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Journal articles on the topic 'History of science fiction'

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Author: Grafiati

Published: 11 March 2023

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1

Xia, Tianyi. "The Development History of Chinese Science Fiction from Liu Cixin's Science Fiction." International Journal of Languages, Literature and Linguistics 6, no. 3 (September 2020): 136–41. http://dx.doi.org/10.18178/ijlll.2020.6.3.265.

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2

Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.

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3

Reinsborough, Michael. "Science fiction and science futures: considering the role of fictions in public engagement and science communication work." Journal of Science Communication 16, no. 04 (September 20, 2017): C07. http://dx.doi.org/10.22323/2.16040307.

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The imagination of possible scientific futures has a colourful history of interaction with scientific research agendas and public expectations. The 2017 annual UK Science in Public conference included a panel discussing this. Emphasizing fiction as a method for engaging with and mapping the influence of possible futures, this panel discussed the role of science fiction historically, the role of science fiction in public attitudes to artificial intelligence, and its potential as a method for engagement between scientific researchers and publics. Science communication for creating mutually responsive dialogue between research communities and publics about setting scientific research agendas should consider the role of fictions in understanding how futures are imagined by all parties.

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4

Spitzer, Alan B., and Michael S. Lewis-Beck. "Social Science Fiction." Journal of Interdisciplinary History 30, no. 2 (October 1999): 259–71. http://dx.doi.org/10.1162/002219599551976.

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5

Grillmayr, Julia. "Speculations, fabulations, incantations: Science fiction, contemporary futurology and how to change the world." European Journal of American Culture 41, no. 3 (September 1, 2022): 267–79. http://dx.doi.org/10.1386/ejac_00079_1.

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After giving a short insight into the ambivalent relationship between science fiction (SF) and futurology, this article sheds light on the current trend of what can be called science-fictional scenario writing, focusing on the publications of the Center for Science and the Imagination at the Arizona State University. The stories published in projects, such as Hieroglyph, the Climate Fiction short story contest Everything Change or the Tomorrow Project, are indistinguishable from conventional SF short stories. However, the frameworks of these projects share a certain futurological ambition. Also, they seek to enable the readers and writers of these stories to actively shape possible futures. In search for a label for this specific text form, Rebecca Wilbanks aptly coined the term ‘incantatory fictions’. This article explores the nature, the self-understanding und the practices of these speculations, fabulations and incantations by considering the metatexts of the afore-mentioned publications and by talking to people who work at the interface between SF and futurology.

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6

Clarke, Jim. "Buddhist Reception in Pulp Science Fiction." Literature and Theology 35, no. 3 (August 1, 2021): 355–73. http://dx.doi.org/10.1093/litthe/frab020.

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Abstract Science fiction has a lengthy history of irreligion. In part, this relates to its titular association with science itself, which, as both methodology and ontological basis, veers away from revelatory forms of knowledge in order to formulate hypotheses of reality based upon experimental praxis. However, during science fiction’s long antipathy to faith, Buddhism has occupied a unique and sustained position within the genre. This article charts the origins of that interaction, in the pulp science fiction magazines of the late 1920s and early 1930s, in which depictions of Buddhism quickly evolve from ‘Yellow Peril’ paranoia towards something much more intriguing and accommodating, and in so doing, provide a genre foundation for the environmental concerns of much 21st-century science fiction.

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7

Yacine, Barka Rabeh, and Ahmad Y. Majdoubeh. "Reimagining Colonialism: Dune Within Postcolonial Science-Fiction." Theory and Practice in Language Studies 13, no. 2 (February 1, 2023): 501–7. http://dx.doi.org/10.17507/tpls.1302.27.

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This research paper will examine the science-fiction novel Dune as a postcolonial work. Colonial history and literature that have been the central focus of postcolonial studies influenced the structure of many science-fiction novels. One of these was Herbert’s Dune (1965), which carries a colonial formula into a new fictionalized setting. However, very few postcolonial studies cross into the science-fiction novel, and fewer still consider the science-fictional element that sets it apart as a genre. Thus, this article attempts to provide a new perspective on Dune as a postcolonial novel that sets a new premise for our understanding of postcolonialism. In employing the early anticolonial thoughts of Amilcar Cabral and his notion of resistance, this study will trace these anticolonial notions throughout the novel. In addition, it will consider the novel’s science-fictional element of spice and how it proves detrimental in perceiving the novel as a new form of postcolonial narrative.

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8

Milner, Andrew. "Viral Science Fiction." Extrapolation: Volume 63, Issue 1 63, no. 1 (April 1, 2022): 7–20. http://dx.doi.org/10.3828/extr.2022.3.

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This article begins by explaining how sf as a genre has recently “gone viral.” It then proceeds to a brief overview of the history of pandemic fiction, in the Bible, in the literary canon, and in genre sf. It concludes with a more detailed analysis of Albert Camus’s La Peste (1947), which argues that this novel exhibits many characteristics Darko Suvin attributes to sf. The paper concludes that either La Peste is in fact sf or Suvin’s famous definitions are themselves misconceived.

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9

Pastourmatzi, Domna. "Researching and Teaching Science Fiction in Greece." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 530–34. http://dx.doi.org/10.1632/003081204x20613.

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In the dreams our stuff is made of, Thomas M. Disch talks about the influence and pervasiveness of science Fiction in American culture and asserts the genre's power in “such diverse realms as industrial design and marketing, military strategy, sexual mores, foreign policy, and practical epistemology” (11-12). A few years earlier, Sharona Ben-Tov described science fiction as “a peculiarly American dream”—that is, “a dream upon which, as a nation, we act” (2). Recently, Kim Stanley Robinson has claimed that “rapid technological development on all fronts combined to turn our entire social reality into one giant science fiction novel, which we are all writing together in the great collaboration called history” (1-2). While such diagnostic statements may ring true to American ears, they cannot be taken at face value in the context of Hellenic culture. Despite the unprecedented speed with which the Greeks absorb and consume both the latest technologies (like satellite TV, video, CD and DVD players, electronic games, mobile and cordless phones, PCs, and the Internet) and Hollywood's science fiction blockbuster films, neither technology per se nor science fiction has yet saturated the Greek mind-set to a degree that makes daily life a science-fictional reality. Greek politicians do not consult science fiction writers for military strategy and foreign policy decisions or depend on imaginary scenarios to shape their country's future. Contemporary Hellenic culture does not acquire its national pride from mechanical devices or space conquest. Contrary to the American popular belief that technology is the driving force of history, “a virtually autonomous agent of change” (Marx and Smith xi), the Greek view is that a complex interplay of political, economic, cultural, and technoscientific agencies alters the circumstances of daily life. No hostages to technological determinism, modern Greeks increasingly interface with high-tech inventions, but without locating earthly paradise in their geographic territory and without writing their history or shaping their social reality as “one giant science fiction novel.”

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10

Debalina Roychowdhury Banerjee. "Revisiting Vampirism: Myth, Mystery, Science, History." Creative Launcher 7, no. 1 (March 4, 2022): 22–26. http://dx.doi.org/10.53032/tcl.2022.7.1.04.

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Many legends and myths have survived through ages. They also have strong connection with reality of past and present. History, mythology, science, psychology, fiction all is entwined in such a way that it becomes difficult to segregate them from one another. In fact, all these together bring a new meaning to such a subject. True it is and true it shall be that, almost everything that we can think of is connected to many other things. Vampirism is not an exception to that. Though it has been popularized by fictions more, it also has a bleak history, a dreary reality that comes through psychological disorder. The folk beliefs and legends that grew around vampirism is also a matter of real interest. This paper is an attempt to bring the different aspects of vampirism in a nutshell to have a compact idea on the fascinating theme.

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11

Ranpura, Ashish, and Daniel Glaser. "Science Fiction." Index on Censorship 36, no. 3 (August 2007): 175–79. http://dx.doi.org/10.1080/03064220701552565.

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12

Bajaber, Mosab. "Decolonising science fiction." Postcolonial Studies 16, no. 4 (December 2013): 409–11. http://dx.doi.org/10.1080/13688790.2013.805464.

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13

Carnall, Mark. "Science Fiction at the Natural History Museum." Configurations 30, no. 3 (June 2022): 341–48. http://dx.doi.org/10.1353/con.2022.0020.

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14

Duncan, Ian. "George Eliot’s Science Fiction." Representations 125, no. 1 (2014): 15–39. http://dx.doi.org/10.1525/rep.2014.125.1.15.

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George Eliot’s recourse to comparative mythology and biology in Middlemarch and Daniel Deronda engages a conjectural history of symbolic language shared by the Victorian human and natural sciences. Troubling the formation of scientific knowledge as a progression from figural to literal usage, Eliot’s novels activate an oscillation between registers, in which linguistic events of metaphor become narrative events of organic metamorphosis.

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15

Parent, Arnaud. "Science in Eighteenth-Century French Literary Fiction: A Step to Modern Science Fiction and a New Definition of the Human Being?" Acta Baltica Historiae et Philosophiae Scientiarum 10, no. 1 (May 24, 2022): 78–103. http://dx.doi.org/10.11590/abhps.2022.1.05.

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In eighteenth-century France, scientific progress and its spreading met a growing interest among public, an enthusiasm that was to be reflected in literature. Fictional works including scientific knowledge in their narrative made their appearance, paving the ground for a genre promised to a growing success in the following centuries—science fiction. The article presents three eighteenth-century French literary works, each one centered on a different domain of science: Voltaire’s Micromégas (1752), Charles-François Tiphaigne’s Amilec, or the Seeds of Mankind (Amilec, ou la graine d’hommes, 1753) and François-Félix Nogaret’s The Mirror of Current Events, or Beauty to the Highest Bidder (Le miroir des événements actuels, ou la belle au plus offrant, 1790). The first one, an iconic Enlightenment work that promotes critical thinking, relies on discoveries made in astronomy and optics. Tiphaigne de la Roche is far from sharing the fame of Voltaire, but his odd Amilec is noteworthy as it is possibly the very first science-fiction work in which biology is central. Written in the unique atmosphere of the French revolution, Nogaret’s work The Mirror of Current Events depicts androids-like interacting with humans. Our purpose is to show that these works were a precursor (proto science fiction) of the science fiction genre in literature, to describe how and what science or technology was depicted in them, and how they influenced the view of Man (humans) in eighteenth-century France.

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16

Siderevičiūtė, Simona. "Science Fiction in Historical and Cultural Literary Discourse." Respectus Philologicus 25, no. 30 (April 25, 2014): 172–84. http://dx.doi.org/10.15388/respectus.2014.25.30.13.

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This work intends to complement literary studies in science fiction. It discusses the history of global science fiction, overviews the most characteristic features of its historical periods, and provides an introduction to Lithuanian science fiction, indicating its main features and topics. In the context of culture, science fiction is often defined as a literary genre with the emphasis on its nature as fiction. Only rarely are the history of the origin of science fiction, its variations, and the pioneers of science fiction whose works are still highly valued taken into account. Science fiction is often criticized through the filter of preconceived ideas that consider this type of literature to be “frivolous.” This article discusses the possible reasons for such an approach. In Lithuania, this genre is still associated only with pop literature, and its expression cannot yet equal the works of foreign authors. The basic classical motifs of global science fiction found in Lithuanian science fiction include: representatives of extraterrestrial civilizations and human contact with them, scientists and inventors, agents of military institutions, and space travel. Lithuanian science fiction writers follow the traditions of global science fiction when using these classical motifs; however, a general lack of original and individual themes, motifs, and manifestations may be observed.

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17

Faye, Jan. "Science or mathematical fiction?" Metascience 22, no. 3 (February 5, 2013): 595–98. http://dx.doi.org/10.1007/s11016-013-9752-z.

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18

Dritsas, Lawrence. "Cultures of Science Fiction." Metascience 16, no. 2 (May 9, 2007): 345–48. http://dx.doi.org/10.1007/s11016-007-9090-0.

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19

Brake, Mark, and Martin Griffiths. "Science, Fiction and Curriculum Innovation." Symposium - International Astronomical Union 213 (2004): 572–77. http://dx.doi.org/10.1017/s0074180900193933.

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The academic world is now becoming so specialized that the advantages of a cross disciplinary education are being lost in the tidal wave of scholarship concentrating upon narrow subject fields whilst displacing the values of connected disciplines from the sciences and humanities. The almost rigorous segregation of science and the arts at degree level is being felt not only within academia, but within society. The more a subject is concentrated, the less profound and applicable it appears to the public who should ultimately be the beneficiaries of such knowledge. In order to achieve a form of parity through which our modern world can be examined, the University of Glamorgan has introduced an innovative degree course aimed at developing a multidisciplinary knowledge of science and the arts via an exploration of the science, history, philosophy, religious, artistic, literary, cultural and social endeavours of the fields of astronomy and fantastic literature.

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20

Wenc, Christine. "Science fiction transforming reality." Endeavour 33, no. 3 (September 2009): 85–86. http://dx.doi.org/10.1016/j.endeavour.2009.06.002.

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21

Vint, Sherryl. "Science Fiction." Perspectives on Science and Christian Faith 74, no. 3 (September 2022): 191–92. http://dx.doi.org/10.56315/pscf9-22vint.

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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.

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22

Sey, J. "Psychoanalysis, science fiction and cyborgianism." Literator 17, no. 2 (April 30, 1996): 105–16. http://dx.doi.org/10.4102/lit.v17i2.607.

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Central to this paper is the understanding that much of crucial importance to psychoanalytic thought rests on a conception of the subject as inseparable from a history of the body a history in turn inseparable from the central tenets of Oedipus, in its turn a concept which originates in and is illustrated by literature. The paper will suggest that when recent cultural theorists, drawing on the implications of cybernetics and infoculture theory, contest the psychoanalytic notion of the subject, it is not surprising that they do so in terms of the possibility of an alternative body - a hybrid form of subjectivity between human and machine. Nor, the paper suggests, is it surprising that it should be science fiction, a genre with a long-standing concern with the possibility of such an amalgam, which supplies the key evidence for a post-oedipal theory of this "cyborg" subject. The paper concludes by speculating on the productivity of the conjunction between literature and thinking about the body, inasmuch as this conjunction attempts to establish a new anthropology of the self.

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23

McIntyre, Julie, Ann Curthoys, and John Docker. "Is History Fiction?" Labour History, no. 90 (2006): 234. http://dx.doi.org/10.2307/27516130.

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24

Sawyer, Andy. "The History of Science Fiction (review)." Utopian Studies 22, no. 1 (2011): 177–81. http://dx.doi.org/10.1353/utp.2011.0012.

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25

Yan, Wu, Yao Jianbin, and Andrea Lingenfelter. "A Very Brief History of Chinese Science Fiction." Chinese Literature Today 7, no. 1 (January 2, 2018): 44–53. http://dx.doi.org/10.1080/21514399.2018.1458378.

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26

Kiser, Edgar, and William Sims Bainbridge. "Dimensions of Science Fiction." Social Forces 66, no. 1 (September 1987): 299. http://dx.doi.org/10.2307/2578929.

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27

Prchal, Tim. "Science Fiction Television." Journal of American Culture 28, no. 2 (June 2005): 250–51. http://dx.doi.org/10.1111/j.1542-734x.2005.166_20.x.

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28

Muallim, Muajiz. "ISU-ISU KRISIS DALAM NOVEL-NOVEL DYSTOPIAN SCIENCE FICTION AMERIKA." Jurnal POETIKA 5, no. 1 (July 31, 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, no. 1 (July 31, 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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30

Brake, Mark. "On the plurality of inhabited worlds: a brief history of extraterrestrialism." International Journal of Astrobiology 5, no. 2 (April 2006): 99–107. http://dx.doi.org/10.1017/s1473550406002989.

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This paper delineates the cultural evolution of the ancient idea of a plurality of inhabited worlds, and traces its development through to contemporary extraterrestrialism, with its foundation in the physical determinism of cosmology, and its attendant myths of alien contact drawn from examples of British film and fiction. We shall see that, in the evolving debate of the existence of extraterrestrial life and intelligence, science and science fiction have benefited from an increasingly symbiotic relationship. Modern extraterrestrialism has influenced both the scientific searches for extraterrestrial intelligence (SETI), and become one of the most pervasive cultural myths of the 20th century. Not only has pluralism found a voice in fiction through the alien, but fiction has also inspired science to broach questions in the real world.

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31

Goodwin, Barbara. "Science‐fiction utopias." Science as Culture 1, no. 2 (January 1988): 107–19. http://dx.doi.org/10.1080/09505438809526202.

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32

Kraemer, Sylvia K., Frederick I. Ordway, and Randy Liebermann. "Blueprint for Space: Science Fiction to Science Fact." Technology and Culture 34, no. 2 (April 1993): 461. http://dx.doi.org/10.2307/3106575.

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33

Šporčič, Anamarija. "The (Ir)Relevance of Science Fiction to Non-Binary and Genderqueer Readers." ELOPE: English Language Overseas Perspectives and Enquiries 15, no. 1 (June 25, 2018): 51–67. http://dx.doi.org/10.4312/elope.15.1.51-67.

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As an example of jean Baudrillard’s third order of simulacra, contemporary science fiction represents a convenient literary platform for the exploration of our current and future understanding of gender, gender variants and gender fluidity. The genre should, in theory, have the advantage of being able to avoid the limitations posed by cultural conventions and transcend them in new and original ways. In practice, however, literary works of science fiction that are not subject to the dictations of the binary understanding of gender are few and far between, as authors overwhelmingly use the binary gender division as a binding element between the fictional world and that of the reader. The reversal of gender roles, merging of gender traits, androgynous characters and genderless societies nevertheless began to appear in the 1960s and 1970s. This paper briefly examines the history of attempts at transcending the gender binary in science fiction, and explores the possibility of such writing empowering non-binary/genderqueer individuals.

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34

Sipress, M. "Political History in Fiction." OAH Magazine of History 13, no. 2 (January 1, 1999): 49–52. http://dx.doi.org/10.1093/maghis/13.2.49.

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35

Ghiglione, Loren. "Does science fiction–yes, science fiction–suggest futures for news?" Daedalus 139, no. 2 (April 2010): 138–50. http://dx.doi.org/10.1162/daed.2010.139.2.138.

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36

Al-Mamori, Yasir Khudeir Obid. "Addressing the Future with Data Visualization in Science Fiction Films: Dystopia or Utopia." Человек и культура, no. 2 (February 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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Telles, Helyom Viana, and Lynn Alves. "Narrative, history, and fiction: history games as boundary works." Comunicação e Sociedade 27 (June 29, 2015): 319–33. http://dx.doi.org/10.17231/comsoc.27(2015).2104.

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This work arises from the reflections generated by a post-doctoral study that investigates how history games can contribute to the production and dissemination of representations, pictures, and imaginaries of the past. We understand history games to be digital electronic games whose structure contains narratives or simulations of historical elements (Neves, 2010). The term notion of “border works” is used by Glezer and Albieri (2009) to discuss the role of literary and artistic works that, standing outside the historiographical field and having a fictional character, are forms of the dissemination of historical knowledge and approximation with the past. We want to show how, under the impact of the linguistic turn, the boundaries between history and fiction have been blurred. Authors such as White (1995) and Veyne (2008) found both a convergence with and identification between historical narrative and literary narrative that interrogates the epistemological status of history as a science. These critiques result in an appreciation of fictional works as both knowledge and the dissemination of historical knowledge of the past. We then examine the elements of the audiovisual narratives of electronic games (Calleja, 2013; Frasca, 1999; Jull, 2001; Murray, 2003; Zagalo, 2009) in an attempt to understand their specificity. Next, we investigate the place of the narrative and historical simulations of electronic games in contemporary culture (Fogu, 2009). Finally, we discuss how historical knowledge is appropriated and represented by history games (Arruda, 2009; Kusiak, 2002) and analyze their impact on the production of a historical consciousness or an imaginary about the past.

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KNIGHT, DAVID. "SCIENCE FICTION OF THE SEVENTEENTH CENTURY." Seventeenth Century 1, no. 1 (January 1986): 69–79. http://dx.doi.org/10.1080/0268117x.1986.10555251.

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Udías, Agustín. "Jesuit Scientists in Science-Fiction Novels*." Journal of Jesuit Studies 6, no. 1 (March 11, 2019): 133–40. http://dx.doi.org/10.1163/22141332-00601010.

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The appearance of Jesuit scientists in science-fiction novels, often as the main characters, is an interesting and little-known fact. Some have even suggested that this feature may characterize a specific sub-genre of such novels. The quality and the themes vary greatly, and it is not clear what moves authors to include Jesuits. This article reviews ten of these novels, noting their great variety in plot and approach, as well as the frequent use of space travel and contact with intelligent aliens. In general, the presence of Jesuit characters allows the authors to introduce a religious perspective, but can also be interpreted as a recognition of the Jesuit tradition in scientific fields.

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Chávez Mancilla, Ángel. "Entre la ciencia ficción y la ciencia de la historia: El corazón de la serpiente." Sincronía XXV, no. 79 (January 3, 2021): 205–22. http://dx.doi.org/10.32870/sincronia.axxv.n79.11a21.

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This article deals with the science fiction novel The Heart of the Serpent, by the Soviet Ivan Efremov, and shows what we identify as an ideological vindication of the Marxist theory of history or historical materialism; and the influence that said ideological content has on the conception of science fiction that Efremov adopts and, in a meta novel exercise, he exposes in his mentioned work is studied. For this, some characteristics of Soviet science fiction in general, and the particularities of Efremov's work will be exposed. In the same way, he realizes the essential aspects of Marxist theory of history, a theoretical aspect on which Efremov bases the difference of science fiction produced in the "capitalist world", and his fiction of the future world and the extraterrestrial contact that It must be based on scientific aspects, since history as a science that manages to delineate aspects of the future society.

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Chattopadhyay, Bodhisattva. "Indian Science Fiction: Patterns, History, Hybridity by Suparno Banerjee." Science Fiction Studies 49, no. 2 (July 2022): 376–78. http://dx.doi.org/10.1353/sfs.2022.0032.

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Miller, Gavin. "Scottish science fiction: writing Scottish literature back into history." Études écossaises, no. 12 (April 30, 2009): 121–33. http://dx.doi.org/10.4000/etudesecossaises.197.

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Yaszek, Lisa. "Afrofuturism, science fiction, and the history of the future." Socialism and Democracy 20, no. 3 (November 2006): 41–60. http://dx.doi.org/10.1080/08854300600950236.

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Lindblad, Jan Thomas. "History and Fiction: An Uneasy Marriage?" Jurnal Humaniora 30, no. 2 (June 8, 2018): 147. http://dx.doi.org/10.22146/jh.34619.

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This essay discusses the relationship between history as a science and fiction as a genre of literature. It starts with a brief digression on the characteristics and pitfalls of the historical novel, including its development over time. Past experience is highlighted with the aid of a selection of acknowledged novelists making intensive use of historical information. Recent new trends are illustrated by professional historians becoming novelists. A final section offers reflections on how to combine the demands of authenticity in history with the demands of drama in literary fiction.

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Lindblad, Jan Thomas. "History and Fiction: An Uneasy Marriage?" Jurnal Humaniora 30, no. 2 (June 8, 2018): 147. http://dx.doi.org/10.22146/jh.v30i2.34619.

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This essay discusses the relationship between history as a science and fiction as a genre of literature. It starts with a brief digression on the characteristics and pitfalls of the historical novel, including its development over time. Past experience is highlighted with the aid of a selection of acknowledged novelists making intensive use of historical information. Recent new trends are illustrated by professional historians becoming novelists. A final section offers reflections on how to combine the demands of authenticity in history with the demands of drama in literary fiction.

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Shippey, Tom. "Review: Science Fiction, Social Conflict and War, Science Fiction Roots and Branches: Contemporary Critical Approaches." Literature & History 2, no. 1 (March 1993): 130–32. http://dx.doi.org/10.1177/030619739300200133.

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Halpin, Jenni G. "Representing Science that Isn’t:Harvestas Science Fiction Theatre." Interdisciplinary Science Reviews 39, no. 3 (August 21, 2014): 213–23. http://dx.doi.org/10.1179/0308018814z.00000000085.

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McCullough, John. "A Los Angeles Science Fiction Sublime." Space and Culture 17, no. 4 (November 2014): 410–20. http://dx.doi.org/10.1177/1206331214543872.

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This article discusses representations of Los Angeles in science fiction films in the context of the aesthetic tradition of the sublime. The article argues that a Los Angeles science fiction sublime is achieved through representations that feature nature and culture hybrids, elaborate design and special effects (including the destruction of Los Angeles monuments), and detective narratives that provide labyrinthine investigations that challenge our understanding of identity, history, and being. Given that these tendencies have gained prominence only since 1980, the article considers postmodernism as an aesthetic category that can help us understand how Los Angeles spaces are integrated in the neoliberal world system.

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Seed, D. "Astounding Wonder: Imagining Science and Science Fiction in Interwar America." Journal of American History 99, no. 4 (February 15, 2013): 1291. http://dx.doi.org/10.1093/jahist/jas532.

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Castle, Nora. "In Vitro Meat and Science Fiction." Extrapolation: Volume 63, Issue 2 63, no. 2 (July 1, 2022): 149–79. http://dx.doi.org/10.3828/extr.2022.11.

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This article argues that the in vitro (i.e., lab-grown) meat boom can be better understood by framing it within sf studies, both historically and especially through to the contemporary moment. Not only does in vitro meat (IVM) have a long history of representation in sf, it is also framed in the public and corporate spheres through the use of sf tropes. The article offers close readings of IVM in Margaret Atwood’s Oryx and Crake (2003), Elizabeth Dougherty’s The Blind Pig (2010), and director Brandon Cronenberg’s Antiviral (2012), arguing that reading IVM in contemporary sf is a particularly effective method of thinking through its material effects.

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