Abstract This article considers the motif of porosity and its opposite, impenetrability, in relation to the home or places where we feel at home. It discusses ambiguities in how the physical boundaries of the home—but also of the perceived human subject—are portrayed in the technology-pervaded world of the dystopian science fiction narrative Total Recall. Tracing the story from the 1966 novel by Philip K. Dick, through the 1990 film to the recent remake (2012), allows for a consideration of the changes in our understanding of how the boundaries between the home and its other are culturally conceived and what happens when the integrity of these boundaries are put into question. Despite their differences, we argue that all three narratives use the built structures of walls and the imagery of the container as a way of portraying the basic conflict of an outer world that tries to take possession of the protagonist’s inner life. Tracing narrative shifts, we suggest, can become a vehicle for understanding the ongoing negotiation of boundaries of the “self,” the human body, the home and even the city, and the implications these cultural negotiations have across the period from 1966 to 2012.

中文翻译：

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“我改变了主意；我不想回家”

摘要 本文考虑了与家或我们感到宾至如归的地方相关的孔隙率及其对立面、不可渗透性的主题。它讨论了在反乌托邦科幻小说《全面回忆》中，科技无处不在的世界如何描绘家庭的物理边界——以及感知到的人类主体——的模糊性。从 Philip K. Dick 1966 年的小说，到 1990 年的电影到最近的翻拍（2012 年），可以考虑我们对家庭与其他人之间的界限如何在文化上被构想以及什么的理解的变化当这些边界的完整性受到质疑时，就会发生这种情况。尽管他们有分歧，我们认为，所有三个叙事都使用墙壁的建筑结构和容器的图像来描绘试图占据主角内心生活的外部世界的基本冲突。我们认为，追溯叙事转变可以成为理解“自我”、人体、家庭甚至城市边界的持续谈判的工具，以及这些文化谈判在 1966 年至 2012 年期间所产生的影响。