Articoli di riviste: "Science fiction"

1

Allain, Rhett. "The fictional science of science fiction". Physics World 32, n. 11 (novembre 2019): 49–51. http://dx.doi.org/10.1088/2058-7058/32/11/39.

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Rowe, Raymond C. "Private prescription: Science fiction – fictional science?" Drug Discovery Today 6, n. 11 (giugno 2001): 561–62. http://dx.doi.org/10.1016/s1359-6446(01)01814-1.

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Xia, Tianyi. "The Development History of Chinese Science Fiction from Liu Cixin's Science Fiction". International Journal of Languages, Literature and Linguistics 6, n. 3 (settembre 2020): 136–41. http://dx.doi.org/10.18178/ijlll.2020.6.3.265.

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Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale". Open Philosophy 2, n. 1 (30 ottobre 2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.

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AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb Objects (often called BDOs) have been understood in terms of science fiction’s enduring interest in the technological sublime and the transcendental. While object-oriented ontology has often turned to science fiction and weird fiction for inspiration in rethinking the possibilities inherent in things and their relations, it has not considered the implications of BDOs for a theory of the object more broadly. The goal of this article is to consider how extreme size and representations of scale in science fiction can help expand an understanding of the object along lines that are similar to those pursued by object-oriented ontology, especially Timothy Morton’s notion of hyperobjects.

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OʼNeil, E., e E. N. Naumova. "Influenza: Science, Fiction, or Science Fiction?" Epidemiology 18, Suppl (settembre 2007): S42. http://dx.doi.org/10.1097/01.ede.0000276550.11733.25.

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Rabkin, Eric S., James B. Mitchell e Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (ottobre 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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Reinsborough, Michael. "Science fiction and science futures: considering the role of fictions in public engagement and science communication work". Journal of Science Communication 16, n. 04 (20 settembre 2017): C07. http://dx.doi.org/10.22323/2.16040307.

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

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Nandi, Shibasambhu. "Science Fiction and Film: An Analytical Study of Two Select Indian Movies". International Journal of English Learning & Teaching Skills 5, n. 4 (3 luglio 2023): 3438–46. http://dx.doi.org/10.15864/ijelts.5407.

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Science fiction is a genre of art that caters to the popular taste of the people. It presents a world mixed with science and fictional elements. It can be taken as a microcosm of fictional literature. It uses to present unfamiliar and unknown things in a familiar and known way. It provides its diverse themes and issues not only in texts but also in films. When science fiction is adapted into movies, it is able to attract a large number of audiences specially the young generation of writers. Science fictional films cover the issues like future society, challenges created by scientific developments, human enhancement through science and technology, human-machine clash, hybrid identity, world of aliens, and Artificial Intelligences. There are many films in western countries covering the issue of science fiction. Production houses designed the films in such a way that it can make an appeal to the audience. Even in India, there are several science fiction films. From 1952 to the present, Indian cinema contributes a lot by producing one after another attracting films on the theme of science fiction. The present paper is going to analyze two films Koi...Mill Gaya and its sequel Krish 3 from the perspectives of science fiction. The paper will also try to present the history of science fiction films in India and in the West. It attempts to depict the science fictional elements and new techniques shown in the films. These films are the representations of future society which accepts the inhabitation of different beings like modified human, superhuman and aliens.

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Pierce, Erin. "Science Fiction and Fantasy". Voices from the Middle 9, n. 2 (1 dicembre 2001): 74–77. http://dx.doi.org/10.58680/vm20012388.

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Offers brief annotations of 40 science fiction and fantasy books that middle school readers might enjoy. Notes that readers can confront the realities of this real world as the fictional characters fight good and evil, search for identity, summon courage, and enjoy family and friends.

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Bailey, Edward. "Science Fiction, Historical Fiction and Religion Fiction?" Implicit Religion 17, n. 4 (12 dicembre 2014): 539–41. http://dx.doi.org/10.1558/imre.v17i4.539.

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Gao, Jiali, e Yan Hua. "On the English Translation Strategy of Science Fiction from Humboldt's Linguistic Worldview —Taking the English Translation of Three-Body Problem as an Example". Theory and Practice in Language Studies 11, n. 2 (1 febbraio 2021): 186. http://dx.doi.org/10.17507/tpls.1102.11.

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In recent years, many science fictions have been published, such as The Three-body Problem, The Wandering Earth, and so on. The number of people who are interested in science fiction is increasing. Meanwhile, the translation of science fiction has become more important. The Linguistic Worldview proposed by Humboldt is of great importance to the translation of science fiction. This thesis is based on Linguistic Worldview. It analyzes The Three-body Problem (English version) and the importance of such theory to the translation of science fiction. It proposes three translation strategies: free translation, literal translation, and transcreation.

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Guerrier, Simon. "The fiction behind science fiction". Lancet Psychiatry 6, n. 12 (dicembre 2019): e32. http://dx.doi.org/10.1016/s2215-0366(19)30452-3.

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O'Krent, Michael. "Toward a Science-Fictional Interpretational Method: Reading Three Borges Stories". Science Fiction Studies 51, n. 1 (marzo 2024): 32–52. http://dx.doi.org/10.1353/sfs.2024.a920232.

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ABSTRACT: This article reconsiders Samuel R. Delany's theory of science fiction as a form of language in order to develop the notion that science fiction is a method of making meaning and reading texts. Three stories by the Argentinian writer Jorge Luis Borges, "The Aleph," "The Library of Babel," and "Tlön, Uqbar, Orbis Tertius," are read as science fiction to demonstrate how the method functions. Borges's ambiguous relationship with science fiction during his lifetime is well-documented, but no previous study of Borges as a science-fiction writer exists in English. The notion of science fiction as a way of reading enables a reading that treats the elements of textual playfulness that make Borges's texts so beloved throughout literary studies as science fictional, because they encourage the reader to reconstruct an alternate world around the text and create a comprehensive theory of how that world works.

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Shkurov, Ye V. "ANTHROPOLOGICAL CREDO OF CONTEMPORARY SCIENCE FICTION". PHILOLOGICAL SCIENCES JOURNAL 2 (2023): 53–61. http://dx.doi.org/10.52081/phsj.2023.v02.i2.011.

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The paper delves into an analysis of how humanity is portrayed within the expansive realm of science fiction. Recognizing the genre's unparalleled ability for world-building, the study examines science fiction as a cultural artifact that mirrors societal values, fears, and aspirations. It investigates how the genre adapts by analytically modeling shifts in human viewpoints in alignment with scientific theories and technological progress. Within the landscape of science fiction literature, the human subject takes on a complex role, serving as a vessel for cultural, ethical, and ontological exploration. Through narrative and speculative frameworks, the genre probes the transformative forces affecting human experience and physiology, while consistently emphasizing the enduring essence of humanity. The paper meticulously explores the role of the human subject in science fiction, outlining how the genre provides a nuanced investigation set against a backdrop of scientific and socio-cultural evolution. It contends that although science fiction stretches the limits of human experience, it invariably maintains a fundamental core of humanity, aligning itself with the broader objectives of anthropological study. Contemporary science fiction thus serves not only as a lens for scrutinizing the anxieties and hopes about humanity's future but also as a platform for speculative inquiry into the very nature of human existence.

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Vint, Sherryl. "Science Fiction". Perspectives on Science and Christian Faith 74, n. 3 (settembre 2022): 191–92. http://dx.doi.org/10.56315/pscf9-22vint.

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SCIENCE FICTION by Sherryl Vint. Cambridge, MA: The MIT Press, 2021. 224 pages. Paperback; $15.95. ISBN: 9780262539999. *Science Fiction is the story of the romance between fiction and science. The goal of the book is not to define the history or essence of science fiction, but rather to explore what it "can do" (p. 3). How does fiction affect scientific progress? How does it influence which innovations we care about? In the opposite direction, what bearing does science have on the stories that are interesting to writers at a point in time? Science Fiction references hundreds of books to paint a cultural narrative surrounding science fiction. Throughout the book, Vint refers to the fiction as ‘sf' in order to avoid distinctions between science fiction and speculative fiction. The dynamic between science and fiction is a relationship defined by both scientific progress and by forming judgments of the direction of development through a lens of fiction. Fiction is cause and effect; we use fiction to reflect upon changes in the world, and we use fiction to explore making change. *Vint, Professor of Media and Cultural Studies and of English at the University of California, Riverside, gives overviews of different areas of sf. These include some of the most common sf elements, such as utopias and dystopias (chap. 2), as well as relatively recent concerns, such as climate change (chap. 7). Through these questions, she is navigating one question: how does sf engage with the world? It is more complex than the commonly reflected-upon narrative that sf is an inspiration to inventors--it is a relationship moving in both directions and involves value judgments as well as speculation about scientific possibilities. *The book also navigates the attitudes at the root of sf. Vint presents sf as a fundamentally hopeful, perhaps even an optimistic, genre. She describes sf as "equally about frightening nightmares and wondrous dreams" (p. 13). Yet even dystopian stories require hope for a future. Showing the world gone wrong still requires "the seeds of believing that with better choices we might avoid these nightmares" (p. 32). This is certainly true in the discussion of climate change sf. Where nonfiction writing often focuses on the impartial mitigation of disasters, the heart of fiction offers "the possibility to direct continuous change toward an open future that we (re)make" (p. 136). *The most surprising chapter is the penultimate one, focusing on economics (chap. 8). Vint discusses the recent idea of money as a "social technology" (p. 143) and the ways our current economy is increasingly tied to science, including through AI market trading and the rise of Bitcoin. The chapter also focuses on fiction looking at alternative economic systems--how will the presence or absence of scarcity, altered by technology, change the economic system? Answers to this and similar questions have major implications on the stories we tell and the way we seek to structure society. *As Christians, we have stories to help us deal with our experiences in life and our hope for the future. Science Fiction discusses sf as the way that our communities, including the scientific community, process life's challenges and form expectations for the future. We must not only repeat the stories from scripture, but also participate in the formation of the cultural narratives as ambassadors of Christ. While Science Fiction does not discuss the role of religion in storytelling, the discussion of our ambitions and expectations for the future is ripe for a Christian discussion. *Vint describes sf as a navigational tool for the rapid changes occurring in the world. Science Fiction references many titles that illustrate the different roles sf has played at historical points and that continue to form culture narratives. While some pages can feel like a dense list of titles, it is largely a book expressing excitement about the power and indispensability of sf. I would recommend this book for those who want to think about interactions between fiction, science, and culture, or learn about major themes of sf, as well as those interested in broadening the horizons of their sf reading. *Reviewed by Elizabeth Koning, graduate student in the Department of Computer Science, University of Illinois at Urbana-Champaign, Urbana, IL 61801.

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Venable, Peter C. "Science Fiction". Anglican Theological Review 98, n. 4 (settembre 2016): 726. http://dx.doi.org/10.1177/000332861609800411.

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Arcana, Judith. "FICTION SCIENCE". Bridges: A Jewish Feminist Journal 11, n. 1 (aprile 2006): 69–70. http://dx.doi.org/10.2979/bri.2006.11.1.69.

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Arcana, Judith. "Fiction, Science". Bridges: A Jewish Feminist Journal 11, n. 1 (2006): 69–70. http://dx.doi.org/10.1353/brd.2006.0001.

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Davenport, Edward. "Fiction Science". Philosophy of the Social Sciences 17, n. 4 (dicembre 1987): 579–84. http://dx.doi.org/10.1177/004839318701700410.

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Plotz, John. "Science Fiction". Victorian Literature and Culture 46, n. 3-4 (2018): 854–58. http://dx.doi.org/10.1017/s106015031800102x.

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Glatzer, Ulrich. "Science Fiction". kma - Klinik Management aktuell 9, n. 05 (maggio 2004): 60–61. http://dx.doi.org/10.1055/s-0036-1572785.

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Werbung wirkt. Man fragt sich zwar oft, wieso einige Strategen ausgerechnet dieses oder jenes Motiv verwenden, Fakt ist jedoch: Werbung verlieh schon so manchem Produkt Flügel. Eine erfolgreiche Motivationskampagne zur Blutspende hat auch die Bundeszentrale für gesundheitliche Aufklärung hinter sich. So erfolgreich, dass die neue Kampagne inzwischen Kritik hervorruft: Es sei Verschwendung von Regierungsmitteln, für Blutspenden zu werben.

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Ranpura, Ashish, e Daniel Glaser. "Science Fiction". Index on Censorship 36, n. 3 (agosto 2007): 175–79. http://dx.doi.org/10.1080/03064220701552565.

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Fowler, David. "Mathematics in Science Fiction: Mathematics as Science Fiction". World Literature Today 84, n. 3 (2010): 48–52. http://dx.doi.org/10.1353/wlt.2010.0188.

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Ndalianis, Angela. "Bowie and Science Fiction / Bowie as Science Fiction". Cinema Journal 57, n. 3 (2018): 139–49. http://dx.doi.org/10.1353/cj.2018.0036.

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Oleinikova, Halyna. "Conceptual standart of science fiction genre". SCIENTIFIC BULLETIN OF THE IZMAIL STATE UNIVERSITY OF HUMANITIES, n. (38) (2 novembre 2018): 180–84. http://dx.doi.org/10.31909/26168820.2018-(38)-29.

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Savenko, Olesya Viktorovna. "SCIENCE FICTION WRITERS' PREDICTIONS COME TRUE". CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, n. 08 (31 agosto 2021): 36–38. http://dx.doi.org/10.37547/philological-crjps-02-08-09.

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Bowater, Laura, Christine Cornea, Helen James e Richard P. Bowater. "Using science fiction to teach science facts". Biochemist 34, n. 6 (1 dicembre 2012): 15–20. http://dx.doi.org/10.1042/bio03406015.

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The contributors to this discussion teach in three different Faculties at the University of East Anglia (UEA) – Science, Arts & Humanities and Medicine & Health Sciences. They have each used science fiction to explore learning outcomes in their distinct teaching practices. The discussion below highlights how contemporary science fiction can operate as a touchstone for debate that informs biochemistry teaching. Laura, Helen and Richard have all studied basic sciences, gaining PhDs in various aspects of biochemistry and molecular biology, and each have taught undergraduates and postgraduates at UEA. Helen and Richard are based in the Faculty of Science. Laura is based in the Faculty of Medicine & Health Sciences, and uses her interest in science communication to explore university teaching practices that involve science fiction. Christine gained a PhD from her research of technology and performance in science fiction film and is based in the Faculty of Arts & Humanities.

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Weinert, Friedel. "Hypothetical, not Fictional Worlds". Kairos. Journal of Philosophy & Science 17, n. 1 (1 dicembre 2016): 110–36. http://dx.doi.org/10.1515/kjps-2016-0019.

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Abstract This paper critically analyzes the fiction-view of scientific modeling, which exploits presumed analogies between literary fiction and model building in science. The basic idea is that in both fiction and scientific modeling fictional worlds are created. The paper argues that the fiction-view comes closest to certain scientific thought experiments, especially those involving demons in science and to literary movements like naturalism. But the paper concludes that the dissimilarities prevail over the similarities. The fiction-view fails to do justice to the plurality of model types used in science; it fails to realize that a function like idealization only makes sense in science because models, unlike works of fiction, can be de-idealized; it fails to distinguish sufficiently between the make-believe (fictional) worlds created in fiction and the hypothetical (as-if) worlds envisaged in models. Representation characterized in the fiction-view as a license to draw inferences does not sufficiently distinguish between inferences in fiction from inferences in scientific modeling. To highlight the contrast the paper proposes to explicate representation in terms of satisfaction of constraints.

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Pedersen, Martin Karlsson. "Økonomisk science fiction og kritisk anti-utopi". Passage - Tidsskrift for litteratur og kritik 34, n. 82 (20 dicembre 2019): 111–26. http://dx.doi.org/10.7146/pas.v34i82.118460.

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The article gives a short introduction to the new field of “economic science fictions” and discusses an economic approach to science fiction focusing on the class aspect of utopian and anti-utopian science fiction. By tracing a common interest in the new regimes of accumulation and exploitation of cognitive labor between Cognitive Capitalism and Dave Eggers’ anti-utopian novel The Circle, the article highlights the dangerous dynamic between class-specific utopian desire and new forms of technologically driven economic exploitation.

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Yacine, Barka Rabeh, e Ahmad Y. Majdoubeh. "Reimagining Colonialism: Dune Within Postcolonial Science-Fiction". Theory and Practice in Language Studies 13, n. 2 (1 febbraio 2023): 501–7. http://dx.doi.org/10.17507/tpls.1302.27.

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

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Clarke, Jim. "Buddhist Reception in Pulp Science Fiction". Literature and Theology 35, n. 3 (1 agosto 2021): 355–73. http://dx.doi.org/10.1093/litthe/frab020.

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

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Grillmayr, Julia. "Speculations, fabulations, incantations: Science fiction, contemporary futurology and how to change the world". European Journal of American Culture 41, n. 3 (1 settembre 2022): 267–79. http://dx.doi.org/10.1386/ejac_00079_1.

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

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Šešlak, Mirko Ž. "PHILIP K. DICK’S UBIK: A NATURAL POSSIBLE WORLD OF SCIENCE FICTION OR A SUPERNATURAL POSSIBLE WORLD OF FANTASY?" Lipar XXIV, n. 82 (2023): 107–21. http://dx.doi.org/10.46793/lipar82.107s.

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The article aims to explore whether the text of Philip K. Dick’s Ubik constructs a natural (physi- cally possible) or a supernatural (physically impossible) fictional world. According to Darko Suvin, one of the fundamental traits of science fiction is that its texts construct natural, physically possible fictional worlds. Readers of science fiction have often complained of Ubik, regarding it a confusing work, riddled with supernatural impurities and a lack of precise explanations. The betrayal of these expectations often casts doubt on whether this novel is science-fictional or a work of fantasy. If we aim to determine whether the fictional world of Ubik belongs to the possible worlds of science fiction, the theoretical framework for such a task can be found in Lubomir Doležel’s possible worlds theory. To do this, we must analyze the alethic constraints of the given fictional world, for those narrative modalities govern the formation of the fic- tional world’s physical laws and determine what is possible, impossible and necessary within its boundaries. If our analysis shows that the alethic constraints present in Ubik are analogous to the physical laws of the real world, we will prove that this fictional world is physically pos- sible and therefore possesses one of the fundamental traits of science fiction, naturalness. If our analysis shows otherwise, the fictional world of Ubik can be relegated to the supernatural, physically impossible worlds of fantasy.

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Wolfe, Gary K. "Science Fiction as Criticism as Fiction". Extrapolation 30, n. 4 (gennaio 1989): 380–87. http://dx.doi.org/10.3828/extr.1989.30.4.380.

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CROWLEY, JOHN. "FICTION IN REVIEW CLASSIC SCIENCE FICTION". Yale Review 101, n. 3 (2013): 162–71. http://dx.doi.org/10.1353/tyr.2013.0084.

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CROWLEY, JOHN. "FICTION IN REVIEW CLASSIC SCIENCE FICTION". Yale Review 101, n. 3 (18 giugno 2013): 162–71. http://dx.doi.org/10.1111/yrev.12069.

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Muradian, Gaiane, e Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative". Armenian Folia Anglistika 13, n. 1-2 (17) (16 ottobre 2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.

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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, freedom of choice and idiosyncrasy of the society and its members. It is such critical and creative reflections of science fiction dystopian narrative that are focused on in the present case study with the aim of bringing out certain properties in terms of narrative types and devices, figurative discourse and cognitive notions through which science fiction dystopia expresses and conveys its overarching message, i.e. the warning to stop before it is too late to the reader.

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Allday, Jonathan. "Science in science fiction". Physics Education 38, n. 1 (20 dicembre 2002): 27–30. http://dx.doi.org/10.1088/0031-9120/38/1/304.

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Doran, Heather. "Science Fiction – Science Fact". Biochemist 45, n. 6 (20 dicembre 2023): 1. http://dx.doi.org/10.1042/bio_2023_166.

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Burke, Verity, e Will Tattersdill. "Introduction: Museums in Science Fiction, Science Fiction in Museums". Configurations 30, n. 3 (giugno 2022): 247–56. http://dx.doi.org/10.1353/con.2022.0016.

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Johnson, Brian David. "Science Fiction Prototyping: Designing the Future with Science Fiction". Synthesis Lectures on Computer Science 3, n. 1 (19 aprile 2011): 1–190. http://dx.doi.org/10.2200/s00336ed1v01y201102csl003.

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Newbery-Jones, Craig. "‘The Changes that Face Us’: Science Fiction as (Public) Legal Education". Law, Technology and Humans 4, n. 2 (14 novembre 2022): 137–51. http://dx.doi.org/10.5204/lthj.2488.

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Much has been written on how science fiction allows us to interrogate imagined societal changes and potential yet-to-be realised futures. It also allows those who consume such texts to reflect upon their contemporaneous societies This paper refocuses this understanding of science fiction from an original and novel perspective, arguing that science fiction texts perform an educative function and can be considered a form of public legal education. To this end, this paper argues that science fiction performs a jurisprudential function in its treatment and popular presentation of legal issues and themes. Science fiction allows audiences and consumers to conceptualise abstract jurisprudential concepts, whether they are engaged with less interactive media (such as television or film) or experimenting more actively with these concepts via dynamic media (such as video games and tabletop role-playing games). This distinction between less interactive and more interactive media draws upon previous work by Newbery-Jones in 2015 that examined the jurisprudence of video games and the phenomenology of justice. It also focuses on science fiction’s potential to contribute to formal and public legal education. Finally, this paper explains the importance of public legal education in the twenty-first century and highlights science fiction’s critical role in encouraging engagement with jurisprudential themes and legal subject matter within the shifting sociopolitical landscape of the last decade.

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Ray, Alice. "Approche contrastive anglais-français de la création lexicale science-fictionnelle". Studia Romanica Posnaniensia 49, n. 4 (9 gennaio 2023): 125–43. http://dx.doi.org/10.14746/strop.2022.494.008.

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Imaginary genres have always played with language and lexicon in order to build their worlds. The science fiction genre, in particular, creates a lexicon on the borderline between literary creation and scientific and technical terminology so the stories can be framed elsewhere or in the future. The translation of these invented words can be a real challenge for translators because of their very nature as hybrids, but also because of the science fictional megatext. The translation treatment from English into French of these neologisms, known as “fiction terms”, shows different strategies of lexical (re)creation. Following a terminological approach, this paper presents a contrastive analysis of lexical creation strategies and morpho- syntactic structures between the two languages on a list of science fictional terms from the audiovisual field and extracted from a corpus of science fiction novels.

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Leś, Mariusz M. "„Skrajny kwadrant gwiazdozbioru” – astronomia w fantastyce naukowej". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, n. 3 (13 dicembre 2021): 45–76. http://dx.doi.org/10.36770/bp.622.

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As the author of the article claims, there exist close and lasting links between astronomy and science fiction genre. First and foremost, both of these phenomena developed in parallel since antiquity, and both have fiction at their centre as a socially established type of imagination. Scientific hypotheses use justified fabrication, and science fiction offers images of fictional cosmologies. Many writers of proto-science fiction brought astronomical concepts into social play. Among them were astronomers and philosophers who extensively used plot devices based on mythology or allegorical transformations: from Lucian of Samosata to Johannes Kepler. Space travel, beginning with Jules Verne’s prose, is an important part of the thematic resource of science fiction. Astronomy played an important role also in the beginnings of Polish science fiction, thanks to works of Michał Dymitr Krajewski and Teodor Tripplin.

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Kuvač-Levačić, Kornelija. "THE EMOTIONAL CONSTRUCT OF THE FUTURE IN ORWELL’S 1984. AND CROATIAN SCIENCE FICTION IN THE 2000s". Lipar XXIV, n. 82 (2023): 85–106. http://dx.doi.org/10.46793/lipar82.085kl.

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In this paper, two works of science fiction, distanced from each other both spatially and tem- porally (as they belong to different national literatures) are analysed: Orwell’s novel 1984 and Darko Macan’s and Tatjana Jambrišak’s short story „Besmrtni slučaj“ (“An Immortal Case”), as an example of Croatian science fiction from the 2000s. This research is focused on the ways in which these respective authors textually construct emotions within the framework of a fictional perspectivisation of the future. Contemporary constructivist approaches to the emotions show that they are an important part of cognitive processes and also culturally conditioned entities. This work proves that emotional constructs of the future can be taken into consideration when dealing with the basic genre characteristics of science fiction. This means that they participate in the creation of a conceptual breakthrough of the paradigm of our episteme, that they are a part of cognitive estrangement, or of the fictional novum validated by epistemic logic. Thus, this topic, when approaching science fiction, despite the national literature or period to which such a work may belong, may contribute to further research regarding the possible cultural conditions of the emotions of the future, as well as furthering knowledge on the characteristics of the genre of modern science fiction.

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Yu, Lei. "Ecological Concerns and Insights in Science Fiction Films — A Case Study of The Wandering Earth". Journal of Research in Social Science and Humanities 3, n. 3 (marzo 2024): 56–60. http://dx.doi.org/10.56397/jrssh.2024.03.09.

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Science fiction films, as an artistic expression highlighting the relationship between future technology and human survival, often utilize grand story settings and fictional futuristic worlds to explore the connection between humanity and the environment. This paper takes the Chinese science fiction film The Wandering Earth as a case study, examining its focus on ecological issues and the presentation of ecological awareness within the narrative. The aim is to use science fiction cinema as a medium to provide audiences with insights into Earth’s ecology, guiding humanity towards profound reflections on environmental issues.

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Hanke, Miroslav. "Science as Pretence". Studia Neoaristotelica 20, n. 2 (2023): 147–92. http://dx.doi.org/10.5840/studneoar20232024.

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The paper addresses the concept of useful fiction in texts authored by the fourteenth-century nominalists Henry Harclay, William Ockham, John Buridan and Nicholas Oresme. Three fundamental ideas related to fictionalism will be documented. First, the view that statements about fictions are covert conditionals with impossible antecedents. Second, the view that the primary concern with fictions is their practical utility, i.e., applicability in the context of a scientific discipline. Third, the view that it is useful to pretend that fictions of a certain kind can be used uniformly to represent physical reality, such that a natural phenomenon A is pretended to be a B, where Bs themselves are only pretended to be real.

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Delarue, Alice. "Science et fiction". La Cause Du Désir N° 84, n. 2 (2013): 54. http://dx.doi.org/10.3917/lcdd.084.0054.

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Sirotin, Sergei. "Russian Science Fiction". Russian Studies in Literature 47, n. 4 (ottobre 2011): 84–101. http://dx.doi.org/10.2753/rsl1061-1975470404.

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Milner, Andrew. "Viral Science Fiction". Extrapolation: Volume 63, Issue 1 63, n. 1 (1 aprile 2022): 7–20. http://dx.doi.org/10.3828/extr.2022.3.

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

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