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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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Venable, Peter C. "Science Fiction." Anglican Theological Review 98, no. 4 (September 2016): 726. http://dx.doi.org/10.1177/000332861609800411.
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Beer, David. "Fiction and Social Theory: E-Special Introduction." Theory, Culture & Society 33, no. 7-8 (July 8, 2016): 409–19. http://dx.doi.org/10.1177/0263276415595912.
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This E-Special issue brings together a range of articles from the Theory, Culture, & Society archive that directly explore the relations between fiction and social theory. Each article develops a different perspective on these relations, yet they all share a common interest in probing at the different ways in which fiction might enrich and provoke our conceptual imaginations. These articles ask how theory might be used to understand or illuminate fiction, whilst also considering how theory might be extended, challenged or informed by fictional resources. In general terms, the articles take three types of overlapping approach. First, there are those that use fiction to extend the imagination of social theory. Second are the articles that use fiction as a documentary resource and platform for theorizing. And, finally, there are those articles that use theory to reanimate and re-examine fictional forms. In exploring these three intersecting branches the pieces illustrate the different ways in which fiction and social theory might interweave in our thinking. The articles gathered here provide frameworks, ideas and resources through which the reader might continue to think imaginatively and creatively about the social world.
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Milner, Andrew. "Resources for a Journey of Hope: Raymond Williams on Utopia and Science Fiction." Cultural Sociology 10, no. 4 (June 21, 2016): 415–30. http://dx.doi.org/10.1177/1749975516631584.
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Raymond Williams had an enduring interest in science fiction, an interest attested to: first, by two articles specifically addressed to the genre, both of which were eventually published in the journal Science Fiction Studies; second, by a wide range of reference in more familiar texts, such as Culture and Society, The Long Revolution, George Orwell and The Country and the City; and third, by his two ‘future novels’, The Volunteers and The Fight for Manod, the first clearly science-fictional in character, the latter less so. This article will summarise this work, and will also explore how some of Williams’s more general key theoretical concepts – especially structure of feeling and selective tradition – can be applied to the genre. Finally, it will argue that the ‘sociological’ turn, by which Williams sought to substitute description and explanation for judgement and canonisation as the central purposes of analysis, represents a more productive approach to science fiction studies than the kind of prescriptive criticism deployed by other avowedly ‘neo-Marxist’ works, such as Darko Suvin’s Metamorphoses of Science Fiction and Fredric Jameson’s Archaeologies of the Future.
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Kavut, İsmail Emre, and Elifnaz Olgaç. "The Technology of Fictional Space Designs in Dune Movies Investigation of Change in Time with Its Effect." Journal of Interior Design and Academy 3, no. 1 (July 19, 2023): 1–25. http://dx.doi.org/10.53463/inda.20230166.
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Cinema has been advancing continuously since its formation and intertwined with many disciplines. Technology also acts as a bridge between these disciplines, especially between science fiction cinema and architecture, the place of technology is undeniable. In this study, the change of fictional space designs over time with the effect of technology is discussed and how these developments affect cinema and fictional space designs are examined as "Dune 1984" and "Dune 2021" produced from the same novel from science fiction cinema. The interior spaces and structures in these films were determined and the subjects to be discussed were selected and turned into tables. A literature search of the subject was made, then the films were watched first, lastly interpreted by the interpreter according to the method of the research. The aim of the study is to be a source for studies on the relationship between science fiction and fictional spaces and the change of this relationship in the environment of technology.
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Hanff, William. "Real and Semi-Real – an Architectural Backstory for Flusser’s Dual Scientific Fictions." Revista Memorare 8, no. 1 (July 21, 2021): 81. http://dx.doi.org/10.19177/memorare.v8e1202181-92.
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Vilém Flusser’s approaches to epistemology and science fiction are explored in connection with the fictionalism of Hans Vaihinger and other late 19th and early 20th century philosophies, as well as using an architectural metaphor of scaffolding and blueprints. From his 1980 essay “Science Fiction” Flusser’s two approaches to science fictions are labeled as 1) a ‘falsification strategy’ and 2) an ‘epistemology of improbability.’ These are further explored as metaphors for architecture and building based on ideas from his “Wittgenstein’s Architecture” in The Shape of Things: a Philosophy of Design and compared and contrasted with visual metaphors of the fantastic in the paper architecture called The Obscure Cities series by François Schuiten and Benoît Peeters. Further reinforcing the connection between Flusser’s and Vaihinger’s philosophies, semi-fictions and real fictions are envisioned as a type of new media architecture.
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Stiles, Anne. "“Nauseous Fiction”: Mary Baker Eddy and the Christian Science Novel, 1900–1910." Studies in the Novel 56, no. 1 (March 2024): 1–20. http://dx.doi.org/10.1353/sdn.2024.a921056.
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Abstract: In Science and Health (1875), Christian Science founder Mary Baker Eddy (1821–1910) discouraged followers from reading “nauseous fiction,” that is, “[n]ovels, remarkable only for their exaggerated pictures, impossible ideals, and specimens of depravity” (195). This essay examines Eddy’s views on fiction alongside Christian Science novels written around 1900 by followers such as Clara Louise Burnham, Mrs. Georgie Sheldon, and Katherine Yates. Eddy tentatively supported these authors’ literary productions but refused to grant them the endorsement of The Christian Science Publishing Society. Had Eddy endorsed their fictions, she might have attracted more followers and strengthened her religion’s place in literary history.
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Carroll, Joseph. "Minds and Meaning in Fictional Narratives: An Evolutionary Perspective." Review of General Psychology 22, no. 2 (June 2018): 135–46. http://dx.doi.org/10.1037/gpr0000104.
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This article presents a theoretical framework for an evolutionary understanding of minds and meaning in fictional narratives. The article aims to demonstrate that meaning in fiction can be incorporated in an explanatory network that includes the whole scope of human behavior. In both reality and fiction, meaning consists of experiences in individual minds: sensations, emotions, perceptions, and thoughts. Writing and reading fiction involve 3 sets of minds, those of authors, readers, and characters. Meaning in the minds of authors and readers emerges in relation to the experiences of fictional characters. Characters engage in motivated actions. To understand minds and meaning in fiction, researchers need analytic categories for human motives. A comprehensive model of human motives can be constructed by integrating ideas from evolutionary biology, anthropology, and psychology. Motives combine in different ways to produce different cultures and different individual identities, which influence experience in individual minds. The mental experiences produced in authors and readers by fictional narratives have adaptive psychological functions. By encompassing the minds of authors, characters, and readers within a comprehensive model of human motives, this article situates the psychology of fiction within the larger research program of the evolutionary social sciences.
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Timofeev, A. N. "SPECIAL ASPECTS OF USING FICTION IN BIOLOGY CLASSES." Vektor nauki Tol'yattinskogo gosudarstvennogo universiteta. Seriya Pedagogika i psihologiya, no. 4 (2021): 17–22. http://dx.doi.org/10.18323/2221-5662-2021-4-17-22.
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Despite the significant achievements in various areas of pedagogy, the issue of developing students’ interest in the studied material continues to be acute. One of the instructional techniques contributing to solving this problem is related to the use of fiction and popular science literature in the natural sciences lessons. The study aims to identify special aspects of using fiction in biology lessons. The author determined and considered the fiction’s main uses in the sciences subject area. The author surveyed subject teachers to identify the number of integrated classes (biology-literature) developed and conducted by these teachers and the number of biology lessons using fiction and popular science literature. Two hundred thirty-two teachers took part in the survey. The study identified that 96.6 % of teachers surveyed do not integrate biology and literature lessons, and 96.1 % of teachers do not use additional fiction and popular science literature in their lessons, replacing it with videos from the Internet. On the example of biology and geography lessons, the author shows a variety of methodological approaches to the use of literary texts and related tasks. The study shows that the largest number of guidelines on the use of literary texts since the beginning of the XX century has been published for geographers, as the guidance papers for biologists, predominantly, began to appear much later. According to the survey, when choosing fiction, the biology teachers give preference to classical texts written in the XIX–XX centuries. The fiction of modern authors is practically not considered in biology lessons. Teachers use literary texts in biology lessons both to influence the emotional sphere of students to increase their interest in the subject and to check the level of educational material digestion. Today, the activity of teachers in the use of fiction in biology lessons has noticeably decreased, giving way to videos. One of the reasons for rear use of literary texts in the science lessons, the author considers the insufficiently high level of general training of teachers and the general reduction in the quality of education.
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YALÇIN, Çağrı, and Elif ÖZDOĞLAR. "ARCHITECTURAL ANALYSIS OF THE DUNE MOVIES." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 36 (March 15, 2023): 221–36. http://dx.doi.org/10.31567/ssd.870.
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When the works of science fiction cinema from the past to the present are examined, space designs that are often designed inspired by architectural movements and designed in accordance with the targeted time period of production are seen. If it is not possible to produce all or some part of these space designs technologically in today's conditions, it is defined as fictional space design. In line with the technological developments and innovations experienced since the first emergence of cinema, fictional space designs continue the process of evolution. It can be seen that one of the biggest factors that has accelerated the evolutionary processes of science fiction and fictional space since the first examples is its interaction with art movements. When science fiction is mentioned, the first thing that comes to mind is the future, advances in technology, a future society developed from existing paradigms. Sci-Fi is usually depicted in a way that makes a statement about current issues related to the future, society, the environment, politics, economics and religion, or questions them with the problems posed by the progress of science in various fields. The art and architectural movement inspired by a cinema work can be seen in all product and space designs within the scope of the film. By showing diversity most of the time, it incorporates style and design approaches from different architectural movements and offers an eclectic aesthetic integrity to the audience. For example, in the works of science fiction cinema, within the fiction of the same planet, living in the same time zone or different from each other, which belong to the same race or species, socio-cultural and Economic, the political administration of the societies differ from each other according to geographical and spatial designs-a lot of and it can be seen in production. One of the most important examples is the Dune productions. In this research, architectural analyses of Dune films in terms of fictional space will be performed.
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Tegelberg, Matthew. "Finding hope, resilience and imagining ways forward through climate fiction." Journal of Environmental Media 4, no. 1 (April 1, 2023): 95–99. http://dx.doi.org/10.1386/jem_00099_1.
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This article explores the potential for climate fiction to function as a powerful medium of climate change communication. After briefly introducing climate fiction (colloquially known as ‘cli-fi’), I draw reflexively on past teaching experiences to argue for this potential in two main ways. First, I demonstrate how fictional climate storytelling can deepen understanding and engagement with climate science by connecting this abstract knowledge to everyday lived realities. Second, I consider how climate fiction opens pedagogically rich ways of exploring complex emotional responses to living in the climate crisis. The creative works discussed in the article each serve to illuminate the power of speculative climate fiction to engage students and wider publics in processes of imagining more sustainable, resilient, climate-friendly and just ways forward.
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Johnson, Brian David. "Secret Science Fiction." Computer 46, no. 5 (May 2013): 105–7. http://dx.doi.org/10.1109/mc.2013.180.
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Hines, Aries. "True Science Fiction." Journal of Lesbian Studies 15, no. 1 (January 18, 2011): 27–28. http://dx.doi.org/10.1080/10894160.2010.508397.
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J. L., Ms Chithra. "The Paradox of Being Human and more than Human: Exploring the Class Struggle in Nancy Kress’ Beggars in Spain." Psychology and Education Journal 58, no. 1 (February 1, 2021): 4485–87. http://dx.doi.org/10.17762/pae.v58i1.1539.
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The human history is an apologue. It tells the struggle-some tale of races, aiming for power and prestige or for mere survival. Marxism, discontent with the existing struggle between the haves and have-nots, envisages a classless society. Science fiction, in contrast, assumes a fictious world, not of humans alone, but of a macrocosm of living and non-living creatures including human, non-human or subhuman entities. When the divergent communities co-exist within the same planet, there arises a dissonance. Posthuman theory assumes that “the dividing line between human, non-human or the animal is highly permeable.” There is quite a good number of Science fictions that conjures up towards a posthuman future. Even though, seemingly divergent aspects, Marxian and Posthuman theory, both presumes a fictional world. The first surmises on an ideal utopia of class-less society of unique economic equality, the second foresees a futuristic world of humans- less than or more than ‘humans.’ Nancy Kress’ Beggars in Spain is a typical science fiction which tells the negative impact of genetic engineering. A few fortunate parents who could afford the expensive genetic engineering, was able to brought about a new generation of sleepless children with unique features. But those without any alterations, remained as sleepers. In the long run, the ordinary humans seemed to lose the race with the much productive individuals, who is having a bonus of sleeping hours and much more added advantages. The conflict results in a class struggle of ‘haves and have-nots’. Marxian view of the class struggle between the proletariat and the aristocrats can be analyzed on par with the classification of individuals purely based on their talents whether they inherited or purposefully custom-made. The present scrutiny rounds off the assertion that, there is no ultimate victory over the war of human and posthuman races.
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Rackmales, David N. "Science Fiction Ideas." BioScience 40, no. 4 (April 1990): 236. http://dx.doi.org/10.2307/1311255.
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Richards, Isabel, and Anna-Sophie Jürgens. "Being the environment: Conveying environmental fragility and sustainability through Indigenous biocultural knowledge in contemporary Indigenous Australian science fiction." Journal of Science & Popular Culture 4, no. 2 (December 1, 2021): 153–71. http://dx.doi.org/10.1386/jspc_00031_1.
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In contemporary Indigenous Australian fiction, all (non-)human animals, plants and the land are interconnected and interdependent. They are aware that they are not in the environment but are the environment. The planet and its non-human inhabitants have a creative agency and capacity for experience that demands our ethical consideration. In this article we investigate how Ambelin Kwaymullina’s Tribe novels and Ellen van Neerven’s novella Water empower environmental awareness by promoting sustainability and protection of the environment – within their fictional worlds and beyond. We argue that the human–nature relationship explored in these science fiction texts conveys the importance of Indigenous biocultural knowledge for resolving twenty-first-century global challenges. We clarify the role of fictional texts in the broader cultural debate on the power and importance of Indigenous biocultural knowledge as a complement to western (scientific) understanding and communication of environmental vulnerability and sustainability. Contemporary Indigenous Australian literature, this article shows, evokes sympathy in readers, inspires an ecocentric view of the world and thus paves the path for a sustainable transformation of society, which has been recognized as the power of fiction. Indigenous Australian fiction texts help us to rethink what it means to be human in terms of our relationship to other living beings and our responsibility to care for our planet in a holistic and intuitive way.
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Siderevičiūtė, Simona. "Science Fiction in Historical and Cultural Literary Discourse." Respectus Philologicus 25, no. 30 (April 25, 2014): 172–84. http://dx.doi.org/10.15388/respectus.2014.25.30.13.
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This work intends to complement literary studies in science fiction. It discusses the history of global science fiction, overviews the most characteristic features of its historical periods, and provides an introduction to Lithuanian science fiction, indicating its main features and topics. In the context of culture, science fiction is often defined as a literary genre with the emphasis on its nature as fiction. Only rarely are the history of the origin of science fiction, its variations, and the pioneers of science fiction whose works are still highly valued taken into account. Science fiction is often criticized through the filter of preconceived ideas that consider this type of literature to be “frivolous.” This article discusses the possible reasons for such an approach. In Lithuania, this genre is still associated only with pop literature, and its expression cannot yet equal the works of foreign authors. The basic classical motifs of global science fiction found in Lithuanian science fiction include: representatives of extraterrestrial civilizations and human contact with them, scientists and inventors, agents of military institutions, and space travel. Lithuanian science fiction writers follow the traditions of global science fiction when using these classical motifs; however, a general lack of original and individual themes, motifs, and manifestations may be observed.
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Allday, Jonathan. "Science in science fiction." Physics Education 38, no. 1 (December 20, 2002): 27–30. http://dx.doi.org/10.1088/0031-9120/38/1/304.
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Doran, Heather. "Science Fiction – Science Fact." Biochemist 45, no. 6 (December 20, 2023): 1. http://dx.doi.org/10.1042/bio_2023_166.
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Bowater, Laura, Christine Cornea, Helen James, and Richard P. Bowater. "Using science fiction to teach science facts." Biochemist 34, no. 6 (December 1, 2012): 15–20. http://dx.doi.org/10.1042/bio03406015.
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The contributors to this discussion teach in three different Faculties at the University of East Anglia (UEA) – Science, Arts & Humanities and Medicine & Health Sciences. They have each used science fiction to explore learning outcomes in their distinct teaching practices. The discussion below highlights how contemporary science fiction can operate as a touchstone for debate that informs biochemistry teaching. Laura, Helen and Richard have all studied basic sciences, gaining PhDs in various aspects of biochemistry and molecular biology, and each have taught undergraduates and postgraduates at UEA. Helen and Richard are based in the Faculty of Science. Laura is based in the Faculty of Medicine & Health Sciences, and uses her interest in science communication to explore university teaching practices that involve science fiction. Christine gained a PhD from her research of technology and performance in science fiction film and is based in the Faculty of Arts & Humanities.
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Park, Sunyoung. "Between Science and Politics: Science Fiction as a Critical Discourse in South Korea, 1960s–1990s." Journal of Korean Studies 23, no. 2 (October 1, 2018): 347–67. http://dx.doi.org/10.1215/21581665-6973354.
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AbstractA positivist vision of science fiction as a discourse closely bound to science and technology has been influential in South Korea ever since the first flourishing of the genre in the 1960s. Using that normative vision as a reference, the present essay investigates the ways in which select science-fictional texts have actually represented the technoscientific enterprise in South Korea in the period spanning the 1960s through the 1990s. As the analysis suggests, the heyday of positivist-oriented science fiction in the country was largely limited to the 1960s, which was a time when Koreans looked keenly upon science for its utopian promise of development and modernization for the nation. As later years brought dictatorship and forced industrialization, however, a marked shift toward dystopia and social protest became evident in cultural texts that critically depicted technoscience and modernization as tools of oppression rather than as progress and liberation. The historical existence of this more critical vein of science fiction, it is argued, attests to the genre’s hitherto underappreciated potential for fruitful engagement with the political and social challenges of modernization both globally and within South Korea’s technologically saturated society.
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Beley, M. "Genre Features of Pierre Boulle's Dystopian Science Fiction Novel "Planet of the Apes": A Communicative Aspect." Scientific Research and Development. Modern Communication Studies 12, no. 6 (December 29, 2023): 20–27. http://dx.doi.org/10.12737/2587-9103-2023-12-6-20-27.
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The enduring popularity of 20th century science fiction authors among readers of all age categories has been noted in numerous works of literary scholars. An extremely important aspect is the fact that the author and the reader must have a common language in order for communication to be effective. The relevance of the study is due to the growing interest in the problem of interpreting the genre of science fiction works. The aim of this study is to try to trace the synthesis of genre forms from the point of view of communicativism and the theories of C. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre Boulle. Darwin and T. de Chardin in the novel "Planet of the Apes" by the famous French fiction writer Pierre BoulleIn the course of the study, the methods of contextual literary analysis, cognitive-discourse analysis, as well as stylistic and genre analysis were applied. As a result of the study, the conclusions were obtained that the novel "Planet of the Apes" by P. Boulle combines elements of the genre of science fiction novel, philosophical parable, utopia and dystopia. The novel is a satirical work, touching upon the themes of scientific progress, communication, evolution and human society, which are topical at present. The author, when creating a work, follows literary conventions or deliberately goes against them, creating something innovative. The genre of science fiction has been and remains a synthetic genre, incorporating elements of various genres, which intricately intertwined, enter into communication with the reader, helping him to create fictional worlds. Scientific novelty of the research consists in the fact that for the first time in Russia the study of genre originality of P. Boulle's work in the aspect of communication with the reader is undertaken. The article may be useful for literary scholars, postgraduates, students and all those interested in the problems of genre synthesis in modern science fiction.
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Elber-Aviram, Hadas. "Rewriting Universes: Post-Brexit Futures in Dave Hutchinson’s Fractured Europe Quartet." Humanities 10, no. 3 (September 3, 2021): 100. http://dx.doi.org/10.3390/h10030100.
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Recent years have witnessed the emergence of a new strand of British fiction that grapples with the causes and consequences of the United Kingdom’s vote to leave the European Union. Building on Kristian Shaw’s pioneering work in this new literary field, this article shifts the focus from literary fiction to science fiction. It analyzes Dave Hutchinson’s Fractured Europe quartet—comprised of Europe in Autumn (pub. 2014), Europe at Midnight (pub. 2015), Europe in Winter (pub. 2016) and Europe at Dawn (pub. 2018)—as a case study in British science fiction’s response to the recent nationalistic turn in the UK. This article draws on a bespoke interview with Hutchinson and frames its discussion within a range of theories and studies, especially the European hermeneutics of Hans-Georg Gadamer. It argues that the Fractured Europe quartet deploys science fiction topoi to interrogate and criticize the recent rise of English nationalism. It further contends that the Fractured Europe books respond to this nationalistic turn by setting forth an estranged vision of Europe and offering alternative modalities of European identity through the mediation of photography and the redemptive possibilities of cooking.
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Lagay, Faith. "Science fact and science fiction." Lancet 360, no. 9345 (November 2002): 1613. http://dx.doi.org/10.1016/s0140-6736(02)11562-5.
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Rhee, Jooyeon. "Making Sense of Fiction: Social and Political Functions of Serialized Fiction in the Daily News (Maeil sinbo) in 1910s Korea." Journal of Korean Studies 22, no. 1 (March 1, 2017): 227–55. http://dx.doi.org/10.1215/21581665-4153385.
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Abstract Modern Korean newspapers played a decisive role in transforming the Korean fiction genre in the early twentieth century―a transformation that was carried out in two distinctively different cultural and political environments. In the 1900s, reform-minded Korean intellectuals translated and authored fictional works in newspapers primarily as a way to instigate Koreans to participate in the nation-building process during the Patriotic Enlightenment movement (Aeguk kyemong undong) period. When Japan annexed Korea in 1910, the Daily News (Maeil sinbo) continually used fiction as a vehicle to deliver the colonial government’s assimilation policy, that is, to raise Korea’s socioeconomic and cultural status, with the aim of civilizing the society. The rhetoric of civilization is a common feature in fictional works produced during the period. However, what characterized the works serialized in Maeil sinbo was their increasing focus on individual desire and domestic affairs, which manifested itself in the form of courtship and familial conflicts. The confrontation between private desire and family relationships in these fictional works represented the prospect of higher education and economic equity while invoking emotional responses to the contradictory social reality of colonial assimilation in the portrayal of domestic issues in fiction. Looking at Maeil sinbo and its serialization of fiction not as a fixed totality of the Japanese imperial force but as a discursive space where contradicting views on civilization were formed, this paper scrutinizes emotional renderings of individuality and domesticity reflected in Maeil sinbo’s serialized fiction in the early 1910s.
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Harper, M. "MMR: science and fiction." JRSM 97, no. 11 (November 1, 2004): 552–53. http://dx.doi.org/10.1258/jrsm.97.11.552.
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Burmester, David. "Science Fiction on Film." English Journal 74, no. 4 (April 1, 1985): 90–92. http://dx.doi.org/10.58680/ej198510994.
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Grossman, Edward. "RFID Isn’t Science Fiction." Queue 2, no. 7 (October 2004): 10. http://dx.doi.org/10.1145/1035594.1035596.
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Randall, Ian. "The science in science fiction." Physics World 34, no. 5 (July 1, 2021): 48–49. http://dx.doi.org/10.1088/2058-7058/34/05/40.
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Wenzel, Ryszard. "Science fiction and fantasy in general education." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 19/2 (June 15, 2022): 119–63. http://dx.doi.org/10.26881/bp.2022.2.05.
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This article deals with the possible application of the genres of science fiction (SF) and fantasy – novels, short stories, films, dramas, spectacles etc. in secondary schools as part of the programme of general education. The discussion concerns both the production and the reception of such works by the students. The purpose of this educational proposal is to introduce in the system an opportunity for the students to coordinate and consolidate creatively the knowledge and the skills acquired in the classes of all the other disciplines of the curriculum. The basic assumption of the thesis is that the characteristic features of these genres, i.e., their appeal to the imagination, curiosity, and the natural need of the students for their own artistic creation, may prove effective to elevate the educational targets beyond the pragmatic level of absorbing information for the sake of the formal requirements of the school programme. These aims, which transcend the level of the practical utility of existential and psychosocial needs, concentrate on the search for objective knowledge about the world through the development of the skill of critical thinking in the domain of cognition, the search for the artistic talents and predispositions of all the students in the domain of creation, and on the essential issues of educing the need for harmonious and peaceful coexistence with other people and with the environment. The article presents the essential features of the theoretical grounding of this conception, the pedagogical implications of its introduction into the system and suggestions for its practical realization illustrated with examples of possible activities for students and teachers. The essay is concluded with a speculation on the future perspectives of a reciprocal reinforcement of the quality of general education and the development of the literary genres of SF and fantasy.
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Schneider, Jen. "Science Fiction and Science Policy." Bulletin of Science, Technology & Society 26, no. 6 (December 2006): 518–20. http://dx.doi.org/10.1177/0270467606295553.
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Garfinkle, Moishe. "Competing against science fiction." Physics Today 66, no. 4 (April 2013): 11. http://dx.doi.org/10.1063/pt.3.1933.
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Raikhert, K. "Heuristics as a cognitive function." Doxa, no. 1(35) (December 22, 2021): 120–28. http://dx.doi.org/10.18524/2410-2601.2021.1(35).246746.
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The study conceptualizes science fiction as heuristics. To implement this conceptualization, a hybrid definition of science fiction is proposed: science fiction is a kind of fiction whose works can be characterized by secondary artistic conventionality, cognitive estrangement, and test of an intellectual idea or fantastic assumption. As an operational characterization of heuristics, V. Spiridonov’s concept of heuristics is used. Science fiction can be considered as a kind of heuristics under specific conditions, for example, when science fiction work contains the reflected-out heuristics or when heuristics are brought as science fiction work to stimulate the intuitive flash of the thought or insight. However, science fiction can only be regarded as heuristics with certain reservations: science fiction primarily solves artistic problems while heuristics primarily solve cognitive problems: and they can function independently of each other. But it shows that a heuristic function can be attributed to science fiction to solute a problem or to gain a piece of new knowledge (to make a discovery) in an intellectually and creative way.
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Haberer, Joseph. "Literature, Humanities, Science Fiction." Bulletin of Science, Technology & Society 7, no. 3-4 (August 1987): 561–64. http://dx.doi.org/10.1177/027046768700700322.
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Orlemanski, Julie. "Literary Persons and Medieval Fiction in Bernard of Clairvaux’s Sermons on the Song of Songs." Representations 153, no. 1 (2021): 29–50. http://dx.doi.org/10.1525/rep.2021.153.3.29.
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Like many exegetes before him, the twelfth-century Cistercian abbot Bernard of Clairvaux regarded the lovers in the Song of Songs as allegorical fictions. Yet these prosopopoeial figures remained of profound commentarial interest to him. Bernard’s Sermons on the Song of Songs returns again and again to the literal level of meaning, where text becomes voice and voice becomes fleshly persona. This essay argues that Bernard pursued a distinctive poetics of fictional persons modeled on the dramatic exegesis of Origen of Alexandria as well as on the Song itself. Ultimately, the essay suggests, Bernard’s Sermons form an overlooked episode in the literary history of fiction.
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Liu, Xinrui, Jiawen Yang, and Xinran Zhao. "An investigation into the causes of science fiction animation influencing young people’s awareness of science and technology based on the DIMT model - Love, Death and Robots as an example." SHS Web of Conferences 159 (2023): 02018. http://dx.doi.org/10.1051/shsconf/202315902018.
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As a medium, science fiction animation has a special significance for the construction of science and technology awareness among youth. As the science fiction animation market is booming and popular among young people, it is more and more urgent to explore ways to improve the impact of science fiction animation. This research report analyzes the science fiction symbolic landscape presented by the animation through the questionnaire analysis and interviews of Love, Death and Robots, and explores the meaning construction of the science fiction symbols in the animation and the dissemination path of the scientific spirit kernel, in order to explore the law of its construction of science and technology consciousness for young people, with a view to providing some reference for the innovative development of science fiction animation in China in the future.
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Michaud, Thomas. "Science-fiction et innovation." Futuribles N° 416, no. 1 (2017): 55. http://dx.doi.org/10.3917/futur.416.0055.
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Faye, Jan. "Science or mathematical fiction?" Metascience 22, no. 3 (February 5, 2013): 595–98. http://dx.doi.org/10.1007/s11016-013-9752-z.
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Dritsas, Lawrence. "Cultures of Science Fiction." Metascience 16, no. 2 (May 9, 2007): 345–48. http://dx.doi.org/10.1007/s11016-007-9090-0.
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Wimmer, Lena, Gregory Currie, Stacie Friend, and Heather Jane Ferguson. "Testing Correlates of Lifetime Exposure to Print Fiction Following a Multi-Method Approach: Evidence From Young and Older Readers." Imagination, Cognition and Personality 41, no. 1 (February 20, 2021): 54–86. http://dx.doi.org/10.1177/0276236621996244.
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Two pre-registered studies investigated associations of lifetime exposure to fiction, applying a battery of self-report, explicit and implicit indicators. Study 1 ( N = 150 university students) tested the relationships between exposure to fiction and social and moral cognitive abilities in a lab setting, using a correlational design. Results failed to reveal evidence for enhanced social or moral cognition with increasing lifetime exposure to narrative fiction. Study 2 followed a cross-sectional design and compared 50–80 year-old fiction experts ( N = 66), non-fiction experts ( N = 53), and infrequent readers ( N = 77) regarding social cognition, general knowledge, imaginability, and creativity in an online setting. Fiction experts outperformed the remaining groups regarding creativity, but not regarding social cognition or imaginability. In addition, both fiction and non-fiction experts demonstrated higher general knowledge than infrequent readers. Taken together, the present results do not support theories postulating benefits of narrative fiction for social cognition, but suggest that reading fiction may be associated with a specific gain in creativity, and that print (fiction or non-fiction) exposure has a general enhancement effect on world knowledge.
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MacFadyen, Jean S. "Science Fiction Inspires Innovation." Holistic Nursing Practice 28, no. 3 (2014): 161–63. http://dx.doi.org/10.1097/hnp.0000000000000029.
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