Bibliographies thématiques / Science fiction – history and criticism – theory, etc

Littérature scientifique sur le sujet « Science fiction – history and criticism – theory, etc »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 27 juillet 2024

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Articles de revues sur le sujet "Science fiction – history and criticism – theory, etc"

Roberts, R. « American Science Fiction and Contemporary Criticism ». American Literary History 22, n^o 1 (20 novembre 2009) : 207–17. http://dx.doi.org/10.1093/alh/ajp048.

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Zhang, Zhehui. « A Post-Colonial Approach to The Man Who Ended History : A Documentary ». English Language and Literature Studies 10, n^o 2 (16 avril 2020) : 53. http://dx.doi.org/10.5539/ells.v10n2p53.

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The Man Who Ended History: A Documentary is a science fiction by Chinese American science fiction writer Ken Liu (1976-). Based on the theory of Post-Colonial Criticism, this paper makes a concrete analysis of the text from the perspectives of three eminent contemporary theorists, aiming at the readers’ better understanding of the work, and eliminating ethnocentrism, racism, unilateralism and hegemony; keeping history in mind and justifying the names of innocent humans who have been persecuted; safeguarding world peace, and building a community with a shared future for mankind.

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Lähteenmäki, Ilkka. « Possible Worlds of History ». Journal of the Philosophy of History 12, n^o 1 (22 mars 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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Collinge, James T. « ‘With envious eyes’ : Rabbit-poaching and class conflict in H. G. Wells’s The Time Machine and The Island of Doctor Moreau ». Literature & ; History 26, n^o 1 (mai 2017) : 39–55. http://dx.doi.org/10.1177/0306197317695082.

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Allusions to rabbits and poaching recur throughout H. G. Wells's work. In spite of the frequency with which they appear, these motifs remain overlooked within scholarly criticism. This article, by analysing Wells's representations of rabbit-poaching, first considers how nineteenth-century histories of industrialisation and game-crime shape his science fiction. It then explores the contradictory nature of these representations, which both demonise and sympathise with the figure of the rabbit-poacher, providing further insight into the class confusion that recent criticism perceives to characterise Wells's writing in this period.

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Gómez-de-Tejada, Jesús. « Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo ». Studia Romanica Posnaniensia 47, n^o 1 (15 mars 2020) : 5–17. http://dx.doi.org/10.14746/strop.2020.471.001.

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Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.

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Emma Liggins. « Victorian Sensation Fiction : A Reader's Guide to Essential Criticism (review) ». Victorian Periodicals Review 43, n^o 1 (2010) : 83–84. http://dx.doi.org/10.1353/vpr.0.0110.

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ALAND, BARBARA. « Welche Rolle spielen Textkritik und Textgeschichte für das Verständnis des Neuen Testaments ? Frühe Leserperspektiven ». New Testament Studies 52, n^o 3 (juillet 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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Gómez López, Susana. « Enthusiasm and Platonic furor in the Origins of Cartesian Science : The Olympian Dreams ». Early Science and Medicine 25, n^o 5 (25 novembre 2020) : 507–35. http://dx.doi.org/10.1163/15733823-00255p04.

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Abstract In the Olympica, the lost manuscript wherein Descartes described his famous three dreams, he wrote that on the night of Saint Martin in 1619 he felt asleep in a state of enthusiasm. He interpreted the dreams that ensued as the divine revelation of the principles of a new and admirable science. I here propose that the Olympica were a literary fiction devised by Descartes to legitimize his arrival on the philosophical scene by proposing the principles of a new science. The function of dreams as the best way to reach true wisdom is in line with a long philosophical tradition. This paper offers an attempt to understand the Cartesian enthusiasm in its context, that is, before the criticism of enthusiasm as something incompatible with reason became widespread and when it was still linked to the Platonic theory of furor – poetic and divine – the state that allows the subject access to the truth.

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Basu, M. « A Matter of Light and Shade : Fiction and Criticism in R. K. Narayan's Malgudi ». boundary 2 40, n^o 2 (1 juin 2013) : 215–38. http://dx.doi.org/10.1215/01903659-2151857.

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Fresán, Rodrigo. « The Sebald Case ». boundary 2 47, n^o 3 (1 août 2020) : 169–75. http://dx.doi.org/10.1215/01903659-8524479.

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In this essay, the author offers a candid discussion of Sebald’s legacy and the flurry of criticism aimed at securing his place in the literary canon. It engages many of Sebald’s signature themes: memory, amnesia, silence, history, and trauma. The author acknowledges Sebald’s masterful blend of language, photography, and archival material, resulting in a uniquely hybrid narrative form falling somewhere between essay and fiction. The essay is critical of Sebald’s most dedicated admirers—not because of any perceived paucity in Sebald’s work, but rather the shortsightedness of the critical machine that is desperately trying to fossilize Sebald as the end point of modern literature.

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Thèses sur le sujet "Science fiction – history and criticism – theory, etc"

Floerke, Jennifer Jodelle. « A queer look at feminist science fiction : Examing Sally Miller Gearhart's The Kanshou ». CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2889.

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This thesis is a queer theory analysis of the feminist science fiction novel The Kanshou by Sally Miller Gearhart. After exploring both male and female authored science fiction in the literature review, two themes were to be dominant. The goal of this thesis is to answer the questions, can the traditional themes that are prevalent in male authored science fiction and feminist science fiction in representing gender and sexual orientation dichotomies be found in The Kanshou? And does Gearhart challenge these dichotomies by destabilizing them? The analysis found determined that Gearhart's The Kanshou does challenge traditional sociological norms of binary gender identities and sexual orientation the majority of the time.

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Selling, Kim Liv. « Nature, reason and the legacy of romanticism : constructing genre fantasy ». Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/2565.

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Payne, Christopher Neil. « Terminus intractable and the literary subject : deconstructing the endgame in Chinese avant-garde fiction ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29518.

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The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.

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Mackinnon, Jeremy E. « Speaking the unspeakable : war trauma in six contemporary novels ». Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm15821.pdf.

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Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

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Kelly, Michelle. « Library encounters : textuality and the institution ». Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/14380.

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The library is an institution and a work: it has developed functions and processes which constitute aspects of textual experience. For readers, students, and researchers, objects and practices such as library patronage, library books, and library classification are often familiar. They are also unique: there is no other textual site or institution which produces them in the way the library does. Brought into being by the work of the library, these objects and practices are also wrought forms available to abstraction and interpretation. Prevalent and regularised, the forms are consequential for the activities of reading and writing, producing singular textual phenomena. Library patronage facilitates, administers, and orchestrates the reading experience. The library is often associated with textual complexity and heterogeneity, and is regularly represented as having a tendency to overwhelm its users. Patronage’s experience, however, need not be as passive as this. Richard Brautigan’s 'The Abortion: An Historical Romance 1966' and Mark Swartz’s 'Instant Karma' are unusual representations of library patronage which show it to be involved in a textual phenomenology of its own right. These two novels indicate how patronage opens up a critical space of reflection for reading. Involved in a cycle of borrowing, patronage in fact gestures towards the interminable in textual experience, its weave in life. The character of O in Pauline Réage’s 'Story of O' is a model of circulation: inducted into an institution which sees her shared between its members, she is tagged, processed, circulated, and always returned. I take O as an allegory in order to undertake a descriptive phenomenology of the circulating library book. The library book can be differentiated from others: books which are privately owned, for instance, or books which have been found, given, or borrowed from friends. I describe critical aspects of the ontology of library books, such as the transformative process they undergo at the behest of the institution. The most significant of these aspects, however, is the way that library books can be understood to be oriented towards strangers, and as a consequence incarnate significantly defamiliarised elements within the reading experience. Classification is explored in relation to library holdings of fiction. Using Carlos María Domínguez’s novella 'The Paper House' and Jorge Luis Borges’s short story 'The Library of Babel,' as well as work from anthropology and library science on classification, the tensions between these two kinds of practice are investigated. Not only are there substantial difficulties involved in successfully deploying fiction arrangement practices in libraries, there seems to be a cardinal difference between fiction and classification as regards their mode of emphasis. Classification often prefers and prioritises subject – and yet librarians consistently report it is the concept of “subject” which proves most recalcitrant for the organisation of fictional material. Fiction seems to work within a model of exemplarity, and this distinction is significantly consequential. Classification’s expression is a kind of language that operates in a way which is not congruent with fictional expression, and thus classification proves resistant to reading as it is theorised in literary studies. Intervention is the theme which unites all of these encounters. Ian Hacking holds intervention to be akin to experimentation in scientific practice, and he proposes that one of intervention’s functions is the creation of phenomena. The involvement of the library in producing particular kinds of textual phenomena is considerably under-researched. At each of these locations – patronage, library books, and classification – intervention is a tool with which the library’s role in textual experience can be conceived and reconfigured. In Hacking’s work, intervention is also related to experiment. In the final chapter I conceive of interpretative practice around fiction as a kind of experiment: an activity which requires a stable context, like a laboratory or a library, to proceed.

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Dedman, Stephen. « Techronomicon (novel) ; and The weapon shop : the relationship between American science fiction and the US military (dissertation) ». University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0093.

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Techronomicon Techronomicon is a science fiction novel that examines far-future military actions from several different perspectives. Human beings have colonized several planets with help from the enigmatic and more technologically advanced Zhir, who gave spaceships and habitable worlds to those they deemed suitable and their descendants. The Joint Expeditionary Force is the military arm of the Universal Faith, called in when conflicts arise that the Faith decides are beyond the local government and militia and require their intervention. Leneveldt and Roader are JEF officers assigned to Operation Techronomicon, investigating what seems to be a Zhir-built defence shield around the planet Lassana. Another JEF company sent to Kalaabhavan after the murder of the planets Confessor-General loses its CO to a land-mine, and Lieutenant Hellerman reluctantly accepts command. Chevalier, a civilian pilot, takes refugees fleeing military-run detention camps on Ararat to a biological research station on otherwise uninhabited Lila. The biologists on Lila discover a symbiote that enables humans to photosynthesize, which comes to the attention of Operation Techronomicon and the JEF's Weapons Research Division. Leneveldt and Roeder, frustrated by the lack of progress on Lassana, are sent to Lila to detain the biologists, who flee into the swamps. Hellerman's efforts to restore peace on Kalaabhavan are frustrated by the Confessors, and his company finds itself besieged by insurgents. The novel explores individuals' motives for choosing or rejecting violence and/or military service; the lessons they learn about themselves and their enemies; and the possible results of attempts to forcibly suppress ideas.

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Blake, Greyory. « Good Game ». VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.

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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

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TAYLOR, SHAWN. « SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY ». VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.

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The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.

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Mackinnon, Jeremy E. « Speaking the unspeakable : war trauma in six contemporary novels / Jeremy E. Mackinnon ». Thesis, 2001. http://hdl.handle.net/2440/19791.

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Includes bibliographical references (leaves 246-258)
258 leaves ; 30 cm.
Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.
Thesis (Ph.D.)--University of Adelaide, Dept. of English, 2001

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Cruddas, Leora Anne. « Labyrinths, legends, legions : an allergory of reading ». Thesis, 1996. https://hdl.handle.net/10539/24311.

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A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in Engiish.
This dissertation grapples With the activity of critical production. It answers not to an interpretation which would constitute the writer within the institutionalised category of effect and object of knowledge, but rather to an explosion, a proliferation of critical paths at the limit of the doxa: a veritable labyrinth. The terms of my title open up a methodological field within which I enact the play of associations, contiguities, relations among four texts: The Name of the Rose, lost. in the Funhouse, The Naked Lunch and 'The library of Babel'. The terms themselves disseminate across the text argument in citations, references, echoes. The labyrinth is used throughout as a trope which deconstructs its own performance within the text. Legends are myths, inscriptions on maps, legenda or "things for reading" (through an etymological supplement), "lesser libraries." Barthes cites the biblical words of the man possessed by demons: "My name is Legion for we are many" and demonstrates how the demonlacal plural brings with it fundamental changes in reading strategies. The notion of the demoniacal plural is used to problernatlse the debates around subjectivity. The belief in unitary, rational selfhood is debunked and the subject is Seen to be plural, irreducible, heterogenous. Subjectivity is further problernatlsed by demonstrating the slippage among the labyrinthine multiplicity of discursive positions occupied by readers: the monoloqlcal models of meaning developed from each reading position constantly shift. The discursive position recuperated and sanctioned by the Law or the institution is impossible to maintain as Subjects are seduced by language into confrontation with other positions through their continuous renarnings of each other. Subjectivity and discursive positioning form .their own labyrinthine intentionality. The argument then moves towards an exploration of the current calculation of the subject for the writer. (Distinctions between author and critic begin to collapse here since meaning is shown to be governed by neither). The reading\writing subject strolls in a vast labyrinth of text - a postmodern flaneur who frustrates the work of exegesis by enacting the play of the signifier. The line traced by this hypothetical traveller does not engender a definitive theoretical or discursive map of the domain but rather a contingent and highly provisional, backward turning path. The demoniacal plural is also used to problematise notions of an original and innovative critical voice which "speaks" the dissertation. The logic regulating the argument is the already-written, The dissertation plavs with each text (both critical texts and fictions) looking for a practice which reproduces them but in another place. My imagined (ideal?) reader wmtreat the argument as that Which. lt was not simply meant to be,will. follow.the argument and be seduced by it: an echoing. structure with dead ends, wrong turns, false entrances fictitious exits; misleading threads and deceptive lines,
AC 2018

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Livres sur le sujet "Science fiction – history and criticism – theory, etc"

Saint, Tarun K. Witnessing partition : Memory, history, fiction. New Delhi : Routledge, 2010.

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1948-, Penley Constance, dir. Close encounters : Film, feminism, and science fiction. Minneapolis : University of Minnesota Press, 1991.

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Jameson, Fredric. Archaeologies of the future : The desire called utopia and other science fictions. New York : Verso, 2005.

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Russ, Joanna. To write like a woman : Essays in feminism and science fiction. Bloomington : Indiana University Press, 1995.

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Jameson, Fredric. Archaeologies of the future : The desire called utopia and other science fictions. London : Verso, 2005.

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International Conference on the Fantastic in the Arts (11th 1990 Fort Lauderdale, Fla.). State of the fantastic : Studies in the theory and practice of fantastic literature and film : selected essays from the Eleventh International Conference on the Fantastic in the Arts, 1990. Westport, Conn : Greenwood Press, 1992.

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Freedman, Carl Howard. Critical theory and science fiction. Hanover : Wesleyan University Press, 2000.

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Annette, Kuhn, dir. Alien zone : Cultural theory and contemporary science fiction cinema. London : Verso, 1990.

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Joyce, Michael. Othermindedness : The emergence of network culture. Ann Arbor : University of Michigan Press, 2001.

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Willems, Brian. Speculative realism and science fiction. Edinburgh : Edinburgh University Press Ltd, 2017.

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Chapitres de livres sur le sujet "Science fiction – history and criticism – theory, etc"

Rieder, John. « On defining sf, or not : Genre theory, sf, and history ». Dans Science Fiction Criticism. Bloomsbury Academic, 2017. http://dx.doi.org/10.5040/9781474248655.0013.

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Gumerova, Anna L. « The Necessary Commentary on Fantasy ». Dans Commentary : Theory and Practice, 561–81. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. http://dx.doi.org/10.22455/978-5-9208-0618-5-561-581.

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This article examines the role and functions of commentary in fantasy literature by the example of J.R.R. Tolkien’s novel The Lord of the Rings, J.K. Rowling’s Harry Potter saga and several relatively less known works, such as The Trilogy of the Sword by E. Ratkevitch and Gleams of Aeterna series by V. Kamsha. The article considers methods and problems concerning commentary, such as the differences between researchers’ commentary, translator’s commentary (that a priori should make the original text closer to the reader’s reception); authorial commentary; possibilities of multilayered commentary with the use of Internet; transition from commentary in the ordinary sense to composition reading. Presence and abundance of the various forms of the author’s commentary to the work (both commentary in the ordinary sense and various appendixes in the shape of “encyclopedias of the world”) in fantasy, as well as their comparison to the writer’s commentary in science fiction (which is not fantasy), allows us to see the particular role of commenting in fantasy. The reader must understand the declared world and its events equivalently to the author’s intentions; and this function of the commentary (that is important for other genres, too) becomes evident, exposes itself in fantasy. The article states that the adequate commentary to fantasy demands a lot of knowledge in different areas (religion, philosophy, history, cultural science, sociology, etc.); fantasy, by means of various forms of the author’s commentary, shapes its reader in some ways

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Fish, Stanley. « Milton’s Career and The Career Of Theory ». Dans There’s No Such Thing As Free Speech and It’s A Good Thing, Too, 257–66. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195080186.003.0016.

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Abstract More than fifteen years ago I appeared at the MLA to speak on the topic “New Directions in Milton Studies.” My fellow panelists, then as now twenty-five years my senior, were Joseph Summers and Louis Martz, and I was expected, presumably, to supply the radical voice. No doubt I disappointed when I predicted that there would be no new directions in Milton studies. My reasons were simple, and they still apply. First of all, the tradition of Milton studies is so strongly articulated, so well equipped with a set of hard questions and intractable problems, so burdened or graced with interpretive traditions that have been declared and elaborated by some of the most celebrated voices in literary history-Addison, Bentley, the Richardsons, Newton, Dr. Johnson, Blake, Shelley, Coleridge, Hazlitt, Macaulay, Arnold, Eliot, Pound, Leavis, Lewis, Ransom, Empson-that the conditions in relation to which a desire for the new would be felt, the conditions of surfeit and boredom, have little chance to develop. I am not making a statement about Milton-about his inexhaustible complexity or ineluctable essence-but about Milton criticism and the extent to which its history (a word we shall return to) constrains those who enter its precincts, even those who enter with the intentions of reform and critique. Not only has that history set us any number of tasks in any number of disciplines-theology, linguistics, military science, astronomy, music, dance, prosody, classics, Italian romance, cosmology, philosophy, rhetoric, zoology, etc.-but each of these tasks comes to us in the context of disputes as to how it is to be framed, in what terms, with what emphases, with what degrees of credulity or incredulity, and as a result any thesis strongly argued opens up many more avenues of inquiry than it claims to close.

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