Relevant bibliographies by topics / Fiction, science fiction, general

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

Academic literature on the topic 'Fiction, science fiction, general'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Fiction, science fiction, general"

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Allain, Rhett. "The fictional science of science fiction." Physics World 32, no. 11 (November 2019): 49–51. http://dx.doi.org/10.1088/2058-7058/32/11/39.

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Nandi, Shibasambhu. "Science Fiction and Film: An Analytical Study of Two Select Indian Movies." International Journal of English Learning & Teaching Skills 5, no. 4 (July 3, 2023): 3438–46. http://dx.doi.org/10.15864/ijelts.5407.

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Science fiction is a genre of art that caters to the popular taste of the people. It presents a world mixed with science and fictional elements. It can be taken as a microcosm of fictional literature. It uses to present unfamiliar and unknown things in a familiar and known way. It provides its diverse themes and issues not only in texts but also in films. When science fiction is adapted into movies, it is able to attract a large number of audiences specially the young generation of writers. Science fictional films cover the issues like future society, challenges created by scientific developments, human enhancement through science and technology, human-machine clash, hybrid identity, world of aliens, and Artificial Intelligences. There are many films in western countries covering the issue of science fiction. Production houses designed the films in such a way that it can make an appeal to the audience. Even in India, there are several science fiction films. From 1952 to the present, Indian cinema contributes a lot by producing one after another attracting films on the theme of science fiction. The present paper is going to analyze two films Koi...Mill Gaya and its sequel Krish 3 from the perspectives of science fiction. The paper will also try to present the history of science fiction films in India and in the West. It attempts to depict the science fictional elements and new techniques shown in the films. These films are the representations of future society which accepts the inhabitation of different beings like modified human, superhuman and aliens.
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Šešlak, Mirko Ž. "PHILIP K. DICK’S UBIK: A NATURAL POSSIBLE WORLD OF SCIENCE FICTION OR A SUPERNATURAL POSSIBLE WORLD OF FANTASY?" Lipar XXIV, no. 82 (2023): 107–21. http://dx.doi.org/10.46793/lipar82.107s.

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The article aims to explore whether the text of Philip K. Dick’s Ubik constructs a natural (physi- cally possible) or a supernatural (physically impossible) fictional world. According to Darko Suvin, one of the fundamental traits of science fiction is that its texts construct natural, physically possible fictional worlds. Readers of science fiction have often complained of Ubik, regarding it a confusing work, riddled with supernatural impurities and a lack of precise explanations. The betrayal of these expectations often casts doubt on whether this novel is science-fictional or a work of fantasy. If we aim to determine whether the fictional world of Ubik belongs to the possible worlds of science fiction, the theoretical framework for such a task can be found in Lubomir Doležel’s possible worlds theory. To do this, we must analyze the alethic constraints of the given fictional world, for those narrative modalities govern the formation of the fic- tional world’s physical laws and determine what is possible, impossible and necessary within its boundaries. If our analysis shows that the alethic constraints present in Ubik are analogous to the physical laws of the real world, we will prove that this fictional world is physically pos- sible and therefore possesses one of the fundamental traits of science fiction, naturalness. If our analysis shows otherwise, the fictional world of Ubik can be relegated to the supernatural, physically impossible worlds of fantasy.
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Leś, Mariusz M. "„Skrajny kwadrant gwiazdozbioru” – astronomia w fantastyce naukowej." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 52, no. 3 (December 13, 2021): 45–76. http://dx.doi.org/10.36770/bp.622.

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As the author of the article claims, there exist close and lasting links between astronomy and science fiction genre. First and foremost, both of these phenomena developed in parallel since antiquity, and both have fiction at their centre as a socially established type of imagination. Scientific hypotheses use justified fabrication, and science fiction offers images of fictional cosmologies. Many writers of proto-science fiction brought astronomical concepts into social play. Among them were astronomers and philosophers who extensively used plot devices based on mythology or allegorical transformations: from Lucian of Samosata to Johannes Kepler. Space travel, beginning with Jules Verne’s prose, is an important part of the thematic resource of science fiction. Astronomy played an important role also in the beginnings of Polish science fiction, thanks to works of Michał Dymitr Krajewski and Teodor Tripplin.
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Muradian, Gaiane, and Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative." Armenian Folia Anglistika 13, no. 1-2 (17) (October 16, 2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.

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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, freedom of choice and idiosyncrasy of the society and its members. It is such critical and creative reflections of science fiction dystopian narrative that are focused on in the present case study with the aim of bringing out certain properties in terms of narrative types and devices, figurative discourse and cognitive notions through which science fiction dystopia expresses and conveys its overarching message, i.e. the warning to stop before it is too late to the reader.
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Kuvač-Levačić, Kornelija. "THE EMOTIONAL CONSTRUCT OF THE FUTURE IN ORWELL’S 1984. AND CROATIAN SCIENCE FICTION IN THE 2000s." Lipar XXIV, no. 82 (2023): 85–106. http://dx.doi.org/10.46793/lipar82.085kl.

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In this paper, two works of science fiction, distanced from each other both spatially and tem- porally (as they belong to different national literatures) are analysed: Orwell’s novel 1984 and Darko Macan’s and Tatjana Jambrišak’s short story „Besmrtni slučaj“ (“An Immortal Case”), as an example of Croatian science fiction from the 2000s. This research is focused on the ways in which these respective authors textually construct emotions within the framework of a fictional perspectivisation of the future. Contemporary constructivist approaches to the emotions show that they are an important part of cognitive processes and also culturally conditioned entities. This work proves that emotional constructs of the future can be taken into consideration when dealing with the basic genre characteristics of science fiction. This means that they participate in the creation of a conceptual breakthrough of the paradigm of our episteme, that they are a part of cognitive estrangement, or of the fictional novum validated by epistemic logic. Thus, this topic, when approaching science fiction, despite the national literature or period to which such a work may belong, may contribute to further research regarding the possible cultural conditions of the emotions of the future, as well as furthering knowledge on the characteristics of the genre of modern science fiction.
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Newbery-Jones, Craig. "‘The Changes that Face Us’: Science Fiction as (Public) Legal Education." Law, Technology and Humans 4, no. 2 (November 14, 2022): 137–51. http://dx.doi.org/10.5204/lthj.2488.

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Much has been written on how science fiction allows us to interrogate imagined societal changes and potential yet-to-be realised futures. It also allows those who consume such texts to reflect upon their contemporaneous societies This paper refocuses this understanding of science fiction from an original and novel perspective, arguing that science fiction texts perform an educative function and can be considered a form of public legal education. To this end, this paper argues that science fiction performs a jurisprudential function in its treatment and popular presentation of legal issues and themes. Science fiction allows audiences and consumers to conceptualise abstract jurisprudential concepts, whether they are engaged with less interactive media (such as television or film) or experimenting more actively with these concepts via dynamic media (such as video games and tabletop role-playing games). This distinction between less interactive and more interactive media draws upon previous work by Newbery-Jones in 2015 that examined the jurisprudence of video games and the phenomenology of justice. It also focuses on science fiction’s potential to contribute to formal and public legal education. Finally, this paper explains the importance of public legal education in the twenty-first century and highlights science fiction’s critical role in encouraging engagement with jurisprudential themes and legal subject matter within the shifting sociopolitical landscape of the last decade.
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Boyd, Brian. "Learning from Fiction?" Evolutionary Studies in Imaginative Culture 5, no. 1 (June 1, 2021): 57–66. http://dx.doi.org/10.26613/esic.5.1.210.

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Abstract Storytellers and their audiences over many millennia have thought that we can learn from fiction. Philosopher Gregory Currie challenges that supposition. He doubts knowing can be founded on imagining, and claims that what we think we learn from fiction is not reli­able in the way science or philosophy is, because not tested through peerreview, experi­ment, and argument. He underrates the role of the imagination in understanding all hu­man language, in fictionality outside formal fictions, and in science. Science is not “reliabilist” as Currie assumes: it aims at bold imaginative discoveries that often overturn what had previously been thought secure and may well be displaced by still newer discov­eries. Fiction may not have peer review, but it is tested on the highly developed intuitions of audiences, on the expertise of critics, and through the corrective competition and inno­vations of other storytellers, as Joyce challenges Homer, or David Sloan Wilson’s recent Atlas Hugged challenges Ayn Rand’s Atlas Shrugged. There are strong reasons for predicting that fiction has a prosocial bias from which humans over many millennia have learned to expand their sociality. That does not mean that all exposure to fiction is beneficial.
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Parise, Agustín. "Notas sobre a ficção como ferramenta para o ensino do direito." Anamorphosis - Revista Internacional de Direito e Literatura 7, no. 2 (December 30, 2021): 355–74. http://dx.doi.org/10.21119/anamps.72.355-374.

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This study understands fiction as a tool for teaching law. It shows teachers and students about the use of fiction to examine different areas of the law. The subject is approached from two perspectives. First, it explores how authors of fiction craft their own law. For this, examples provided by folklore, science fiction and plays are evoked, recalling that the law is an important element in the plot structures and that it is worth studying it. Second, the paper is about how jurists create their own fictional scenarios. To this end, the Socratic method, problem-based learning and the production of plays are addressed, all of them as vehicles for teaching law. With this, it is evident that law and fiction are not antagonistic or incompatible. Both can coexist, either to offer arguments to a fictional author or to operate as a didactic and pedagogical method in the hands of a jurist.
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Raghunath, Riyukta. "Possible worlds theory, accessibility relations, and counterfactual historical fiction." Journal of Literary Semantics 51, no. 1 (April 1, 2022): 1–18. http://dx.doi.org/10.1515/jls-2022-2047.

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Abstract Possible Worlds Theory has commonly been invoked to describe fictional worlds and their relationship to the actual world. As an approach to genre, the relationship between fictional worlds and the actual world is also constitutive of specific text types. By drawing on the notion of accessibility relations, different genres can be classified based on the distance between their fictional worlds and the actual world. Maître, Doreen. 1983. Literature and possible worlds. Middlesex: Middlesex University Press for example, in what is considered the first attempt to adapt accessibility relations from logic to literary studies, distinguishes between four text types depending on the extent to which their fictional worlds can be seen as possible, probable, or impossible in the actual world. Developing Maître’s work, Ryan, Marie-Laure. 1991a. Possible worlds and accessibility relations: A semantic typology of fiction. Poetics Today 12. 553–576, c.f. Ryan, Marie-Laure. 1991b. Possible worlds, artificial intelligence, and narrative theory. Bloomington: Indiana University Press) creates a comprehensive taxonomy of accessibility relations that may be perceived between fictional worlds and the actual world. This includes assuming compatibility with the actual world in terms of physical laws, general truths, people, places, and entities. Using her taxonomy, she then offers a typology of 13 genres to show how fictional worlds created by different genres differ from each other. As it stands, Ryan’s typology does not contain the genre of counterfactual historical fiction, but similar genres such as science fiction and historical confabulation are included. In this article, specific examples from counterfactual historical fiction are analysed to show why it is problematic to place these texts within the genres of historical confabulation or science fiction. Furthermore, as I show, Ryan’s typological model also does not account for some of the characteristic features of the genre of counterfactual historical fiction and as such the model cannot account for all texts within the genre. To resolve this issue, I offer modifications to Ryan’s model so it may be used more effectively to define and distinguish the genre of counterfactual historical fiction.
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Dissertations / Theses on the topic "Fiction, science fiction, general"

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Gallagher, Ron. "Science fiction and language : language and the imagination in post-war science fiction." Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/90798/.

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This study examines the claims for a privileged status for the language of science fiction. The analysis of a series of invented languages, including 'nadsat', 'newspeak' and 'Babel-17', establishes that beneath these constructions lie deep-seated misconceptions about how language works. It is shown that the various theories of language, implicitly or explicitly expressed by writers and critics concerned with invented languages and neologism in science fiction, embody a mistaken view about the relation between language and the imagination. Chapter two demonstrates, with particular reference to the treatment of time and mind, that the themes on which science fiction most likes to dwell, reflect very closely the concerns of philosophy, and as such, are particularly amenable to the analytical methods of linguistic philosophy. This approach shows that what science fiction 'imagines' often turns out to be a product of the deceptive qualities of the grammar of language itself. The paradoxes of a pseudo-philosophical nature, in which science fiction invariably finds itself entangled, are particularly well exemplified in the work of Philip K. Dick. Chapter Three suggests that by exploiting the logically impossible, by making a virtue of the tricks and conventions which have become science fiction's stigmata (time-travel, telepathy, etc.), Dick indicates a means of overcoming the genre's current problems concerning form and seriousness. In conclusion it is demonstrated through the work of J. G. Ballard, that any attempt to throw off science fiction's 'pulp' conventions is likely to lead the genre further into the literary wilderness.
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Smith, Mark Bryan Bridger. "The posthuman : hostis humani generis? : science fiction allegories/social narratives." Thesis, University of Warwick, 2008. http://wrap.warwick.ac.uk/4117/.

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Whether in the guise of the novel or non-print media such as film and television, fin-de-millennium science fiction has provided opportunities to envisage a posthuman stage of evolution. The academic response to this has been polarized. Certain elements have embraced the genre as integral to the sociocultural relationship between unfettered biotechnological advance and the limitation of the human flesh. Others have treated the topic as fanciful entertainment, leading them to ignore and sometimes ridicule research on the posthuman. The thesis seeks to utilise the contemporary science fiction allegory as an aid in developing a critique of the emerging posthuman discourse, facilitating the analysis of its socio-political dynamic, and questioning whether discourse advancement necessitates the rejection of the humanist metanarrative. The thesis is divided into six chapters. The first chapter differentiates the posthuman from established biotechnological discourses, e mg the discontinuities in global location, temporal engagement, and participant ideology. The second reflects on the contemporary human condition associated with man's technological ingenuity being a credible threat to his own existence. It then outlines the epochal technoscience of the posthuman and introduces the diametrically opposed standpoints of the posthuman as amelioration, or autoextinction. The third chapter draws upon utopian visions of the future to contextualise and assist in the critical analysis of narratives advocating posthuman technoscience. The fourth chapter reverses this, by utilising dystopian imagery as an entree into the rationale of those opposing human alteration, facilitating its critique. The fifth chapter sees the science fiction allegory as a postfoundationalist narrative, offering up a discursive mirror to the influences of providence and progress on the posthuman debate. The final chapter examines whether an a-humanist account of man's relationship with technology might help to advance the posthuman debate.
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Chohan, Imran Riaz. "Identity, hyperreality and Science fiction : Matrix and Neuromancer." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5779.

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My Bachelor’s thesis is a comparative analysis between humans and machines in a science fiction novel (Neuromancer) and a movie (Matrix). I explored in these works how the machines used technologies to influence on the humans. I used examples of characters from the text and movie along with the references of other writers writing on the same topic to help convey my message. I explored mainly the identity and reality issues among characters. William Gibson in Neuromancer portrays that technology has become a part of human body. While in the Matrix we see how machines are taking control on humans. In my thesis I started with Neuromancer and write about identity and reality issues of characters and artificial intelligences. In the second part of the thesis I write the same with the characters of the movie Matrix but also I compared these characters with characters of Neuromancer. Some other discussions in my thesis are about hyperreality, simulation, simulacra with reference to mostly Baudrillard. Overall this thesis explores the issues of identity and reality to the characters in the works and also to the readers as well. Key Terms: Identity, Reality, Hyperreality, Simulation, Simulacra.
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Wu, Di. "What Distinguishes Humans from Artificial Beings in Science Fiction World." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-2245.

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In my thesis, I explore how advanced robotic technologies affect human society and my particular concern centers on investigating the boundaries between actual humans and artificial beings. Taking Steven Spielberg’s film Artificial Intelligence (2001) and Philip K. Dick’s novel Do Androids Dream of Electric Sheep (1968) as my primary sources, I illustrate how humans are experiencing dehumanization whereas artificial beings are acting much more like humans by analyzing the main characters and events that depicted in both sources. Further on, based on Nick Haslam’s theory of two main forms of dehumanization (animalistic dehumanization and mechanistic dehumanization), I discuss the interrelationships between social categorization, empathy, alienation and dehumanization by comparing actual humans and artificial beings as counter-parts. According to the descriptions of the strained relationship between these two parties, I argue that the rigid social hierarchies set foundation for dehumanization and the characteristics that define a human being, such as humanity is not a trait that only exits in humans. It can be both gained and lost.
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Alexandersson, Malin. "Romantisering av teknologi och science fiction karaktärsdesign : Det omänskliga och hur det tolkas." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19885.

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Studien som presenteras i denna rapport berör hur det icke mänskliga inom science fiction uppfattas av dataspelutvecklingsstudenter. Romantisering av teknologi har alltid varit väl grundat i västvärlden och har påverkat hur science fiction-genren utvecklats, speciellt under genrens guldålder. Science fiction-genren är en genre med ofantligt mycket potential för att undersöka olika koncept, både sociala och vetenskapliga, men har väldigt starka stereotyper runt vissa karaktärstyper inom populärkultur. Den problemformulering som är basen för denna studie är om teknologisk icke-mänskliga karaktärer ses som mera positiva än organiska icke-mänskliga karaktärer. Flera olika karaktärer designades för studien som representationer av olika karaktärstyper inom science fiction-genren. Studiens resultat visar på motsatsen från problemformuleringen då det var de organiska karaktärerna som sågs som mera positiva än de teknologiska karaktärerna.
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Olsson, Jesper. "Prediktion - förutspår science fiction framtiden? : En jämförande analys av Frank Herberts Dune och Isaac Asimovs Foundation." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-187474.

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Science fiction is a genre about extrapolating contemporary knowledge of the society we live in, in order to build imaginary, future societies in order to understand the consequences and evolution of our knowledge. In this work, I explore the predictive aspects of science fiction by making a comparative analysis between Frank Herbert's Dune and Isaac Asimov's Foundation. The questions I have chosen to explore are: How are the novels are influenced by the life experiences of the authors?How does the novels reflect the time period in which they were written?How does prediction function as a plot device in the novels?As a theoretical basis for my work I have used the academic journal Science Fiction Studies, as well as individual articles, academic books and author biographies that touch upon the subject.My approach has been to apply a traditional literary critique to the authors and the novels in order to understand the relationship between the authors and their novels.Asimov, a professor in chemistry, reflects in his fictional writing a deep faith in the sciences and their ability to navigate problematic futures with pinpoint accuracy, whereas Herbert makes known his distaste for authority figures. Asimov's predictive psychohistory leads the novel's psychohistorians to a better, more utopian society, whereas the prescience of Paul Atreides leads mankind to violence and ruin. Herbert's writing functions almost like a polemic against Asimov's idea that scientists would function as flawless leaders in society, and that prediction of the future would lead inevitably to a more prosperous society. From my analysis I have concluded that both the authors and the time period in which they wrote their respective novels played a significant role in shaping the futures depicted in each novel. Far from being novel predictions of potential futures, the future societies of Herbert and Asimov's novels reflect their own ideology and the time periods in which the novels were written.
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Byatt, Jim. "Taboo and transgression : reconfiguring the monstrous in contemporary British fiction." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/3633/.

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This thesis considers the remaindered other in contemporary British society, and the representation of that other in British fiction since 1968. The liberal approach to otherness that has arguably been a defining characteristic of the British identity since the Second World War has, I argue, always been incomplete, leaving a remainder to whom equal representation and cultural acceptance have been denied. By examining a diverse range of texts which address an equally diverse range of identities, this thesis addresses the questions of what otherness means in contemporary society, how it manifests and manages itself, and how the fiction of the period addresses the social anomaly. In recent studies of controversial fiction, there has been a tendency to focus either on the aesthetics of excess (eg. Durand and Mandel, 2006), in which the transgression is primarily stylistic, or else on the marginality of the now-legitimised “other” (in particular the homosexual, the racial other, or the working class; eg. Nicola Allen, 2008). In contrast, this thesis examines novels that engage with those figures who have remained socially excluded, figures whose tabooed identity has persisted in spite of the broader move toward liberal inclusivity. The primary texts discussed are, largely, novels that have received little critical attention, despite their literary credibility, highlighting a reluctance to engage with those problematic identities that remain outside the realm of cultural legitimacy. The thesis positions the criminally transgressive (the paedophile, the incestuous family, the sociopath) alongside the culturally stigmatised (the disabled, the elderly and the dying) in an attempt to demonstrate a continuity of resistance to a diverse range of tabooed identities. Theoretically, the argument draws on aspects of cultural studies, structuralism, anthropology and disability studies in order to examine the representation of the tabooed voice and to consider its legitimacy in the contemporary literary field.
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Erel, Sarper. "From 2001 A Space Odyssey to Minority Report : Reflections of Imagining Future on Science Fiction." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5618.

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My Bachelor’s Thesis is a comparative analysis that identifies a paradigm shift based on how imagining and portraying futuristic technology and human - computer (or machine) interaction within science fiction works and explore how they depict the technology and the future thinking of their own era. I use two very popular and influential works from two different eras: 2001 A Space Odyssey from the late 1960s and Minority Report from the early 2000s. In the first part of this analysis, I analyze the technology and human interaction with technology in 2001: A Space Odyssey and argue what this tells about the technology thinking of the late 1960s, the high time of the Space Race. During the second part, the analysis continues with the other primary source, Minority Report. However, in this part I make direct comparisons with 2001: A Space Odyssey in order to illustrate the paradigm shift with clear examples.
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Nilsson, Kerstin. "Att förhindra en dystopisk framtid : Samhällskritik och science fiction i De kommer att drunkna i sina mödrars tårar av Johannes Anyuru." Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-38126.

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Fare, Diane. "The edges of the unsaid : transgressive practices in the fiction of Kathy Acker." Thesis, University of Central Lancashire, 2002. http://clok.uclan.ac.uk/1741/.

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This thesis is the first full-length study of the fiction-of Kathy Acker, a radical and transgressive American female writer (1947-1997). The study maps the development of Acker's fiction by focusing on the political dimension of her aesthetic strategies. It explores the politics of plagiarism and appropriation; the subversive representation of gender and sexual politics; and the anarchistic impulse of Acker's work. The main theoretical and political approaches employed are: feminist theory, poststructuralism, abjection and anarchism. The study begins with an introduction to Acker's life, since there is a significant if problematic autobiographical impulse in her writing, and her socio-cultural context. It proceeds to a detailed critical exploration of work published between 1968 and 1986, drawing attention to Acker's affinities with a poststructuralist project. Acker's strategies of juxtaposition, paradox, and contradiction, alongside her fragmented, non-linear, digressive narratives, are read as a form of social critique. Her use and abuse of the white, male, Euro-centric canon is examined in light of the construction of female sexuality, and Acker's focus on phallocentric language as a source of subjugation is also considered. The study then argues for and interrogates Acker's move towards a more affirmative narrative strategy before looking in detail at her fiction of the 1990s - fiction which, until now, has received slight attention. Through close readings of her later novels, the study illustrates how Julia Kristeva's concept of the abject is fruitful for an examination of Acker's work, and examines cross-cultural intertextuality (from the horror film to the avant-garde). It also relates the trope of piracy that is present in Acker's later works to the political ideology of anarchism. The conclusion to the thesis argues that Acker's strength lies in her uncompromising belief in the avant-garde, and details her sustained attempt to make critically incisive political art.
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Books on the topic "Fiction, science fiction, general"

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Ian, Watson. Deathhunter: A science fiction novel. New York: St. Martin's Press, 1986.

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Brian, Thomsen, ed. Novel ideas-- science fiction. New York: Daw Books, 2006.

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Nicola, Griffith, and Pagel Stephen, eds. Science fiction. Woodstock, N.Y: Overlook Press, 1998.

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Paine, Lauran. Climate, Incorporated: Classic science fiction. San Bernardino, Calif: Borgo Press, 1987.

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Budrys, Algis. Falling torch: A science fiction novel. Poughkeepsie, NY: Unifont, 2001.

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M, Hassler Donald, and Wilcox Clyde 1953-, eds. Political science fiction. Columbia, S.C: University of South Carolina Press, 1997.

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Egan, Greg. Quarantäne: Science-fiction-Roman. Bergisch Gladbach: Bastei-Verl. Lübbe, 1993.

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D, Resnick Michael, and Copyright Paperback Collection (Library of Congress), eds. New voices in science fiction. New York: DAW Books Inc., 2003.

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Blevins, Craig A. Science Fiction. Primedia eLaunch LLC, 2024.

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Chan, Robert N. Science Fiction. iUniverse, Inc., 2006.

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Book chapters on the topic "Fiction, science fiction, general"

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Hughes, Ciaran, Joshua Isaacson, Anastasia Perry, Ranbel F. Sun, and Jessica Turner. "Quantum Teleportation." In Quantum Computing for the Quantum Curious, 73–79. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-61601-4_8.

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AbstractOne interesting application of entanglement is quantum teleportation, which is a technique for transferring an unknown quantum state from one place to another. In science fiction, teleportation generally involves a machine scanning a person and another machine reassembling the person on the other end. The original body disintegrates and no longer exists. Similarly, quantum teleportation works by “scanning” the original qubit, sending a recipe, and reconstructing the qubit elsewhere. The original qubit is not physically destroyed in the science fiction sense, but it is no longer in the same state. Otherwise, the previously mentioned no-cloning theorem—which states that a qubit cannot be exactly copied onto another qubit—would be violated.1 As we will see, the “scanning” part poses a problem which can only be solved by leveraging quantum entanglement.
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Macgilchrist, Felicitas, and Eamon Costello. "19. Imagination and justice: Teaching the future(s) of higher education through Africanfuturist speculative fiction." In Higher Education for Good, 445–72. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0363.19.

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How might inclusion, equity, justice, care and sustainability be set to glimmer in higher education? This chapter draws on educational theory, critical research, and storytelling - in particular Africanfuturist science fiction - to dream new educational interfaces that are oriented for good. The chapter first maps out a 15 week course where students study the Africanfuturist science fiction novella Binti before writing their own storied futures for higher education in response. In the second half of the chapter another voice takes up the pen to imagine they are a student taking the course, and thus speculatively enact it. The chapter aims to open spaces for students and lecturers to: reflect on their (our) own positions in the academy, to critique the reproduction of classed, raced, gendered inequities in higher education through the encroachments of automation and platformisation, but then to generate futures that are oriented to justice.
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Rai, Pallavi. "Fiction." In Encyclopedia of Evolutionary Psychological Science, 1–10. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-16999-6_2864-1.

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Rai, Pallavi. "Fiction." In Encyclopedia of Evolutionary Psychological Science, 3072–81. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-19650-3_2864.

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Nahin, Paul J. "Religious Science Fiction Before Science Fiction." In Holy Sci-Fi!, 29–48. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0618-5_2.

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Gunn, James. "Reading Science Fiction as Science Fiction." In Reading Science Fiction, 159–67. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1057/978-1-137-07898-8_14.

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Orthia, Lindy A. "Science Fiction." In Encyclopedia of Science Education, 1–4. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-6165-0_329-2.

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Neary, Micheal. "Science Fiction." In Youth, Training and the Training State, 124–55. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-13955-2_5.

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Schmeink, Lars, and Simon Spiegel. "Science-Fiction." In Handbuch Filmgenre, 515–26. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-09017-3_26.

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Hoel, Camilla Ulleland. "Science Fiction." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–5. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-02721-6_180-1.

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Conference papers on the topic "Fiction, science fiction, general"

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Frischauf, Norbert. "Using Science Fiction to Attract the General Public Towards Space - a Report on the ITSF-Study based Public Event "Science Fiction - Träumerei oder Realität"." In 54th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2003. http://dx.doi.org/10.2514/6.iac-03-iaa.8.2.06.

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Puzyreva, O. G. "Author's fiction educational text for foreign Russian-language audiences B1-C1 as a form of implementation of artistic and pedagogical technologies." In General question of world science. "Science of Russia", 2019. http://dx.doi.org/10.18411/gq-30-11-2019-20.

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Boyarkina, I. "POSTHUMANISM: ALTERNATIVE REALITIES AND AI IN SCIENCE FICTION BY G. EGAN AND R. MORGAN: POSSIBLE IMPACTS OF DIGITAL TECHNOLOGIES ON SOCIETY AND HUMAN NATURE." In SAKHAROV READINGS 2022: ENVIRONMENTAL PROBLEMS OF THE XXI CENTURY. International Sakharov Environmental Institute of Belarusian State University, 2022. http://dx.doi.org/10.46646/sakh-2022-1-168-172.

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The paper focuses on the science fiction novels Permutation City and Quarantine by Greg Egan and analyses his ideas on how life-altering technologies and life-simulating sciences are transforming human life, our consciousness, and our understanding of concepts, such as human/non-human, ecology, and the world around us. The paper studies the way Egan explores the themes of posthumanism, simulated realities, and digital immortality, through the prism of various ethical, social, philosophical, ecological and other problems that these concepts inevitably generate. The rich scientific background of these hard sf novels is analysed. The author also analyses Altered Carbon by Morgan, and compares it to the works of Greg Egan.
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Liu, Yuqi, Tiantian Li, and Zhiyong Fu. "Computational creativity: The Innovative Thinking, Practical methods and Aesthetic Paradigms of AI-driven Design." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004196.

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The development of artificial intelligence has greatly unleashed AI creativity and is profoundly transforming the thinking process, practical methods, and aesthetic forms of future design innovation. This study provides an in-depth analysis of computers’ innovative thinking, design practice, and aesthetic paradigms driven by artificial intelligence, namely computational thinking in the cognitive field, computational design in the practical field, and computational aesthetics in the aesthetic field. Starting from the concept of computational thinking, the article analyzes six general processes of computational thinking, including decomposition, abstraction, algorithm, debugging, iteration, and generalization. Secondly, three common types of computational design were compared and analyzed, namely parametric design, generative design, and algorithm design. Among them, algorithm design is a generation process that generates design results through algorithm writing and rule formulation; Parametric design is an interactive process where the components of the design model are interrelated, allowing for real-time updates and modifications throughout the entire design process; Generative design is an iterative process where software generates many creative results and solutions for designers to make decisions and choices. Finally, the study analyzed the aesthetic forms and carriers of computational aesthetics. Among them, aesthetic forms include organic growth, geometric repetition, mathematical rhythm, dynamic order, heterotypic novelty, science fiction grandeur, and fractal deconstruction; Aesthetic carriers include form, structure, texture, pattern, layout, visual dynamic effects, etc. This study is a highly refinement to innovative thinking, design practice, and aesthetic paradigms in the era of artificial intelligence, highlighting important directions for future design development.
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Landis, Geoffrey. "Spaceflight and Science Fiction." In 50th AIAA Aerospace Sciences Meeting including the New Horizons Forum and Aerospace Exposition. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2012. http://dx.doi.org/10.2514/6.2012-202.

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Sundaresan, Vishnu Baba, and Jatulasimha Atulasimha. "Characterization of Magnetoelectric Cantilever for Use as an Ablation Tool in Minimally Invasive Surgery." In ASME 2009 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. ASMEDC, 2009. http://dx.doi.org/10.1115/smasis2009-1350.

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Despite great strides in materials science and control, an automated surgical tool is still in the fiction pages due to the lack of a surgical tool employing a self-sensing actuator. In an attempt to fill this void, we present magnetoelectric materials as a solution for designing surgical tools. This paper discusses our ongoing work to model the dynamics of the magnetoelectric material for use in a control loop. The surgical tool is a two-segment magnetoelectric cantilever in which one of the two magnetoelectric segments is attached to a fixed support called the base. A floating segment called the cutting tip is attached to the base using a flexible hinge. The two-segment tool is placed in a remote magnetic field to generate the cutting force in the magnetoelectric tip. Displacement in the tip generates a proportional electrical response from the piezoelectric layer and serves as the self-sensing signal. The self-sensing signal from the two segments is used for operating the tool in closed loop operation. The dynamic characterization of the magnetoelectric cantilever in bending is derived from constitutive equations for the magnetoelectric material. The strain terms in the constitutive equation is expressed using generalized coordinates in the shape function for the cantilever in bending mode. The equivalent stiffness of the magnetoelectric cantilever is derived using variational principles for calculating the tip displacement in the cantilever.
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Gyger, Patrick J. "Science Fiction vs. Science Fact." In 54th International Astronautical Congress of the International Astronautical Federation, the International Academy of Astronautics, and the International Institute of Space Law. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2003. http://dx.doi.org/10.2514/6.iac-03-iaa.8.2.01.

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Molnár, András. "The Dynamics of Consent and Antagonism in Ian McDonald’s Luna Trilogy." In Argumentation 2021. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9972-2021-4.

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This paper is an attempt at a ‘law and literature’ analysis of Ian McDonald’s Luna trilogy. It claims that operating with a science fiction setting, the trilogy invites the reader to reflect on how and in what form a legal system may contribute to the proper functioning of a human community. The law of the moon rests on consent and antagonism at the same time. The ‘consent’ principle reflects law and economics’ conception that a person should be left to freely negotiate for their interests and rights, and that unless the transaction costs transcend the benefits, such free negotiation is the most effective way to regulate social relationships and increase common wealth. The Moon’s legal system, in this respect, is taken to the extreme, because even though courts do exist, there is no state apparatus to enforce judicial decisions. The system operates on fully individualistic and voluntary compliance to judicial decisions, which means that abiding by a pact is salvaged only by the individual interests of the participants. This reliance on individual interests – a pivotal point of law and economics – seemingly warrants cooperation, but also carries in itself the germ of antagonism. Antagonism, in my opinion, can be traced on two levels of the workings of the Moon’s so-called legal system. First, it places significant emphasis on fight: substantial truth matters little, if at all, in the moon’s legal system; what matters is pure bargaining power, tactical sense, and sometimes even bluffing, and this feature is even ideologised. One’s rights are constituted as a result of struggle. Second, however, the novel also deconstructs this notion of the law by centring on a more general level of antagonism, the armed conflicts of the various families to ground their own interests. Such conflicts demonstrate the inherent instability of the system that is not backed by a normative structure above pure partial interests.
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Milton, Graeme W., and Nicolae-Alexandru P. Nicorovici. "Cloaking: Science Fiction or Reality?" In Photonic Metamaterials: From Random to Periodic. Washington, D.C.: OSA, 2006. http://dx.doi.org/10.1364/meta.2006.tua3.

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Wilson, Daniel H. "Chasing Our Science Fiction Future." In HRI '15: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2696454.2714390.

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Reports on the topic "Fiction, science fiction, general"

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Webster, James K. Science Fiction as a Prism for Understanding Geopolitics. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ad1003712.

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Dribben, Douglas A. DNA Statistical Evidence and the Ceiling Principle: Science or Science Fiction". Fort Belvoir, VA: Defense Technical Information Center, March 1994. http://dx.doi.org/10.21236/ada456707.

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van Boekel, M. A. J. S. Food, facts and fiction : A story about science and perception. Wageningen: Wageningen University & Research, 2019. http://dx.doi.org/10.18174/503823.

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Smith, Dina Cherise. Exploring the Recognizability and Nature of Media References in Female Science Fiction and Fantasy Fandom Dress. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1814.

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Poussart, Denis. Le métavers : autopsie d’un fantasme Réflexion sur les limites techniques d’une réalité synthétisée, virtualisée et socialisée. Observatoire international sur les impacts sociétaux de l’intelligence artificielle et du numérique, February 2024. http://dx.doi.org/10.61737/sgkp7833.

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Lorsque Neal Stephenson a introduit le terme « métavers » dans son roman de science-fiction Snow Crash, en 1992, il était loin de se douter que le mot allait susciter autant de discussions. La notion d’une réalité d’un type nouveau, qui serait synthétisée, puis virtualisée et librement socialisée, est fascinante par ce qu’elle exigerait aux plans scientifique et technique. Fascinante surtout par ses retombées éventuelles aux niveaux culturel et social, y compris de nature éthique (qui ne sont pas abordées ici). Ce texte rappelle brièvement l’origine du concept avant de se consacrer à ses requis et défis techniques, abordés en l’examinant comme un système avancé d’information et communication. Le métavers revêt une complexité inédite alors que les capacités cognitives de l’humain et de la machine sont appelées à se fusionner avec synergie. L’analyse – qui demeure succincte compte tenu du format d’un article court – permettra de comprendre comment et pourquoi le métavers, dans la mouture originale proposée par Stephenson, demeure une utopie. Mais aussi comment l’élimination de certains requis peut permettre d’en retenir une saveur intéressante, laquelle apparait déjà dans une multitude d’applications.
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Blaxter, Tamsin, and Tara Garnett. Primed for power: a short cultural history of protein. TABLE, November 2022. http://dx.doi.org/10.56661/ba271ef5.

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Protein has a singularly prominent place in discussions about food. It symbolises fitness, strength and masculinity, motherhood and care. It is the preferred macronutrient of affluence and education, the mark of a conscientious diet in wealthy countries and of wealth and success elsewhere. Through its association with livestock it stands for pastoral beauty and tradition. It is the high-tech food of science fiction, and in discussions of changing agricultural systems it is the pivotal nutrient around which good and bad futures revolve. There is no denying that we need protein and that engaging with how we produce and consume it is a crucial part of our response to the environmental crises. But discussions of these issues are affected by their cultural context—shaped by the power of protein. Given this, we argue that it is vital to map that cultural power and understand its origins. This paper explores the history of nutritional science and international development in the Global North with a focus on describing how protein gained its cultural meanings. Starting in the first half of the 19th century and running until the mid-1970s, it covers two previous periods when protein rose to singular prominence in food discourse: in the nutritional science of the late-19th century, and in international development in the post-war era. Many parallels emerge, both between these two eras and in comparison with the present day. We hope that this will help to illuminate where and why the symbolism and story of protein outpace the science—and so feed more nuanced dialogue about the future of food.
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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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