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Academic literature on the topic 'Dinosaurs, fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Dinosaurs, fiction"

1

Green, Jarrod L. "Why scream about sound in space? The functions of audience discourse about unrealistic science in narrative fiction." Public Understanding of Science 28, no. 3 (October 29, 2018): 305–19. http://dx.doi.org/10.1177/0963662518808729.

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Sound in space. Featherless dinosaurs. Physics-defying stunts. Unrealistic science in narrative fiction is often a subject of commentary and critique. However, there is limited research investigating the significance, risks and benefits of this discourse for audiences. This article analyses interviews and focus group discussions to develop a typology of functions that are served by audience discourse about the perceived realism of science in fiction. This typology illustrates how discourse about the realism of science in fiction can serve diverse functions for diverse audiences. Practitioners who use fictional examples in science communication may benefit from an awareness of the multifaceted nature of the discourse in which they are participating.

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2

Dawson, Gowan. "DICKENS, DINOSAURS, AND DESIGN." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 761–78. http://dx.doi.org/10.1017/s1060150316000358.

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Charles Dickens's novels only occasionally feature images of prehistoric creatures. There is, of course, the famous “elephantine lizard. . .waddling. . .up Holborn Hill” in the opening scenes of Bleak House (1852–53), which, as is brilliantly captured in Tom Gauld's recent cartoon “Fragments of Dickens's Lost Novel ‘A Megalosaur's Progress’” (2011), has become a kind of icon of Dickens's entire fictional oeuvre (Figure 1). But beyond Bleak House’s iconic megalosaurus “forty feet long or so,” Dickens's panoramic representations of urban landscapes, which Adelene Buckland has shown to abound with quasi-geological ruins, are usually populated only by their more diminutive modern inhabitants (1; ch. 1). Even when the changing cityscape of “carcases. . .and fragments” of “giant forms” seems, as in Dombey and Son (1847–48), to suggest the presence of colossal fossilized skeletons thrown up by a “great earthquake,” they remain lifeless and merely augment the pervading atmosphere of urban upheaval (46; ch. 6). Animate extinct animals instead appear more commonly in novels by contemporaries such as William Makepeace Thackeray or, later in the century, Henry James. In their fiction, creatures such as the megatherium, a large edentate from the Pliocene epoch, not only afford apposite metaphors for gargantuan manifestations of industrial modernity, as in the former's Mrs. Perkins's Ball (1846) and the latter's The Bostonians (1885–86). More significantly, they also provide a model for the complex structures of serialized novels, whether commendatory, as in Thackeray's The Newcomes (1853–55), or otherwise, as in the famous epithet “large loose baggy monsters” that James coined in the preface to the New York edition of The Tragic Muse (1908) (1:x).

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Horner, John R. "Steak Knives, Beady Eyes, and Tiny Little Arms (A Portrait of T. rex as a Scavenger)." Paleontological Society Special Publications 7 (1994): 157–64. http://dx.doi.org/10.1017/s2475262200009497.

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I'll begin with the obvious question, how many people saw the movie “Jurassic Park”? How many people believed it? In the movie, “Jurassic Park”, there were basically two stars. Tyrannosaurus rex was one of them and the Velociraptors (or Deinonychus, or whatever they happened to be) were the others. What you might also know is that I was an advisor on the movie. All I was able to do was basically tell them when the dinosaurs were walking right and tell Laura Dern how to pronounce her words.Any time the dinosaurs were going to do something, any time Steven Spielberg wanted to have the dinosaurs do something in the movie, he would ask me if I thought they could do that. If I said yes or no, he would take that as an answer. But if I said maybe, he would just do whatever he wanted. That's fiction.

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Parry, Geraint. "Jurassic World: just how impossible is it?" Biochemist 37, no. 6 (December 1, 2015): 18–21. http://dx.doi.org/10.1042/bio03706018.

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In the movie business, bigger is usually better, bigger spaceships, bigger disasters, bigger dinosaurs and the latter was especially true in the latest installment of the Jurassic Park franchise, Jurassic World. Although the Indominus rex knocked the Tyrannosaurus rex into a cocked hat when it came to size, strength, speed and special abilities, the ‘scientific’ details of its creation are perhaps not so far-fetched if you accept the original premise of Jurassic Park. However, that is a big IF! Twenty years ago many of us enjoyed the scientific ideas suggested by Jurassic Park, either in the Michael Crichton book or in the Spielberg film. For those younger readers who haven't seen the original film; the idea was that scientists had managed to extract dinoDNA from a mosquito that had been trapped in prehistoric amber. This DNA was attached to a nucleic acid scaffold from a frog and ‘voila!’ there were more Stegosauri, Brontosauri and T. rex's than you could shake a pipette at! Inevitably as we left the cinema, we asked if this would ever be ‘possible’? Indeed there are current efforts to recreate long-extinct creatures, although on a slightly less ambitious scale. Whatever the source of your dinosaur DNA; be it from fossilized bones or from an amber-trapped mosquito, the chances of it being intact are essentially nil making the idea of the creation of new dinosaurs from preserved DNA more fiction than fact.

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5

Ordaz Gargallo, jorge. "Geology and literary fiction." BOLETÍN GEOLÓGICO Y MINERO 134, no. 1 (March 2023): 67–85. http://dx.doi.org/10.21701/bolgeomin/134.1/004.

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In this article the relations between geological sciences and literature of fiction, especially with science-fiction, are reviewed. The consolidation of geology as a scientific specialization in the first half of XIXth century attracted some writers of adventure and fantasy novels who used, among other topics, matters based on geological knowledge. Some of the most representative works in this field, published in the XIXth and XXth centuries, by authors as Jules Verne, Arthur Conan Doyle, Edgar Rice Burroughs, H. P. Lovecraft, Vladimir Obruchev, Arthur C. Clarke, George Gaylord Simpson and Sarah Andrews, are mentioned. Their contributions are divided in sections according to the aspects involved: the hollow Earth and the exploration of its inner part; the lost worlds (superficial, subterranean and extraterrestrial), inhabited by extinct animals; the prehistoric times and its antediluvian fauna; trips to other geological epochs, above all the Mesozoic times of the great dinosaurs; volcanoes, earthquakes and other natural disasters; and mines and mineral deposits. Finally, the geology of certain literary territories and the geologist, men or women, as a main character in fiction are also taken into account.

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6

Wilson, Graeme. "“‘Woman Inherits the Earth‘”: Deconstructing Jurassic Park as an Early Text in Third‐Wave Feminism." Popular Culture Review 28, no. 2 (December 2017): 133–54. http://dx.doi.org/10.1002/j.2831-865x.2017.tb00332.x.

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AbstractJurassic Park is popularly cited as one of the greatest science fiction films ever produced. An instant pop culture phenomenon, the film takes place in the eponymous theme park, which features genetically recreated dinosaurs as the main attractions. Although Jurassic Park's overarching theme is man's interference with nature, this essay argues that Jurassic Park also functions as an early text in third‐wave feminism, which originated in the early 1990s. As its administration is entirely male, Jurassic Park can be viewed as a patriarchal society, with its captive dinosaurs – who are all engineered to be female –serving as second‐class citizens, thus functioning as an inclusive metaphor for femininity. To support this thesis, this interpretive research essay employs a critical textual analysis of Jurassic Park, coding for specific dialogue and scenes that support a feminist interpretation of the film. This textual analysis is contrasted with a literature review consisting of relevant texts concerning the ideologies of third‐wave feminism. The ultimate goal of this essay is to assist in the normalization and promotion of feminism in popular media, especially through reexamining such a culturally enduring media text as Jurassic Park.

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7

Fallon, Richard. "Decadent Dinosaurs: Directed Evolution in British and North American Literature, 1890s–1970s." Twentieth Century Literature 70, no. 1 (March 1, 2024): 55–84. http://dx.doi.org/10.1215/0041462x-11098327.

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Despite paying concerted attention to evolutionary mechanisms, literary scholars have rarely focused on forms of “directed evolution” like orthogenesis (evolution along a linear track) and phylogeronty—the parallel between the lifespan of an animal group and the lifespan of an aging individual—analogical concepts reflecting a paleontological manifestation of a wider interest in human decadence. This essay analyzes how these concepts are explored in three areas: popular adventure fiction, social reform novels by Marie Stopes and H. G. Wells, and writings by paleontologists. Across these texts, the essay argues that directed evolution offered a recognizable trajectory with which to render the complexity and strangeness of prehistoric and modern life alike into a familiar linear shape by reading certain extinct animals as moral exemplars of evolutionary failure. While reformers hoped that humans could escape the orthogenetic grooves confining nonhuman animals to extinction, this optimism was shadowed both with fears that humans might inevitably face decadence and with a sense that survival meant mediocrity.

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Havens, Krista. "Prehistoric Dinosaurs: An Exploration of Fact vs. Fiction Through the Creation of Comparative Sculptural Forms." Arsenal: The Undergraduate Research Journal of Augusta University 3, no. 2 (May 5, 2020): 15. http://dx.doi.org/10.21633/issn.2380.5064/s.2020.03.02.15.

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9

Buckland, W. "Between science fact and science fiction: Spielberg's digital dinosaurs, possible worlds, and the new aesthetic realism." Screen 40, no. 2 (June 1, 1999): 177–92. http://dx.doi.org/10.1093/screen/40.2.177.

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10

Jorgensen, Dolly. "A Blueprint for Destruction: Eco-activism in Doctor Who during the 1970s." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (October 6, 2012): 11–26. http://dx.doi.org/10.37536/ecozona.2012.3.2.469.

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This article analyzes the television science-fiction show Doctor Who as a cultural forum within the context of British eco-activism of the 1970s. It examines four serials which aired during the 1970s during the first wave of eco-activism in the UK: "The Green Death" (1973), "The Invasion of the Dinosaurs" (1974), "The Seeds of Doom" (1976), and "Nightmare of Eden" (1979). Two environmentalist concerns-pollution and species conservation-put forward by the early British eco-activist movement as underscored in texts such as The Blueprint for Survival from 1972 are evident in these serials. While affirming the validity of some elements of environmentalist concerns, each serial also proposes that the ends do not always justify the means. The Doctor, although a supporter of eco-activism, rejects seemingly utopian approaches to reset the Earth's ecosystems. Rather than presenting viewers with a guide to sustainability, these Doctor Who serials offer dystopian visions of future realities steeped in ecological transgressions – these are the blueprints for destruction. Resumen En este artículo se analiza la serie de ciencia ficción Doctor Who como foro cultural en el contexto del eco-activismo británico de la década de 1970. Se examinan las cuatro series que se emitieron en los años 1970 durante la primera ola del eco-activismo en el Reino Unido: " The Green Death" (1973), "The Invasion of the Dinosaurs" (1974), "The Seeds of Doom" (1976) y "Nightmare of Eden" (1979). Dos preocupaciones medioambientales, la contaminación y la conservación de especies, propuestas en los principios del movimiento eco-activista británico y destacadas en textos como The Blueprint for Survival (1972), son evidentes en estas series. Mientras que se afirma la validez de algunos elementos de las preocupaciones medioambientales, cada serie también propone que el fin no siempre justifica los medios. El Doctor, aunque partidario del eco-activismo, rechaza los planteamientos aparentemente utópicos para restablecer los ecosistemas de la Tierra. En lugar de presentar a los espectadores una guía para la sostenibilidad, estas series de Doctor Who ofrecen visiones distópicas de realidades futuras llenas de transgresiones ecológicas – estas son las directrices de la destrucción.

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Books on the topic "Dinosaurs, fiction"

1

Litwin, Ronald J. Dinosaurs, facts and fiction. [Reston, Va.?]: U.S. Dept. of the Interior, U.S. Geological Survey, 2000.

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Litwin, Ronald J. Dinosaurs, facts and fiction. [Washington, D.C.?]: U.S. Dept. of the Interior, U.S. Geological Survey, 1999.

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3

Berger, Melvin. Stranger than fiction: Dinosaurs. New York: Avon Books, 1990.

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4

Barton, Byron. Dinosaurs, dinosaurs. London: Simon & Schuster, 1990.

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5

Wilson, Hannah. Dinosaurs. London: DK, 2007.

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6

Osborne, Will. Dinosaurs. New York: Scholastic Inc., 2000.

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Osborne, Will. Dinosaurs. New York: Random House, 2000.

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8

Damashek, Sandy. Dinosaurs. New York, N.Y: Playmore, 1989.

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9

Damashek, Sandy. Dinosaurs. New York, N.Y: Playmore, 1989.

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10

Moynihan, Dan. Hiding dinosaurs. New York: Holiday House, 2015.

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Book chapters on the topic "Dinosaurs, fiction"

1

Cline, Brent Walter. "“Great Clumsy Dinosaurs”." In Disability in Science Fiction, 131–42. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137343437_10.

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Heffner, Kathryn, and Edward Guimont. "Mesozoic Miscegenation: Erotic Fiction’s Resurrection of Dinosaurs." In Palgrave Studies in Animals and Literature, 331–44. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-41695-8_19.

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Sanderson, Jerika. "Listening to Nonhuman Animals in Science Fiction Film: Establishing Empathy Through Dinosaur Voices in Jurassic World: Fallen Kingdom." In Palgrave Studies in Animals and Literature, 95–110. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-41695-8_6.

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4

Hansell, Mike. "From One Nest to Another." In Built by Animals, 121–46. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199205561.003.0005.

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Abstract When I was a child, dinosaurs were grey and lumbering; rather more than half a century on, they have become agile, dappled, striped, even sporting splashes of vivid colour. The speed and agility now depicted is based largely on a reappraisal of the fossil skeletons, but the colours are entirely fanciful, more the consequence of cheaper colour printing than of improved scientific understanding. So, how much fiction is there in our depiction of other aspects of dinosaurs’ lives? I have a copy of a recently published biology textbook which shows a duck-billed dinosaur stooping as an attentive parent over a nest-full of ‘chicks’ among a small colony of other ground-nesting duck-bills.

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5

Hallam, Tony. "In search of possible causes of mass extinctions." In Catastrophes and Lesser Calamities. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780198524977.003.0004.

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When the subject of extinctions in the geological past comes up, nearly everyone’s thoughts turn to dinosaurs. It may well be true that these long-extinct beasts mean more to most children than the vast majority of living creatures. One could even go so far as to paraphrase Voltaire and maintain that if dinosaurs had never existed it would have been necessary to invent them, if only as a metaphor for obsolescence. To refer to a particular machine as a dinosaur would certainly do nothing for its market value. The irony is that the metaphor is now itself obsolete. The modern scientific view of dinosaurs differs immensely from the old one of lumbering, inefficient creatures tottering to their final decline. Their success as dominant land vertebrates through 165 million years of the Earth’s history is, indeed, now mainly regarded with wonder and even admiration. If, as is generally thought, the dinosaurs were killed off by an asteroid at the end of the Cretaceous, that is something for which no organism could possibly have been prepared by normal Darwinian natural selection. The final demise of the dinosaurs would then have been the result, not of bad genes, but of bad luck, to use the laconic words of Dave Raup. In contemplating the history of the dinosaurs it is necessary to rectify one widespread misconception. Outside scientific circles the view is widely held that the dinosaurs lived for a huge slice of geological time little disturbed by their environment until the final apocalypse. This is a serious misconception. The dinosaurs suffered quite a high evolutionary turnover rate, and this implies a high rate of extinction throughout their history. Jurassic dinosaurs, dominated by giant sauropods, stegosaurs, and the top carnivore Allosaurus, are quite different from those of the Cretaceous period, which are characterized by diverse hadrosaurs, ceratopsians, and Tyrannosaurus. Michael Crichton’s science-fiction novel Jurassic Park, made famous by the Steven Spielberg movies, features dinosaurs that are mainly from the Cretaceous, probably because velociraptors and Tyrannosaurus could provide more drama.

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6

Stiegler, Bernd. "A Fairy Tale of Science: The Lost World." In Arthur Conan Doyle and Photography, 97–122. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399502184.003.0006.

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Conan Doyle's novel The Lost World imagines an area of this earth – plateaus in South America – where dinosaurs have survived. Professor Challenger, the novel's protagonist, undertakes an expedition to explore these ‘tepui’. The novel was illustrated with photographs by Conan Doyle to make it plausible as ‘scientific fiction’.

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7

"Rearticulating the Nation: Transatlantic Fiction and the Dinosaurs of Empire." In Reimagining Dinosaurs in Late Victorian and Edwardian Literature, 99–135. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108989008.004.

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Zalasiewicz, Jan. "Perspective." In The Earth After Us. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780199214976.003.0006.

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The purest of science fiction. The Earth, in a post-human future, many millions of years hence, being re-explored. By . . . whom? Perhaps extraterrestrial explorers or colonists, just as we now peer at images of rock strata sent back by the Mars landers. Or perhaps a new, home-grown intelligence: say, a newly evolved species of hyper-intelligent rodent. No matter. What would such explorers, of whatever ancestry, find of our own, long-vanished, human empire? A frivolous question, perhaps. But perhaps not. It is hard, as humans, to get a proper perspective on the human race. We know that the Earth has a history that is long beyond human imagination, and that our own history is tiny by comparison. We know that we are animals, and yet we have transcended our natural environment to live in surroundings that, mostly, we have manufactured for ourselves. We know that this created environment is evolving at a speed that is vastly more rapid than the normal evolution of biological organisms or communities. We do not understand, quite, how our created environment and our activities interact with the natural environment, and we do not know what the long-term consequences will be. Let us take one view. We are simply one species out of perhaps 30 million currently inhabiting the planet (reputable estimates range from some 5 million to over 100 million). We are briefly in the golden age of our power, our dominance. But we are destined to extinction also, just as the dinosaurs became extinct. The world will then go on as before. Once a geological age or two has passed, there will be nothing but the odd bone or gold ring to show that we were ever here. In this scenario, comparison with the dinosaurs is apt. They were the top predators of their day, as our single species is now. But consider, also, the differences between us and the dinosaurs. The dinosaurs existed on this Earth for about a hundred million years, and included many species adapted to different environments. Homo sapiens is but one species, and has been around for less than a quarter of a million years, less than a tenth of an average species’ longevity.

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Zalasiewicz, Jan. "Body of Evidence." In The Earth After Us. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780199214976.003.0014.

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The most direct legacy that we can leave to future geology is that of our own mortal remains. Today, in reconstructing the long-vanished Jurassic landscapes, we put the mighty, charismatic dinosaurs square in the foreground. This focus we have—well-nigh a fixation—seems to us almost self-evident. Were they not the rulers of their empire, just as we are of ours, literally bestriding their domain as colossi of scale and blood and bone? Their skeletons, avidly sought, intensely studied, painstakingly reconstructed in museum displays, are the symbols of those times, iconic, mesmerizing. Might we not hope for similar awe and reverence from our future excavators? There is no guarantee, of course, that these as yet unborn explorers of a future Earth will share this perspective. Perhaps their focus will be on what, among all the diverse living inhabitants of this planet, is most important in preserving this living tapestry. They may well regard the myriad tiny invertebrates, or the bacteria, of the world as much more important to that (in planetary terms) rare phenomenon, a stable, functional, complex ecosystem. If these future explorers took this view, at the risk of off ending what little there might then remain of our amour propre, they would have a point. Take away the top predator dinosaurs, and the Jurassic ecosystems would have been a little different, to be sure, but no less functional. Take away humans, and the present world will also function quite happily, as it did two hundred thousand years ago, before our species appeared. Take away worms and insects, and things would start seriously to fall apart. Take away bacteria and their yet more ancient cousins, the archaea, and the viruses too, and the world would die. But, let us imagine our excavators as being, in true science fiction style, just as obsessed with their relative position in the food chain as we are. Let us assume that, in their excavation of the Earth’s history, they will be looking for the power brokers of the ancient past, that they will be digging for bones and bodies.

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"What is a Financial Instrument?: A Legal Fiction." In Dinosaur Derivatives and Other Trades, 45–58. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781119019602.ch04.

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