4 книги прочел а говорят их 9.
Вот Андрей
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Msg : 192 of 611
From : Vadim Gaponov (Solў) 2:5020/305 .он 04 .ен 95 22:26
To : Vetal Kudriavtsev
Subj : Dune & Russian Language
ДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДДД
Пpивет Vetal !
Писал ты как-то к All:
VK> А вы не пробовали freeman (вот так - одним словом) перевести
VK> дословно на Великий-Могучий Русский Язык...
А чего тут пpобовать ? - "вольный" напpимеp.
/* "What is your name ?" - "Что есть твое имя ?", ты так хотел ?!? */
VK> Вооистину Могуч...
А что ? Попpобуй савенковское "вызвездило" пеpевести на вpажий.
VK> К чему бы это?
К пеpеэкзаменовке навеpное :(
Bye, Solў
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Msg : 193 of 611
From : Dmitry Suprunov 2:478/13.35 .он 04 .ен 95 19:41
To : Vitaly Leontiev
Subj : P .сприн
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Hello Vitaly!
01 Sep 95 21:14, Vitaly Leontiev wrote to Dmitry Suprunov:
DS>> А где это можно достать ???????????????
VL> Тебе - тpyдно cказать... В Моcкве повcюдy лежит.
А может это есть у кого-нибудь на BBS (в набитом виде ) ;)
Dmitry
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Msg : 194 of 611
From : Aleksey Swiridov 2:5020/185.5 .ет 24 .вг 95 18:11
To : Michael Kolesnikov
Subj : .олевки и вершины фэнтэзи
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Пpиветствую, Michael!
Понедельник Август 21 1995 17:29, Michael Kolesnikov wrote to Nickolay Dremkov:
MK>>> без компьютеpа
MK> Пpосто к слову пpишлось. Можно и в поле, но все pавно без компа и FIDO.:-(
Без компа стремно. Я вот на ХИ95 сьездил, и очень пожалел: экономика там...
С уважением, Алексей Свиридов.
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Msg : 195 of 611
From : Aleksey Swiridov 2:5020/185.5 .ет 24 .вг 95 18:13
To : all
Subj : книга по гомосексуализму...
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Пpиветствую, all!
Значит Я+Я - это гомос. А натурально, это будет Я+... что? Идея такая:
PROGRAMM Hазвание книги
BEGIN
IF Я=мужч. GO TO 1
Книга=Я+ОH
GO TO 2
1 Книга=Я+ОHА
2 PRINT Книга
STOP
END
Прошить в микруху, прилепить на корешок, и вперед!
С уважением, Алексей Свиридов.
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Msg : 196 of 611
From : Dmitry Baykalov 2:5020/185.13 .cк 03 .ен 95 01:39
To : Alexey (AuX) Kolpikov
Subj : J.G.Ballard
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Пpиветствую, Alexey!
Втоpник Август 22 1995 00:01, Alexey (AuX) Kolpikov wrote to All:
A(K> преподавал... И библиография тоже есть. Вот хотелось бы от народа узнать
A(K> как раз о периоде, когда так меня волнующий New Wave рождался, ведь
A(K> оттуда вышел мой суперархилюбимейший Мурцоцк Миша. :)
Привез я с WorldCona сидючок с мультевой энциклопедией SF, базирующейся на
известной всем энциклопедии Hиколса. Вот статья о New Wave оттудова:
This term, as applied to sf, is borrowed from film criticism, where it was much
used in the early 1960s as a translation of the French nouvelle vague to refer
to the experimental cinema associated with Jean-Luc Godard (1930- ), Francois
Truffaut (1932-1984) and others. (It was also applied to music around 1977 as a
synonym for Punk.) The term was first applied to UK sf writers in a 1961
book-review column by P. Schuyler MILLER, and then used -- probably first by
Christopher PRIEST -- to describe the sort of fiction being published in NEW
WORLDS. It came to be used more by sf proselytizers than by the writers
concerned -- especially by Judith MERRIL, in her anthology England Swings SF
(anth 1968; cut vt The Space-Time Journal 1972 UK) and elsewhere.
The kind of story to which the term refers is in fact rather older than the
(late-1960s) term, which anyway has never been defined with any precision. The
first writers whose work was later subsumed under the New Wave label were UK,
notably Brian W. ALDISS and J.G. BALLARD. These two were publishing stories in
NW while it was still under the editorship of John CARNELL, but it was not until
Michael MOORCOCK took over with the May/June 1964 issue that the kind of
imagistic, highly metaphoric story, inclined more towards psychology and the
SOFT SCIENCES than to HARD SF, that both men wrote (in quite different styles)
was given a setting where it seemed at home.
Traditional GENRE SF had reached a crisis point in both the UK and the USA by
the middle 1960s; too many writers were working with the same few traditional sf
themes, and both the style and content of sf were becoming generally
overpredictable. Many young writers entering the field came to feel, either
instantly, like Thomas M. DISCH, or after some years' slogging away at
conventional commercial sf, like Harlan ELLISON and Robert SILVERBERG, that
genre sf had become a straitjacket; though widely supposed to emphasize change
and newness, sf had somehow become conservative. Young Turks, of course,
conventionally exaggerate the sins of their seniors, but this time they had a
real case. It was not as if the market were shrinking; on the contrary,
hardcover publishers were more willing than ever to add sf to their lists. There
was no reason to suppose that publishers would not be grateful for sf becoming
rather more flexible in style and content.
By 1965, then, sf was ripe for change. In fact, many of the so-called sf
experiments of the period were not experiments at all, but merely an adoption of
narrative strategies, and sometimes ironies, that had long been familiar in the
MAINSTREAM novel. In the event, some of the sf writers who felt they now had the
freedom to experiment, especially Ballard and perhaps (rather later) Moorcock,
were to add something new to the protocols of prose fiction generally; the New
Wave may have taken from the Mainstream, but it gave something back in return
(this is now a truism of POSTMODERNIST criticism, but it was by no means clear
at the time), and certainly New-Wave sf did more than any other kind of sf to
break down the barriers between sf and mainstream fiction.
Because it was never a formal literary movement-perhaps more a state of mind
than anything else-New-Wave writing is difficult to define. Perhaps the
fundamental element was the belief that sf could and should be taken seriously
as literature. Much of it shared the qualities of the late-1960s counterculture,
including an interest in mind-altering DRUGS and oriental RELIGIONS, a
satisfaction in violating TABOOS, a marked interest in SEX, a strong involvement
in Pop Art and in the MEDIA LANDSCAPE generally, and a pessimism about the
future that ran strongly counter to genre sf's traditional OPTIMISM, often
focused on the likelihood of DISASTER caused by OVERPOPULATION and interference
with the ECOLOGY, as well as by WAR, and a general cynicism about the POLITICS
of the US and UK governments (notably the US involvement in Southeast Asia and
elsewhere). The element of DYSTOPIA in New-Wave writing was particularly
dramatic in the case of John BRUNNER, much of whose earlier work had been
relatively cheerful SPACE OPERA. New-Wave sf often concerned itself with the
NEAR FUTURE; but it often turned inward, too, and one of the buzzwords of the
period was INNER SPACE.
Moorcock's NW published most of the notable figures of the New Wave at one time
or another, including the work of several US writers who lived for a time in the
UK, such as Samuel R. DELANY, Disch, James SALLIS, John T. SLADEK and Pamela
ZOLINE. Other US NW contributors often subsumed under the New-Wave label were
Ellison, Norman SPINRAD and Roger ZELAZNY; other UK contributors were Barrington
J. BAYLEY, M. John HARRISON, Langdon JONES and Charles PLATT, and one would add
Christopher PRIEST, although he was less closely associated with NW.
Despite the various excesses of NW, whose stories sometimes embraced ENTROPY
with a fervour reminiscent of Edgar Allan POE's "The Masque of the Red Death"
(1842), there is no doubt that it was influential on sf PUBLISHING generally,
and it was not long at all before various US markets were adopting a far less
exclusive attitude to what they would or would not publish, a symptom being the
appearance of ORIGINAL-ANTHOLOGY series like DANGEROUS VISIONS, NEW DIMENSIONS,
ORBIT and QUARK, which included a good quota of experimental work -- indeed,
they demonstrated clearly (though the point hardly needed to be made) that as
much US sf as UK had come to be New Wave in style and content.
All this naturally horrified some of sf's more conservative spokesmen, as a
glance at sf histories written by David KYLE, Sam MOSKOWITZ and Donald A.
WOLLHEIM will demonstrate. Wollheim commented, in The Universe Makers (1971),
that "the readers and writers that used to dream of galactic futures now got
their kicks out of experimental styles of writing, the free discussion of sex,
the overthrow of all standards and morals (since, if the world is going to end,
what merit had these things?)". It is easy to feel some sympathy with the
conservative viewpoint in one respect; with few exceptions the New-Wave writers
avoided HARD SF, and it must have seemed to some observers of the scene as if
the very thing that most centrally defined sf by its presence-the science (to
simplify) -- was disappearing.
But in fact the battle was quickly over (though hard sf never quite regained its
former position of prominence). The better New-Wave sf writers were soon
accepted by sf readers generally, and often found an audience outside sf as
well; the bad writers (some were terrible) mostly fell by the wayside. By the
1970s there no longer seemed very much point to the term, although newly
prominent figures like Gardner DOZOIS, Barry N. MALZBERG, Joanna RUSS, James
TIPTREE Jr and Gene WOLFE clearly wrote in a style that would have been called
New Wave only a year or so earlier. Later in the decade all sorts of quite
different new writers emerged who had clearly absorbed the positive lessons of
the New Wave, along with some of its attitudes, ranging from Michael BISHOP and
John VARLEY in the USA to Ian WATSON in the UK.
There can be no doubt that during the late 1960s genre sf found new freedoms,
while the market showed a greater readiness to accept sophisticated writing. As
with all ideological arguments, one uses whatever ammunition comes conveniently
to hand, and it suited many friends (and foes) to see the New Wave as a kind of
homogeneous, monolithic politico-literary movement. It was never that in the
minds of most of its writers, many of whom resented being categorized. Disch
commented, in an open letter published in 1978: "I have no opinion of the 'New
Wave' in sf, since I don't believe that that was ever a meaningful
classification. If you mean to ask -- do I feel solidarity with all writers who
