
| eu_rights_str_mv | unknown |
| format | article |
| id | diff_31c003d7abb3d0844c2a8e599018214e |
| identifier.doi.fl_str_mv | https://doi.org/10.34632/diffractions.2022.10218 |
| instacron_str | UCP |
| institution | Universidade Católica Portuguesa |
| instname_str | Universidade Católica Portuguesa |
| language | eng |
| network_acronym_str | diff |
| network_name_str | Diffractions |
| oai_identifier_str | oai:ojs.revistas.ucp.pt:article/10218 |
| organization_str_mv | urn:organizationAcronym:ucp |
| person_str_mv | Holloway, Olivia |
| publishDate | 2022 |
| publisher.none.fl_str_mv | Universidade Católica Portuguesa |
| reponame_str | Diffractions |
| repository_id_str | urn:repositoryAcronym:diff |
| service_str_mv | urn:repositoryAcronym:diff |
| spelling | en-USInescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidenteHolloway, OliviaDystopiaPanopticonMediaGender identitiesExileDigital footprintsJoão Paulo CuencaCopyright (c) 2022 Olivia Hollowayhttp://purl.org/coar/access_right/c_abf2https://doi.org/10.34632/diffractions.2022.10218DOIhttps://revistas.ucp.pt/index.php/diffractions/article/view/10218URLHasVersionhttps://revistas.ucp.pt/index.php/diffractions/article/view/10218/11056URLHasVersionhttps://doi.org/10.34632/diffractions.2022.10218DOI2022-05-16en-USBrazilian writer João Paulo Cuenca uses futuristic Tokyo as a venue for his antithetical love story that portrays a father ensnaring his adult son through a city-wide surveillance network. Foucault’s panopticism in Discipline and Punish (1975) reflects the wire taps and hidden cameras in Cuenca’s dystopic novel, revealing how technology intensifies the scale ranging from virtual invasion to physical brutality. Much as social media has changed the definition of “friend” and blurred the division between public and private life, the protagonist’s social web reveals that alliances are deceiving. Cuenca’s work exhibits the alarming reality in which concepts like identity and friendship are manipulated by society’s most powerful members. Cuenca’s dystopic society permits and encourages the multifaceted dehumanization of women’s bodies and analogizes media presence as a tool for personal freedom, illicit surveillance, and violence.Universidade Católica Portuguesaapplication/pdfen-USDiffractions; No. 5 (2022): Latin American Digitalities; 26-45pt-PTDiffractions; N.º 5 (2022): Latin American Digitalities; 26-452183-218810.34632/diffractions.2022.n5engjournal articlehttp://purl.org/coar/resource_type/c_6501literatureVoRhttp://purl.org/coar/version/c_970fb48d4fbd8a85https://creativecommons.org/licenses/by/4.0 |
| spellingShingle | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente Holloway, Olivia Dystopia Panopticon Media Gender identities Exile Digital footprints João Paulo Cuenca |
| status | SINGLETON |
| status_str | VoR |
| subject.fl_str_mv | Dystopia Panopticon Media Gender identities Exile Digital footprints João Paulo Cuenca |
| title | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente |
| title_full | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente |
| title_fullStr | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente |
| title_full_unstemmed | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente |
| title_short | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente |
| title_sort | Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente |
| topic | Dystopia Panopticon Media Gender identities Exile Digital footprints João Paulo Cuenca |
| topic_facet | Dystopia Panopticon Media Gender identities Exile Digital footprints João Paulo Cuenca |
| url | https://doi.org/10.34632/diffractions.2022.10218 |
| visible | 1 |