Relevant bibliographies by topics / English Science fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'English Science fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "English Science fiction"

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Gao, Jiali, and 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, no. 2 (February 1, 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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O'Krent, Michael. "Toward a Science-Fictional Interpretational Method: Reading Three Borges Stories." Science Fiction Studies 51, no. 1 (March 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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Ray, Alice. "Approche contrastive anglais-français de la création lexicale science-fictionnelle." Studia Romanica Posnaniensia 49, no. 4 (January 9, 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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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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Zigo, Diane, and Michael T. Moore. "Science Fiction: Serious Reading, Critical Reading." English Journal 94, no. 2 (November 1, 2004): 85–90. http://dx.doi.org/10.58680/ej20044186.

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Former high school teachers Diane Zigo and Michael T. Moore argue that science fiction deserves greater respect and a place in high school literature classes. They recommend titles and suggest activities for incorporating science fiction into English language arts instruction.
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Qin, Li. "Strategies for Translating Chinese Colloquial Expressions into English in Science Fiction: A Case Study of English Version of the Three-body Problem." International Journal of Education and Humanities 6, no. 1 (November 27, 2022): 196–200. http://dx.doi.org/10.54097/ijeh.v6i1.3091.

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In recent years, Liu Cixin’s trilogy the Three-body Problem, a science fiction novel, has broken the monopoly of foreign science fiction, won massive and popular reviews and admiration from Chinese and foreign readers, and has become an important source for Chinese culture to “go global”. To some extent, the result of English translation of science fiction has relatively affected its spread abroad. In the context of cultural differences, in order to enable overseas readers to correctly feel and understand the cultural elements of Chinese science fiction, it is necessary to properly convey specific meaning specially owned by cultural specific words during translation. Based on this, this paper takes the Three-body Problem as an source text, and through the analysis of examples, studies the English translation strategies of colloquial expressions, hoping to facilitate promoting the quality of translation work.
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Sheidlower, Jesse. "The Historical Dictionary of Science Fiction." Dictionaries: Journal of the Dictionary Society of North America 45, no. 1 (2024): 213–28. http://dx.doi.org/10.1353/dic.2024.a932067.

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ABSTRACT: The Historical Dictionary of Science Fiction ( HDSF ) is an online dictionary on historical principles dedicated to the vocabulary of English-language science fiction. Based on a project started at the Oxford English Dictionary , the HDSF contains approximately 1,500 entries and 12,000 quotations, many of which are linked to full views of their original publications or to bibliographic databases. It is regularly updated with new entries. This article describes the history of the project, the editorial decisions that inform it, the design of the dictionary, and the technical platform that runs it. It also discusses the future of the project, including the possibility of expanding it to cover related fields, such as video games or comics.
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Movchan, M. "TRANSLATION OF SCIENTIFIC TERMS FROM ENGLISH SCIENCE FICTION." International Humanitarian University Herald. Philology 39, no. 3 (2019): 75–78. http://dx.doi.org/10.32841/2409-1154.2019.39.3.17.

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Fuchs, Michael, and Christy Tidwell. "Anthropocene, Nature, and the Gothic: An Interview with Christy Tidwell." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 100–112. http://dx.doi.org/10.37536/reden.2022.3.1818.

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Christy Tidwell is an associate professor of English and humanities at the South Dakota School of Mines and Technology, and she is one of the leaders of the ecomedia interest group at the Association for the Study of Literature and Environment and the Digital Strategies Coordinator at ASLE as well. Christy is the co-editor of the volumes Gender and Environment in Science Fiction (Lexington Books, 2018) and Fear and Nature: Ecohorror Studies in the Anthropocene (Penn State UP, 2021) and a special issue of Science Fiction Film and Television on creature features. Her essays have appeared in journals such as Extrapolation, Interdisciplinary Studies in Literature and the Environment, and Gothic Nature. She has also contributed to volumes such as Posthuman Biopolitics: The Science Fiction of Joan Slonczewski (Palgrave, 2020), Fiction and the Sixth Mass Extinction: Narrative in an Era of Loss (Lexington Books, 2020), and Creatural Fictions: Human-Animal Relationships in Twentieth- and Twenty-First-Century Literature (Palgrave, 2016).
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Cormier, Matthew. "The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction." American, British and Canadian Studies 35, no. 1 (December 1, 2020): 5–22. http://dx.doi.org/10.2478/abcsj-2020-0014.

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Abstract This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Yet, apocalyptic fiction in Canada since 2000 has drastically changed. 9/11, rapid technological advancements, a growing climate crisis, the Truth and Reconciliation Commission: these changes have all marked the fictions of Canada in terms of futurities. This article thus examines three novels – English-Canadian novelist Emily St. John Mandel’s Station Eleven (2014), Indigenous writer Thomas King’s The Back of the Turtle (2014), and Québécois author Nicolas Dickner’s Apocalypse for Beginners (2010) – to discuss the ways in which they work to bring about the destruction of nationalism in Canada through the apocalyptic genre and affectivity to envision new futures.
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Dissertations / Theses on the topic "English Science fiction"

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Alsulami, Mabrouk. "Science Fiction Elements in Gothic Novels." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2016. http://digitalcommons.auctr.edu/cauetds/47.

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This thesis explores elements of science fiction in three gothic novels, Mary Shelley’s Frankenstein, Robert Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. It begins by explicating the important tropes of science fiction and progresses with a discussion that establishes a connection between three gothic novels and the science fiction genre. This thesis argues that the aforementioned novels express characters’ fear of technology and offer an analysis of human nature that is literarily futuristic. In this view, each of the aforementioned writers uses extreme events in their works to demonstrate that science can contribute to humanity’s understanding of itself. In these works, readers encounter characters who offer commentary on the darker side of the human experience.
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Roach, Katherine. "Between magic and reason : science in 19th century popular fiction." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/13687/.

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The scientist in fiction is much maligned. The mad, bad scientist has framed much of the debate about literary representations of science and with good reason since he is a towering icon of popular culture. Yet, I will propose that an equally preeminent figure provides an alternative model of science in fiction. This is the detective. Links between developing scientific disciplines and the emerging genre of detective fiction have been well described to date. Yet the history of the detective as scientific icon has not been told, particularly not as it engages with the history of the mad scientist. These two paragons of modem culture developed from a groundswell of gothic narrative and imagery that emerged in the late 18th century and continued to entertain and challenge audiences throughout the 19th century, as they still do to this day. My aim is to recover some of the complexity of past public images of science, and the understandings that such icons relate to, as they develop and meander through a variety of 19th century fictions. In a series of time slices I relate these figures, their iconography and narratives, to contemporary debates about science and follow through the elements that each generation retains, remoulds and claims for their own time. Ultimately, I hope to show that an panalysis of the mad scientist alongside other fictional scientific figures provides a far more nuanced picture of potential meanings, than the negative and fearful response that he is often assumed to represent. This is significant because both these icons are current in popular culture today and as such are part and parcel of the present pool of cultural resources that provides tools for thinking about science and society in the 21st century.
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McDonald, Bonny. "Buried Alive: Hard Science Fiction Since the Golden Age." TopSCHOLAR®, 2005. http://digitalcommons.wku.edu/theses/461.

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A substantial body of science fiction authors, critics and fans appreciate the literary attention the New Wave of the '60s and '70s brought to the genre of science fiction, but regret the seemingly lasting move away from the hard science classics of the '50s and before. They argue that "the hard stuff' is at the very heart of sf and that its future—still on the path set by the New Wave—is ostensibly a dead end. Many important critics along with hundreds of sf fan websites display this fatalistic concern, asking over and over "Is hard science fiction dead?" The answer is no. These reactionaries suffer from a serious case of the Good Old Days Syndrome (not to mention the Good Old Boys Syndrome). A close look at the state of the genre reveals that hard sf is not only alive and well but also that contemporary hard sf is more in line with its critics' definition of hard sf than the very stories they cite as exemplars of it. Contrary to the accusations of noted sf critics, it may well be that a new golden age of sf is dawning, one with an even truer scientific core as well as a commitment to literary quality. This thesis will expose the curious contradiction between the hard and soft / old and new sf. The introduction will examine the definition of hard sf and declarations of its unfortunate demise. Each of three chapters will compare two stories—one from sf s Golden Age and another after the supposed death of the genre. In each, I will show how classic examples of hard sf regularly fail to meet the objective, scientific criteria they purport to uphold and how contemporary stories—even while focusing (to varying degrees) on the political and personal—better espouse the principles of hard sf. Ultimately, it seems that those who descry hard sf s death miss not the technical aspects of hard sf that, even by their definition, distinguish it from softer sf, but the traditional Golden Age values of male dominance, imperialism, and anti-emotionalism. Newer stories' feminism and redefinitions of progress blind conventional readers to their truly hard-core, science-based foundations. The conclusion will consider what hard sf s paradigm shifts mean in terms of our evolving relationship to science. Specifically, in our technological age, science is not merely a field that studies how things work, but a field that can help us to illuminate and interpret our place in the universe. Ultimately, hard science fiction is not dead, it's just doing something different from what it used to.
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Erhart, Erin Michelle. "England's Dreaming| The Rise and Fall of Science Fiction, 1871-1874." Thesis, Brandeis University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10103436.

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This dissertation grows out of a conversation between two fields—those of Victorian Literature and Science Fiction (SF). I began this project with a realization that there was a productive overlap between SF and Victorian Studies. In my initial engagement with SF, I was frustrated by the limitations of the field, and by the way that scholars were misreading the 19th century, utilizing broad generalizations about the function of Empire, the subject, technology, and the social, where close readings would have been more productive. Victorian studies supplied a critical and theoretical basis for the interrogation of these topics, and SF gave my reading of the nineteenth century an appreciation for the dynamic nature of the mechanism, and a useful jumping-off point for conversations around futurity, utopia, and the Other. Together, these two fields created a symbiotic theoretical framework that informs the progression of the dissertation.

In this project, I am shifting the grounds of engagement with early SF between two main terms; my aim is to question the establishment of “cognitive estrangement” as the seat the power in SF studies and supplant it with an emphasis on the “novum”. While both terms are indebted to Darko Suvin, I argue that the fixation on cognitive estrangement has blurred the lines of the genre of SF in nonproductive ways, and has needlessly complicated an already complex field. This dissertation is a deep engagement with the SF novels of 1871-2 to establish how the genre was defining itself from the very beginning, and looks to examine how a close-reading of early SF can inform our engagement with the field. Chapter one treats the work of Edward Bulwer-Lytton’s The Coming Race (1871), chapter two examines Sir George Chesney’s The Battle of Dorking (1871), chapter three engages with Samuel Butler’s Erewhon, and chapter four is an examination of the relationship between the first three novels and Robert Ellis Dudgeon’s Colymbia (1873) and A Voice from Another World (1874) by Wladyslaw Somerville Lach-Szurma (W.S.L.S).

There are four fundamental concerns. The first is that the near simultaneous publication of Chesney, Lytton, and Butler signaled the emergence of SF as a genre, rather than as the isolated texts that had existed prior to this moment. The clustering of the novels of 1871-2 marks the transition of SF concerns from singular outlier events to a generic movement. The second claim is that the “novum”, one of the key aspects of a SF novel, is not just a material component in the text, but is a kind of logic that undergirds these novels. While the novum is often thought of as “the strange thing in a strange world”, I lock onto the early language of Suvin and critics such as Patricia Kerslake and John Rieder to suggest that it is, instead, a cognitive logic that is experimented on within the narrative of the novel. The third claim is fundamentally tied to the second: this foundation logic of the text is technological or mechanical. It is this connection of cognitive logic and technology and the mechanism that situates the novum as a technologic that is experimented on or evolved within the body of an SF novel, and is important because it helps us lock onto how SF is a product of the industrial age. In the break that occurs in 1871, this form of the novum plays a critical role in the development and identification of SF as a genre, and helps to distinguish texts with scientific themes (what I am calling scientific fictions) from those featuring a fundamental technologic that is intrinsic to the development and deployment of the narrative (what will come to be called science fiction).

The fourth and final claim is a product of the function and nature of the novum: and is that SF as a genre not only helps to understand technology and culture, but actively works to define the relationship between the two. Technology is registered as an important influence on culture, and culture shapes the future of technology. This genre is ultimately growing out of the rise of the scientific method, and the logic of the texts reflects that experimental paradigm. The logic of SF is one that experiments with the future, testing the implications of the known world against the possibilities of time, and in doing so, defining the terms of engagement with what the future might bring.

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Strasen, Christian T. "A Postcard From the Future| Technology, Desire, and Myth in Contemporary Science Fiction." Thesis, Southern Illinois University at Edwardsville, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10013970.

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This thesis argues that modern, post-apocalyptic science fiction functions as a projected analysis of the author’s contemporary world. This insight is used to chart the historical trajectory of the spread of automaticity, the reduction of objects, and the loss of historical memory. The Introduction introduces readers to both the literary and critical histories of science fiction, contextualizing the worlds that George R. Stewart, Ursula K. Le Guin, and Margaret Atwood write in. Chapter One analyzes George R. Stewart’s 1949 novel Earth Abides, using it to demonstrate how the growing trend of automaticity leads toward a reduction of physical objects, and a misunderstanding of politics. Chapter Two uses Ursula K. Le Guin’s 1973 novel The Lathe of Heaven to reveal an acceleration of automaticity and reduction of objects though the manipulation of human desire. This, in turn, leads to a loss of historical memory via Herbert Marcuse’s concept of repressive desublimation. Chapter Three charts the effects that the advent of the virtual has had on automaticity and the manipulation of human desire through an engagement with Margaret Atwood’s 2003 novel Oryx and Crake.

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Gevers, Nicholas David. "Mirrors of the past : versions of history in science fiction and fantasy." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/10511.

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The primary argument of this Thesis is that Science Fiction (SF) is a form of Historical Fiction, one which speculatively appropriates elements of the past in fulfilment of the ideological expectations of its genre readership. Chapter One presents this definition, reconciling it with some earlier definitions of SF and justifying it by means of a comparison between SF and the Historical Novel. Chapter One also identifies SF's three modes of historical appropriation (historical extension, imitation and modification) and the forms of fictive History these construct, including Future History and Alternate History; theories of history, and SF's own ideological changes over time, have helped shape the genre's varied borrowings from the past. Some works of Historical Fantasy share the characteristics of SF set out in Chapter One. The remaining Chapters analyse the textual products of SF's imitation and modification of history, i.e. Future and Alternate Histories. Chapter Two discusses various Future Histories completed or at least commenced before 1960, demonstrating their consistent optimism, their celebration of Science and of heroic individualism, and their tendency to resolve the cyclical pattern of history through an ideal linear simplification or 'theodicy'. Chapter Three shows the much greater ideological and technical diversity of Future Histories after 1960, their division into competing traditional (Libertarian), Posthistoric (pessimistic), and critical utopian categories, an indication of SF's increasing complexity and fragmentation.
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Abberley, William Harrison. "Language under the microscope : science and philology in English fiction 1850-1914." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4472.

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This study explores how Anglophone fiction from the mid-Victorian period to the outbreak of the First World War acted as an imaginative testing-ground for theories of the evolution of language. Debates about the past development and the future of language ranged beyond the scope of empirical data and into speculative narrative. Fiction offered to realize such narratives in detail, building imaginative worlds out of different theories of language evolution. In the process, it also often tested these theories, exposing their contradictions. The lack of clear boundaries between nature and culture in language studies of the period enabled fictions of language evolution to explore questions to which contemporary researchers have returned. To what extent is communication instinctive or conventional? How do social and biological factors interact in the production of meaning? The study traces two opposing tendencies of thought on language evolution, naming them language ‘progressivism’ and ‘vitalism’. Progressivism imagined speakers evolving away from involuntary, instinctive vocalizations to extert rational control over their discourse with mechanical precision. By contrast, language vitalism posited a mysterious, natural power in words which had weakened and fragmented with the rise of writing and industrial society. Certain genres of fiction lent themselves to exploration of these ideas, with utopian tales seeking to envision the end-goals of progressive theory. Representations of primitive language in imperial and prehistoric romances also promoted progressivism by depicting the instinctive, irrational speech from which ‘civilization’ was imagined as advancing away. Conversely, much historical and invasion fiction idealized a linguistic past when speech had expressed natural truth, and the authentic folk origins of its speakers. Both progressivism and vitalism were undermined through the late nineteenth century by developments in biology, which challenged claims of underlying stability in nature or purpose in change. Simultaneously, philologists increasingly argued that meaning was conventional, attacking models of semantic progress and degradation. In this context, a number of authors reconceptualized language in their fiction as a mixture of instinct and convention. These imaginative explorations of the borderlands between the social and biological in communication prefigured many of the concerns of twenty-first-century biosemiotics.
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Gevers, Nicholas David. "A study of the major science fiction works of Gene Wolfe." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/21971.

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This thesis examines three major works by the American Science Fiction and Fantasy writer Gene Wolfe (Eugene Rodman Wolfe, 1931-). The central argument of this thesis is that in The Fifth Head of Cerberus (1972), the 'New Sun' cycle of novels (1980- 1987), and Soldier of the Mist (1986), Wolfe presents the human desire for knowledge of the Self and of God and the near-impossibility of attaining this knowledge. Wolfe expresses obstacles to knowledge and fulfilment in his created fictional worlds, in the characters of his protagonists, and in the complicated narrative structures that distinguish all three texts. By converting the stable and reassuring world of conventional Science Fiction into a realm of uncertainty, ambiguity, and spiritual and cognitive confusion, Wolfe radically subverts the genre and exposes it to a new subtlety and flexibility.
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Brodie, Jessica J. "Children in science fiction utopias: feminism's blueprint for change." FIU Digital Commons, 1999. http://digitalcommons.fiu.edu/etd/2425.

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The purpose of this thesis was to examine the treatment and portrayal of children in science fiction utopian literature and determine whether this effectively indicated the writers’ feminist visions for social change. A feminist theoretical perspective and critical interpretation of several of the genre’s canon, Sheri Tepper’s The Gate to Women’s Country, Suzy McKee Chamas’s Motherlines, Sally Miller Gearhart’s The Wanderground, Ursula Le Guin’s The Dispossessed and Octavia Butler’s Xenogenesis series, were used as research methodologies. The findings revealed that children communicate feminist prescriptions for change in three ways: children as the literal, biological future, the link between two opposing societies, or the explanation for the difficult philosophies and structural elements of the societies. As this subject has been an unexplored area of criticism, it is recommended that critics begin to examine this treatment of children to more easily understand the writers’ social visions and effect their blueprints for change.
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Raulerson, Joshua Thomas. "Singularities: technoculture, transhumanism, and science fiction in the 21st Century." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/2968.

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A spectre is haunting contemporary technoculture: the spectre of Singularity. Ten years into a century thus far characterized chiefly by the catastrophic failure of global economic and political systems, deepening ecological anxieties, and slow-motion social crisis, the only sector of our collective cultural myth of Progress still vibrantly intact is the technological - a project which, in vivid contrast to the systemic failure that seemingly prevails at nearly every other level, continues to charge forward at breakneck speed. Since the late twentieth century, prompted by the all-but-exponential growth of machine intelligence and global information networks, and by the still largely obscure but increasingly profound-seeming implications of emerging nanotechnology, futurists and fabulists alike have postulated an imminent historical threshold whereupon the nature of human existence will be radically and irrevocably transformed in a sudden explosion of technological development. This moment of transcendence, it is supposed, is at most only a few years off; indeed, some say, it may have already begun. The "Singularity" - a term coined in 1986 by the mathematician and science fiction writer Vernor Vinge, and subsequently adopted throughout technocultural discourse - is at present the primary site of interpenetration between technoscientific and science-fictional figurations of the future, an area in which the longstanding binary distinctions between science and SF, and between present and future, are rapidly dissolving. As much as the Singularity thesis implies a total reorganization of society and of the self - which posthumanist cultural studies and cyborg theory have already begun mapping - it also poses a daunting existential challenge to the enterprise of SF itself, to the extent that the Singularity imposes what Vinge has described as "an opaque wall across the future," an impenetrable cognitive obstacle beyond which the extrapolative imagination cannot glimpse. For a genre long defined by its efforts to assert, through the narrative technique of extrapolation, a meaningful continuity between present and future, the Singularity presents a thorny problem indeed, demanding both a reevaluation of SF's conception of and orientation toward the future, and a new narrative model capable of grappling with the alien and often paradoxical complexity of the postsingular. This study is an inquiry into the properties and problematics of Singularity across fictional and nonfictional discourses, and as such it operates on two levels. Reading Singularitarian literature against a broadly articulated context of fringe-science and transhumanist movements, consumer culture, political and economic theory, and related areas of contemporary cyber- and technoculture, I examine how the metaphor of Singularity structures and signifies the aspirations and anxieties of late-twentieth and early twenty-first century technocivilization. As a project of literary criticism specifically, the study works to identify and theorize a grouping of texts that is emerging from cyberpunk and postcyberpunk tendencies in contemporary SF, organized around the premises of Singularity and the posthuman, and classifiable primarily in terms of an attempt to mount a response to the formal and conceptual problems Vinge has identified. Primary readings are drawn from a wide-ranging selection of twentieth- and twenty-first-century technocultural fiction, with emphasis on SF works by Charles Stross, Cory Doctorow, Neal Stephenson, Bruce Sterling, Rudy Rucker, and William Gibson.
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Books on the topic "English Science fiction"

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Aldiss, Brian Wilson. Science fiction blues. London: Avernus, 1988.

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Peter, Haining, ed. Vintage science fiction. New York: Carroll & Graf Publishers, 1999.

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Hélène, Auffret-Boucé, ed. Science-fiction britannique. Paris: Didier érudition, 1989.

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Rudyard, Kipling. Kipling's science fiction. Thorndike, Me: G.K. Hall, 1998.

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1920-, Blishen Edward, and Littlewood Karin ill, eds. Science fiction stories. New York: Kingfisher, 1993.

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1954-, Goodwyn Andrew, ed. Science fiction stories. Oxford: Oxford University Press, 1991.

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1930-, Bloom Harold, ed. Classic science fiction writers. New York: Chelsea House Publishers, 1995.

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Harold, Bloom, ed. Classic science fiction writers. New York: Chelsea House Publishers, 1994.

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Gooden, Philip. Brodie's notes on English coursework, science fiction. London: Pan Books, 1991.

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Manlove, C. N. Science fiction: Ten explorations. Kent, Ohio: Kent State University Press, 1986.

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Book chapters on the topic "English Science fiction"

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Ginway, M. Elizabeth. "Teaching Latin American Science Fiction and Fantasy in English: A Case Study." In Teaching Science Fiction, 179–201. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230300392_12.

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Lemberg, R. B. "Ungendering the English Translation of the Strugatskys’ The Snail on the Slope." In Studies in Global Science Fiction, 55–78. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84208-6_4.

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Bolay, Jordan. "Excerpts from A Glossary of Non-essential Forms and Genres in English-Canadian Literature." In Studies in Global Science Fiction, 345–61. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15685-5_20.

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Curry, Niall, Jim Clarke, and Benet Vincent. "Ponying the Slovos: A Parallel Linguistic Analysis of A Clockwork Orange in English, French, and Spanish." In Studies in Global Science Fiction, 165–88. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84208-6_9.

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Martín, Sara. "An Insufficient Process of Internationalization: Militant Translation and the Experience of Translating into English the Best-Selling Catalan (Sf) Novel Ever." In Studies in Global Science Fiction, 33–53. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84208-6_3.

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Kupperman, Karen Ordahl. "How [Not] to Run a Colony in the Distant Past and the Future." In History and Speculative Fiction, 101–19. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_6.

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AbstractColonialism always rests on a false premise: we will bring our superior culture to a new region. The beings who inhabit the territory may be useful to us, but they certainly can be pushed out of the way. Such was the case in England’s first attempts in North America 400 years ago, and now fictional accounts of colonization in outer space see humans repeating their mistakes. This chapter uses pamphlets, letters, and official documents written in the beginning decades of English colonization in North America. It also draws on two modern science fiction accounts, one from the mid-twentieth century, Harry Martinson’s Aniara, and the other recently published, Charlie Jane Anders’ The City in the Middle of the Night.
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Sohár, Anikó. "‘Anyone Who Isn’t Against Us Is for Us’: Science Fiction Translated from English During the Kádár Era in Hungary (1956–89)." In Translation Under Communism, 241–79. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-79664-8_9.

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James, Edward. "Science Fiction." In The Oxford History of the Novel in English, 449–62. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192844729.003.0039.

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Abstract Arising from the Gothic (with Mary Shelley), from tales of exploration (with Jules Verne), and from stories of the wondrous or horrific potentials of science (with H. G. Wells), science fiction was not a US invention, though the label “science fiction” was first used by the US magazine editor Hugo Gernsback in 1929 and became current in the United States much earlier than in Britain or elsewhere. Aided by the cultural power of Hollywood, US writers in the second half of the century created a new kind of science fiction, which readily translated into other languages. The active creation of a canon, in which US authors predominated, was aided by the growth in the US (and later in the rest of the world) of a community of science fiction fans, as well as international networks kept alive by amateur publications (fanzines) and conventions, and then by email and social media.
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"science fiction, n. & adj." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/6633909064.

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Jin, Emily Xueni. "Translating Chinese Science Fiction into English:." In In the Face of Adversity, 145–59. UCL Press, 2023. http://dx.doi.org/10.2307/j.ctv2tsxmpp.15.

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Conference papers on the topic "English Science fiction"

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Kusumastuti, Fenty. "Analyzing Translation through the Science Fiction Film Arrival." In 1st Bandung English Language Teaching International Conference. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0008214600050013.

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Stanko, D. V. "To the history of English fan fiction." In THE LATEST DEVELOPMENT TRENDS IN PHILOLOGICAL SCIENCE AND EDUCATION. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-404-7-26.

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Saeed, Ismael M. Fahmi, and Lanja A. Dabbagh. "The Function of the Beginnings and Endings in English Fiction." In 8TH INTERNATIONAL VISIBLE CONFERENCE ON EDUCATIONAL SCIENCE AND APPLIED LINGUISTICS. Ishik University, 2017. http://dx.doi.org/10.23918/vesal2017.a17.

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Биктимирова, Мария, and Дмитрий Алимбеков. "ANALYSIS OF EVOLUTIONARY TRENDS IN THE ENGLISH LANGUAGE BASED ON THE SCIENCE FICTION NOVEL "HUNDRED"." In LINGUISTIC UNITS THROUGH THE LENS OF MODERN SCIENTIFIC PARADIGMS. Baskir State University, 2021. http://dx.doi.org/10.33184/yevssnp-2021-11-30.27.

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Dzyubenko, Anna. "ON SOME CONCEPTS' INTERRELATION IN MODERN ENGLISH FEMALE FICTION." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/32/s14.114.

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You might also be interested in the extended bibliographies on the topic 'English Science fiction' for particular source types:
Journal articles Dissertations / Theses Books
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