Thematische Bibliographien / Dystopian Science Fiction

Auswahl der wissenschaftlichen Literatur zum Thema „Dystopian Science Fiction“

Autor: Grafiati
Veröffentlicht am 27. Juli 2024
Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Dystopian Science Fiction"

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Muradian, Gaiane, und Anna Karapetyan. „On Some Properties of Science Fiction Dystopian Narrative“. Armenian Folia Anglistika 13, Nr. 1-2 (17) (16.10.2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.

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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, freedom of choice and idiosyncrasy of the society and its members. It is such critical and creative reflections of science fiction dystopian narrative that are focused on in the present case study with the aim of bringing out certain properties in terms of narrative types and devices, figurative discourse and cognitive notions through which science fiction dystopia expresses and conveys its overarching message, i.e. the warning to stop before it is too late to the reader.
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Song, Mingwei. „A Topology of Hope: Utopia, Dystopia, and Heterotopia in Contemporary Chinese Science Fiction“. AUC PHILOLOGICA 2021, Nr. 3 (15.02.2022): 107–33. http://dx.doi.org/10.14712/24646830.2022.6.

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This essay investigates how utopian thinking met with dystopian variations in contemporary Chinese science fiction. The dystopian gaze into the utopian dreams, the alternative histories contending with the utopian narratives, and the heterotopian experiments challenging ideological orthodoxy are the focus of my analysis. Reading the dystopian fiction by Chan Koonchung and science fiction stories and novels by Han Song, Bao Shu and Hao Jingfang etc., I do not intend to illustrate the utopian/ dystopian interventions in the political sense, but rather to explore the vigorous, multifaceted variations of utopia, dystopia, and heterotopia that these authors have created as discursive constructs to suggest alternatives to the utopia/dystopian dualism. Contemporary science fiction authors write back to the usual literary practice taking words as reflections of the world. To these writers, words are worlds.
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Adil Majidova, Ilaha. „The dystopian genre as one of Ray Bradbury’s creative trends“. SCIENTIFIC WORK 61, Nr. 12 (25.12.2020): 87–90. http://dx.doi.org/10.36719/2663-4619/61/87-90.

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Utopia is a common literary theme, especially in a speculative and science-fiction genre. Authors use utopian genre to explore what a perfect society would look like. Utopian fiction is set in a perfect world, while a dystopian novel drops its main character into a world where everything seems to have gone wrong. Dystopian fiction can challenge readers to think differently about current world. The article is devoted to the etymology of dystopia genre within Ray Bradbury’s creativity. In his short stories he tried to show the depth of his imagination. In Ray Bradbury’s fiction the world is a terrible place. He exposes the destructive side of technological progress and paradoxes of human personality in a grotty society. Key words: science-fiction, utopia, dystopia, prognosis, short story
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Farahbakhsh, Alireza, und Soulmaz Kakaee. „A DYSTOPIAN READING OF THE PRESENT TIME IN DAVID MITCHELL'S NUMBER 9 DREAM“. International Journal of Research -GRANTHAALAYAH 6, Nr. 12 (31.12.2018): 12–22. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1070.

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With the intention to study the implications and their affinity with and deviation from reality, the present study will analyze Number9Dream (2001) in terms of its narrative style, ontological qualities, and certain conventions which lead to the particular genre of dystopian science fiction. It tends to settle the following questions: are the implications and contributions of categorizing Number9Dream as a dystopian science fiction significant in any way? What is the role and ontological significance of setting in the novel? Narratological approach and genre criticism are applied to the novel to analyze it from the perspective of its critical engagement with dystopia. It traces science fictional elements and then continues to examine their utopian or dystopian nature and the different functions of those elements. It also refers to the connection between the given ontologies and reality. The present article shows that the novel provides a range of multiple possible worlds through two layers of internal and external ontology which are the representations of the real world. Dystopian narrative and science fiction conventions are exploited to address today's world issues. Through a detached view toward the present societies, Mitchell gives the opportunity to criticize what is not otherwise visible. The novel warns about human's isolation, alienation, and dehumanization and calls people to action accordingly. It briefly refers to the reconciliation of past/ present and nature/ science as a solution.
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Cardoso, André Cabral de Almeida. „Precarious humanity: the double in dystopian science fiction“. Gragoatá 23, Nr. 47 (29.12.2018): 888–909. http://dx.doi.org/10.22409/gragoata.v23i47.33608.

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The double is a common feature in fantastic fiction, and it plays a prominent part in the Gothic revival of the late nineteenth century. It questions the notion of a coherent identity by proposing the idea of a fragmented self that is at the same time familiar and frighteningly other. On the other hand, the double is also a way of representing the tensions of life in large urban centers. Although it is more usually associated with the fantastic, the motif of the double has spread to other fictional genres, including science fiction, a genre also concerned with the investigation of identity and the nature of the human. The aim of this article is to discuss the representation of the double in contemporary science fiction, more particularly in its dystopian mode, where the issue of identity acquires a special relevance, since dystopias focus on the troubled relation between individual and society. Works such as Greg Egan’s short story “Learning to Be Me”; White Christmas, an episode from the television series Black Mirror; Kazuo Ishiguro’s novel Never Let Me Go; and the film Moon, directed by Duncan Jones, will be briefly examined in order to trace the ways the figure of the double has been rearticulated in dystopian science fiction as a means to address new concerns about personal identity and the position of the individual in society.---Original in English.
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Muallim, Muajiz. „ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA“. Jurnal POETIKA 5, Nr. 1 (31.07.2017): 37. http://dx.doi.org/10.22146/poetika.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Muallim, Muajiz. „ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA“. Poetika 5, Nr. 1 (31.07.2017): 36. http://dx.doi.org/10.22146/poetika.v5i1.25810.

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This paper focuses on issues and discourses about the crisis that existed in the dystopian science fiction (dystopian sf) novels. In this case, Hunger Games Trilogy (2008-2010), Maze Runner Trilogy (2009-2011), Divergent Trilogy (2011-2013) are the main object to see how far the text of dystopian sf novels address issues and discourses about the crisis within. Dystopian sf novels that are the counter-discourse of utopian sf novels has no longer present the utopian elements of the future, but, contrastly present the worst possibilities of the future. It appears that the dystopian sf writers present narratives about crisis, poverty, darkness, and pessimism in their novels. It even reads as a form of criticism and warning that the writers are trying to convey to the reader through fictional texts. In the end, the conditions of crisis seen in the text of these dystopian sf novels open its relationship with the world's history outside the text.Keywords: crisis, dystopian science fiction, America, history.
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Altaf, Sana, und Aqib Javid Parry. „Nalo Hopkinson’s Midnight Robber: Blending technology and fantasy in a dystopian narrative“. Technoetic Arts 22, Nr. 1 (01.04.2024): 133–44. http://dx.doi.org/10.1386/tear_00126_1.

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In the contemporary postmodern era, the boundaries that once rigidly separated well-established genres have become more fluid, resulting in what scholars Raffaella Baccolini and Tom Moylan call ‘genre-blurring’. This phenomenon of incorporating elements from diverse genres represents a challenge to dominant ideologies and expands the possibilities within fictional texts. The dystopian fiction written by feminist writers towards the end of the twentieth century and beyond significantly exemplifies this form of hybrid textuality. In doing so, these writers seek to renovate the dystopian genre by making it both formally and politically oppositional. This article aims to explore Midnight Robber (2000), a feminist dystopian novel by Nalo Hopkinson, a Jamaican–Canadian writer, to illustrate how the author manipulates the generic boundaries of science fiction, fantasy and mythology. By amalgamating Afro-Caribbean religious and cultural beliefs, mythical creatures and traditional knowledge systems with a technologically advanced future world, Hopkinson challenges the essentially White, Eurocentric model of dystopian fiction. The article will also examine how, as an Afrofuturist writer, Hopkinson attempts to challenge and subvert the patriarchal discourse of dystopian fiction, traditionally dominated by White male writers, through a strong Black female character, Tan-Tan, who seeks to resist the patriarchal structures governing her, and finally succeeds in emerging as a female leader figure. For this purpose, Barbara Creed’s insights into the monstrous-feminine are explored, introducing novelty into the discourse of feminist dystopia.
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Al-Mamori, Yasir Khudeir Obid. „Addressing the Future with Data Visualization in Science Fiction Films: Dystopia or Utopia“. Человек и культура, Nr. 2 (Februar 2022): 12–20. http://dx.doi.org/10.25136/2409-8744.2022.2.37817.

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The subject of the research is the methods and techniques of addressing the future in dystopian and utopian films. The object of research is visual effects and ways of displaying the future, which allow us to convey to the viewer the meaning of the narrative. In the process of research, special attention is paid to the possibilities of science fiction films that create another world with the help of special effects, emphasizing many themes and hidden ideas, while depicting a fairy tale. Special emphasis is placed on the fact that modern technologies, the possibilities of creating visual effects have changed the film industry, as a result of which it has strengthened the genre convergence of utopian and dystopian film products, as a result of which it has become possible to create plausible worlds so that science fiction films are perceived in a more immersive way. The main conclusions of the study are the conclusion that the modern tradition of visualizing science fiction films embraces and interweaves dystopias and utopias within the framework of one work, as a result of which the narratives are doubly fictional: they create a utopian or dystopian place as a backdrop for history, and at the same time the place itself becomes history. The author's special contribution lies in the fact that in the process of research, visual techniques of representing the future in cinematic fiction are highlighted, which invariably contain cultural meanings. The scientific novelty of the research is to identify and analyze the most typical techniques of reproducing the future in science fiction films using visual effects, which include brutalist architecture, creating an image of the future city.
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Robinson, Kim Stanley. „California: The Planet of the Future“. Boom 3, Nr. 4 (2013): 3–11. http://dx.doi.org/10.1525/boom.2013.3.4.3.

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Boom interviews prolific science fiction writer Kim Stanley Robinson about writing, California, and the future. Topics of discussion include utopian and dystopian visions of the state, the Sierra Nevada and Sacramento Delta, the Orange County of Robinson’s youth, how California’s landscape and environment have informed science fiction, terraforming, utopia, dystopia, and finding a balance between technology and environmentalism.
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Dissertationen zum Thema "Dystopian Science Fiction"

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Bouet, Elsa Dominique. „Hitting the wall : dystopian metaphors of ideology in science fiction“. Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/9476.

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This thesis explores the depictions of the relationship between utopia and ideology by looking at metaphors of the wall in of utopian and dystopian science fiction, such as Ursula K. Le Guin’s The Dispossessed, George Orwell's Nineteen Eighty-Four and the Strugatsky brothers' Roadside Picnic. The wall is an image symbolising the ambiguity between ideology and utopia: the wall could be perceived to be the barrier protecting utopia while it is in fact the symbol for ideological restrictions and containment which are generating dystopia. The thesis looks at how these novels engage with the theme of the wall: it is used as an image altering history, constricting space and as a linguistic barrier. The characters' presence in and experience of the worlds is restricted by the ideological walls, and an alternate reality is created. The thesis looks at how the novels create such alternate, ideological realities and how the wall becomes the entity altering time, history, space and language. This alternate reality is used as an image of stability, but this takes on negative connotations: it becomes a constrictive force, embodying Fredric Jameson's idea that science fiction creates images of “world reduction”, caging the characters' desires, disabling the utopian impulse. The thesis therefore instigates the possibility of utopia: the wall negates all possibility of change and denies the hopes of the utopian impulse; however the characters' desire to regain humanity by destroying the ideological walls offers hope and opens up utopia, thus concluding that utopia is change and progress.
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MacNeill, Gordon. „Moulding Minds : Media, Mass Manipulation and Subjectivity in Dystopian Science Fiction“. Thesis, University of Liverpool, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507728.

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NEWMAN, CHINA RAE. „GENDER PERFORMANCE IN DYSTOPIAN LITERATURE THROUGHOUT THE HISTORY OF SCIENCE FICTION“. Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/613347.

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This work analyzes the use and portrayal of gender in Jack London’s The Iron Heel (1908), George Orwell’s 1984 (1949), Philip K. Dick’s Do Androids Dream of Electric Sheep (1968), and Stephanie Collins’ The Hunger Games (2008), four dystopian works written over a period of 100 years. It questions the reasoning behind the use of gender within each of the texts and looks at the changes in the use and presentation of gendered characters in each of the novels, considering the purpose of each text and the possible reasoning behind gendered portrayals of the characters in each story. Though a chronological analysis of these texts reveals a change from the portrayal of femininity as a singular good to a mindless weakness to a necessary balancing force, feminine characters remain subordinate to and weaker than masculine characters, even as a female protagonist takes the stage in the final novel. Finally, the work questions whether the conventions of the dystopian genre preclude the existence of a feminine dystopian hero or if the reason she has not yet been written is based on a cultural bias towards strong masculinity in main characters of any gender rather than the norms of the dystopian genre.
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McGinney, William Lawrence. „The Sounds of the Dystopian Future: Music for Science Fiction Films of the New Hollywood Era, 1966-1976“. Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-9839.

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Zajac, Ronald J. (Ronald John). „The Dystopian city in British and US science fiction, 1960-1975 : urban chronotopes as models of historical closure“. Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61046.

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In much dystopian SF, the city models a society which represses the protagonist's sense of historical time, replacing it with a sense of "private" time affecting isolated individuals. This phenomenon appears in dystopian SF novels of 1960-75--including Thomas M. Disch's 334, John Brunner's The Jagged Orbit, Philip K. Dick's Martian Time-Slip, J. G. Ballard's High-Rise, and Samuel R. Delany's Dhalgren--as well as some precursors--including Wells, Zamyatin's We, Huxley's Brave New World and Orwell's Nineteen Eighty-Four. In these novels the cities also reveal in their chronotopic arrangement the degree to which revolutionary forces can oppose the dystopian order. While the earlier dystopias see revolution crushed by despotic state power, those of 1960-75 see it thwarted by the dehumanizing effects of capitalism. The period from 1960-75 ends in resignation to an existence in which individual action can no longer effect political change, at best tempered by irony (Disch, Delany).
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Byrnes, Claire D. „Blood on her hands: A practice-led approach to exploring violent heroines in dystopian fiction“. Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/121424/2/Claire_Byrnes_Thesis.pdf.

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This creative practice-led research project investigates the creation of violent female protagonists in dystopian fiction in order to discover what these type of characters reveal about society's ideas of gender. The outcome of the project is research product or artefact, a work of fiction titled 'Swan Song'. The work is deliberately poetic in presentation to encourage readers to consider the complexity of female gender construction. The project accomplishes this by incorporating aspects of evocative practice research, action research, and fiction in the research methods.
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Lueckel, Wolfgang. „Atomic Apocalypse - 'Nuclear Fiction' in German Literature and Culture“. University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281459381.

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Charléz, Sara. „"A Mere Dream Dreamed in a Bad Time" : A Marxist Reading of Utopian and Dystopian Elements in Ursula K. Le Guin's Always Coming Home“. Thesis, Umeå universitet, Institutionen för språkstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-156031.

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In Ursula K. Le Guin’s novel Always Coming Home, utopian and dystopian elements interact according to patterns inspired by anarchism and Taoism to criticise material excesses and oppressive social structures under capitalism. Via discussions of gender, state power, and forms of social (re)production, this Marxist reading proposes that the novel’s separation of utopia from dystopia hinges on the absence or presence of a state. The reading also suggests that the novel’s utopia is by its own admission a “mere dream” with limited relevance to anti-capitalist politics, and employs the novel’s own term “handmind” to show that the aesthetic and philosophical dimensions of its anti-capitalist sentiments encourage a reconsideration of utopia, to be viewed not as a fixed future product – a good-place – but as a constant process of becoming – a no-place.
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Duval, Laura K. „The Marked“. ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2690.

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This paper will detail the making of The Marked, exploring from concept to completion, with special focus on creating a dystopian, science fiction, film with an element of fantasy. I will begin by examining my inspirations. Next, I will explore preproduction, examining screenwriting, casting, location scouting, production, and preparation. Part three will look at production, focusing on directing, production design, cinematography, and on-set operations. Part four will examine post production, including, editing, color correction, sound design, and music. Each element of production will be evaluated to determine if they helped successfully create a believable, dystopian, fantasy story for the viewer. I will also be examining whether the themes I originally sought to explore come across in the film.
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Uhlenbruch, Frauke. „The Nowhere Bible : the Biblical passage Numbers 13 as a case study of Utopian and Dystopian readings by diachronic audiences“. Thesis, University of Derby, 2014. http://hdl.handle.net/10545/315827.

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Applying utopian theory to the Bible reveals a number of issues surrounding the biblical text within academic disciplines such as biblical studies, which study the Bible as an ancient cultural artefact, and among religious readers of the Bible. The biblical passage Numbers 13 was chosen as a case study of a utopian reading of the image of the Promised Land to demonstrate the Bible’s multifaceted potential by externalising the presupposition brought to the text. The underlying method is derived from an ideal type procedure, appropriated from Weber. Instead of comparing phenomena to each other, one compares a phenomenon to a constructed ideal type. This method enables one to compare phenomena independently of exclusive definitions and direct linear influences. It has been suggested by biblical scholars that utopian readings of the Bible can yield insights into socio-political circumstances in the society which produced biblical texts. Using observations by Holquist about utopias’ relationships to reality it is asked if applying the concept of utopia to a biblical passage allows drawing conclusions about the originating society of the Hebrew Bible. The answer is negative. Theory about literary utopias is applied to the case study passage. Numbers 13 is similar to literary utopias in juxtaposing a significantly improved society with a home society, the motif of travellers in an unfamiliar environment, and the feature of a map which is graphically not representable. Noth’s reading of the biblical passage’s toponyms reveals that its map is a utopian map. Numbers 13 is best understood as a literary utopia describing an unrealistic environment and using common utopian techniques and motifs. Despite describing an unrealistic environment, the passage was understood as directly relevant to reality by readers throughout time, for example by Bradford. Following two Puritan readings, it is observed that biblical utopian texts have the potential of being applied in reality by those who see them as a call to action. If a literary utopia is attempted to be brought into reality, it becomes apparent that it marginalises those who are not utopian protagonists; in the case study passage, the non-Israelite tribes, in Bradford’s reading, the Native Nations in New England. The interplay of utopia and dystopia is explored and it is concluded that a definitive trait of literary utopias is their potential to turn into an experienced dystopia if enforced literally. This argument is supported by demonstrating that the utopian traits of the case study passage contain dystopian downsides if read from a different perspective. A contemporary utopian reading of the case study passage is proposed. Today utopian speculation most often appears in works of science fiction (SF). Motifs appearing in the case study passage are read as tropes familiar to a contemporary Bible reader from SF. Following D. Suvin’s SF theory, it is concluded that the Bible in the contemporary world can be understood as a piece of SF. It contains the juxtaposition of an estranged world with a reader’s experienced world as well as a potential utopian and dystopian message.
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Bücher zum Thema "Dystopian Science Fiction"

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Raffaella, Baccolini, und Moylan Tom 1943-, Hrsg. Dark horizons: Science fiction and the dystopian imagination. New York: Routledge, 2003.

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Blode, Ulrich, und Hans Esselborn, Hrsg. Ypsilon minus: Science-Fiction-Roman. Murnau am Staffelsee: p.machinery, 2018.

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W, Franke Herbert. Einsteins Erben: Science-Fiction-Erzählungen. Murnau am Staffelsee: p.machinery, 2018.

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W, Franke Herbert. Die Stahlwüste: Science-fiction-Roman. Frankfurt am Main, Germany: Suhrkamp, 1988.

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W, Franke Herbert. Die Stahlwüste: Science-Fiction-Roman. Herausgegeben von Ulrich Blode und Hans Esselborn. Murnau am Staffelsee: p.machinery, 2016.

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W, Franke Herbert. Hiobs Stern: Science-Fiction-Roman. Frankfurt am Main: Suhrkamp, 1988.

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W, Franke Herbert. Das Gedankennetz: Science-fiction-Roman. Frankfurt am Main, Germany: Suhrkamp, 1990.

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W, Franke Herbert. Das Gedankennetz: Science-Fiction-Roman. Herausgegeben von Ulrich Blode und Hans Esselborn. Murnau am Staffelsee: p.machinery, 2015.

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Blode, Ulrich, und Hans Esselborn, Hrsg. Das Gedankennetz: Science-Fiction-Roman. Murnau am Staffelsee: p.machinery, 2015.

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W, Franke Herbert. Zone Null: Science-Fiction-Roman. Herausgegeben von Ulrich Blode und Hans Esselborn. Murnau am Staffelsee: p.machinery, 2017.

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Buchteile zum Thema "Dystopian Science Fiction"

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Peyton, Will. „Dystopian Relativism“. In Studies in Global Science Fiction, 89–106. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79315-9_6.

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Edwards, Caroline. „Science Fiction“. In The Palgrave Handbook of Utopian and Dystopian Literatures, 177–89. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-88654-7_14.

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Thomas, P. L. „The Enduring Power of SF, Speculative and Dystopian Fiction“. In Science Fiction and Speculative Fiction, 185–215. Rotterdam: SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-380-5_11.

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Parrinder, Patrick. „Beyond the Telescope: From Astronomy to (Dystopian) Fiction“. In Utopian Literature and Science, 23–36. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137456786_2.

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Ginway, M. Elizabeth. „The Politics of Resistance in Brazil’s Dystopian Thriller 3%“. In Studies in Global Science Fiction, 185–99. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11791-6_9.

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Maleska, Kalina. „The Appearance of Dystopian Fiction in Macedonia and its Ethical Concerns“. In Studies in Global Science Fiction, 261–81. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-27893-9_12.

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Cranny-Francis, Anne. „Man-Made Monsters: Suzy McKee Charnas’s Walk to the End of the World as Dystopian Feminist Science Fiction“. In Science Fiction Roots and Branches, 183–206. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20815-9_12.

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Tomin, Brittany, und Ryan B. Collis. „Science Fiction, Speculative Pedagogy, and Critical Hope: Counternarratives for/of the Future“. In Palgrave Studies in Education and the Environment, 247–65. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-35430-4_14.

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AbstractIn times characterized by pervasive future narratives—technological utopianism, dystopian annihilation, neoliberal “progress”—and simultaneous, all-consuming eco-anxiety, how the future is addressed in schools is critically important as we navigate our complex relationship with the “Anthropocene” in education. In this chapter, we problematize restrictive curricular and pedagogical visions of possibility and, as an alternative, position science fiction and speculative storytelling as genres that offer pedagogical frameworks through which educators may center collective, speculative, complex narratives of the future that open up—instead of foreclose upon—possible paths forward and ways of engaging with the present. Grounded in genre studies, futures studies, and science and technology studies, as well as in speculative world building work conducted with secondary students, this chapter accordingly outlines the contours of speculative pedagogy. Speculative pedagogy is framed in this chapter as an approach that embraces and explores collective, open futures; centers interdisciplinarity as a central means through which we can come to envision complex future possibilities with students; prioritizes dismantling singular narratives of possibility and the future; and mobilizes science fictional and speculative storytelling modes to grapple with uncertainty and resist mastery as educators examine critical social, technological, scientific, and existential issues alongside their students.
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Baker, Brian, und Nicolas Tredell. „Utopias and Dystopias“. In Science Fiction, 101–19. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-47445-2_7.

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Thrall, James H. „Gender Utopia/Gender Dystopia“. In Religion and Science Fiction, 108–22. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003029182-8.

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Konferenzberichte zum Thema "Dystopian Science Fiction"

1

Delgado, Laura. „The Commercialization of Space in Science Fiction Movies: The Key to Sustainability or the Road to a Capitalist Dystopia?“ In AIAA SPACE 2010 Conference & Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2010. http://dx.doi.org/10.2514/6.2010-8654.

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