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Journal articles on the topic 'Le Guin'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Inassaridze, H. "Non-Abelian Cohomology with Coefficients in Crossed Bimodules." gmj 4, no. 6 (December 1997): 509–22. http://dx.doi.org/10.1515/gmj.1997.509.

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Abstract When the coefficients are crossed bimodules, Guin's non-abelian cohomology [Guin, C. R. Acad. Sci. Paris 301: 337–340, 1985], [Guin, J. Pure Appl. Algebra 50: 109–137, 1988] is extended in dimensions 1 and 2, and a nine-term exact cohomology sequence is obtained.

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2

Elizabeth Lundberg. "A Gift of Le Guin." Science Fiction Studies 38, no. 3 (2011): 538. http://dx.doi.org/10.5621/sciefictstud.38.3.0538.

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3

Robert M. Philmus. "Eulogy for Ursula Le Guin." Science Fiction Studies 45, no. 3 (2018): 640. http://dx.doi.org/10.5621/sciefictstud.45.3.0640.

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4

Roy, Sneharika. "Capitalism, Ecosocialism and Reparative Readers in Ursula Le Guin’s The Word for World Is Forest." Literature 3, no. 4 (November 12, 2023): 446–56. http://dx.doi.org/10.3390/literature3040030.

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Ursula Le Guin’s The Word for World is Forest emerged as a reaction to the Vietnam War, which ravaged human and nonhuman lifeworlds. Le Guin offers two competing discursive systems through which to interpret human and nonhuman alterity—Terran industrial capitalism, grounded in physical and symbolic violence, and Athshean ecosocialism, rooted in an ethics of non-violence and forest-centred nominalism. Le Guin appears to suggest that both “readings” of Athshea are locked in an intractable, adversarial logic, typical of the “paranoid” reading practices that Eve Sedgwick would theorise twenty-five years later. In its sensitivity to the spectrum of negative affect covering anticipatory anxiety about forestalling pain, symmetrical suspicion, and fear of humiliation, the novella offers an uncanny prefiguration of paranoid practices. Le Guin suggests that the way out of the paranoid clash of civilisations can be found in two “reparative” reading stances—Selver’s reinterpretation and rearrangement of components of the oppressor’s culture into new, unexpected wholes (hermeneutic reassemblage) and the alien observers’ valorisation of disinterested curiosity over action as a categorical imperative (cerebral equivocity). Le Guin thus seems to offer a reparative poetics avant la lettre.

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5

Guinaudeau, Benjamin, Kevin Munger, and Fabio Votta. "Fifteen Seconds of Fame: TikTok and the Supply Side of Social Video." Computational Communication Research 4, no. 2 (October 1, 2022): 463–85. http://dx.doi.org/10.5117/ccr2022.2.004.guin.

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6

Cheyne, Ria. "Ursula K. Le Guin and Translation." Extrapolation 47, no. 3 (January 2006): 457–70. http://dx.doi.org/10.3828/extr.2006.47.3.9.

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7

Sherryl Vint. "TLS Remembers Le Guin." Science Fiction Studies 45, no. 2 (2018): 411. http://dx.doi.org/10.5621/sciefictstud.45.2.0410.

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8

Anderson, Elizabeth. "Ursula Le Guin and Theological Alterity." Literature and Theology 30, no. 2 (May 27, 2016): 182–97. http://dx.doi.org/10.1093/litthe/frw018.

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9

Saltveit, Mark. "Ursula K. Le Guin: A Remembrance." Journal of Daoist Studies 13, no. 13 (2020): 223–27. http://dx.doi.org/10.1353/dao.2020.0011.

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10

Rubin, Alan E., Eric A. Jerde, Puhe Zong, John T. Wasson, James W. Westcott, Toshiko K. Mayeda, and Robert N. Clayton. "Properties of the Guin ungrouped iron meteorite: the origin of Guin and of group-IIE irons." Earth and Planetary Science Letters 76, no. 3-4 (January 1986): 209–26. http://dx.doi.org/10.1016/0012-821x(86)90074-9.

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11

Flint, Maureen A., Shelly Melchior, Kelly W. Guyotte, and Stephanie Anne Shelton. "Spinning Futures: Interrogating Feminist Pedagogy and Methodology With Speculative Fiction." Cultural Studies ↔ Critical Methodologies 22, no. 2 (October 27, 2021): 122–31. http://dx.doi.org/10.1177/15327086211052666.

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In this article, we interrogate our experiences as four women academics with two short stories written in conversation with one another: The Ones Who Walk Away From Omelas by Ursula K. Le Guin, and “The Ones Who Stay and Fight,” written by N. K. Jemisin. Both Le Guin and Jemisin’s stories evoke questions about ethics and responsibility in the face of oppression. More specifically, both stories offer complicated and nuanced considerations for how we respond methodologically and pedagogically to systemic oppressions and violence as feminist subjects.

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12

Crowther, David, and Branka Mraović. "The Word for World is Not Forest." Social Responsibility Journal 2, no. 2 (February 1, 2006): 173–85. http://dx.doi.org/10.1108/eb059263.

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In 1972 Ursula Le Guin published her award winning novella, The Word for World is Forest. This describes the world of the Athsheans, a small, green, furry, and peaceful people. Their planet consists of basically two things: water, and forest. Here they live, hunt, love and dream. They slip gently from dreamtime to realtime; their reality is not always as ours. Then the Terrans arrive. They don't particularly care about the natives, but they want the forest. With huge machines, they level the forest for mile wide strips, using the natives as slave labour. But then one of the Athsheans learn something from the conquerors: how to hate — and how to use this hate to fight for freedom. This is a story of how the search for profit, coupled with narrow — mindedness, blend into a mix with horrible consequences. Like all science fiction Le Guin provides not so much a vision of the future but rather a lens with which to view and make sense of the present. And the human exploitation of the world of the Athsheans is very similar to the current corporate exploitation of large parts of the world and its human inhabitants — anything is permissible (including enslavement) if there is a profit to be made. For Le Guin corporate exploitation is not sustainable but in Newtonian fashion will result violent retribution from the oppressed. Many would support this prognosis of the consequences of corporate misbehaviour and would, like Le Guin, be firmly on the side of the oppressed. It is the purpose of this paper however to use the metaphor provided by the work of Le Guin, together with a consideration of current corporate activity, to show that a sustainable future is neither exploitative (and so the corporate leaders have got it wrong) nor confrontational (and so the anti‐globalisation movement is equally wrong). A sustainable future actually requires what could have been described as a third way if the Blairite masters of spin had not arrived previously and made such a term ridiculed into oblivion.

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13

Jaeckle, Daniel P. "Embodied Anarchy in Ursula K. Le Guin's The Dispossessed." Utopian Studies 20, no. 1 (January 1, 2009): 75–95. http://dx.doi.org/10.2307/20719930.

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Abstract In The Dispossessed, Ursula K. Le Guin embodies a complementary form of anarchism on the planet Anarres. Just as in the scientific theory of the protagonist, Shevek, time is both sequential and simultaneous, so too the individual freedom and social responsibility needed for anarchism to succeed are unified by promising, which itself presupposes sequence and simultaneity. Le Guin examines several challenges to this theory of anarchy: crises that disrupt the complementarity of freedom and responsibility; fear; the desire for power; incompatible ideologies; and hopelessness. Despite the exposure of its limits, however, anarchy survives as the best political option in the novel.

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14

Jaeckle, Daniel P. "Embodied Anarchy in Ursula K. Le Guin's The Dispossessed." Utopian Studies 20, no. 1 (January 1, 2009): 75–95. http://dx.doi.org/10.5325/utopianstudies.20.1.0075.

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Abstract In The Dispossessed, Ursula K. Le Guin embodies a complementary form of anarchism on the planet Anarres. Just as in the scientific theory of the protagonist, Shevek, time is both sequential and simultaneous, so too the individual freedom and social responsibility needed for anarchism to succeed are unified by promising, which itself presupposes sequence and simultaneity. Le Guin examines several challenges to this theory of anarchy: crises that disrupt the complementarity of freedom and responsibility; fear; the desire for power; incompatible ideologies; and hopelessness. Despite the exposure of its limits, however, anarchy survives as the best political option in the novel.

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15

Sawyer, Andy. "Ursula Le Guin and the Pastoral Mode." Extrapolation 47, no. 3 (January 2006): 396–416. http://dx.doi.org/10.3828/extr.2006.47.3.5.

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16

Robinson, Christopher L. "The Namework of Ursula K. Le Guin." Names 66, no. 3 (January 8, 2018): 125–34. http://dx.doi.org/10.1080/00277738.2017.1415541.

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17

ZAPATA, PATRICIA. "Lavinia, de la periferia al centro. Análisis de Lavinia de Ursula K. Le Guin." Cuadernos de Literatura, no. 16 (August 27, 2021): 257. http://dx.doi.org/10.30972/clt.0165432.

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<p>El trabajo se propone un análisis del personaje de Lavinia basado en la novela homónima de Ursula K. Le Guin. Nuestro recorrido considera el pasaje de la periferia al centro de la escritura. El discurso de Lavinia reflexiona acerca del rol del héroe, acerca del poeta y del poder de los textos. Finalmente, este vínculo entre <em>Eneida </em>de Virgilio, que nos recuerda que el poder asociado con la acción y la palabra pertenece a los hombres, y Le Guin cuya narrativa se focaliza en la experiencia y la voz femenina de la protagonista.</p>

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18

Rodrigues, Raquel Mayne. ""Floresta é o nome do mundo", de Ursula K. Le Guin: um romance de alegoria etnográfica." Literartes 1, no. 18 (December 20, 2023): 246–55. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2023.210551.

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19

Bartles, Jason A. "Navigating Uncertainty: The Ambiguous Utopias of Le Guin, Gorodischer, and Jemisin." Utopian Studies 33, no. 1 (March 1, 2022): 107–26. http://dx.doi.org/10.5325/utopianstudies.33.1.0107.

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ABSTRACT The phrase “ambiguous utopia” was coined by Ursula K. Le Guin in the subtitle of her novel, The Dispossessed: An Ambiguous Utopia (1974). That work appeared when utopian narratives had been displaced by dystopian imaginaries. This article embarks on a comparative analysis of three short stories: Ursula K. Le Guin’s “The Ones Who Walk Away from Omelas” (1973), Angélica Gorodischer’s “Of Navigators” (1979), and N. K. Jemisin’s “The Ones Who Stay and Fight” (2018). Each author installs ambiguity at the center of their open-ended utopian imaginaries as a way to challenge dogma, pessimism, and complacency. Le Guin interrogates the boundary between belief and knowledge to hold the threat of authoritarianism at bay. Gorodischer, a friend and contemporary of Le Guin, is considered a central figure of Argentine science fiction and fantasy. Her story imagines the discovery of a second Earth set in 1492 and highlights the need for utopianism to challenge the legacy of colonization. Finally, Jemisin’s story is a critical homage to “Omelas.” Jemisin shares the decolonial impetus of Gorodischer’s fiction, and she constructs Um-Helat on an explicitly antiracist foundation. Instead of walking away, her characters actively fight the creeping threat of intolerance while working toward that better place.

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20

Crease, Robert P. "Ursula’s cat." Physics World 37, no. 7 (July 1, 2024): 17–18. http://dx.doi.org/10.1088/2058-7058/37/07/17.

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21

Castro Méndez, Silvia. "Los desposeídos, de Ursula K. Le Guin: ¿una utopía?" LETRAS, no. 55 (June 6, 2014): 87–111. http://dx.doi.org/10.15359/rl.1-55.5.

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El estudio se centra en analizar ciertas interrogantes básicas a propósito de la ambigüedad atribuida al títlulo e índole de la obra Los desposeídos, de Ursula K. Le Guin: «una utopía ambigua», ¿utopía o distopía? Se sostiene que la obra es un ejercicio de pensamiento dialéctico, donde el maniqueísmo queda descartado así como la idealización de los sistemas políticos. This study addresses certain basic questions regarding The Dispossessed, de Ursula K. Le Guin, relative to the ambiguity attributed to its title “An Ambiguous Utopia”. Is it a utopia or a dystopia? It is posited that it is an exercise of dialectical thinking, where there is no room for Manichaeism or the idealization of political systems.

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22

Park, Seol Yoanna, Fabiola Kurnia, and Ali Mustofa. "BEYOND DICHOTOMY WITH TAOIST VISIONIN LE GUIN’S THE LEFT HAND OF DARKNESS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 7, no. 1 (June 28, 2023): 50–60. http://dx.doi.org/10.30743/ll.v7i1.6958.

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The research set out to shed light on balancing awareness, a key Taoist concept that forms the basis of American science fiction author Ursula K. Le Guin's creative works. The balance in Le Guin's work represented the peaceful coexistence of conflicting forces. Le Guin applied Taoist ideas, such as the interdependence of two opposites and non-interference, to convey her concept of balance. The Left Hand of Darkness by Ursula K. Le Guin, published in 1969, served as the primary text for this qualitative study. In The Left Hand of Darkness, the concept of balance was built on transcending the binary split and forging peaceful connections between I and the Other. To reflect her Taoist understanding of the relationship between I and the Other, Le Guin created an androgynous universe in The Left Hand of Darkness and employed the concept of a journey to the alien territory. The results demonstrated that in Le Guin's make-believe world, the protagonists from two different cultural backgrounds completed their trip by bridging the mental division and acquiring Taoist wisdom. The Yin-Yang emblem and the reading of the ancient poem served as metaphors for the peaceful coexistence of dualistic opposites. By transcending dualistic opposites and recognizing a connection between I and the other, Le Guin's worldview, which drew inspiration from Taoism, achieved holistic success.

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23

Rochelle, Warren. "The Story, Plato, and Ursula K. Le Guin." Extrapolation 37, no. 4 (January 1996): 316–29. http://dx.doi.org/10.3828/extr.1996.37.4.316.

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24

Erlich, Richard D. "From Shakespeare to Le Guin: Authors as Auteurs." Extrapolation 40, no. 4 (January 1999): 341–50. http://dx.doi.org/10.3828/extr.1999.40.4.341.

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25

Fritzsche, Sonja. "Publishing Ursula K. Le Guin in East Germany." Extrapolation 47, no. 3 (January 2006): 471–87. http://dx.doi.org/10.3828/extr.2006.47.3.10.

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26

Salvatierra, Valentina. "Science-fictional Multilingualism in Ursula K. Le Guin." Science Fiction Studies 47, no. 2 (2020): 195–218. http://dx.doi.org/10.1353/sfs.2020.0012.

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27

Augier, Bertrand. "Réapprendre à écrire avec Ursula K. Le Guin." Books N° 97, no. 5 (June 5, 2019): 79–82. http://dx.doi.org/10.3917/books.097.0079.

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28

Salvatierra. "Science-fictional Multilingualism in Ursula K. Le Guin." Science Fiction Studies 47, no. 2 (2020): 195. http://dx.doi.org/10.5621/sciefictstud.47.2.0195.

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29

Mogen, David. "Understanding Ursula K. Le Guin by Elizabeth Cummins." Western American Literature 27, no. 2 (1992): 128–29. http://dx.doi.org/10.1353/wal.1992.0027.

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30

Hyder, Sanaa, and Afreen Khalid. "Ursula K Le Guin: thinking about what matters." Lancet Psychiatry 7, no. 2 (February 2020): 131–33. http://dx.doi.org/10.1016/s2215-0366(20)30012-2.

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31

Sohn, Nagyung. "Thought Experiment about Gender and Utopia in the 1960s’ Science Fiction: In Cases of Left Hand of Darkness and The Perfect Society." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 307–22. http://dx.doi.org/10.33645/cnc.2022.10.44.10.307.

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The purpose of this paper is to discuss the thought experiment on the gender and utopia in Left Hand of Darkness by Ursula K. Le Guin and The Perfect Society by Moon Younsung. Both of these novels were published in the 1960s, sharing the topic: gender and utopia. Even if the authors have different cultural and gender backgrounds, they wrote their works under the social background of the 1960s, when the Cold War and the Freedom movements severely conflicted. Besides, more fundamentally speaking, both of them recognized the function of science fiction: thought experiment. By using thought experiment, Le Guin suggests the possibility of accepting cultural and gender diversity. Moon Younsung criticizes the oppressive contemporary Korean society and asserts human conflicts would not be eradicated without accepting diversity.

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32

Schrager Lang, Amy, and Daniel Rosza Lang/Levitsky. ""Realists of a Larger Reality": On New Science Fiction." Monthly Review 67, no. 11 (April 5, 2016): 55. http://dx.doi.org/10.14452/mr-067-11-2016-04_5.

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<div class="quote-intro">Any human power can be resisted and changed by human beings.<p class="quote-intro-author">—Ursula K. Le Guin</p></div>Le Guin is undoubtedly right about resistance in the "real" world, but in reading, only some books offer a call to resistance and the possibilities of a new reality. Among the books considered here, some come to us as "literary fiction"; others are marked as belonging to another, historically denigrated, form, "science fiction" or "fantasy." This could be a distinction without a difference: two are near-future dystopian novels about corporate capitalism in the United States (both by well-established white authors); two are collections of near-future short stories that set out to critique the human powers that structure our world (written by both established and new voices, primarily writers of color). But the books that embrace rather than evade their status as science fiction or fantasy are the ones able to imagine the resistance and change that Le Guin invokes.<p class="mrlink"><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-67-number-11" title="Vol. 67, No. 11: April 2016" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>

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33

Boreen, Jean, and Sandra Raymond. "How Tashjian and Le Guin Encourage Social Activism in Young Adults." English Journal 95, no. 3 (January 1, 2006): 69–73. http://dx.doi.org/10.58680/ej20064937.

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Using texts by Janet Tashjian and Ursula K. Le Guin, Jean Boreen and Sandra Raymond show how high school students can be brought into discussions that promote social and political activism and help students understand the steps in these processes.

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34

Changizi, Parisa. "“Permanent Revolution” to Effect an Ever-Evasive (Ecological) Utopia in Ursula K. Le Guin’s The Dispossessed: An Ambiguous Utopia." ELOPE: English Language Overseas Perspectives and Enquiries 17, no. 2 (November 5, 2020): 117–36. http://dx.doi.org/10.4312/elope.17.2.117-136.

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This article aims to analyse Ursula Le Guin’s The Dispossessed: An Ambiguous Utopia from an ecological perspective. In her ecologically conscious story, Le Guin explores the (ironic) manifestation and repercussions of humanity’s environmental fear, the virtues and ills of an ever-evasive ecological utopian society that is paradoxically informed by eco-friendly and ecophobic propensities in its pursuit of freedom through the vigorous practice of the art of dispossession, and the possibility of transcending the hyper-separated categories of difference that include the human/non-human dichotomy. What Le Guin seeks in her fictional effort above all is a permanent revolution advocating a never-ending diligent and earnest endeavour to effect an improved, preferable society with a revised awareness of its relations to its human and non-human Others, free from the ethic of exploitation rather than a promotion of an already achieved perfect state.

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35

Jones, Hillary A. "Taoist Spirituality and Paradox in Ursula K. Le Guin’s The Dispossessed." Journal of Communication and Religion 38, no. 2 (2015): 154–74. http://dx.doi.org/10.5840/jcr201538214.

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Constructing a utopian, fictional vision informed by Taoist values and constructed with Taoist rhetorical techniques, Ursula K. Le Guin’s The Dispossessed offers readers a detailed model for forming a Taoist spiritual practice. Le Guin’s novel epitomizes several of the values embedded in Lao-tzu’s Taoist teachings, such as equilibrium and flux, and some of the same rhetorical techniques, such as paradox. To unpack how this rhetoric functions, I examine three of the novel’s paradoxes (balance from instability, harmony in disharmony, and creation through destruction), detail how flux iterates in the society that Le Guin imagines, and suggest that the protagonist (Shevek) serves as a role model and guide both for Le Guin’s readers and for a group of revolutionaries in the novel. In short, I show how Le Guin uses The Dispossessed as a vehicle to demonstrate possible ways to craft a Taoist spirituality grounded in Laotzu’s teachings.

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36

Panajotović, Artea, and Mirjana Vučković. "Posthumous reception of Ursula K. Le Guin in Serbian scholarly journals and literary periodicals." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 2 (2024): 161–77. http://dx.doi.org/10.5937/zrffp54-46253.

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Since the 1980s, Ursula K. Le Guin (1929-2018), one of the most influential science fiction and fantasy writers, has had an almost cult status and loyal readership in the region of former Yugoslavia. However, some ten years before her departure, interest in her work decreased. Her most important titles were out of print, new editions were not available, and she was less frequently written about in Serbian journals and periodicals. This changed after her death when, as was to be expected, interest in her work was rekindled. In this paper, we present the critical reception of Ursula K. Le Guin's work in Serbian scholarly journals and literary periodicals from her death in January 2018 until the end of 2020. The aim of the research is to establish the extent and the way in which her opus (and, with it, speculative fiction in general) was presented and evaluated in Serbian scholarly journals and literary periodicals of this period. The presented results are part of a future, larger diachronic research of the complete reception of Ursula K. Le Guin's opus in former Serbo-Croatian-speaking territory. Based on the analysed material, Ursula K. Le Guin received significant posthumous reception in Serbian scholarly journals and literary periodicals - in total, 21 texts were published from January 22, 2018, until December 31, 2020. The quality of the academic articles does not differ from the quality of Serbian scholarly production in general, and they examined the work of Ursula K. Le Guin from feminist, postcolonial, and cultural points of view.

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37

Roemer. "A Tribute to Ursula K. Le Guin (1929–2018)." Utopian Studies 29, no. 2 (2018): 117. http://dx.doi.org/10.5325/utopianstudies.29.2.0117.

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38

Barr, Marleen S. "Ursula K. Le Guin: an anthropologist of other worlds." Nature 555, no. 7694 (February 23, 2018): 29. http://dx.doi.org/10.1038/d41586-018-02439-7.

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39

YANGSUNGKAP. "Justice in the Poetry of Ursula K. Le Guin." Literature and Environment 16, no. 3 (September 2017): 69–116. http://dx.doi.org/10.36063/asle.2017.16.3.003.

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40

Cohen-Safir, Claude. "Perspectives transgénériques : Joanna Russ, Anne Rice, Ursula Le Guin." Revue Française d'Etudes Américaines 43, no. 1 (1990): 33–46. http://dx.doi.org/10.3406/rfea.1990.1384.

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41

Cho, Hyang-suk. "The Emotions of the Local Languages ‘Guin’ and ‘Gemi’." Journal of honam studies 75 (June 30, 2024): 33–53. http://dx.doi.org/10.37996/hs.75.2.

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42

Byrne, Deirdre C. "“The Wings of the Redwing Hawk”." Extrapolation: Volume 63, Issue 2 63, no. 2 (July 1, 2022): 181–204. http://dx.doi.org/10.3828/extr.2022.12.

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Ursula K. Le Guin is well known and widely studied for her outstanding career as an author of speculative fiction. There is much less scholarly criticism of her poetry, which constitutes eleven volumes (Ursula K. Le Guin Literary Trust) and deserves sustained attention. This article explores one section of her poetry—the poems published in Always Coming Home (1986, hereafter ACH)—as a response to the environmental degradation that has been the hallmark of the past two centuries. I explore Le Guin’s creative practices within the framework of her insistence on a flattened ontology where humans and nonhuman living beings enjoy equal status and humans’ dependency on nonhuman nature is acknowledged. The article probes the status of the poems in an exceptionally innovative text, namely the imagined history of a people who “might be going to have lived a very long time from now in Northern California” (ACH n.p.). In exploring Le Guin’s view of human inter- and intra-actions with nonhuman animals, I also take note of the formal features of the poems which are intertwined with their semantic aspects.

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43

Davis, Laurence. "Morris, Wilde, and Le Guin on Art, Work, and Utopia." Utopian Studies 20, no. 2 (January 1, 2009): 213–48. http://dx.doi.org/10.2307/20719947.

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44

Davis, Laurence. "Morris, Wilde, and Le Guin on Art, Work, and Utopia." Utopian Studies 20, no. 2 (January 1, 2009): 213–48. http://dx.doi.org/10.5325/utopianstudies.20.2.0213.

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45

Call, L., and B. Hutchens. "Postmodern Anarchism in the Novels of Ursula K. Le Guin." SubStance 36, no. 2 (January 1, 2007): 87–105. http://dx.doi.org/10.1353/sub.2007.0028.

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46

Inassaridze, H. "Non-Abelian Cohomology of Groups." gmj 4, no. 4 (August 1997): 313–31. http://dx.doi.org/10.1515/gmj.1997.313.

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Abstract Following Guin's approach to non-abelian cohomology [Guin, Pure Appl. Algebra 50: 109–137, 1988] and, using the notion of a crossed bimodule, a second pointed set of cohomology is defined with coefficients in a crossed module, and Guin's six-term exact cohomology sequence is extended to a nine-term exact sequence of cohomology up to dimension 2.

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Allouche, Sylvie. "Les extraterrestres de la science-fiction." Multitudes 94, no. 1 (March 6, 2024): 213–15. http://dx.doi.org/10.3917/mult.094.0213.

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De Lucien de Samosate à Liu Cixin en passant par H. G. Wells, Ursula K. Le Guin, Octavia Butler, Sylvie Lainé et tant d’autres auteurs et autrices, la littérature, le cinéma et les séries de science-fiction ont inventé une myriade hallucinante d’extraterrestres, amis ou ennemis, humanoïdes ou non. Tous interrogent l’Humanité, son éthique et son devenir.

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Collomb, Cléo. "« Ceux qui sont partis d’Omelas ». Littérature et science-fiction dans une formation en génie mécanique et productique." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 17, no. 1 (September 15, 2023): 66–81. http://dx.doi.org/10.51777/relief17560.

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Cet article présente une séquence pédagogique déployée dans une formation universitaire technologique professionnalisante (Génie Mécanique et Productique) et articulée autour du texte « Ceux qui partent d’Omelas », d’Ursula K. Le Guin, autrice reconnue pour ses œuvres de fictions spéculatives, incluant la science-fiction. J’y soutiens que la science-fiction, dans ce contexte d’enseignement orienté vers une approche fonctionnelle de la langue, revêt une dimension politique dans la mesure où elle est un opérateur de repartage du sensible particulièrement efficace. La SF en effet, par son caractère minoritaire et son ouverture sur la culture technique, permet d’éviter certains effets de domination symbolique, ce qui la rend particulièrement inclusive vis-à-vis des étudiantes et étudiants en Génie Mécanique et Productique. De plus, dans ce texte, Ursula Le Guin peut être comprise, d’après Le maître ignorant de Rancière, comme une autrice ignorante qui postule une forme d’égalité entre ses lecteurs et elle. Le résultat est que les étudiantes et étudiants ont appris, non pas à développer des compétences communicationnelles, mais à jouir du langage, c’est-à-dire à sortir de la place qui leur est assignée de personnes qui doivent s’insérer professionnellement et qui n’ont pas le temps pour la littérature.

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Erlich, Richard. "Le Guin and God: Quarreling with the One, Critiquing Pure Reason." Extrapolation 47, no. 3 (January 2006): 351–79. http://dx.doi.org/10.3828/extr.2006.47.3.3.

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Langbauer, Laurie. "Ethics and Theory: Suffering Children in Dickens, Dostoevsky, and Le Guin." ELH 75, no. 1 (2008): 89–108. http://dx.doi.org/10.1353/elh.2008.0005.

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