Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente

Detalhes bibliográficos
Autor(a) principal: Holloway, Olivia
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.34632/diffractions.2022.10218
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.
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spelling Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidenteBrazilian 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 Portuguesa2022-05-16T00:00:00Zjournal articleinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/otherinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://doi.org/10.34632/diffractions.2022.10218oai:ojs.revistas.ucp.pt:article/10218Diffractions; No 5 (2022): Latin American Digitalities; 26-45Diffractions; n. 5 (2022): Latin American Digitalities; 26-452183-218810.34632/diffractions.2022.n5reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://revistas.ucp.pt/index.php/diffractions/article/view/10218https://doi.org/10.34632/diffractions.2022.10218https://revistas.ucp.pt/index.php/diffractions/article/view/10218/11056Copyright (c) 2022 Olivia Hollowayhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessHolloway, Olivia2022-09-23T15:11:50Zoai:ojs.revistas.ucp.pt:article/10218Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:03:48.979231Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.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
title Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente
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
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_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_sort Inescapable prints: panoptic surveillance and violence in João Paulo Cuenca’s O único final feliz para uma história de amor é um acidente
author Holloway, Olivia
author_facet Holloway, Olivia
author_role author
dc.contributor.author.fl_str_mv Holloway, Olivia
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.
publishDate 2022
dc.date.none.fl_str_mv 2022-05-16T00:00:00Z
dc.type.driver.fl_str_mv journal article
info:eu-repo/semantics/article
info:eu-repo/semantics/other
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://doi.org/10.34632/diffractions.2022.10218
oai:ojs.revistas.ucp.pt:article/10218
url https://doi.org/10.34632/diffractions.2022.10218
identifier_str_mv oai:ojs.revistas.ucp.pt:article/10218
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://revistas.ucp.pt/index.php/diffractions/article/view/10218
https://doi.org/10.34632/diffractions.2022.10218
https://revistas.ucp.pt/index.php/diffractions/article/view/10218/11056
dc.rights.driver.fl_str_mv Copyright (c) 2022 Olivia Holloway
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Olivia Holloway
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Católica Portuguesa
publisher.none.fl_str_mv Universidade Católica Portuguesa
dc.source.none.fl_str_mv Diffractions; No 5 (2022): Latin American Digitalities; 26-45
Diffractions; n. 5 (2022): Latin American Digitalities; 26-45
2183-2188
10.34632/diffractions.2022.n5
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
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instname_str Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron_str RCAAP
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reponame_str Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
collection Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
repository.mail.fl_str_mv
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