Zeitschriftenartikel zum Thema „Dystopian Science Fiction“
Um die anderen Arten von Veröffentlichungen zu diesem Thema anzuzeigen, folgen Sie diesem Link: Dystopian Science Fiction.
Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an
Machen Sie sich mit Top-50 Zeitschriftenartikel für die Forschung zum Thema "Dystopian Science Fiction" bekannt.
Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.
Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.
Sehen Sie die Zeitschriftenartikel für verschiedene Spezialgebieten durch und erstellen Sie Ihre Bibliographie auf korrekte Weise.
1
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.
Der volle Inhalt der QuelleAnnotation:
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.
2
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.
Der volle Inhalt der QuelleAnnotation:
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.
3
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.
Der volle Inhalt der QuelleAnnotation:
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
4
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.
Der volle Inhalt der QuelleAnnotation:
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.
5
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.
Der volle Inhalt der QuelleAnnotation:
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.
6
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.
Der volle Inhalt der QuelleAnnotation:
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.
7
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.
Der volle Inhalt der QuelleAnnotation:
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.
8
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.
Der volle Inhalt der QuelleAnnotation:
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.
9
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.
Der volle Inhalt der QuelleAnnotation:
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.
10
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.
Der volle Inhalt der QuelleAnnotation:
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.
11
Steble, Janez. „New Wave Science Fiction and the Exhaustion of the Utopian/Dystopian Dialectic“. ELOPE: English Language Overseas Perspectives and Enquiries 8, Nr. 2 (10.10.2011): 89–103. http://dx.doi.org/10.4312/elope.8.2.89-103.
Der volle Inhalt der QuelleAnnotation:
The paper explores the development of the utopian and dystopian literature in the experimental and prolific period of New Wave science fiction. The genre literature of the period chiefly expressed the dissolutions of the universe, society, and identity through its formal literary devices and subject-matter, thus making it easy to arrive at the conclusion that the many SF works of J. G. Ballard’s post-apocalyptic narratives, for example, exhausted and bankrupted the utopian/dystopian dialectic. However, the article provides textual evidence from one of the most prominent authors of the New Wave and the theoretical basis to suggest the contrary, namely that the categories of utopia and dystopia had by that time reached a level of transformation unprecedented in the history of the genre. Furthermore, the paper explores the inherent qualities science fiction shares with utopian literature, and suggests that the dialogism of the science fiction novel, especially that of the New Wave, has brought about the revival of utopia and rediscovered its potential.
12
Jones, Calvert W., und Celia Paris. „It’s the End of the World and They Know It: How Dystopian Fiction Shapes Political Attitudes“. Perspectives on Politics 16, Nr. 4 (23.11.2018): 969–89. http://dx.doi.org/10.1017/s1537592718002153.
Der volle Inhalt der QuelleAnnotation:
Given that the fictional narratives found in novels, movies, and television shows enjoy wide public consumption, memorably convey information, minimize counter-arguing, and often emphasize politically-relevant themes, we argue that greater scholarly attention must be paid to theorizing and measuring how fiction affects political attitudes. We argue for a genre-based approach for studying fiction effects, and apply it to the popular dystopian genre. Results across three experiments are striking: we find consistent evidence that dystopian narratives enhance the willingness to justify radical—especially violent—forms of political action. Yet we find no evidence for the conventional wisdom that they reduce political trust and efficacy, illustrating that fiction’s effects may not be what they seem and underscoring the need for political scientists to take fiction seriously.
13
Cuadrado Payeras, Lidia María. „On Sight, Technology, and Science Fiction: Transhumanist Visions in Contemporary Canadian Dystopia“. 452ºF. Revista de Teoría de la literatura y Literatura Comparada, Nr. 27 (30.07.2022): 220–36. http://dx.doi.org/10.1344/452f.2022.27.12.
Der volle Inhalt der QuelleAnnotation:
This article examines a number of practices of observation as represented in contemporary Canadian dystopias in light of technological developments as seen by transhumanist thought. It argues that the transhumanist scopic practices that underlie their science-fictional imaginaries are in fact dystopian, and, as such, it takes examples from dystopian literature to illustrate how the nature of sight and seeing in the techno- and image-mediated context presents dangerous pitfalls for subject formation, identity politics, and agency. The article distinguishes between “vision” as a body of ideas and “sight” as the actual ways of seeing that may be reciprocal and create bonds of affectivity or, in the case of the transhumanist predicament, be instead founded on watching as the one-sided commodifying alternative.
14
B. Almalki, Salma. „The Resistance Narrative in Arabic Science Fiction: Azem’s The Book of Disappearance (2014)“. Arab World English Journal For Translation and Literary Studies 8, Nr. 1 (15.02.2024): 159–72. http://dx.doi.org/10.24093/awejtls/vol8no1.12.
Der volle Inhalt der QuelleAnnotation:
This paper aims to analyze the mode of resistance narrative in Ibtisam Azem’s The Book of Disappearance (2014), which is read within the frame of Arabic Science Fiction. The study answers the following questions:(1) What are the Arabic Science Fiction tropes in Azem’s novel? (2) How does ASF subserve resistance narratives in Azem’s novel? (3)Why does Azem utilize the Dystopian Narrative for resistance narratives? The study examines the structure and themes of Azem’s The Book of Disappearance in terms of postcolonial and science fictional theories. The study’s methodology considers Kanafani’s resistance narrative, Morrison’s rememory, and Hochberg’s archival imagination in exploring the historical frame in Azem’s The Book of Disappearance. The analysis of Azem’s The Book of Disappearance interconnects the Palestinian resistance literature and the postcolonial writing to the ASF tropes and techniques. The alternative history closely examines the controversy between Israeli utopia and Palestinian dystopia. The study concludes that in Azem’s novel, the 1948 Nakba is recreated in the future through the imaginative incident of the Palestinian disappearance. As Palestinian novels often grapple with the complex question of identity in the face of displacement, occupation, and cultural pressures, Azem’s novel inspects the question of identity through a simulation of history in Alaa’s diary and through the gaze of Arial, the Israeli journalist. Azem’s novel confronts this trauma, giving voice to the pain and suffering of the Palestinian people through the Arabic Science Fiction frame of a dystopian narrative that dismantles the Zionist ideology and Israeli oppressive regime.
15
Hossain, Kazi Amzad. „Space and Dystopian Imagery in Batman Begins (2005)“. European Journal of English Language and Literature Studies 12, Nr. 4 (15.04.2024): 1–12. http://dx.doi.org/10.37745/ejells.2013/vol12n4112.
Der volle Inhalt der QuelleAnnotation:
Batman Begins is a 2005 Hollywood movie directed by Christopher Nolan, with a screenplay by Bob Kane, David S. Goyer, and Christopher Nolan. The movie is set in Gotham, a fictional corrupt society in the US, dominated by crime and fear before the arrival of Batman. It follows Bruce Wayne's journey from witnessing his parents' murder as a child to becoming a vigilante. The film uses space and dystopian imagery to depict Gotham's poverty, corruption, and crime, emphasizing Bruce's internal struggle and transformation into Batman.The paper will explore how Batman Begins employs space metaphors and Gothic imagery to convey a sense of dystopia. Space and place, as defined by Tuan (1977), highlight the differences between freedom and security, abstract and concrete reality. The repeated use of darkness in the film underscores Gotham's moral decay, aligning with the concept of dystopia—a theme common in modern science fiction that portrays dehumanized, fearful societies. The discussion will delve into how these elements create a vivid dystopian setting in the movie.
16
Popova, S., und V. Bilokon. „DYSTOPIAN VISION OF 2052 IN HENLEY’S “SIGNATURE”“. Studia Philologica 2, Nr. 17 (2021): 86–92. http://dx.doi.org/10.28925/2311-2425.2021.1711.
Der volle Inhalt der QuelleAnnotation:
Modern drama tends to catch up with the representation of the dystopian alternative worlds much like the contemporary mass culture. Sci-fi and dystopian productions become popular onstage because the medical and technological breakthroughs occur so rapidly in our present-day life that the humanity fails to reflect them properly. There are the following main features pertaining to science fiction in drama, namely dystopian play: fantastical concepts in tune with the modern scientific theory; the illusion of authenticity via scientific methodology; creation of a fictional world on the basis of the factors and tendencies of wide public importance. The aim of this article is to study the generic features of sci-fi subgenre of dystopia on the material of Henley’s drama “Signature” (1990). The play written by the US woman dramatist introduces the world deprived of meaningful lives for its characters whose fake values drive them to grave consequences (death, loss of the beloved). This text for staging warns the audience about the devaluation of human life in favor of elusive success. Henley’s 2052 Hollywood is a dystopic space for rather emotionless characters (the T-Thorp brothers, L-Tip, the Reader), who understand their failures and losses when it is too late. The only exception is William, selfless and unafraid of predicaments. The fundamental for the Western civilization phenomenon of love is distorted and disregarded in favor of immediate satisfaction and addiction to fame. Like her predecessors in sci-fi Henley predicts a mass human alienation in not so distant future. Yet the open end of Boswell’s story somewhat decreases the horror of dystopia – there is a remote chance that after anagnorisis the protagonist will find his beloved and make peace with her even though for a very short time. Henley’s dystopia constructs the ambivalent vision of the future, charged with questions of cryonics, cloning, global digitalization, omnipresent euthanasia, environmentalism and feminism.
17
Cardoso, André Cabral de Almeida. „Precarious humanity: the double in dystopian science fiction“. Gragoatá 23, Nr. 47 (29.12.2018): 888. http://dx.doi.org/10.22409/gragoata.2018n47a1211.
Der volle Inhalt der QuelleAnnotation:
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.------------------------------------------------------------------------------------------HUMANIDADE PRECÁRIA: O DUPLO NA FICÇÃO CIENTÍFICA DISTÓPICAO duplo é um elemento comum na literatura fantástica e desempenha um papel importante na retomada do gótico no final do século XIX. Ele questiona a noção de uma identidade coesa ao propor a ideia de um “eu” fragmentado que é ao mesmo tempo familiar e assustadoramente outro. Por outro lado, o duplo também é uma maneira de representar as tensões da vida nos grandes centros urbanos. Apesar de ser costumeiramente associado ao fantástico, o motivo do duplo se espalhou para outros gêneros, incluindo a ficção científica, gênero também preocupado com a investigação da identidade e da natureza do humano. O objetivo deste artigo é discutir a representação do duplo na ficção científica contemporânea, mais especificamente na sua modalidade distópica, onde a questão da identidade adquire uma relevância especial, uma vez que a distopia tem como foco a relação atribulada entre indivíduo e sociedade. Obras como o conto “Learning to Be Me”, de Greg Egan; White Chistmas, episódio da série de televisão Black Mirror; o romance Never Let Me Go, de Kazuo Ishiguro; e o filme Moon, dirigido por Duncan Jones, serão brevemente analisados a fim de rastrear as maneiras como a figuro do duplo é rearticulada na ficção científica distópica como um meio de trabalhar novas inquietações a respeito da identidade pessoal e da posição do indivíduo na sociedade.---Original em inglês.
18
Altaf, Sana. „Negotiating patriarchal hegemony: Female agency in Christina Dalcher’s Vox“. Technoetic Arts 21, Nr. 1 (01.08.2023): 125–33. http://dx.doi.org/10.1386/tear_00103_1.
Der volle Inhalt der QuelleAnnotation:
Contemporary critics have opined that the vision of dystopian texts has come true about the present situation rather than about the future. In today’s technologically driven world, where the gulf between speculative fiction and political reality seems to have narrowed, feminist dystopian fiction has gained immense popularity. These texts address gender ideologies and issues and often use current social conditions to demonstrate the sexism inherent in patriarchal societies. This article aims to analyse the novel Vox (2018) by American writer Christina Dalcher within the framework of feminist dystopia to highlight the unbridled nature of violence used against women and the eventual emergence of the female body as the locus of self-articulation and resistance against the dystopian authority. It also demonstrates how the novel creates a narrative space within which the feminine body is transformed from a static object of representation to a potent subject of the text.
19
Hickman, John. „When Science Fiction Writers Used Fictional Drugs: Rise and Fall of the Twentieth-Century Drug Dystopia“. Utopian Studies 20, Nr. 1 (01.01.2009): 141–70. http://dx.doi.org/10.2307/20719933.
Der volle Inhalt der QuelleAnnotation:
Abstract This article compares seven novels published from 1932 to 1980 which are set in drug dystopias (near future societies where pharmacology produces or reinforces a dystopian social order) in order to answer two questions. What are the effects and symbolic meanings of the fictional drugs they describe? Why are there so few examples of this subgenre? Today, their warnings about the reduction of populations to docility or of assaults on the integrity of individual minds seem overwrought, and the apparent passing of the subgenre need not be mourned. Two of the seven novels, however, Brave New World and A Scanner Darkly, continue to be read because they warn against more subtle forms of tyranny.
20
Hickman, John. „When Science Fiction Writers Used Fictional Drugs: Rise and Fall of the Twentieth-Century Drug Dystopia“. Utopian Studies 20, Nr. 1 (01.01.2009): 141–70. http://dx.doi.org/10.5325/utopianstudies.20.1.0141.
Der volle Inhalt der QuelleAnnotation:
Abstract This article compares seven novels published from 1932 to 1980 which are set in drug dystopias (near future societies where pharmacology produces or reinforces a dystopian social order) in order to answer two questions. What are the effects and symbolic meanings of the fictional drugs they describe? Why are there so few examples of this subgenre? Today, their warnings about the reduction of populations to docility or of assaults on the integrity of individual minds seem overwrought, and the apparent passing of the subgenre need not be mourned. Two of the seven novels, however, Brave New World and A Scanner Darkly, continue to be read because they warn against more subtle forms of tyranny.
21
Womack, Jeffrey. „Nuclear Weapons, Dystopian Deserts, and Science Fiction Cinema“. Vulcan 1, Nr. 1 (2013): 70–85. http://dx.doi.org/10.1163/22134603-00101005.
Der volle Inhalt der QuelleAnnotation:
The article explores the relationship between science fiction cinema and nuclear weapons. It argues that the genre’s commercial success directly resulted from its appropriation of nuclear warfare themes and imagery, such as desert landscapes and nuclear blasts. The influence of nuclear weapons eventually permeated the genre as a whole, leading to the widespread appearance of such imagery in science fiction films that do not purport to deal with nuclear weapons or nuclear themes.
22
Baccolini, Raffaella. „The Persistence of Hope in Dystopian Science Fiction“. PMLA/Publications of the Modern Language Association of America 119, Nr. 3 (Mai 2004): 518–21. http://dx.doi.org/10.1632/003081204x20587.
Der volle Inhalt der QuelleAnnotation:
It is widely accepted todaythat, whenever we receive or produce culture, we do so from a certain position and that such location influences how we theorize about and read the world. Because I am an Italian trained in the United States (specializing in American modernism) in the 1980s, my reading of science fiction has been shaped by my cultural and biographical circumstances as well as by my geography. It is a hybrid approach, combining these circumstances primarily with an interest in feminist theory and in writing by women. From the very beginning I have foregrounded issues of genre writing as they intersect with gender and the deconstruction of high and low culture. Such an approach, however, must also come to terms with the political and cultural circumstances that characterize this turn of the century.
23
Feneja, Fernanda Luísa. „Promethean Rebellion in Ray Bradbury's "Fahrenheit 451": The Protagonist's Quest“. Amaltea. Revista de mitocrítica 4 (15.11.2012): 1–20. http://dx.doi.org/10.5209/rev_amal.2012.v4.40586.
Der volle Inhalt der QuelleAnnotation:
The article aims to reflect on the role of the myth in science fiction narrative, namely on the specific forms it may take in utopian/dystopian fiction, such as Fahrenheit 451 (1953) by Ray Bradbury. The personal development of the main character, Guy Montag, constitutes the focus of this analysis, by which we aim to shed some light on the relation between the meaning of the novel and the Promethean features he evinces in the context of a dystropian novel. The symbolic power of fire and of books is also of core relevance to this study, not only because the highlight the hero's inheritance of the Promethean myth, but also because the provide a deeper insight into exegetic possibilities of dystopsian fiction
24
AKKOYUN, Tülay. „EKOLOJİK TEHLİKE ÇIĞLIĞI: ERNEST CALLENBACH’IN ‘EKOTOPYA’ ve OYA BAYDAR’IN ‘KÖPEKLİ ÇOCUKLAR GECESİ’“. SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, Nr. 33 (15.09.2022): 96–104. http://dx.doi.org/10.31567/ssd.703.
Der volle Inhalt der QuelleAnnotation:
The first known Ecological Utopia novel was written by Ernest Callenbach in 1975 in America. Ecological Dystopia, on the other hand, has already taken its place in many dystopian works, even if it had not been named yet, as dystopia takes the future as its subject. In dystopian fiction, since the problems that are and can be experienced in a country or in the world are discussed, the dystopian writer expresses the negativities that may be experienced in the future based on his/her own geography. Ecological dystopia writers make predictions about how environmental pollution, forest fires, natural disasters such as earthquakes, floods and erosion will affect humanity and the universe in the future. Since there is no other planet suitable for human life, the authors' predictions about the need to protect the planet we live in can be described as a cry of enlightenment. In this study, we will examine comparatively two works that deal with the desired ideal world and a world that faces the danger of extinction as a result of conscious or unconscious harm, within the scope of Sociological Criticism. Hoping that every dystopia can evolve into a utopia; even though Ernest Callenbach's "Ecotopia" and Oya Baydar's "The Night of Children with Dogs" seem to opposite each other, we will try to demonstrate with examples that both works carry the same ecological danger’s outcry. Keywords: utopia, dystopia, ecological outcry.
25
Dudik, Benedek. „Utópia és társadalomtudomány – Értelmezés a Fahrenheit 451 című könyv nyomán“. Metszetek 11, Nr. 4 (31.12.2022): 98–108. http://dx.doi.org/10.18392/metsz/2022/4/5.
Der volle Inhalt der QuelleAnnotation:
Utopian and dystopian works have traditions hundreds of years, but their golden era did not begin until the 20th century. The genre is very often depicted as a literary genre, but in reality it is much more than simple fiction. These novels are as much social science and social theory writings as they are works of phantasmagoria. In my writing, I strive to explain this line of thought based on Ray Bradbury’s 1953 novel Fahrenheit 451. In the course of my work, following the fictional story of Guy Montag, I intend to present the peculiarities of the genre, its social science relations and its relationship with our contemporary society, in parallel with other dystopian works of the 20th century.
26
Beley, M. „Genre Features of Pierre Boulle's Dystopian Science Fiction Novel "Planet of the Apes": A Communicative Aspect“. Scientific Research and Development. Modern Communication Studies 12, Nr. 6 (29.12.2023): 20–27. http://dx.doi.org/10.12737/2587-9103-2023-12-6-20-27.
Der volle Inhalt der QuelleAnnotation:
The enduring popularity of 20th century science fiction authors among readers of all age categories has been noted in numerous works of literary scholars. An extremely important aspect is the fact that the author and the reader must have a common language in order for communication to be effective. The relevance of the study is due to the growing interest in the problem of interpreting the genre of science fiction works. The aim of this study is to try to trace the synthesis of genre forms from the point of view of communicativism and the theories of C. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre Boulle. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre BoulleIn the course of the study, the methods of contextual literary analysis, cognitive-discourse analysis, as well as stylistic and genre analysis were applied. As a result of the study, the conclusions were obtained that the novel "Planet of the Apes" by P. Boulle combines elements of the genre of science fiction novel, philosophical parable, utopia and dystopia. The novel is a satirical work, touching upon the themes of scientific progress, communication, evolution and human society, which are topical at present. The author, when creating a work, follows literary conventions or deliberately goes against them, creating something innovative. The genre of science fiction has been and remains a synthetic genre, incorporating elements of various genres, which intricately intertwined, enter into communication with the reader, helping him to create fictional worlds. Scientific novelty of the research consists in the fact that for the first time in Russia the study of genre originality of P. Boulle's work in the aspect of communication with the reader is undertaken. The article may be useful for literary scholars, postgraduates, students and all those interested in the problems of genre synthesis in modern science fiction.
27
Gorliński-Kucik, Piotr. „Interpretacja jako samozbawienie. O Gnieździe światów M.S. Huberatha“. Przestrzenie Teorii, Nr. 37 (14.02.2023): 159–77. http://dx.doi.org/10.14746/pt.2022.37.9.
Der volle Inhalt der QuelleAnnotation:
This article is an attempt to interpret the novel Gniazdo światów (Nest of Worlds) by Marek S. Huberath. Contrary to appearances, this novel does not fit into the science fiction convention, nor does it implement dystopian schemes without reservations. Instead, the novel uses a repertoire of postmodern tricks and emphasizes the cryptotheological background. These themes can be read through the reference to transhistoric, gnostic world-feeling, and hermetic speculation. Therefore, Huberath’s novel appears as a meta-dystopia from which self-salvation can be an appropriate interpretation of the world around us.
28
Gruenwald, Oskar. „The Dystopian Imagination“. Journal of Interdisciplinary Studies 25, Nr. 1 (2013): 1–38. http://dx.doi.org/10.5840/jis2013251/21.
Der volle Inhalt der QuelleAnnotation:
This essay seeks to exploe the nature and effects of the new Post-Industrial Revolution as epitomized by the digital universe, the fusion of synthetic biology and cybenetics, and the promise of genetics, engendering new hopes of a techno-utopian future of material abundance, new virtual worids, human-like robots, and the ultimate conquest of nature. Central to this prefect is the quest for transcending human limitattons by changing human nature itself, consciously directing evolution toward a posthuman or transhuman stage. Less well understood is the utopia-dystopia syndrome illuminated by ttw dystopian imagination refracted in science-fiction literature in such famous twentieth-century dysopias as Yevgeny Zamyatin's We, Aldous Huxley's Brave New World, and George Orwell's 1984, cautioning that utopias may lead to their opposite: dystopia, totalitarianism, dictatorship. The thrall of techno-utopia based on technology as a prosthetic god may lead to universal tyranny by those who wield political power. The essay concludes that what humanity needs is not some unattainable Utopia but rather to cherish and nurture its God-given gifts of reason, free will, conscience, moral responsibility, an immortal soul, and the remarkable capacity of compasston to become fully human.
29
Powell, Gareth L. „IT’s the End of the World as We Know It“. Engineer 302, Nr. 7930 (September 2021): 42. http://dx.doi.org/10.12968/s0013-7758(22)90656-7.
Der volle Inhalt der Quelle
30
Gilarek, Anna. „Historicizing Contemporary Capitalism: Future Retrospection and Temporal Estrangement in Kim Stanley Robinson’s New York 2140 and Nora K. Jemisin’s Emergency Skin“. Roczniki Humanistyczne 70, Nr. 11 (28.12.2022): 37–50. http://dx.doi.org/10.18290/rh227011.3.
Der volle Inhalt der QuelleAnnotation:
The paper looks at the historicizing approach adopted in two recent science-fiction books: Kim Stanley Robinson’s novel New York 2140 (2017) and Nora K. Jemisin’s novella Emergency Skin (2019). In both, the authors’ present is approached from the vantage point of a speculatively posited future and looked upon as the historical past of the text. The hypothesized temporal distance is meant to challenge and recalibrate the reader’s perception of contemporary capitalism.
Based on Robinson’s and Jemisin’s narratives, the paper discusses the historicity and mimetic potential of science fiction, manifested in the genre’s ability to situate the present as part of a historical process for an enhanced understanding of contemporary trends and their projected trajectories. In the two texts, the dichotomy between the envisioned future and the present-as-past is paralleled by a utopian/dystopian dialectic, wherein the reality of late capitalism is unequivocally identified as dystopian. The utopian and science-fiction perspectives combined produce the effect of cognitive estrangement, which entails a perceptual renewal with regard to capitalism, whose alleged incontestable status is challenged by the exposure of its historical mutability.
The aim of the analysis is to demonstrate that historicizing contemporary capitalism within science fiction may challenge the ideological hegemony of neoliberalism, expose its dystopian features, and indicate possibilities for the transformation of a system that proclaims to have no alternatives. Such historicization may produce an epistemic shift in the reader’s perception of the contemporary socioeconomic reality, by emphasizing both its unrecognized flaws and its (r)evolutionary potential.
31
Kabak, Murat. „Margaret Atwood’s "Oryx and Crake" as a Critique of Technological Utopianism“. English Studies at NBU 7, Nr. 1 (01.06.2021): 37–50. http://dx.doi.org/10.33919/esnbu.21.1.3.
Der volle Inhalt der QuelleAnnotation:
While there are major works tracing the themes of belonging and longing for home in contemporary fiction, there is no current study adequately addressing the connection between dystopian novel and nostalgia. This paper aims to illustrate how the Canadian writer Margaret Atwood uses nostalgia as a framework to level a critique against technological utopianism in her dystopian novel Oryx and Crake (2003). The first novel in Atwood’s “MaddAddam Trilogy” problematizes utopian thought by focusing on the tension between two utopian projects: the elimination of all suffering and the perfection of human beings by discarding their weaknesses. Despite the claims of scientific objectivity and environmentalism, the novel exposes the religious and human-centered origins of Crake’s technological utopian project. Atwood’s Oryx and Crake is an ambiguous work of science fiction that combines utopian and dystopian elements into its narrative to criticize utopian thought.
32
Oh, Yun Joo. „A Study on the Literary Educational Implications and Educational Methods of the Distopian Fiction“. Korean Association For Learner-Centered Curriculum And Instruction 22, Nr. 18 (30.09.2022): 237–53. http://dx.doi.org/10.22251/jlcci.2022.22.18.237.
Der volle Inhalt der QuelleAnnotation:
Objectives This study attempted to explore the literary educational potential of dystopian fiction that shape negative prospects for the future through the imagination of catastrophe and end.
Methods To this end, this study conducted interpretative phenomenological analysis focusing on the works of Pyeon Hye-young, Yoon Yi-hyung, and Kim Cho-yeop among the novels created since the 2010s. This study first went through an interpretation process of watching the experience embodied in the text itself, synthesizing and grasping its essential meaning in context. This study categorized the dystopian attributes of each work derived in this way into Heidegger's philosophy of existence to explore the possibility of literature education and devise an educational plan for dystopian novels.
Results According to Heidegger, the essence of human existence lies in that he is ‘a being that leads to death’. ‘Dasein’ faces its essence of existence by “running ahead and looking ahead” toward death, and through this, it can only exist as its original self. The dystopian fiction is a genre that makes us reflect on what our lives should be like in the face of death by staring at and embodying the possibility of the end of human society.
Conclusions The dystopian fiction has literary educational significance and potential in that it allows readers to face the possibility of catastrophe, ask questions about catastrophe, find answers to it, and search for action orientation and concreteness through ‘Sorge’ toward death and life. This study proposed an educational plan for self-reflection for face-to-face with text, deepening reflection through questions, and existential conversion for dystopian novel education.
33
POWELL, GARETH L. „Our grandchildren’s world“. Engineer 300, Nr. 7915 (März 2020): 58. http://dx.doi.org/10.12968/s0013-7758(22)90269-7.
Der volle Inhalt der Quelle
34
Nascimento Silva, Willy, und Tauan Fernandes Tinti. „Indústria cultural e estetização de gênero em Fahrenheit 451“. IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 26, Nr. 2 (30.12.2022): 101–16. http://dx.doi.org/10.34019/1982-0836.2022.v26.38426.
Der volle Inhalt der QuelleAnnotation:
Esse trabalho objetiva verificar as possibilidades da estetização de gênero na ficção científica distópica. Para tanto, são discutidas as noções de indústria cultural e de estetização de gênero e a posição que ocupa a ficção científica enquanto ficção de gênero. Os argumentos desenvolvidos nas seções teóricas, por sua vez, são recuperados por meio de uma leitura crítica de Fahrenheit 451, de Ray Bradbury, obra selecionada em função da centralidade que assume a cultura de massas na formação da sociedade representada. Palavras-chave: Indústria cultural. Estetização de gênero. Ficção científica distópica. Fahrenheit 451. CULTURE INDUSTRY AND AESTHETICIZATION OF GENRE IN FAHRENHEIT 451 ABSTRACT: This work aims to investigate the possibilities of the aestheticization of genre in dystopian science fiction. To this end, the notions of culture industry and aestheticization of genre are explored. Furthermore, the position occupied by science fiction as genre fiction are discussed. The arguments developed in the theoretical sections, in turn, are developed through a critical reading of Fahrenheit 451, by Ray Bradbury, a work selected due to the centrality that mass culture assumes in the shaping of the society that is represented. Keywords: Culture industry. Aestheticization of genre. Dystopian science fiction. Fahrenheit 451.
35
Jehangir, Zenab. „Toward Posthumanism: Stigmatization of Artificial Intelligence in American Science Fiction“. Journal of Posthuman Studies 6, Nr. 2 (Dezember 2022): 168–85. http://dx.doi.org/10.5325/jpoststud.6.2.0168.
Der volle Inhalt der QuelleAnnotation:
Abstract Posthumanism has become an important theme in science fiction (SF), and American SF is a significant popularizer of this genre in the modern world. The advocacy of a dystopian future in American SF has led to the stigmatization of artificial intelligence (AI). It has presented AI as a threat to humanity and has reduced it to a mere enemy of humanity in a posthuman future. The cyberpunk culture of SF plays a vital role in ostracizing AI, with many stories centered around an AI takeover where humans face the dilemma of extinction in the face of a technologically advanced world. This article deals with Philip K. Dick’s dystopian novel Do Androids Dream of Electric Sheep? in the light of Goffman’s theory of stigmatization as the theoretical basis, using Link and Phelan’s stigmatization model to build the argument. The article focuses on the possible stigmatization of AI in American SF and its ethical and societal impacts. It is part of the continuum of knowledge production in SF, Cyberpunk, and techno-optimistic science fiction.
36
Więckowska, Katarzyna. „Appositions: The Future in Solarpunk and Post-Apocalyptic Fiction“. Text Matters: A Journal of Literature, Theory and Culture, Nr. 12 (24.11.2022): 345–59. http://dx.doi.org/10.18778/2083-2931.12.21.
Der volle Inhalt der QuelleAnnotation:
The essay discusses images of the future in solarpunk and post-apocalyptic fiction, focusing on their distinct approach to the narratives of progress, science, and individualism. The dystopian perspective of post-apocalyptic fiction is juxtaposed with the hopeful stance of solarpunk stories in order to outline the attempts to move beyond environmental pessimism and to imagine a liveable future. A reading of Cormac McCarthy’s The Road (2006), Erik M. Conway and Naomi Oreskes’s The Collapse of Western Civilization (2014), and Omar El Akkad’s American War (2017) provides an overview of early 21st-century dystopian motifs and visions, while the ideas and development of solarpunk fiction are discussed on the basis of three anthologies of short stories: Sunvault: Stories of Solarpunk and Ecospeculation (2017), Glass and Gardens: Solarpunk Summers (2018), and Multispecies Cities: Solarpunk Urban Futures (2021). The aim of the essay is to argue that apocalyptic and solarpunk fiction stand in a relationship of apposition to one another, representing dominant and emergent structures of feeling.
37
Elmore, Jonathan. „Terrestrial Horror or the Marriage between Horror Fiction and Cli-Fi: What the Language of Horror can Teach us about Climate Change“. International Journal of Language and Literary Studies 4, Nr. 3 (05.08.2022): 158–64. http://dx.doi.org/10.36892/ijlls.v4i3.985.
Der volle Inhalt der QuelleAnnotation:
This paper focuses on the dystopian camp of climate fiction and its affinities with another fiction genre: horror. During cli-fi’s rise, horror has enjoyed a resurgence of popular interest and sustained and reinvigorated scholarly interest in the past few years. While horror and dystopian cli-fi have different roots and conceptual underpinnings, there are points of contact between the genres, when the horrible in horror fiction spawns from environmental collapse or when the climatic in cli-fi drives what horrifies. My central claim is that these contact points, the overlap between cli-fi and horror fiction, become critical research nodes for developing the necessary societal, cultural, and intellectual framework for living in a destroyed world. I suggest a label for the crossover between cli-fi and horror fiction: terrestrial horror. Analyzing multiple texts within this subgenre renders visible the societal, cultural, and intellectual changes necessary for the kinds of posthumanism needed in a destroyed world.
38
Green, Alex, Mitchell Travis und Kieran Tranter. „Jurisprudence of the Future“. Law, Technology and Humans 4, Nr. 2 (14.11.2022): 1–4. http://dx.doi.org/10.5204/lthj.2639.
Der volle Inhalt der QuelleAnnotation:
The future is in flux. There are many vectors of change, and none seem positive. Dark dystopian futures of war, climate catastrophe, polarising inequalities and digital disruption seem to be looming. This narrating of the future suggests the significance of science fiction. Science fiction acts as a storehouse for the imagining of the future. It also offers new approaches to justice and law. This symposium on ‘Jurisprudence of the Future’ contains contributions that bring together science fiction, justice and law. There is a sense of urgency to the contributions, to understand the science fictionality of the present and imagining alternative futures.
39
Briedik, Adam. „A postcolonial feminist dystopia: Margaret Atwood’s The Handmaid’s Tale“. Ars Aeterna 13, Nr. 1 (01.06.2021): 57–67. http://dx.doi.org/10.2478/aa-2021-0004.
Der volle Inhalt der QuelleAnnotation:
Abstract Postcolonial criticism offers a radically new platform for the interpretation of science fiction texts. Mostly preoccupied with the themes of alien other and interstellar colonization, the genre of sci-fi breaths with colonial discourse and postcolonial tropes and imagery. Although Margaret Atwood rejects the label of science fiction writer, her dystopian novel The Handmaid’s Tale (1985) explores similar ethical concerns to the anti-conquest narratives of postcolonial authors. Atwood’s identification of Canadian identity as a victim of the former British Empire is challenged by her introduction of a female character rejecting their postcolonial subjugated identity in a patriarchal society. Her variation on dystopian concerns is motivated by sexuality, and her characters are reduced to objects of colonial desire with no agency. The protagonist, Offred, endures double colonization from the feminist perspective; yet, in terms of postcolonial criticism, Attwood’s character of Offred is allowed to reconstruct her subaltern identity through her fragmented narration of the past and speak in an authoritative voice. The orality of her narration only confirms the predisposition of the text to interpretation in the same terms as postcolonial fiction.
40
Di Minico, Elisabetta. „Entre el malson i la realitat. Reflexions distòpiques sobre la societat contemporània“. Quaderns de Filosofia 7, Nr. 2 (09.02.2021): 143. http://dx.doi.org/10.7203/qfia.7.2.18804.
Der volle Inhalt der QuelleAnnotation:
Between Nightmare and Reality: Dystopian Reflections on the Contemporary Society
Resum: Per mitjà de la narració de fantasia i de ciència ficció, la utopia i la distopia promouen una anàlisi crítica de la realitat. En particular, la distopia ens alerta de les possibles conseqüències catastròfiques derivades de problemes sociopolítics existents i contribueix a la reflexió constructiva sobre les amenaces antidemocràtiques que posen en perill la nostra societat. Aquest article examina la representació de l’autoritat, la coacció, la propaganda, la plasmació, l’espai i el llenguatge en distopies sociopolítiques seleccionades i reconegudes, com Nosaltres de Zamiatin, Un món feliç de Huxley, La nit de l’esvàstica de Burdekin, 1984 d’Orwell i El conte de la serventa de Atwood, i compara aquestes ficcions amb esdeveniments històrics i contemporanis, amb l'esperança d’il·luminar la manera real en què el poder opera sobre els cossos i les ments en sistemes tant repressius com liberals.
Abstract: Through fantasy and science fiction storytelling, utopia and dystopia promote a critical analysis of reality. In particular, dystopia warns against the possible nightmarish consequences of factual socio-political issues, as well as it fosters a constructive and thought-provoking reflection on the undemocratic threats that jeopardize our society. This article examines the representation of authority, coercion, propaganda, embodiment, space, and language in selected and renowned socio-political dystopias, including Zamyatin’s We, Huxley’s Brave New World, Burdekin’s Swastika Night, Orwell’s 1984, and Atwood’s The Handmaid’s Tale, and it subsequently compares these fictional depictions with historical and contemporary events, hoping to shed light on the real way that power operates on bodies and minds both in repressive and liberal systems.
Paraules clau: distopia, utopia, control, violència, realització
Keywords: Dystopia, Utopia, Control, Violence, Embodiment
41
Vint, Sherryl. „Science Fiction“. Perspectives on Science and Christian Faith 74, Nr. 3 (September 2022): 191–92. http://dx.doi.org/10.56315/pscf9-22vint.
Der volle Inhalt der QuelleAnnotation:
SCIENCE FICTION by Sherryl Vint. Cambridge, MA: The MIT Press, 2021. 224 pages. Paperback; $15.95. ISBN: 9780262539999. *Science Fiction is the story of the romance between fiction and science. The goal of the book is not to define the history or essence of science fiction, but rather to explore what it "can do" (p. 3). How does fiction affect scientific progress? How does it influence which innovations we care about? In the opposite direction, what bearing does science have on the stories that are interesting to writers at a point in time? Science Fiction references hundreds of books to paint a cultural narrative surrounding science fiction. Throughout the book, Vint refers to the fiction as ‘sf' in order to avoid distinctions between science fiction and speculative fiction. The dynamic between science and fiction is a relationship defined by both scientific progress and by forming judgments of the direction of development through a lens of fiction. Fiction is cause and effect; we use fiction to reflect upon changes in the world, and we use fiction to explore making change. *Vint, Professor of Media and Cultural Studies and of English at the University of California, Riverside, gives overviews of different areas of sf. These include some of the most common sf elements, such as utopias and dystopias (chap. 2), as well as relatively recent concerns, such as climate change (chap. 7). Through these questions, she is navigating one question: how does sf engage with the world? It is more complex than the commonly reflected-upon narrative that sf is an inspiration to inventors--it is a relationship moving in both directions and involves value judgments as well as speculation about scientific possibilities. *The book also navigates the attitudes at the root of sf. Vint presents sf as a fundamentally hopeful, perhaps even an optimistic, genre. She describes sf as "equally about frightening nightmares and wondrous dreams" (p. 13). Yet even dystopian stories require hope for a future. Showing the world gone wrong still requires "the seeds of believing that with better choices we might avoid these nightmares" (p. 32). This is certainly true in the discussion of climate change sf. Where nonfiction writing often focuses on the impartial mitigation of disasters, the heart of fiction offers "the possibility to direct continuous change toward an open future that we (re)make" (p. 136). *The most surprising chapter is the penultimate one, focusing on economics (chap. 8). Vint discusses the recent idea of money as a "social technology" (p. 143) and the ways our current economy is increasingly tied to science, including through AI market trading and the rise of Bitcoin. The chapter also focuses on fiction looking at alternative economic systems--how will the presence or absence of scarcity, altered by technology, change the economic system? Answers to this and similar questions have major implications on the stories we tell and the way we seek to structure society. *As Christians, we have stories to help us deal with our experiences in life and our hope for the future. Science Fiction discusses sf as the way that our communities, including the scientific community, process life's challenges and form expectations for the future. We must not only repeat the stories from scripture, but also participate in the formation of the cultural narratives as ambassadors of Christ. While Science Fiction does not discuss the role of religion in storytelling, the discussion of our ambitions and expectations for the future is ripe for a Christian discussion. *Vint describes sf as a navigational tool for the rapid changes occurring in the world. Science Fiction references many titles that illustrate the different roles sf has played at historical points and that continue to form culture narratives. While some pages can feel like a dense list of titles, it is largely a book expressing excitement about the power and indispensability of sf. I would recommend this book for those who want to think about interactions between fiction, science, and culture, or learn about major themes of sf, as well as those interested in broadening the horizons of their sf reading. *Reviewed by Elizabeth Koning, graduate student in the Department of Computer Science, University of Illinois at Urbana-Champaign, Urbana, IL 61801.
42
Cunha, Ivan Ferreira da. „Utopias and Dystopias as Models of Social Technology“. Principia: an international journal of epistemology 19, Nr. 3 (08.03.2016): 363. http://dx.doi.org/10.5007/1808-1711.2015v19n3p363.
Der volle Inhalt der QuelleAnnotation:
http://dx.doi.org/10.5007/1808-1711.2015v19n3p363This paper presents some proposals for social science advanced by Otto Neurath, focusing on scientific utopianism. Neurath suggests that social scientists should formulate ideals of social arrangements in utopian style, aiming at discussing scientific proposals with a community. Utopias are deemed as models of social science, in the sense proposed by Nancy Cartwright. This view is contrasted with the claim that scientism might lead to dystopian consequences in social planning, drawn from Aldous Huxley’s fiction and from Paul Feyerabend’s philosophy of science. Thus, social science displays a unusual feature: sometimes a model has to be called off, in spite of its perfect functioning, because it brings about unwanted consequences. In the planning of a free democratic society, this ambiguity of utopia and dystopia is highly desirable, for it stimulates essential debates. Social science, therefore, is to be regarded from a plural and fallibilist standpoint.
43
Komandera, Aleksandra. „Le Combat d’hiver de Jean-Claude Mourlevat : les stéréotypes dans le processus de lecture du récit dystopique pour adolescents“. Romanica Silesiana 16, Nr. 2 (16.02.2021): 147–57. http://dx.doi.org/10.31261/rs.2019.16.14.
Der volle Inhalt der QuelleAnnotation:
Adolescent dystopian literature has been in vogue recently. Its popularity reflects in fact several aspects, from readers’ preferences, through marketing rules, to writers’ choices. The predominance and reiteration of dystopian fiction suggests that they can involve stereotypes. Taking into consideration the fact that the stereotype is a reading construction, we analyse in this paper the role of stereotypes in perceiving and decoding a dystopian universe, with its elements, such as prison environment, oppressive authorities, tentative of revolt, and final victory or defeat, with respect of his young readers, in Jean-Claude Mourlevat’s novel Le Combat d’hiver.
44
Simsone, Bārbala. „Science Fiction In Latvian Literature“. Interlitteraria 22, Nr. 2 (16.01.2018): 397. http://dx.doi.org/10.12697/il.2017.22.2.16.
Der volle Inhalt der QuelleAnnotation:
The present paper is devoted to the overview of the beginnings and development of the genre of science fiction in Latvian literature. Similarly to other popular fiction genres, science fiction in Latvian literature has not been very popular due to social and historical reasons; however, during the course of the 20th century several authors have at least partially approached the genre and created either fully fledged science fiction works or literary works with science fiction elements in them. The paper looks at the first attempts to create science fiction-related works during the beginning of the 20th century; it then provides an insight into three epochs when the genre received comparatively wider attention: 1) the 1930s produced mainly adventure novels with elements of science fiction mirroring the correspondent world tendencies of that time period; 2) the period between the 1960s and 80s saw authors who had the courage to leave the strict platform of Soviet Social Realism, experimenting with a variety of science fiction elements in the postmodern literary context which allowed for a wide metaphoric interpretation. This epoch also saw the emergence of a specific phenomenon – humorous / satiric science fiction which the authors employed in order to offer social criticism of the Soviet lifestyle; 3) the beginning of the 21st century saw the emergence of several science fiction works by a new generation of writers: these works presently comprise the majority of newly published science fiction. The paper outlines the main tendencies of the newest Latvian science fiction such as authors experimenting with a variety of themes, the preference for dystopian future scenarios and humour. The paper offers brief conclusions as to the possible future of Latvian science fiction in context of the current developments in the genre.
45
Kurowicka, Anna. „“Aliens” Speaking Out: Science Fiction by Autistic Authors“. Przegląd Kulturoznawczy, Nr. 3 (45) (2020): 261–77. http://dx.doi.org/10.4467/20843860pk.20.026.12586.
Der volle Inhalt der QuelleAnnotation:
This article discusses depiction of autism in science fiction based on three recent American novels written by autistic authors: Ada Hoffman’s The Outside (2019), Kaia Sønderby’s Failure to Communicate (2017), and Selene dePackh’s Troubleshooting (2018). The novels are discussed in the context of debates about diversity in science fiction, depiction of disability in the genre, and disability and autism studies, particularly in reference to concepts such as authorship, self-expression, and rationality. This is followed by an in-depth analysis of the use of utopian and dystopian impulses in science fiction and tropes such as first contact as well as the specificity of autistic perspectives, particularly in Hoffman’s The Outside. The texts propose visions of futures that include disability, specifically autism, and use the narratives of alien encounters to reflect on potential benefits of neurodivergent forms of communication and perception of the world. The article argues that the novels employ science fiction tropes to engage ideas about neurodiversity and cross-cultural communication, contributing both to inclusion of marginalized communities in science fiction and to an expansion of the genre’s repertoire of cultural representations of disability.
46
Schober, Ida Marie. „Loving the AI: Captivity and Ownership in Unbalanced Dystopian Relationships“. Comparative Cinema 8, Nr. 14 (22.05.2020): 46–61. http://dx.doi.org/10.31009/cc.2020.v8.i14.04.
Der volle Inhalt der QuelleAnnotation:
Out of the abundance of recent science fiction works, there is an inherent connection between the films Blade Runner 2049 (Denis Villeneuve, 2017), Her (Spike Jonze, 2013), and Ex Machina (Alex Garland, 2014). They all have female non-human characters in the lead roles, who have to endure spatial restrictions. All three films star lonely men who find their emotional and romantic needs fulfilled in a relationship with these female AI, which they purchased and had programmed especially for them. This aspect of ownership points to an imbalanced power dynamic from the start of the relationship. I will explore why this has become a trend in late capitalist, dystopian, and science fiction genres, drawing parallels to current discussions about the abhorrent treatment many women endure and pointing to the over-sexualization of women in the media as a distributing factor to such treatment. I will utilize a variety of theories including the works of Laura Mulvey, Judith Butler, and Donna Haraway.
47
Dziurzyńska, Magdalena. „“Hope as the Engine for Imagining Utopia”: A Dream of a World Beyond Gender“. Studia Litteraria 16, Nr. 2 (2021): 89–103. http://dx.doi.org/10.4467/20843933st.21.008.13652.
Der volle Inhalt der QuelleAnnotation:
By analyzing the depiction of androgyny in Marge Piercy’s science fiction novels in the context of gender performativity and constructionism, this article demonstrates that androgyny may be used as a tool for deconstructing gender roles. Arguably, Piercy proposes a new, non-essentialist vision of humankind through the creation of androgynous or agender human and cybernetic bodies. Moreover, the article substantiates how the images of utopian worlds, which present futuristic hope, are connected with the postgender idea of gender transcendence, while the dystopian ones seem to be strongly related to gender essentialism. „Utopia jako nadzieja”: w stronę świata poza granicami płci Poprzez analizę przedstawienia androginii w powieściach science fiction autorstwa Marge Piercy w kontekście performatywności płci i konstrukcjonizmu niniejszy artykuł pokazuje, że androginia może być wykorzystywana jako narzędzie dekonstrukcji ról płciowych. Piercy proponuje nową, nie esencjonalistyczną wizję ludzkości poprzez tworzenie androgynicznych lub agenderowych ludzkich i cybernetycznych ciał. Ponadto artykuł ukazuje, w jaki sposób obrazy utopijnych światów, które niosą z sobą futurystyczną nadzieję, wiążą się z postgenderową ideą transcendencji płci, podczas gdy dystopijne światy wydają się silnie powiązane z esencjalizmem płciowym.
48
Gilarek, Anna. „Marginalization of “the Other”: Gender Discrimination in Dystopian Visions by Feminist Science Fiction Authors“. Text Matters, Nr. 2 (04.12.2012): 221–38. http://dx.doi.org/10.2478/v10231-012-0066-3.
Der volle Inhalt der QuelleAnnotation:
In patriarchy women are frequently perceived as “the other” and as such they are subject to discrimination and marginalization. The androcentric character of patriarchy inherently confines women to the fringes of society. Undeniably, this was the case in Western culture throughout most of the twentieth century, before the social transformation triggered by the feminist movement enabled women to access spheres previously unavailable to them. Feminist science fiction of the 1970s, like feminism, attempted to challenge the patriarchal status quo in which gender-based discrimination against women was the norm. Thus, authors expressed, in a fictionalized form, the same issues that constituted the primary concerns of feminism in its second wave. As feminist science fiction is an imaginative genre, the critique of the abuses of the twentieth-century patriarchy is usually developed in defamiliarized, unreal settings. Consequently, current problems are recontextualized, a technique which is meant to give the reader a new perspective on certain aspects of life they might otherwise take for granted, such as the inadequacies of patriarchy and women’s marginality in society. Yet there are authors who consider the real world dystopian enough to be used as a setting for their novels. This is the case with Woman on the Edge of Time by Marge Piercy and The Female Man by Joanna Russ. Both texts split the narrative into a science fictional and a realistic strand so as to contrast the contemporary world with utopian and dystopian alternatives. Both texts are largely politicized as they expose and challenge the marginalized status of women in the American society of the 1970s. They explore the process of constructing marginalized identities, as well as the forms that marginalization takes in the society. Most importantly, they indicate the necessity of decisive steps being taken to improve the situation.
49
Cano, Luis C. „Poshumanismo afectivo en la ciencia ficción colombiana: El caso de Luis Carlos Barragán Castro“. Revista de Estudios Hispánicos 58, Nr. 1 (März 2024): 7–25. http://dx.doi.org/10.1353/rvs.2024.a931916.
Der volle Inhalt der QuelleAnnotation:
Abstract: Carlos Barragán Castro's literary works skillfully weave together discussions of natural science with a thoughtful exploration of how the science fiction genre can bring about political and social change in twenty-first-century Colombia. In contrast to the prevailing dystopian themes in Western science fiction, Barragán grounds his ideas in the concept of affective posthumanism. In this framework, individual identity becomes intertwined with a mutually beneficial relationship between species, influenced by new scientific and technological developments. His writing delves into ethical and political aspects, infusing the narratives with thought-provoking considerations of ethics, human rights, and justice in a posthuman setting.
50
Shapiro, Angelina M. „Polygenre of A. Polyarinov ‘s prose“. Philological Sciences. Scientific Essays of Higher Education, Nr. 5 (September 2023): 116–22. http://dx.doi.org/10.20339/phs.5-23.116.
Der volle Inhalt der QuelleAnnotation:
In modern science fiction, dystopia occupies a special place, as evidenced by the works of T.T. Davydova and O.V. Bogdanova. Along with classic fiction, dystopia can be called the most popular genre modification in modern literature. Unlike utopia, which seeks to paint an image of an ideal society where there will be no place for wars, suffering, or injustice, dystopia is a nightmarish image of any society. This book review characterizes the polygenre of the prose of the modern writer Alexey Polyarinov — dystopian, fairy-tale and mythological features. To achieve this goal, two main novels are considered in detail — “Center of Gravity” and “Reef”, special attention was paid to the analysis of the images of the central characters of these works. The genre features of the dystopia of the novel “Center of Gravity” are identified and comprehensively considered, fragments of the text emphasizing the fabulous motives of the plot are also analyzed. In the novel “Reef” considers the problem of sectarianism and the methods of mental influence that the head of the sect uses to completely subjugate the will of the sectarians. The complex problem of relationships within the family is also explored. Examples of mythological images of the novel, important for the disclosure of the plot, are given. The relevance of this study is due to the interest in modern Russian literature, the main problems that are currently being addressed in it, its artistic trends.