Journal articles: 'Alien abduction in fiction'

1

Zimmerman, Michael E. "The "Alien Abduction" Phenomenon." Philosophy Today 41, no. 2 (1997): 235–54. http://dx.doi.org/10.5840/philtoday19974121.

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Takhar, Jatinder, and Sandra Fisman. "ALIEN ABDUCTION IN PTSD." Journal of the American Academy of Child & Adolescent Psychiatry 34, no. 8 (August 1995): 974–75. http://dx.doi.org/10.1097/00004583-199508000-00005.

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3

Shopper, Moisy. "FEAR OF ALIEN ABDUCTION." Journal of the American Academy of Child & Adolescent Psychiatry 35, no. 5 (May 1996): 555–56. http://dx.doi.org/10.1097/00004583-199605000-00003.

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Fisman, Sandra, and Jatinder Takhar. "FEAR OF ALIEN ABDUCTION." Journal of the American Academy of Child & Adolescent Psychiatry 35, no. 5 (May 1996): 556–57. http://dx.doi.org/10.1097/00004583-199605000-00004.

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Kelley-Romano, Stephanie. "Mythmaking in Alien Abduction Narratives." Communication Quarterly 54, no. 3 (August 2006): 383–406. http://dx.doi.org/10.1080/01463370600878545.

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Forrest, David V. "Alien Abduction: A Medical Hypothesis." Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 36, no. 3 (September 2008): 431–42. http://dx.doi.org/10.1521/jaap.2008.36.3.431.

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Sullivan-Bissett, Ema. "Unimpaired abduction to alien abduction: Lessons on delusion formation." Philosophical Psychology 33, no. 5 (May 24, 2020): 679–704. http://dx.doi.org/10.1080/09515089.2020.1765324.

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Evans, James A., and Jacob G. Foster. "Algorithmic Abduction: Robots for Alien Reading." Critical Inquiry 50, no. 3 (March 1, 2024): 375–401. http://dx.doi.org/10.1086/728933.

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9

Banaji, Mahzarin R., and John F. Kihlstrom. "The Ordinary Nature of Alien Abduction Memories." Psychological Inquiry 7, no. 2 (April 1996): 132–35. http://dx.doi.org/10.1207/s15327965pli0702_3.

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10

Clark, Steven E., and Elizabeth F. Loftus. "The Construction of Space Alien Abduction Memories." Psychological Inquiry 7, no. 2 (April 1996): 140–43. http://dx.doi.org/10.1207/s15327965pli0702_5.

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McNally, Richard J., and Susan A. Clancy. "Sleep Paralysis, Sexual Abuse, and Space Alien Abduction." Transcultural Psychiatry 42, no. 1 (March 2005): 113–22. http://dx.doi.org/10.1177/1363461505050715.

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12

Holden, Katharine J., and Christopher C. French. "Alien abduction experiences: Some clues from neuropsychology and neuropsychiatry." Cognitive Neuropsychiatry 7, no. 3 (August 2002): 163–78. http://dx.doi.org/10.1080/13546800244000058.

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Clark, Steven E., and Elizabeth F. Loftus. "The Psychological Pay Dirt of Space Alien Abduction Memories." Contemporary Psychology: A Journal of Reviews 40, no. 9 (September 1995): 861–63. http://dx.doi.org/10.1037/003955.

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14

Kuris, Armand M., and Mona Y. Luo. "Science fiction: The biology of the alien in Alien." Biochemist 45, no. 6 (December 19, 2023): 14–17. http://dx.doi.org/10.1042/bio_2023_154.

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Parasites serve as a source of threatening outcomes for humans in many science fiction plots. Perhaps the most notable is the Xenomorph of the first Alien film (1979). Here, we use the film as the sole source of direct information to hypothesize its life cycle. We recognize a distinctive infective stage, the face-hugger. To further its development as an internal parasite in its human host, we conceive features of its physiology. It has an astonishing ability to manipulate the behaviour of its doomed host, before emerging as the famous chest-burster. It is clearly a parasitoid, requiring the death of its host. A further metamorphosis completes its development to the adult predator that roams the doomed spaceship Nostromo. The Xenomorph adult stage bears an uncanny resemblance to a parasitoid of salps, pelagic invertebrates. Conceptualizing its mythic biology offers insight into the physiology and biochemistry of real parasites.

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Hanikmah, Luluk. "THE BLUE ALIEN IN KOI MIL GAYA FILM: POPULAR LITERATURE." English Teaching Journal : A Journal of English Literature, Language and Education 4, no. 1 (May 24, 2019): 10. http://dx.doi.org/10.25273/etj.v4i1.4356.

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The purpose of this research is to describe the blue alien as the phenomenon Alien’s representation in science fiction of Bollywood and Bollywood’s action in bringing outer space alien to Indian culture that is represented in Koi Mil Gaya film. This research uses qualitative research. The researcher needs popular literature by Ida Rochani Adi to get what the author is willing to share her readers. It is also a way to the researcher to investigate why the author choose alien as the new character, and is there popular culture inside the character evidences the effects and goals of the author in creating a story. The analysis reveals that the alien’s representation of Bollywood’s science fiction, and Bollywood’s action in bringing outer space alien to India culture. The conclusion shows there are similar formula in each Bollywood science fiction in alien’s representation and Bollywood action in bringing outer space alien to India culture is influenced by 3 factors, there are: Hollywood influence, Ancient India influence, and popular news in India. The researcher uses the symbol to analyze the blue alien as the representation of Lord Krishna. It is Hindu mythology. Hindu mythology is popular culture in India belief. It is appropriate with the researcher’s assumption that the blue alien has correlation with India culture. In conclusion, the alien which has blue skin is the appearance of Lord Krishna.

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Klemperer, Frances. "Sex with aliens: out of space or out of mind?" Psychiatric Bulletin 19, no. 4 (April 1995): 247. http://dx.doi.org/10.1192/pb.19.4.247.

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Extraterrestrial kidnapping is in vogue. A dozen books are available that detail accounts by alleged victims. A telephone survey of almost 6000 Americans revealed that many reported ‘abduction by an alien’. BBC's Horizon programme sent Dr Susan Blackmore, psychologist and TV-troubleshooter for the paranormal, to investigate.

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17

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

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

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Moore, Jonathan Jacob. "Starships and Slave Ships." Qui Parle 31, no. 1 (June 1, 2022): 143–58. http://dx.doi.org/10.1215/10418385-9669525.

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Abstract Evidence suggests that the UFO/alien abduction phenomenon is exclusively experienced by white people in the United States. But while scholars have probed abductee narratives to surface political and symbolic anxieties for decades, none have thought of the phenomenon’s whiteness alongside the archival absence of Black abductees. Using abductee accounts, interdisciplinary studies of the UFO abduction phenomena, and critiques of Black subjectivity, this article attends to the ontological anxieties that permeate UFO abduction narratives and their choreographic resonance with the psychosomatics of Black life. This article begins by examining the exceptional narrative of Barney Hill, America’s first and thus far only popular Black abductee. Then it brings into focus UFOlogy’s aporetic negation of racial subjectivity and suggests that the UFO abduction phenomenon is, a posteriori, inaccessible to the Black nonsubject. Finally, it returns to Hill’s experience and offers speculative implications of a libidinal relationship between the starship’s technics and the slave ship’s terror.

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19

Romero, James. "The Earth through alien eyes." Physics World 35, no. 5 (August 1, 2022): 21–24. http://dx.doi.org/10.1088/2058-7058/35/05/25.

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Aliens spying on us from across interstellar space is a classic trope of science fiction. But working out what those extraterrestrials might see if they pointed their telescopes at us could help in our quest for finding life on distant Earth-like planets, as James Romero explains.

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Alonso, Irene Sanz. "Ecofeminism and Science Fiction: Human-Alien Literary Intersections." Women's Studies 47, no. 2 (February 15, 2018): 216–31. http://dx.doi.org/10.1080/00497878.2018.1430408.

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21

Ruppersburg, Hugh. "THE Alien Messiah in Recent Science Fiction Films." Journal of Popular Film and Television 14, no. 4 (January 1987): 158–66. http://dx.doi.org/10.1080/01956051.1987.9944222.

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Zaki, Hoda M. "Alien to femininity: Speculative fiction and feminist theory." Women's Studies International Forum 13, no. 3 (January 1990): 277–79. http://dx.doi.org/10.1016/0277-5395(90)90018-s.

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23

Ghazoul, Jaboury. "Alien Abduction: Disruption of Native Plant-Pollinator Interactions by Invasive Species1." BIOTROPICA 36, no. 2 (2004): 156. http://dx.doi.org/10.1646/q1570.

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Giulio, Perrotta. "Alien Abduction Experience: Definition, neurobiological profiles, clinical contexts and therapeutic approaches." Annals of Psychiatry and Treatment 4, no. 1 (June 4, 2020): 025–29. http://dx.doi.org/10.17352/apt.000016.

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Ghazoul, Jaboury. "Alien Abduction: Disruption of Native Plant-Pollinator Interactions by Invasive Species." Biotropica 36, no. 2 (June 2004): 156–64. http://dx.doi.org/10.1111/j.1744-7429.2004.tb00308.x.

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26

Rogan, Alcena Madeline Davis. "Alien Sex Acts in Feminist Science Fiction: Heuristic Models for Thinking a Feminist Future of Desire." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 442–56. http://dx.doi.org/10.1632/003081204x20226.

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Even at their most bizarre, representations of alien sex are bound to reinscribe the terms of human desire. Thus there can be no representation of an alien sex act that is radically alien. However, for certain writers, this representational impasse provides an occasion for thinking through the limits of fictional and feminist representation. Through a reading of Monique Wittig's Les Guérillères, Samuel Delany's Trouble on Triton and Stars in My Pocket like Grains of Sand, and Angela Carter's The Passion of New Eve, I explore how alien sex is represented not only or even primarily in literal terms but also as an act that takes place in a fictional discursive milieu that critiques contemporary human sexual relations. I also describe how these writers' creative imaginings of alien sex function as a dialectical corollary to their theoretical investigations into the limits of representation.

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27

Barclay, Bridgitte. "Space Cowboys and Alien Landscapes." Unbound: A Journal of Digital Scholarship 3, no. 1 (May 1, 2023): 1–5. http://dx.doi.org/10.12794/journals.ujds.v3i1.220.

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As Star Wars women Rey, Jyn Erso, Ahsoka Tano, and others build on Leia’s legacy, it is also important to celebrate the mid-century science fiction writer who influenced Star Wars earlier on – Leigh Brackett, Queen of Space Opera. Brackett not only wrote the first draft of The Empire Strikes Back (1980) before her death, but she also influenced American film and sf in the decades before. She was an accomplished screenwriter when Lucas approached her for The Empire Strikes Back, having written Rio Bravo (1959) and co-written The Big Sleep (1946) with William Faulkner, for example. And her pulps and novels established her as an authority in the science fiction genre, as well. She was the first woman to be shortlisted for the Hugo Award for The Long Tomorrow (1955), a novel that denounces the toxic violence of militarized science and venerates resistance. Similarly, Brackett’s Shadow Over Mars (1944) condemns authoritarian exploitation and reveres rebellion. These familiar themes, of course, are also in The Empire Strikes Back. While some of her elements did not make it to the final film – the Luke-Leia-Han love triangle and Luke’s Jedi twin Nellith, for instance – her style of frontier anti-authoritarian Space Opera resistance comes through clearly. Resurrecting Brackett’s work on The Empire Strikes Back and analyzing the influence of her earlier work situates the Star Wars saga as a descendant of mid-century feminist sf as we simultaneously celebrate its more inclusive contemporary narratives.

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Bökös, Borbála. "Human-Alien Encounters in Science Fiction: A Postcolonial Perspective." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 189–203. http://dx.doi.org/10.2478/ausfm-2019-0010.

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Abstract An (un)conventional encounter between humans and alien beings has long been one of the main thematic preoccupations of the genre of science fiction. Such stories would thus include typical invasion narratives, as in the case of the three science fiction films I will discuss in the present paper: the Invasion of the Body Snatchers (Don Siegel, 1956; Philip Kaufman, 1978; Abel Ferrara, 1993), The Host (Andrew Niccol, 2013), and Avatar (James Cameron, 2009). I will examine the films in relation to postcolonial theories, while attempting to look at the ways of revisiting one’s history and culture (both alien and human) in the films’ worlds that takes place in order to uncover and heal the violent effects of colonization. In my reading of the films I will shed light on the specific processes of identity formation (of an individual or a group), and the possibilities of individual and communal recuperation through memories, rites of passages, as well as hybridization. I will argue that the colonized human or alien body can serve either as a mediator between the two cultures, or as an agent which fundamentally distances two separate civilizations, thus irrevocably bringing about the loss of identity, as well as the lack of comprehension of cultural differences.

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Lipton, Peter. "Alien Abduction: Inference to the Best Explanation and the Management of Testimony." Episteme 4, no. 3 (October 2007): 238–51. http://dx.doi.org/10.3366/e1742360007000068.

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ABSTRACTThis paper considers how we decide whether to believe what we are told. Inference to the Best Explanation, a popular general account of non-demonstrative reasoning, is applied to this task. The core idea of this application is that we believe what we are told when the truth of what we are told would figure in the best explanation of the fact that we were told it. We believe the fact uttered when it is part of the best explanation of the fact of utterance. Having provided some articulation of this account of testimonial inference, the paper goes on to consider whether the account is informative and whether it is plausible.

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Peter Lipton. "Alien Abduction: Inference to the Best Explanation and the Management of Testimony." Episteme: A Journal of Social Epistemology 4, no. 3 (2007): 238–51. http://dx.doi.org/10.1353/epi.0.0013.

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31

Wainschenker, Pablo, and Elizabeth Leane. "The ‘alien’ next door: Antarctica in South American fiction." Polar Journal 9, no. 2 (July 3, 2019): 324–39. http://dx.doi.org/10.1080/2154896x.2019.1685178.

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32

De Cruz, Helen. "Cosmic Horror and the Philosophical Origins of Science Fiction." Think 22, no. 63 (2023): 23–30. http://dx.doi.org/10.1017/s1477175622000197.

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AbstractThis piece explores the origins of science fiction in philosophical speculation about the size of the universe, the existence of other solar systems and other galaxies, and the possibility of alien life. Science fiction helps us to grapple with the dizzying possibilities that a vast universe affords, by allowing our imagination to fill in the details.

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Kuzeev, S. E. "ON XENOPHOBIA IN SCIENCE FICTION." Juvenis scientia, no. 1 (2019): 52–55. http://dx.doi.org/10.32415/jscientia.2019.01.12.

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The article deals with how the notion of xenophobia is re-iterated in contemporary science fiction. First, the author provides a brief analysis of xenophobia as a cognitive phenomenon that is, on the one hand, built into the mass culture as an archetypal attitude and, on the other hand, symbolically disguised following the two prototypic scenarios-those of alienation and of appropriation. One of the central arguments of the article is that the quintessential sci-fi “alien” is based on the reinvented image of a Jew in the Western culture, while the narrative of “androids” draws on the historical and emotional experience of black slavery.

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Gorlée, Dinda L. "Kenneth L. Pike and science fiction." Semiotica 2015, no. 207 (October 1, 2015): 217–31. http://dx.doi.org/10.1515/sem-2015-0043.

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AbstractKenneth L. Pike’s tagmemic explanation of his etic-emic equivalence corresponds to the notion of “approximate” translation. According to a weaker version of the Sapir-Whorf hypothesis, Pike’s cross-cultural and multilingual perspective of Bible translation approximates the duality and triadicity of Peirce’s immediate/emotional, dynamical/energetic, and final/logical interpretants. Pike’s astronautical examples of the artificial language Kabala-X translated into English and the science fiction story of the Earthmen who invaded Mars are fictional and creative artifacts of human-alien cryptography leading, as argued here, to false semio-logical reasoning.

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35

McNally, Richard J. "Explaining “Memories” of Space Alien Abduction and past Lives: An Experimental Psychopathology Approach." Journal of Experimental Psychopathology 3, no. 1 (December 12, 2011): 2–16. http://dx.doi.org/10.5127/jep.017811.

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36

Carducci, Jessica. "A Freak Show in District 9." Digital Literature Review 3 (January 13, 2016): 136–48. http://dx.doi.org/10.33043/dlr.3.0.136-148.

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In District 9, the body of the main character, Wikus van de Merwe, becomes a battleground for the competing cultures of human and alien. But while it is widely recognized that the film is a science fiction metaphor for the Apartheid, less discussed are the parallels between Wikus’s story and that of the historical freak. This essay looks at the way in which Wikus’s transformation and clashing identities make him the star of Johannesburg’s own alien freak show.

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Hough, Peter, and Paul Rogers. "Individuals Who Report Being Abducted by Aliens: Investigating the Differences in Fantasy Proneness, Emotional Intelligence and the Big Five Personality Factors." Imagination, Cognition and Personality 27, no. 2 (October 2007): 139–61. http://dx.doi.org/10.2190/ic.27.2.e.

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This study explores individual differences in people claiming to have been abducted by aliens. A sample of 26 alien abductee experiencers (AAErs) plus 26 non-AAEr controls completed self-report measures of fantasy proneness, emotional intelligence, and the big five personality factors. Analysis of Covariance controlling of participants' level of educational attainment revealed no group differences in any of the three fantasy sub-scales (the vividness/realism of fantasies, escapist fantasies, and make-believe fantasies), any of the four EI sub-scales (optimism/mood regulation, the appraisal of emotions, social skills, and the utilization of emotions) or in four of the big five personality factors examined. However, AAErs did rate themselves to be more conscientious than controls, possibly in an attempt to portray themselves as trustworthy and reliable witnesses. Implications for the psychological study of alien abduction experiences are discussed.

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Sergienko, Inna. "“DEMONS SWARMED LIKE THIS”: ALIEN IN THE CHILDREN’S FICTION OF YULIA VOZNESENSKAYA." Children's Readings: Studies in Children's Literature 24 (2023): 447–70. http://dx.doi.org/10.31860/2304-5817-2023-2-24-447-470.

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The main research question of the article is related to the representation of the category “alien” in the novels by Julia Voznesenskaya (1945–2015) written between 2002 and 2007: “Cassandra’s Way or Adventures with Macaroni”, “Julianna and the Game of Kidnapping”, “Julianna and Dangerous Games”, and “Julianna and the Game of ‘Stepmother and Daughter’”. These books represent a sample of Orthodox acute fiction for children and teenagers that emerged in the post-Soviet period. The article briefly characterises the context of the emergence of Voznesenskaya’s children’s prose, examines the specificity of artistic techniques and genre uniqueness. The author of the article notes that despite the fact that these works are certified by Voznesenskaya herself as “Christian” or “Orthodox fantasy,” they are devoid of the genre-forming features of fantasy, they use only certain techniques characteristic of the genre. The main attention is paid to the analysis of the image of the spatial and subjective opposition of “us” and “strangers”. The “alien” in the analyzed works coincides with the image of the enemy, there is no way for him to turn into “ours” and dialogue with him is impossible. To create the image of the “alien” Voznesenskaya uses an artistic detail marking the disgusting, false and malicious.

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Lomax, William. "The ‘Invisible Alien’ in the Science Fiction of Clifford Simak." Extrapolation 30, no. 2 (July 1989): 133–45. http://dx.doi.org/10.3828/extr.1989.30.2.133.

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40

Weiss, Thomas J. "The Bargain." After Dinner Conversation 3, no. 12 (2022): 48–66. http://dx.doi.org/10.5840/adc2022312112.

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Can atrocities happen without anyone having alterative choices to stop it? Does superior technology presuppose superior morality? In this work of philosophical short story fiction, the Rigel and the Musca are in a territorial race to the edge of the galaxy. Earth, a habitable planet with an underdeveloped civilization is needed for real estate development so it can support forty billion additional aliens. Vega is the alien real estate developer who has come to earth to offer a choice; support your colonization, and have technology shared with you prior to alien arrival, or fight us, and face your complete extinction at the hands of superior technology prior to alien arrival. Left with no good choices, humanity decides to fight.

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Jarzębski, Jerzy, and Benjamin Paloff. "The Cosmic Signals of Stanisław Lem." Polish Review 68, no. 2 (July 1, 2023): 18–29. http://dx.doi.org/10.5406/23300841.68.2.03.

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Abstract Communicating productively with an alien intelligence, whether by traveling through space to another civilization or attempting to understand their messages received here on Earth, is so consistent a commonplace of cosmic science fiction that we might easily regard it as a defining feature of the genre. This essay argues, by contrast, that Stanisław Lem's fiction about space travel aims consistently to demonstrate the impossibility of such communication. Setting aside the obstacles that might prevent contact between alien intelligences, whether by positing a technological solution or ignoring those difficulties altogether, Lem confronts the epistemological challenge of how beings with no shared points of reference in language, experience, or even spatial-temporal awareness could ever share information meaningfully. Lem's purpose, the essay concludes, is to show not how such communication is possible, but rather how its impossibility compels the human imagination to fill the void, a quintessentially human act.

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Berthelier, Benoît. "Encountering the Alien: Alterity and Innovation in North Korean Science Fiction since 1945." Journal of Korean Studies 23, no. 2 (October 1, 2018): 369–96. http://dx.doi.org/10.1215/21581665-6973369.

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Abstract From the translations of Soviet sci-fi and biographies of foreign scientists published in popular science magazines after liberation, to the exotic settings and strange technologies of contemporary novels, the history of science fiction in North Korea is marked by an engagement with the strange, the foreign, and the novel. Retracing the history of the genre from 1945 to the present time, this essay attempts to understand how North Korean science fiction has managed its constitutive alterity. In so doing, it explores tales of space travel fused with socialist realist production novels, how Hollywood blockbuster tropes met North Korea’s nationalist rhetoric, and how juche literary theory assessed the legacy of writers such as H. G. Wells, George Orwell, and A. E. van Vogt. The production of works of science fiction in North Korea has evolved in relationship with the country’s cultural, social, and ideological trends. As such, this essay highlights how the political stakes of scientific progress have influenced the themes and narrative structures of the genre. Nonetheless, North Korean literature’s politicization has not excluded tensions and ambiguities, innovation and change, external influences and curiosity toward the other. The international or interplanetary settings of science fiction have thus allowed for the introduction of hitherto unseen affects, characters, and plot devices in North Korean novels and short stories.

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Huang, Xiuqi. "Universe of Pluralism: Extraterrestrial Intelligence in Liu Cixin's Short Stories." Science Fiction Studies 51, no. 2 (July 2024): 238–57. http://dx.doi.org/10.1353/sfs.2024.a931154.

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ABSTRACT: This paper examines extraterrestrial intelligence in the short stories of Chinese science fiction writer Liu Cixin and their relation to the alien civilization in Liu's immensely successful Remembrance of Earth's Past trilogy. I will discuss the topic from three aspects: extraterrestrial intelligence's role as both metaphorical and literal mirrors in Liu's short stories; various alien worldviews and existential states that derive their conflicting diversity from the scientific and humanistic divide in the literary tradition of Chinese science fiction; aliens that represent either the scientistic outlook or the pitfalls of scientific and technological progress. While the values and outlooks of alien civilizations in Remembrance of Earth's Past trilogy are uniformly based on a reductive and unambiguous set of axioms, Liu's short stories argue for the multiplicity and relativism of existential values and purposes of life in the universe not only by portraying diversity, but by juxtaposing opposites, abolishing binaries, and questioning absolute positions. I argue that Liu's short stories concerning extraterrestrial intelligence convey a message about the plurality and relativism of worldviews and existential values through embracing the coexistence of the antithetical stances of humanism and science, disputing the absolute positions of anthropocentrism and scientism, and dissolving the binary of the human self and the nonhuman other.

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Van Engen, Dagmar. "How to Fuck a Kraken." Humanimalia 9, no. 1 (September 22, 2017): 121–51. http://dx.doi.org/10.52537/humanimalia.9619.

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Recent theories in posthumanism and animal studies have shown how race, gender, and sexuality help constitute the boundaries of the human and the animal as such. This essay argues that vertebrate land animals have most frequently formed the basis for racialized human-animal comparisons and the gender-sexual paradigms that underwrite them, and proposes instead a turn to invertebrate sea animals. In speculative fiction, these alien creatures offer a more complex interface for the racialized gender and sexual registers of human-animal imaginaries. In particular, erotic monster fiction by Alice Xavier recasts the meaning of animality as a figure of the erotic by transforming octopi and anemones into nonbinary-gendered objects of human desire. If animality is a crucial figure for how humans imagine animals in order to reimagine ourselves, then Alien Seed’s fantasies about invertebrate animals create more space for trans and nonbinary genders in ways deeply entangled with the nonhuman world.

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Nilson, Maria. "Mammor, monster och maskiner. Representationer av kvinnor i science fiction-film." Tidskrift för genusvetenskap 25, no. 4 (June 15, 2022): 39–51. http://dx.doi.org/10.55870/tgv.v25i4.4054.

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From the expandingfield of popularscience fiction this artide concentrates on three sf-films: Star Tre k: First Contact (1999), Terminator 2: ludgement Day(199i) and Alien Resurrection (1997). In all three films we find different variations on a stereotype representation of femininity. The artide begins with a discussion of populär culture and the images we meet everyday, and stresses the importance of remembering which genre one works with. Three common tropes are analysed: the mother, the monster and the machine. In Star Trek: First Contactwe find the borg-queen; a variation of the evil she-monster disguised as a machine. In Terminator 2 we have a strong heroine who is described in a very ambivalent way. The artide argues that Alien: Resurrection represents a different kind of populär culture. It is an example of a populär film that plays with the genre's rules in an ironic fashion, and in the film we have a different representation of Ripley as both mother and monster that reaches beyond the stereotype.

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Błaszkiewicz, Bartłomiej. "On the Idea of the Secondary World in Susanna Clarke’s Piranesi." Anglica. An International Journal of English Studies, no. 30/1 (September 1, 2021): 111–32. http://dx.doi.org/10.7311/0860-5734.30.1.08.

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The paper seeks to explore the concept of the secondary world as developed in Susanna Clarke’s 2020 fantasy novel Piranesi. The analysis is conducted in the context of the evolution of the literary motif of fairy abduction between the classic medieval texts and its current incarnations in modern speculative fiction. The argument relates the unique secondary world model found in Clarke’s novel to the extensive intertextual relationship Piranesi has with the tradition of portal fantasy narratives, and discusses it in the context of the progressive cognitive internalisation of the perception of the fantastic which has taken place between the traditional medieval paradigm and contemporary fantasy fiction.

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Bould, Mark. "Book Review: Alien Zone II: The Spaces of Science-Fiction Cinema." Public Understanding of Science 9, no. 3 (July 2000): 341–42. http://dx.doi.org/10.1177/096366250000900307.

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Jr., Jack Boozer,. ": Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema . Annette Kuhn." Film Quarterly 45, no. 1 (October 1991): 61–63. http://dx.doi.org/10.1525/fq.1991.45.1.04a00230.

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Rieger, Marc Oliver. "The “alien” alien in Stanislaw Lem’s Solaris and its manifold echoes in the world of literature." Papers in Literature, `10 (July 30, 2022): 91–102. http://dx.doi.org/10.31648/pl.7857.

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Stanislaw Lem has left a remarkable impact on world literature in science fiction and beyond. One of the reasons for this is his – often radical – approach to exploring new topics and philosophical concepts. In this article, we study his concept of an unknowable intelligence that eludes all scientific approaches by humans who try to understand its motivations, reasoning and functioning; an “alien” alien, as it is most clearly presented in Lem’s 1961 novel Solaris. Echoes of this radical concept can be found, albeit often in a highly diluted form, in a number of subsequent works by various writers like Arkady and Boris Strugatsky, Iain M. Banks and Cixin Liu. They also resurface in other media, from mainstream movies to anime. We argue that Lem’s original concept has been utilized by later writers for manifold purposes, sometimes merely as a plot device, but at other times as a metaphor exemplifying the insurmountable limits of knowledge or even for transporting entirely different ideas.

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McLeod, Ken. "Space oddities: aliens, futurism and meaning in popular music." Popular Music 22, no. 3 (October 2003): 337–55. http://dx.doi.org/10.1017/s0261143003003222.

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Despite the rampant popularity of space, alien and futuristic imagery in popular culture, little scholarship has recognised the impact of such themes on popular music. This article explores the complex relationship between the numerous uses of space, alien and techno futuristic themes in popular music and the construction of various marginalised identities. Arranged roughly chronologically from early 1950s rock and roll to late 1990s techno, I discuss how many artists, such as Bill Haley, David Bowie and George Clinton, have used such imagery to promote various nonconformist ideologies and identities ranging from African-American empowerment to Gay and Lesbian agendas. This article also relates developments in scientific space research and popular science fiction culture to corresponding uses of space and alien imagery in various forms of popular music. In general, popular music's use of futuristic space and alien themes denotes a related neo-Gnostic withdrawal and alienation from traditionally dominant cultural structures in an attempt to unite us with a common ‘other’ that transcends divisions of race, gender, sexual preference, religion or nationality.

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Journal articles on the topic 'Alien abduction in fiction'

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