Journal articles on the topic 'Science fiction Criticism, Textual'
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1
Aghoro, Nathalie. "Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe." Open Cultural Studies 2, no. 1 (November 1, 2018): 330–40. http://dx.doi.org/10.1515/culture-2018-0030.
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Abstract This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monae. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monae use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience.
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Dobrosielska, Urszula. "Pedagogiczne możliwości tekstu literackiego. Inspiracje myślą Jana Błońskiego." Kwartalnik Pedagogiczny, no. 68/2 (December 3, 2022): 75–90. http://dx.doi.org/10.31338/2657-6007.kp.2022-2.11.
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In the article I try to demonstrate the validity of two issues. First, I propose to include the voice of literary criticism in the discussion of education. Second, I present the pedagogical possibilities of a text extracted from literary criticism and hermeneutic philosophy. The leading figure of this article is Jan Błoński – a literary critic and historian. In his texts, I seek answers to the following questions: Can literary criticism inspire pedagogical thought? What textual possibilities does Błoński point to? What do these textual possibilities imply for educational practice? The issue on which I place particular emphasis in my reflections is the interactional conversation with the text. By tracing its meaning, I try to reach the points where pedagogy and fiction have common ground. At the same time, in seeking to understand the dialogue between the reader and the literary work that inspires pedagogical thought, I reflect on the concepts of sensitivity and tradition. Thus, I reflect on the sense in which the text is a space for education and upbringing. In this research, I draw on the philosophical hermeneutics of Hans-Georg Gadamer. In my view, it is also close to the critical and literary thought of Błoński. Inspired by Gadamer’s major work, Truth and Method, I seek in Błoński’s work an interpretive approach for my own reflections on the importance of literature in education.
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Millán Scheiding, Catalina. "Inventando la Heroína de las Mil Caras: una propuesta didáctica de creación literaria. Inventing the Heroine of a Thousand Faces: a Literary Creation Didactic Proposal." El Guiniguada 29 (2020): 18–29. http://dx.doi.org/10.20420/elguiniguada.2020.335.
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Esta propuesta didáctica ejemplifica el uso de la escritura creativa como una forma de acercarse al discurso de género, a través de la generación de un héroe o heroína de fantasía. Se ofrece una actividad en la que se trabaja el conflicto aparente y el conflicto subyacente, donde los roles de género pueden ofrecer respuestas diferentes y redefinir las estructuras narratológicas. El alumnado trabaja sobre su propia creación literaria para definir sus expectativas literarias y los conflictos hegemónicos que se presentan en las historias de fantasía y ficción de su contexto social e ideológico. El contraste de los textos de creación propia con el análisis de textos y ejemplos audiovisuales de fantasía y ciencia ficción de creadoras literarias y de personajes femeninos, presenta una oportunidad para generar un espacio contrastivo y constructivo, a la vez que enlaza con competencias educativas y facilita un acercamiento comparativo a la critica literaria. This didactic proposal exemplifies the use of creative writing as a way to approach gender studies, through the creation of a fantasy hero. The activity offers the possibility of working both the apparent and underlaying conflicts, where gender roles can offer different answers and redefine narratological structures. The students work on their own literary creation to define their literary expectations and the predominant conflicts that appear in fantasy and fiction stories in their social and ideological context. The contrast of their own textual creations with the analyses of textual and audiovisual examples from fantasy and science fiction by female authors and including female characters offers the possibility of generating a contrastive and constructivespace, which also links to educational competences and facilitates a comparatist approach to literary criticism.
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Lähteenmäki, Ilkka. "Possible Worlds of History." Journal of the Philosophy of History 12, no. 1 (March 22, 2018): 164–82. http://dx.doi.org/10.1163/18722636-12341354.
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Abstract The theory of possible worlds has been minimally employed in the field of theory and philosophy of history, even though it has found a place as a tool in other areas of philosophy. Discussion has mostly focused on arguments concerning counterfactual history’s status as either useful or harmful. The theory of possible worlds can, however be used also to analyze historical writing. The concept of textual possible worlds offers an interesting framework to work with for analyzing a historical text’s characteristics and features. However, one of the challenges is that the literary theory’s notion of possible worlds is that they are metaphorical in nature. This in itself is not problematic but while discussing about history, which arguably deals with the real world, the terminology can become muddled. The latest attempt to combine the literary and philosophical notions of possible worlds and apply it to historiography came from Lubomír Doležel in his Possible Worlds of Fiction and History: The Postmodern Stage (2010). I offer some criticism to his usage of possible worlds to separate history and fiction, and argue that when historiography is under discussion a more philosophical notion of possible worlds should be prioritized over the metaphorical interpretation of possible worlds.
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Naumov, Aleksandr V. "From Criticism to Practice: Music in the Early Literary Heritage of V.I. Nemirovich-Danchenko." Observatory of Culture 19, no. 2 (April 13, 2022): 182–92. http://dx.doi.org/10.25281/2072-3156-2022-19-2-182-192.
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The article examines the relationship between the literary work of V.I. Nemirovich-Danchenko that preceded the opening of the Moscow Art Theater, and his directorial activity. For him, journalism, fiction and drama formed a unity that had a serious impact on his pedagogical and staging practice. The main issues related to the topic of the work have been repeatedly raised by researchers of theater and literature, but have not yet come to the attention of musicologists, which determines the main parameter of the study’s novelty. In this context, the article aims at pinpointing the actual musical textual details, and its main methodology is based on the interpretation of statements and their comparison with the factual theater history. The article attempts to review the “favorite repertoire” of V.I. Nemirovich-Danchenko as a writer — the musical works mentioned in his novels, stories and plays. There is also identified the “projections” of such sympathies on the design of performances. The article reveals fundamental differences in V.I. Nemirovich-Danchenko’s attitude to vocal and instrumental music, the special role of opera in his perception of the world. There is noted the tendency to attach special semantic and moral-ethical meaning to sound components, as well as the affordance, opened in dramas of the late 1890s, of maximum avoidance of noise elements for the sake of relief identification of a word. The article ends with an attempt to substantiate from a musical standpoint the failure of the drama “In Dreams” at its first and only staging at the Moscow Art Theater (1901). The conclusion contains a number of findings characterizing the musicality of V.I. Nemirovich-Danchenko in 1898, at the time of the opening of his theater. There are partially highlighted the stages of his evolution not mentioned before, which led the director to experiments in the genre of tragedy at the turn of the 1910s and 1920s, the foundation of his own opera studio and the revision of literary positions that remained relevant for the last decades of his life and work.
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Mehnert, Antonia. "Climate Change Futures and the Imagination of the Global in Maeva! by Dirk C. Fleck." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (October 6, 2012): 27–41. http://dx.doi.org/10.37536/ecozona.2012.3.2.470.
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This article is aimed at making a contribution to the only recently emerging literary criticism of climate change fiction. Facing a global environmental disaster such as climate change requires a departure from an overemphasis on place in ecocriticism. Incorporating ideas from the concept of eco-cosmopolitanism can therefore be helpful for the analysis of literary works dealing with global warming, opening up new planetary perspectives. However, while many climate change novels fall short of engaging with the global, D. Fleck’s Maeva! serves as a counter-example from German science fiction. This article therefore explores the ways in which Fleck’s novel embraces an “eco-cosmopolitan manifesto” as a political vision of dealing with the climatically changed world of tomorrow while showing that this thereby newly created “space” is contested and fragile as interests between the local and the global have to be constantly re-negotiated. Finally, this article also discusses Fleck’s innovative textual approach, which can be read as an attempt at imagineering—creating a manual for critical intervention derived from creative ideas. Resumen Este articulo trata de hacer una contribución a la recientemente surgida crítica literaria de novelas de ficción sobre cambio climático. Hacer frente a un desastre global del medioambiente como el cambio climático requiere alejarse del excesivo énfasis en lo “local” de la ecocrítica. Incorporar ideas del concepto eco-cosmopolitismo podría ser útil en el análisis de obras literarias sobre calentamiento global, desarrollando nuevas perspectivas planetarias. Sin embargo, muchas novelas sobre cambio climático han sido criticadas por no incluir la perspectiva global. Maeva!, del autor alemán de ciencia ficción Dirk Fleck, es uno de los pocos contraejemplos. Por ello, este artículo analiza cómo la novela incluye un “manifiesto eco-cosmopolita” como visión política para proceder en el mundo del mañana, cuyo clima va a cambiar, mientras muestra que ese nuevo “espacio” creado es disputado y frágil a medida que los intereses entre lo local y lo global tienen que ser renegociados continuamente. Finalmente, este artículo también explora el enfoque textual innovativo de Fleck, que pueden leerse como un intento de imagineering – creando un manual para la intervención crítica que se deriva de ideas creativas.
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Lethbridge, Robert. "Zola and the Science of Painting." Nottingham French Studies 60, no. 3 (December 2021): 295–306. http://dx.doi.org/10.3366/nfs.2021.0326.
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The article explores a paradox in Zola's writing: the resistance to advances in scientific theory by the author of Du Progrès dans les sciences et dans la poésie (1864), as the first of many such assimilations of scientific progress and artistic trends. This is exemplified by the challenge posed to his Naturalist aesthetic by Michel-Eugène Chevreul's seminal De la loi du contraste simultané des couleurs (1839), popularised during the period of Zola's most sustained art criticism. This radical revision of the science of optics is increasingly accommodated in contemporary painting, from 1880 onwards, at the very moment of Zola's disenchantment with Impressionism. Although L'Œuvre, his novel of 1886, is set in the Second Empire (consistent with the historical limits of Les Rougon-Macquart), Zola inserts into his narrative the theory of complementary colours, the awkward anachronism notwithstanding, to explain his fictional painter's creative impotence. In relation to the latter, the article looks in detail at the genesis and textual details of a key passage in the novel in which Zola's irony at the expense of Chevreul's theories is almost explicit. At least as telling is his response to unsolicited advice about them: ‘J’ai plus de confiance dans l'observation directe que dans la théorie’. One could hardly conjure up a more succinct summary of Zola's unreconstructed approach to the science of painting which simultaneously testifies to his own principles of representation.
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Wolfe, Gary K. "Science Fiction as Criticism as Fiction." Extrapolation 30, no. 4 (January 1989): 380–87. http://dx.doi.org/10.3828/extr.1989.30.4.380.
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Ra’no Tohirovna, Toshniyozova. "The importance of synergetics in the study of fiction." International Journal on Integrated Education 2, no. 5 (November 1, 2019): 129–35. http://dx.doi.org/10.31149/ijie.v2i5.153.
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This article is devoted to the consideration of the basic principles of synergetics. The artistic text is considered as a synergistic system, since it has all the properties of this system. Synergistic terms are described in textual terms. Given the results of research in the direction. The role of synergy in textology and literary criticism in general terms is substantiated.
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Noh, Dae-won. "Posthumanist Criticism and Science Fiction." Literary Criticism 68 (June 30, 2018): 110–33. http://dx.doi.org/10.31313/lc.2018.06.68.110.
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Roberts, Robin. "It’s Still Science Fiction: Strategies of Feminist Science Fiction Criticism." Extrapolation 36, no. 3 (October 1995): 184–97. http://dx.doi.org/10.3828/extr.1995.36.3.184.
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Indraccolo, Lisa. "Textual Criticism of the." T’oung Pao 99, no. 4-5 (2013): 249–67. http://dx.doi.org/10.1163/15685322-9945p0001.
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The present article compares the two principal received editions of the Gongsun Longzi in the Daozang and the Shuofu collections. Exploring the considerable number of textual variants between these two editions, the analysis challenges the acknowledged status of the Daozang as the superior version. Instead, both the Daozang and the Shuofu editions are at times inferior or superior to one another. Therefore, in the interpretation of the Gongsun Longzi both editions need to be consulted in order to unravel certain obscure passages. Altogether, due to the generally high degree of coherence between the two editions, the understanding of the Gongsun Longzi is significantly affected by textual variants only in a limited number of cases. This further suggests that the Daozang and Shuofu editions do not represent two separate lines of transmission but rather two textual witnesses of a common line. Cet article compare les deux principales éditions reçues du Gongsun Longzi, recueillies respectivement dans le Daozang et dans le Shuofu. L’analyse des multiples variantes textuelles entre les deux versions conduit à remettre en question la supériorité généralement admise de celle du Daozang. En réalité, chacune des deux éditions est suivant les cas supérieure ou inférieure à l’autre. Pour interpréter le Gongsun Longzi il convient par conséquent de consulter l’une et l’autre si l’on veut éclaircir certains passages obscurs. Dans la mesure où dans l’ensemble les deux éditions présentent un degré élevé de cohérence entre elles, les cas où la compréhension du texte est affectée de façon significative par les variantes restent finalement peu nombreux. Ce qui suggère que les versions du Daozang et du Shuofu représentent non pas deux lignées séparées de transmission, mais plutôt deux témoignages d’une seule et même lignée.
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Frye, Joanne S. "Tillie Olsen: Probing the Boundaries Between Text and Context." Keeping Ourselves Alive 3, no. 2-3 (January 1, 1993): 255–68. http://dx.doi.org/10.1075/jnlh.3.2-3.10til.
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Abstract Cultural criticism necessitates not only an examination of the context of the writer but also a broader understanding of the ways in which text and context are integrally interrelated. For pursuing these intersections, Tillie Olsen's short fiction in Tell Me a Riddle is particularly exemplary because of its textual richness and its distinctive ways of drawing on historical context. Interviews with Olsen heighten the significance of her particular context in the 1950s and emphasize the shaping effect that circumstances had on her choices in language and form as she wrote this fiction. Two concerns surface as particularly impor-tant: family life and political activism. An inquiry into these two concerns then suggests the complexity of how voice and circumstance, language and social forces, interact—in the writer, in the text, in the reader, and finally in the choices we might make for shaping alternative understandings of cultural change. (Cultural criticism; literary criticism)
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Roberts, R. "American Science Fiction and Contemporary Criticism." American Literary History 22, no. 1 (November 20, 2009): 207–17. http://dx.doi.org/10.1093/alh/ajp048.
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Van Hulle, Dirk. "The Stuff of Fiction: Digital Editing, Multiple Drafts and the Extended Mind." Textual Cultures 8, no. 1 (March 5, 2014): 23–37. http://dx.doi.org/10.14434/tcv8i1.5048.
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Since genetic criticism regards modern manuscripts as a research object in and of itself, it objects to an editorial practice that treats manuscript studies as a mere tool towards the making of a scholarly edition. Still, an exchange of ideas between genetic criticism and scholarly editing can be mutually beneficial and may work in two directions. This essay therefore starts from digital scholarly editing, more specifically from recent developments in computer-assisted collation of multiple draft versions, to see how it can contribute to the study of modern manuscripts. The argument is that the combination of textual scholarship and genetic criticism can be an effective instrument for literary critics, enabling them to study the material aspect of the writing process as an inherent part of what cognitive philosophy calls “the extended mind”; and that this extensiveness does not only apply to the writer’s mind, but that an awareness of manuscripts as a crucial part of the “stuff of fiction” can also contribute to a better understanding of literary evocations of the fictional mind.
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Rabkin, Eric S. "Science Fiction and the Future of Criticism." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 457–73. http://dx.doi.org/10.1632/003081204x20488.
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Science fiction, ranging from films to industrial design to world's fairs, is a cultural system no more confined to literature than love is to love letters. From its self-recognition in 1926, science fiction has involved commercial and social realities most obviously visible in fandom and the hundreds of annual science fiction conventions. This system includes many types of consumers and producers, even collaboratively self-correcting volunteer bibliographers. Collectively, science fiction fandom, the first organized fandom, has created vast informational resources that allow not only reference but also statistical inquiry. The Genre Evolution Project (http://www.umich.edu/~genreevo/) shows that these social structures and resources potentiate, in an age of widespread computer networking, the transformation of criticism from acts of isolated scholars working with narrowly defined subjects to collaborative projects drawing on human and informational resources across disciplinary boundaries. Science fiction points to a future in which criticism will be more systematic, collaborative, and quantitative.
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Abdurrahmani, Tidita. "Eco-Criticism and Nature Writing .the Trails of the American Approaches." European Journal of Social Sciences Education and Research 2, no. 1 (December 30, 2014): 266. http://dx.doi.org/10.26417/ejser.v2i1.p266-278.
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Ecocritical attention has primarily focused on nineteenth– and twentieth-century British and American texts, predominantly non-fiction nature writing, and also nature-conscious fiction and poetry. The paper attempts to shed light to a series of puzzling but response-inciting questions regarding the American gendered approaches to nature, and the niche that Ecocriticism occupies in mainstream American Literature. The study is conceived as a merging of theoretical arguments and textual study. The theoretical part attempts to shed light on such issues as: Ecocritical traits and approaches; European vs. American approaches to nature; and Nature and Women's writing .The focus of the textual study are 10 American Nature Writing non-fiction classics and illustrated considerations of the main topics handled in these works. The study seeks to show that though ecocriticism is attempting to break new trails by going through the untrammeled nature-centered works, humans are failing to go within the unchartered depths of their spirit and consciousness. In terms of distinguishing in between the male gendered nature narrative and the female gendered nature narrative, the paper comes to the conclusion that there is a close connection between the systematic undervaluing of women's writing and the exploitation and abuse of the earth. While male nature writers mostly develop themes such as: the austerity of nature and the wish to explore and alter landscapes to suit the "human design"; the idea of hunting for a "trophy"; grandfather wisdom; wilderness and governmental institutions; earth as a religion, female-centered approaches to nature are marked by the occurrence of such themes as: moral –considerability of non-human beings; disapproval of economism; the bond to the land; anthropogenic destructive tendencies; nature/self consciousness. Nevertheless, although male writers fall into the snares of economism and exploring as a way of controlling, they still implicitly share women's consideration of the unbreakable bond to the earth and their awareness of the impactive immediacy to humankind.
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Zuyou, WANG. "An Interpretation of A Study of Jewishness Cynthia Ozick." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 037–44. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.005.p.
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A Study of Jewishness in Cynthia Ozick’s Fiction (2021) is a masterpiece of Chinese research circles on Cynthia Ozick, and the latest contribution made by Chinese scholars to the study of American Jewish literature. This book presents an exhaustive overview of Cynthia Ozick’s studies at home and abroad, with emphasis on the Jewishness in Ozick’s fiction and it follows the principles of Ethical Literary Criticism in analyzing how Ozick inherits and develops the Jewishness in American Jewish fiction and its literary presentation. The author’s ‘Midrash’ of Cynthia Ozick shows great international perspective and nuanced understanding and empathy. There are three impressive features of the book Firstly, it is rich in materials with a large number of first-hand foreign research materials, and its content is decorous. The monograph is a comprehensive, systematic, and cutting-edge research in this field, which starts a new situation in the study of Ozick; Secondly, it focuses on Jewishness and its artistic expression in Ozick’s fiction by combining historical, cultural, and theoretical research with textual analysis, revealing the rich connotation and internal unity of the works, and demonstrating the researchers’ profound and thorough understanding of the research object. Thirdly, it features dialectical thinking. It dialectically analyzes writers and works from multiple perspectives such as feminist criticism new historicism criticism, postmodern narrative research, and cultural research, and makes horizontal and vertical comparisons in the historical context. The monograph demonstrates well the author’s penetrating dialectical thinking.
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Zuyou, WANG. "An Interpretation of A Study of Jewishness Cynthia Ozick." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 037–44. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.005.
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A Study of Jewishness in Cynthia Ozick’s Fiction (2021) is a masterpiece of Chinese research circles on Cynthia Ozick, and the latest contribution made by Chinese scholars to the study of American Jewish literature. This book presents an exhaustive overview of Cynthia Ozick’s studies at home and abroad, with emphasis on the Jewishness in Ozick’s fiction and it follows the principles of Ethical Literary Criticism in analyzing how Ozick inherits and develops the Jewishness in American Jewish fiction and its literary presentation. The author’s ‘Midrash’ of Cynthia Ozick shows great international perspective and nuanced understanding and empathy. There are three impressive features of the book Firstly, it is rich in materials with a large number of first-hand foreign research materials, and its content is decorous. The monograph is a comprehensive, systematic, and cutting-edge research in this field, which starts a new situation in the study of Ozick; Secondly, it focuses on Jewishness and its artistic expression in Ozick’s fiction by combining historical, cultural, and theoretical research with textual analysis, revealing the rich connotation and internal unity of the works, and demonstrating the researchers’ profound and thorough understanding of the research object. Thirdly, it features dialectical thinking. It dialectically analyzes writers and works from multiple perspectives such as feminist criticism new historicism criticism, postmodern narrative research, and cultural research, and makes horizontal and vertical comparisons in the historical context. The monograph demonstrates well the author’s penetrating dialectical thinking.
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Bogucki, Michael. "George Moore's Genres." Victoriographies 6, no. 3 (November 2016): 200–218. http://dx.doi.org/10.3366/vic.2016.0238.
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This essay examines George Moore's autobiographical writing, prose fiction, and criticism for new ways of understanding shared tensions between narrative and theatre conventions in the 1880s and 1890s. Defiantly experimenting with speculative and fictionalised reminiscence, inter-arts comparisons, and consideration of an artist's care for their own reputation, Moore offers a rich field for explorations of the longevity and obsolescence of textual forms. Moore's reminiscences of British and French Impressionist painters focus more intently on the emergence of their reputations than their actual technical innovations, extending a habit developed in his novels of the 1880s of treating artistic production as small cells of a much wider network of affiliated entertainment industries. Likewise, his alternately gossipy and prescient art and theatre criticism maps surprising relations between the reception of Japanese prints, naturalism in England, changing theatrical conventions, and the influence of print journalism in ways that defy the usual periodising histories of Victorian and Edwardian fiction.
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Mahlberg, Michaela. "Clusters, key clusters and local textual functions in Dickens." Corpora 2, no. 1 (May 2007): 1–31. http://dx.doi.org/10.3366/cor.2007.2.1.1.
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The paper argues that corpus linguistics can make useful contributions to the descriptive inventory of literary stylistics. The concept of local textual functions is employed as a descriptive tool for the stylistic analysis of a corpus of texts by Charles Dickens. It is suggested that clusters, i.e. repeated sequences of words, can be interpreted as pointers to local textual functions. The focus is on five-word clusters and five functional groups are identified: Labels, Speech clusters, As If clusters, Body Part clusters and Time and Place clusters. The analysis draws on the identification of key clusters comparing the Dickens corpus with a corpus of nineteenth-century fiction, it identifies links to literary criticism and it gives specific attention to the group of Body Part clusters to illustrate the functional variation of clusters.
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Santamarina, Xiomara. "Fugitive Slave, Fugitive Novelist: The Narrative of James Williams (1838)." American Literary History 31, no. 1 (January 1, 2019): 24–46. http://dx.doi.org/10.1093/alh/ajy051.
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AbstractThis essay argues for reading a discredited slave narrative—the Narrative of James Williams (1838)—as an early black novel. Reading this narrative as a founding black novel à la Robinson Crusoe complicates the genealogy and theoretical parameters of literary criticism about early US black fiction. Such a reading revises accounts about the emergence of the third-person fictive voice inaugurated by Frederick Douglass and William Wells Brown in the 1850s. It also offers a new understanding of the antislavery movement’s quest for authenticity. More importantly, reading NJW as novelistic fiction illustrates how a fugitive slave might narrativize muddied textual politics and effectively challenge the reparative vision with which we theorize the genres and politics of early African American literary texts.
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Zibrak, Arielle. "The Progressive Era’s New Optimists." American Literary History 32, no. 2 (2020): 376–84. http://dx.doi.org/10.1093/alh/ajaa001.
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Abstract New scholarship in the literature and print culture of the Progressive Era emphasizes the socially and politically transformative power of aesthetic experience. Through their attention to the physical as well as ideological spaces in which the dual projects of political reform and cultural formation via textual production and consumption were carried out, these scholars offer an account of Progressive-Era aesthetic products ranging from fiction to journalism to comics to productions of Elizabethan drama as democratic sites of social good. While previous criticism of the era’s literature aligned its ideological orientation with the regressive politics of nativism and rising class divisions, these scholars, through both recovery and rereading, take a more optimistic approach that emphasizes the reciprocal nature of the textual engagement undertaken by immigrants and the working class.
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Malmgren, Carl D., John J. Pierce, C. N. Manlove, and Albert Wendland. "Against Genre/Theory: The State of Science Fiction Criticism." Poetics Today 12, no. 1 (1991): 125. http://dx.doi.org/10.2307/1772985.
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Rebekah Sheldon. "New Approaches to Science Fiction Criticism: A Panel Report." Science Fiction Studies 41, no. 3 (2014): 689. http://dx.doi.org/10.5621/sciefictstud.41.3.0689.
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Rob Latham. "Reply to Elana Gomel's Review of Science Fiction Criticism." Science Fiction Studies 45, no. 3 (2018): 645. http://dx.doi.org/10.5621/sciefictstud.45.3.0645.
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Müller-Sievers, Helmut. "Reading Evidence: Textual Criticism as Science in the Nineteenth Century." Germanic Review: Literature, Culture, Theory 76, no. 2 (January 2001): 162–71. http://dx.doi.org/10.1080/00168890109601552.
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Bolay, Jordan. "“Same Old Ed, . . . Uncommitted”: BMW Socialism and Post-Roguery in Guy Vanderhaeghe’s Early Fiction." Text Matters, no. 9 (December 30, 2019): 118–36. http://dx.doi.org/10.18778/2083-2931.09.07.
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In this paper I assess how Guy Vanderhaeghe’s early fiction criticizes the class-based and civil movements of post-1960s Saskatchewan through the recurring character of Ed. The protagonist of “Man Descending” and “Sam, Soren, and Ed” from Man Descending, the uncollected “He Scores! He Shoots!” and the novel My Present Age, Ed both condemns and epitomizes the contaminated and seductive gestures of the movements’ influences and enterprises. Vanderhaeghe deploys layers of social criticism: the first comments on the new urban progressive generation—the BMW socialists—while another manifests a counter-criticism that comments on those who challenge social progress, questioning their motives and the credibility of their critique. But what is a BMW socialist? A sociopolitical chameleon hiding behind pretense? Ed describes such a creature as a former “nay-sayer and boycotter” who “intended to dedicate his life to eternal servitude in a legal-aid clinic,” but then “affluence did him in” and now “his ass [is] cupped lovingly in the contoured leather seats of his BMW” (Man Descending 237–38). Vanderhaeghe’s early works criticize the contemporary middle class and progressivist movements of the second half of the twentieth century through this sociopolitical rogue—who in turn becomes a post-rogue. For Ed is ironically undercut by a counter-narrative that is often sub-textual, resulting in a fascinating appraisal of social ignorance, immobility, and unproductivity rather than of any specific ideology.
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Chernyak, M. A., and M. A. Sargsyan. "“HOW DO WE WRITE”, OR THE PROBLEM OF LITERARY SELF-CONSCIOUSNESS." Siberian Philological Forum 14, no. 2 (May 30, 2021): 67–79. http://dx.doi.org/10.25146/2587-7844-2021-14-2-79.
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Statement of the problem. The interest of modern literary criticism to the problem of literature reflection is carried out mainly on the material of various metatexts, especially vividly represented in the turn of the century. The purpose of the article is to reveal author’s identity and artistic self-reflection in non-fiction texts. In this regard, the collection of articles entitled “How Do We Write”, compiled in 2018 by St. Petersburg writers Pavel Krusanov and Aleksander Etoev, is of particular interest. This book was written in reply to the book “How Do We Write” in 1930. The literary process of the 1920s, like, in many respects, literature of the new 21st century, was a period of renewal of various types and genres of artistic creativity, a period of the birth of new forms. Research results. Comparison of the two books, in which writers from different literary eras reflect on the nature of creativity, on the technology of literary work, on relationships with a reader, gives grounds to talk about the contours of a new textual criticism of the 21st century. Deformation of the canon, destruction of the boundaries of literature and aesthetic taste, and new forms of communication influenced the content and form of texts. Conclusions. With emergence of Internet reality, new sources of textual criticism appeared. The new literary reality dictates its own laws and creates new conditions for the development of publish- ing, writing, and reading relationships. Modern literature, like the literature of past years, reacts to cultural and historical events and to the development of the literary process, reflecting on the creation of the text and on the role of a writer here and now.
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Mara, Miriam O'Kane. "Nuala O'Faolain: new departures in textual and genetic criticism." Irish Studies Review 21, no. 3 (August 2013): 342–52. http://dx.doi.org/10.1080/09670882.2013.808873.
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Epp, Eldon Jay. "New Testament Textual Criticism Past, Present, and Future: Reflections on the Alands' Text of the New Testament." Harvard Theological Review 82, no. 2 (April 1989): 213–30. http://dx.doi.org/10.1017/s0017816000016138.
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History, theory, and practice are interwoven in most realms of human knowledge, yet students approaching a field often care little about its history; they are more concerned with its application and how the discipline is practiced. This may be illustrated from the physical and biological sciences, where it is common not only for novices but even experts to take an interest only very late—if at all—in the history of science, and more so among physicians, to whom the history of medicine is usually a curiosity at best. Students first grappling with NT textual criticism are not likely to be different—they want to know the “jargon,” the “rules,” and the basic methods that will permit them to practice the art and (as they are more likely to view it) the science of textual criticism. In this particular subfield of NT studies, however, the history and the practice of the discipline cannot easily be separated. After all, the canons of criticism—the so-called “rules” in textual criticism—are anything but objective standards that can be applied in a rigid, mechanical fashion.
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Tucker, David, and Mark Nixon. "Toward a Scholarly Edition of Beckett's Critical Writings." Journal of Beckett Studies 24, no. 1 (April 2015): 49–56. http://dx.doi.org/10.3366/jobs.2015.0119.
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This essay outlines the case for a new, scholarly edition of Beckett's critical writings, one that would be complete and with critical annotation. For the most part these texts (critical writings, tributes, in memoria and epigraphs) have been published in a range of places. As well as in the magazines, newspapers, books and special-issue publications in which pieces originally appeared, a number were collected in Disjecta (Calder 1983 & Grove 1984). This volume, however, is not exhaustive; it misses out a number of important texts (not least Proust) and contains some textual inaccuracies. Furthermore, Beckett's critical writings are currently not available from the UK publishers Faber and the Grove Press Centenary Edition of Beckett's works, the fourth volume of which contains a section entitled ‘Criticism’, presents only three works of criticism by Beckett (Proust, ‘Dante … Bruno . Vico . . Joyce’ and ‘Three Dialogues’). In this essay, we give a brief (and far from exhaustive) overview of the publication history of Beckett's non-fiction prose texts, before outlining some of the editorial challenges they pose. Although Beckett tended to be dismissive of these works, they form an integral part of his canon.
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GURD, SEAN. "On Text-Critical Melancholy." Representations 88, no. 1 (2004): 81–101. http://dx.doi.org/10.1525/rep.2004.88.1.81.
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ABSTRACT This essay discusses a lost chapter in the history of the textual criticism of Euripides' Iphigenia at Aulis: G. Hermann's 1847 De Interpolationibus Euripideae Iphigeniae in Aulide. I argue that this work, like all textual criticisms in classics, aims to represent not the image of a lost original, but rather a singular image of textual history and formal change. This has consequences for the reading of critical texts in general, which do not aim to return us to the past but to provide a charter of history conceived as a temporally heterogeneous textual multiplicity.
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ALAND, BARBARA. "Welche Rolle spielen Textkritik und Textgeschichte für das Verständnis des Neuen Testaments? Frühe Leserperspektiven." New Testament Studies 52, no. 3 (July 2006): 303–18. http://dx.doi.org/10.1017/s0028688506000166.
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Current methodological discussion within the field of New Testament studies focuses today on the influence of the work and its history, and is often motivated by newer findings in linguistics and literary criticism. Such inquiry is broadened through its correlation to reception theory, i.e. that inquiry that focuses on how readers understood the work during the course of its transmission or reception. By contrast to the above, textual criticism is that science that tries to discover the ‘original text’ as exactly as possible. Here I would like to ask, to what extent do the ‘witnesses’ (e.g. manuscripts, versions, quotations, etc.) of textual criticism also function as interpreters and ‘receivers’ of the text. In all three of the topics handled here we have been aware of an interaction between text and reader.
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Przytuła, Piotr. "Krytycznie o gatunku – Lema i Dukaja poglądy na fantastykę naukową." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (December 13, 2021): 125–40. http://dx.doi.org/10.36770/bp.626.
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In the essay Science fiction: a hopeless case - with exceptions, Stanisław Lem spoke negatively about science fiction (but also about its authors and fans), proving its secondary nature and entanglement in market laws, pointing out the lack of reliable criticism from outside the fandom and flattering the tastes of recipients who only seek entertainment in literature. The author of Solaris included science fiction in the “lower kingdom” of literature, contrasting it with mainstream (“upper kingdom”). Thus, he symbolically strengthened the division into the fantastic “ghetto” and mainstream literature.Jacek Dukaj also spoke about science fiction in a slightly less categorical tone. In the essay Krajobraz po zwycięstwie, czyli polska fantastyka AD 2006 [Landscape after victory, or Polish fantasy AD 2006], the author of Ice noticed similar problems that Lem had seen in the past (lack of external criticism, lack of ambition, stagnation and reluctance of SF writers to go beyond plot and language patterns, flattering fashions and treating science fiction prose only as entertainment literature); however, unlike Lem, he seemed to be interested in the fate of his environment and proposed specific solutions that could raise the rank of science fiction.
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Simsone, Bārbala. "Science Fiction In Latvian Literature." Interlitteraria 22, no. 2 (January 16, 2018): 397. http://dx.doi.org/10.12697/il.2017.22.2.16.
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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.
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Fontana, Chiara. "“Beyond a Snow Pile”: Najīb Surūr’s Challenging Reading of the Egyptian Literary Canon in Riḥlah Fī Thulāthiyyat Najīb Maḥfūẓ." Journal of Arabic Literature 51, no. 3-4 (August 20, 2020): 189–214. http://dx.doi.org/10.1163/1570064x-12341410.
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Abstract This study of the Egyptian intellectual Najīb Surūr’s critical essay, Riḥlah fī Thulāthiyyat Najīb Maḥfūẓ (c. 1978; A Journey into Najīb Maḥfūẓ’s Trilogy) argues that this underexplored work of Surūr is a brave assessment of the Egyptian literary canon of the 1950s. The argument finds justification in the author’s unique mastery of irony, and his vigorous textual engagement with Maḥfūẓ’s widely acclaimed masterpiece. Throughout his essay, liberated from a “snow pile” of sensational success, Surūr dives into Maḥfūẓ’s novel Bayna al-Qaṣrayn, in order to bolster his conviction that all authors and genres deserve in-depth analyses. Arguing the viability of applying the Constance School’s Reception Theory in evaluating Surūr’s revolutionary reading, this paper seeks to resituate new aesthetical and ideological paradigms in criticism within the broader context of extra literary/intraliterary dynamics that give birth to competing works of fiction. Surūr’s effort also highlights a compelling mismatch between young authors’ de jure inventive ambitions and their de facto conciliation with previous models.
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Demeulenaere, Alex. "„Faux comme un diamant du Canada“." Romanistisches Jahrbuch 73, no. 1 (November 8, 2022): 329–41. http://dx.doi.org/10.1515/roja-2022-0014.
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Abstract The European travel narratives that follow the discovery of the New World have already been extensively studied, from historical, anthropological and literary perspectives. However, we would like to reread them from the perspective of the tension between a “marvellous possession” (Greenblatt 1991) and a more profound failure. The early travelogues show a complex discursive architecture with a textual subject facing an absolute Other, seeking to establish on the one hand an analogy based on a reassuring fictional intertextual horizon and on the other an exaggeration of otherness, symbolised by anthropophagy and monstrosity. If, as Todorov (1982) thinks, such an architecture was indispensable to the enterprise of conquest, it is nevertheless at the root of a triple failure. If the undeniable intercultural failure has already been widely studied, we will develop two others: the failure of the genre of the travelogue from the Middle Ages as an interpretative matrix, and, more profoundly, the failure of a Western knowledge paradigm, which will be shown in an exemplary way by the criticisms of las Casas and Montaigne.
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Kambon, Ọbádélé Bakari, and Lwanga Songsore. "Fiction vs. Evidence: A Critical Review of Ataa Ayi Kwei Armah’s Wat Nt Shemsw and the Eurasian Rhetorical Ethic." African and Asian Studies 20, no. 1-2 (April 27, 2021): 124–53. http://dx.doi.org/10.1163/15692108-12341486.
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Abstract At the 2018 Outstanding African Thinkers Conference on Nna Chinweizu, attendees – the first author included – took a pledge that “In all branches of our lives, we must be capable of criticizing and of accepting criticism. But criticism, proof of the willingness of others to help us or of our willingness to help others, must be complemented by self-criticism – proof of our own willingness to help ourselves to improve our thoughts and our actions. This is a sacred principle and it is my sacred duty to apply and defend it at all costs” (Chinweizu 2018). In response to that call to action, this article represents an effort to restore MꜢꜤt ‘Maat.’ Ataa Ayi Kwei Armah’s Wat Nt Shemsw: The Way of Companions epitomizes undeclared fiction masquerading as an accurate reflection of the mythology of classical Kmt ‘Land of Black People.’ By cross-checking Ataa Armah’s undeclared fiction with actual historical, iconographical, and archaeological data, we are able to debunk his numerous misrepresentations. We find that the best way to approach Kmt ‘Land of Black People’ is through direct engagement with actual evidence rather than through the distortions of fiction writers turned Egyptologists. Further, we will address the personality cult, or what we term “Ataa Armah’s Manor Shemsw model,” which embodies the rhetorical ethic whereby all egalitarians are equal, but some egalitarians are more equal than others (Orwell, Baker, and Woodhouse 1996).
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Holmes, Andrew R. "Biblical Authority and the Impact of Higher Criticism in Irish Presbyterianism, ca. 1850–1930." Church History 75, no. 2 (June 2006): 343–73. http://dx.doi.org/10.1017/s0009640700111345.
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The decades between 1850 and 1930 saw traditional understandings of Christianity subjected to rigorous social, intellectual, and theological criticism across the transatlantic world. Unprecedented urban and industrial expansion drew attention to the shortcomings of established models of church organization while traditional Christian beliefs concerning human origins and the authority of Scripture were assailed by new approaches to science and biblical higher criticism. In contradistinction to lower or textual criticism, higher criticism dealt with the development of the biblical text in broad terms. According to James Strahan, professor of Hebrew at Magee College, Derry, from 1915 to 1926, textual criticism aimed “at ascertaining the genuine text and meaning of an author” while higher “or historical, criticism seeks to answer a series of questions affecting the composition, editing and collection of the Sacred Books.” During the nineteenth century, the controversy over the use of higher critical methods focused for the most part upon the Old Testament. In particular, critics dismissed the Mosaic authorship and unity of the Pentateuch, arguing that it was the compilation of a number of early documentary fragments brought together by priests after the Babylonian Exile in the sixth century B.C. This “documentary hypothesis” is most often associated with the German scholar, Julius Wellhausen. Indeed, higher criticism had been fostered in the extensive university system of the various German states, which encouraged original research and the emergence of a professional intellectual elite. It reflected the desire of liberal theologians to adapt the Christian faith to the needs and values of modern culture, particularly natural science and history.
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Zhang, Xiaohong, and Peiyi Ou. "Magic realism and science fiction: Salman Rushdie’s inter-generic writing." International Journal of Arts and Humanities 2, no. 1 (2021): 36–43. http://dx.doi.org/10.25082/ijah.2021.01.001.
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Salman Rushdie’s fiction is well-known for its abundant mixes of magic realist and science fiction textual elements. By resorting to three writing strategies, namely “meta-writing,” “split-writing” and writing about identity-related issues, Rushdie generates a type of “inter-generic writing” that serves to voice authorial appeals for hybridity, impurity and plurality. Meta-writing is an authorial construction of the neo-historicist verisimilitude justifying the legitimacy and self-sufficiency of literary writing. Split-writing reveals “the alterity of selves,” thus advocating tolerance and pluralism. Writing about identity-related issues is no less than a politicized identity construction, in the quest for multiple postcolonial subjectivities in the “Third Space.”
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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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Protasov, Timofei A. "Textual Multiverse in Science Fiction Prose, as in I. Asimov’s “The Bicentennial Man”." Tyumen State University Herald. Humanities Research. Humanitates 3, no. 2 (2017): 109–21. http://dx.doi.org/10.21684/2411-197x-2017-3-2-109-121.
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Hladík, Radim, and Neal Digre. "The literature/science boundary in sociological articles: Using fiction to discover patterns in co-authorship, author gender, and citation rank." Current Sociology 70, no. 3 (November 25, 2021): 381–402. http://dx.doi.org/10.1177/00113921211057605.
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Sociology has been described as a ‘third culture’ between science and literature. The distinctions between different orientations in sociological writing have been studied primarily through their non-textual manifestations (publication genres or venues, methodologies used, scientometric indicators, etc.). Our knowledge of how the science–literature boundary relates to the rhetorical composition of sociological texts therefore remains limited. We mixed a bespoke corpus of Czech sociological articles with a corpus of Czech short fiction to straightforwardly account for the relationship between sociology and literature. Unsupervised classification based on the distribution of most frequent verbs yielded two categories of sociological articles. Each cluster exhibited significant association with non-textual variables. Articles less similar to literature were associated with higher rates of co-authorship, citation counts, and number of women as first authors. Both clusters also displayed clear semantic differences. The signal from literary works increased variance in the textual feature space and subsequent pseudo-experimental validation confirmed its indispensability for the discovery of the association between the rhetorical pattern of verbs usage and non-textual variables related to sociological articles.
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Abarchah, Mahdia. "The Limits of Teaching Literary Discourse: A Stylistic Approach." Studies in Pragmatics and Discourse Analysis 3, no. 1 (July 25, 2022): 1–6. http://dx.doi.org/10.48185/spda.v3i1.436.
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Some scholars take it for granted that literature and linguistics are detached areas of education. Stylistics, however, as the study will show, is the field where literary criticism and linguistics could overlap and thus contribute to ameliorating the strategies of teaching literature. There are two streams of literary criticism: the textual approaches, such as Formalism and New Criticism, which highlight close reading of the given text. On the other hand, there are contextual disciplines, for instance, Marxist Criticism and Feminist Criticism, which draw on socio-political and ideological movements. Consequently, teachers vary in the way they interpret and instruct their students. Stylistics, nonetheless, is a field where different approaches could converge. It is not only a theory describing how one could read and understand a literary discourse but also a pedagogical method that could help students appreciate literature and encourage them to be involved in the interpretation procedure. The study will illustrate these points through the discussion of “foregrounding”—a stylistic device—in Gerard Manley Hopkins’ poem: “Pied Beauty”. Yet, however efficient in stylistics a teacher could be, he/she should respect certain limits.
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Čipkár, Ivan. "Aesthetic Universals in Neil Gaiman’s Post-Postmodern Mythmaking." Prague Journal of English Studies 8, no. 1 (July 1, 2019): 97–117. http://dx.doi.org/10.2478/pjes-2019-0006.
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Abstract Aesthetic theory, as reflected in both contemporary cognitive (Patrick Colm Hogan) and more traditional structuralist criticism (H.G. Widdowson), points to the dynamics between familiarity and surprise as the driving force behind the pleasure we derive from reading fiction. This paper explains how Neil Gaiman’s works, particularly his novel Neverwhere, utilize genre expectations and reinvent mythologies in order to captivate audiences in the current age of unprecedented access to information and a rather superficial intertextuality. The paper draws on Brian Attebery’s analyses of the literature of the fantastic to place Gaiman within the context of both modernist and postmodernist legacies, while proposing that his works could be best understood as representative of the current cultural paradigm, sometimes labelled as the pseudo-modern or post-postmodernism. The discussion of the shifting paradigm is used as a backdrop for the scrutiny of the devices employed in Gaiman’s writing: the pre-modern focus on storytelling, prototypicality, modernist “mythic principle”, postmodernist textual strategies, and utilization of current technologies and mass-communication media.
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Knight, Mark. "FIGURING OUT THE FASCINATION: RECENT TRENDS IN CRITICISM ON VICTORIAN SENSATION AND CRIME FICTION." Victorian Literature and Culture 37, no. 1 (March 2009): 323–33. http://dx.doi.org/10.1017/s1060150309090214.
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Over the last thirty years or so, sensation fiction has shaken off its scandalous roots to become a respectable area of academic study. The transformation began with the publication of Winifred Hughes's The Maniac in the Cellar (1980) and Patrick Brantlinger's “What Is ‘Sensational’ about the ‘Sensation Novel’?” (1982), and gathered pace in the 1980s and 90s through the contributions of Ann Cvetkovich, Pamela Gilbert, D. A. Miller, Lyn Pykett, and Jenny Bourne Taylor. One of the results of all this scholarly interest is that the genre has begun to attract more introductory works that concentrate on consolidating what others have said. Ideas that were once considered new or controversial are now seen as common knowledge: we know that sensation fiction involves more than the influential novels written in the 1860s by Mary Elizabeth Braddon and Wilkie Collins; we are familiar with the frequent blurring between sensation fiction and other genres (including crime fiction and the gothic); we are well schooled in interdisciplinary approaches that read sensation fiction alongside science, psychology, and law; and we are used to competing claims for sensation fiction as a subversive or conservative genre. With so much attention being given to a collection of writings once described by Hughes as “irretrievably minor” (167) and by Brantlinger as “a minor subgenre of British fiction” (1), one could be forgiven for thinking that there are few secrets left to be uncovered. Yet, as the wide array of books considered here attests, the critical appeal of sensation fiction and Victorian crime shows no sign of abating. If anything, the first few years of the twenty-first century have seen even greater levels of interest: a number of Victorian Studies conferences have chosen sensation as their theme, and the genre features regularly in the pages of academic journals. Given that the extent of our ongoing fascination would probably have shocked a previous generation of scholars, this review of recent critical trends will try and figure out why the genre possesses such a powerful hold on our thinking and whether or not this hold is likely to continue.
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Milner, Andrew. "Resources for a Journey of Hope: Raymond Williams on Utopia and Science Fiction." Cultural Sociology 10, no. 4 (June 21, 2016): 415–30. http://dx.doi.org/10.1177/1749975516631584.
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Raymond Williams had an enduring interest in science fiction, an interest attested to: first, by two articles specifically addressed to the genre, both of which were eventually published in the journal Science Fiction Studies; second, by a wide range of reference in more familiar texts, such as Culture and Society, The Long Revolution, George Orwell and The Country and the City; and third, by his two ‘future novels’, The Volunteers and The Fight for Manod, the first clearly science-fictional in character, the latter less so. This article will summarise this work, and will also explore how some of Williams’s more general key theoretical concepts – especially structure of feeling and selective tradition – can be applied to the genre. Finally, it will argue that the ‘sociological’ turn, by which Williams sought to substitute description and explanation for judgement and canonisation as the central purposes of analysis, represents a more productive approach to science fiction studies than the kind of prescriptive criticism deployed by other avowedly ‘neo-Marxist’ works, such as Darko Suvin’s Metamorphoses of Science Fiction and Fredric Jameson’s Archaeologies of the Future.
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Emma Liggins. "Victorian Sensation Fiction: A Reader's Guide to Essential Criticism (review)." Victorian Periodicals Review 43, no. 1 (2010): 83–84. http://dx.doi.org/10.1353/vpr.0.0110.
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White, Brian. "Anxious Apocalypse: Transmedia Science Fiction in Japan’s 1960s." Humanities 12, no. 1 (January 22, 2023): 15. http://dx.doi.org/10.3390/h12010015.
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Science fiction (SF) developed as a self-identified genre in Japan in the 1950s and quickly underwent a boom in the 1960s. Throughout this period, SF literature, film, and television were tightly intertwined industries, sharing production personnel, textual tropes, and audiences. As these industries entered global circulation with the hope of finding recognition and success in the international SF community, however, they encountered the contradictions of the Cold War liberal cultural system under the US nuclear umbrella. Awareness of the discursive marginalization of Japanese SF in the Euro-American dominated global SF scene manifested in Japanese texts in the twin tropes of apocalypse and anxiety surrounding embodiment. Through a close reading of two SF films—The X from Outer Space (Uchū daikaijū Girara, 1967) and Genocide (Konchū daisensō, 1968), both directed by Nihonmatsu Kazui for Shochiku Studios—and Komatsu Sakyō’s 1964 SF disaster novel Virus: The Day of Resurrection (Fukkatsu no hi), I argue that, largely excluded from discursive belonging in the global community of SF producers and consumers, Japanese authors and directors responded with texts that wiped away the contemporary status quo in spectacular apocalypses, eschatological breaks that would allow a utopian global order, as imagined by Japanese SF, to take hold.