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Relevant bibliographies by topics / Science fiction conventions

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Academic literature on the topic 'Science fiction conventions'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Science fiction conventions"

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Chupasov, Vadim. "Not-for-children reading: markers of adult sci-fi in Sergei lukyanenko’s writings." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 268–80. http://dx.doi.org/10.31860/2304-5817-2021-1-19-268-280.

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New forms of science fiction had emerged in several post-Soviet countries in years 1990–2000. New science fiction inherits and transforms traditions and conventions of Soviet “science fiction” (nauchnaya fantastica). The emergence of market relations in the “field of literature” provoked an identity crisis, also initiating various attempts to redefine the boundaries between science fiction and previously closely related discourses, including children’s literature. This article, using several works by S. Lukyanenko as an example, examines how this rhetorical strategy has been implemented within science fiction texts. At the level of motifs and themes, references to sexuality and violence (especially in child-adult relations), tabooed in children’s literature, play a significant part in categorizing Lukyanenko’s novels as adult literature. In the system of typical of SF generic conventions this presents the depicted world as the harsh reality, thus creating a realistic effect. Markers of the second type point to historical dimensions of the fictional world, and this technique invokes conventions of “serious” (i.e. adult) speculative fiction. Also the references to iconic science fiction texts show that the novels are intended for adults and not for children. In conclusion the article raises the issue of children’s literature as being a specific construct and being the neglected Other within science fiction.

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Steble, Janez. "The role of science fiction within the fluidity of slipstream literature." Acta Neophilologica 48, no. 1-2 (December 15, 2015): 67–86. http://dx.doi.org/10.4312/an.48.1-2.67-86.

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The paper explores the complex and contradictory role of science fiction in slipstream, the type of postmodern non-realistic literature situated between the fantastic genres and the mainstream literary fiction. Because of its unstable status of occupying an interstitial position between multiple literary conventions, the article first deals with an expansive terminology affiliated with slipstream and elucidates upon using a unified term for it. Avantpop, transrealism, and interstitial fiction all help us in understanding the vast postmodern horizon of slipstream. Furthermore, the slipstream's philosophy of cognitive dissonance in comparison to science fiction's is analysed to see the similarities and differences between them. The section is mainly concerned on expanding Darko Suvin's concept of cognition and viewing it as partially compatible with slipstream's estrangement techniques. The final part is focused on the exemplary slipstream novel Vurt by Jeff Noon, a perfect example of science fiction providing material, including latest post-Newtonian paradigms of science, for slipstream to mould it in its own fashion.

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Šporčič, Anamarija. "The (Ir)Relevance of Science Fiction to Non-Binary and Genderqueer Readers." ELOPE: English Language Overseas Perspectives and Enquiries 15, no. 1 (June 25, 2018): 51–67. http://dx.doi.org/10.4312/elope.15.1.51-67.

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As an example of jean Baudrillard’s third order of simulacra, contemporary science fiction represents a convenient literary platform for the exploration of our current and future understanding of gender, gender variants and gender fluidity. The genre should, in theory, have the advantage of being able to avoid the limitations posed by cultural conventions and transcend them in new and original ways. In practice, however, literary works of science fiction that are not subject to the dictations of the binary understanding of gender are few and far between, as authors overwhelmingly use the binary gender division as a binding element between the fictional world and that of the reader. The reversal of gender roles, merging of gender traits, androgynous characters and genderless societies nevertheless began to appear in the 1960s and 1970s. This paper briefly examines the history of attempts at transcending the gender binary in science fiction, and explores the possibility of such writing empowering non-binary/genderqueer individuals.

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Farahbakhsh, Alireza, and Soulmaz Kakaee. "A DYSTOPIAN READING OF THE PRESENT TIME IN DAVID MITCHELL'S NUMBER 9 DREAM." International Journal of Research -GRANTHAALAYAH 6, no. 12 (December 31, 2018): 12–22. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1070.

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With the intention to study the implications and their affinity with and deviation from reality, the present study will analyze Number9Dream (2001) in terms of its narrative style, ontological qualities, and certain conventions which lead to the particular genre of dystopian science fiction. It tends to settle the following questions: are the implications and contributions of categorizing Number9Dream as a dystopian science fiction significant in any way? What is the role and ontological significance of setting in the novel? Narratological approach and genre criticism are applied to the novel to analyze it from the perspective of its critical engagement with dystopia. It traces science fictional elements and then continues to examine their utopian or dystopian nature and the different functions of those elements. It also refers to the connection between the given ontologies and reality. The present article shows that the novel provides a range of multiple possible worlds through two layers of internal and external ontology which are the representations of the real world. Dystopian narrative and science fiction conventions are exploited to address today's world issues. Through a detached view toward the present societies, Mitchell gives the opportunity to criticize what is not otherwise visible. The novel warns about human's isolation, alienation, and dehumanization and calls people to action accordingly. It briefly refers to the reconciliation of past/ present and nature/ science as a solution.

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Rabkin, Eric S. "Science Fiction and the Future of Criticism." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 457–73. http://dx.doi.org/10.1632/003081204x20488.

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Science fiction, ranging from films to industrial design to world's fairs, is a cultural system no more confined to literature than love is to love letters. From its self-recognition in 1926, science fiction has involved commercial and social realities most obviously visible in fandom and the hundreds of annual science fiction conventions. This system includes many types of consumers and producers, even collaboratively self-correcting volunteer bibliographers. Collectively, science fiction fandom, the first organized fandom, has created vast informational resources that allow not only reference but also statistical inquiry. The Genre Evolution Project (http://www.umich.edu/~genreevo/) shows that these social structures and resources potentiate, in an age of widespread computer networking, the transformation of criticism from acts of isolated scholars working with narrowly defined subjects to collaborative projects drawing on human and informational resources across disciplinary boundaries. Science fiction points to a future in which criticism will be more systematic, collaborative, and quantitative.

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Vinod, Meera, and Gaana Jayadevan. "A History of the Future: Time-Travel, Technology, Dystopia, and Postcolonial Anxiety in Vandana Singh’s “Delhi”." Artha - Journal of Social Sciences 17, no. 3 (July 1, 2018): 73–97. http://dx.doi.org/10.12724/ajss.46.5.

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The paper examines postcolonial concerns arising in and through the science fiction, “Delhi,” by Vandana Singh as the author consciously deviates from generic conventions of the structures of Western science fiction. We argue that the protagonist in “Delhi” could be viewed as a postcolonial subject experiencing alienation and powerlessness. The character‟s postcolonial subjectivity is traced through Singh‟s manipulations of western science fiction tropes vis-à-vis time-travel, technology, dystopia, and narrative techniques. Using „abrogation‟ and „appropriation‟ (Ashcroft, Griffiths & Tiffin, 1989), and Ricoeur‟s Time and Narrative (1988), the paper analyses how postcolonial elements are foregrounded. It also examines the larger implications of engaging in a postcolonial reading of a science fiction text produced from a technologically developing Indian context.

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Domaciuk-Czarny, Izabela. "Intertekstualność nazewniczych neologizmów w grotesce science fiction Stanisława Lema." Język Polski 101, no. 1 (May 2021): 70–83. http://dx.doi.org/10.31286/jp.101.1.6.

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The article discusses intertextual onymy in selected grotesque texts written by Stanisław Lem. The study focuses on the stories from the two collections: Cyberiada (The Cyberiad) and Dzienniki gwiazdowe (The Star Diaries). Intertextuality is the author’s play with different styles, conventions and genres. Therefore, the study involves the analysis of the intertextual function of proper names in the texts. In science fiction grotesque, proper names which are elements of the fantastic, fabulous as well as the ludic and grotesque cur-rent in literary onomastics, artificial onyms that are deformed and asemantic, only occasionally perform such a function (for instance Palibaba – Ali Baba). It is crucial, therefore, to analyze the propria in the con-text of the selected fragments while focusing on the style, poetics, and the meaning of the entire work.

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Joseph-Vilain, Mélanie. "Cartographies génériques, spatiales et identitaires en Afrique du Sud : Margie Orford, Lauren Beukes, Henrietta Rose-Innes." Études littéraires africaines, no. 38 (February 16, 2015): 69–82. http://dx.doi.org/10.7202/1028675ar.

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This article examines how three South African novelists, Margie Orford, Lauren Beukes and Henrietta Rose-Innes, use crime fiction to write their country. After a brief survey of the rapid development of crime fiction in South Africa and of the critical response it received, the article proposes a reading of Like Clockwork, Zoo City and Nineveh, whereby their respective contribution to crime fiction displays three major features : first, Orford’s novel chimes in with generic conventions ; second, Beukes’s novel combines features borrowed from both crime fiction and science fiction ; and last, Rose-Innes’s novel displaces the detective story narrative into a context where « murder » is invested with a symbolic meaning. By handling the investigation theme in a variety of ways, the three novelists adapt it to the South African context and besides show that the feminine body fits in more or less problematically within the space of the city and of the nation.

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Yeates, Robert. "Serial fiction podcasting and participatory culture: Fan influence and representation in The Adventure Zone." European Journal of Cultural Studies 23, no. 2 (August 29, 2018): 223–43. http://dx.doi.org/10.1177/1367549418786420.

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New media affords significant opportunities for audience feedback and participation, with the power to influence the creation and development of contemporary works of fiction, particularly when these appear in serialized instalments. With access to creators permitted via social media, and with online platforms facilitating the creation and distribution of audience paratexts, fans increasingly have the power to shape the fictional worlds and diversity of the characters found within the series they enjoy. A noteworthy and understudied example is fiction podcasting, an emerging form that draws on conventions of established media such as radio and television. Despite the recent surge in the popularity of podcasts, little scholarly attention has been given to the format, except to discuss it as either a continuation of radio programming or part of a transmedia landscape for texts which are centred in media such as television and film. This article argues that fiction podcasting offers unique affordances for creating serial works of fiction, taking The Adventure Zone as a case study which demonstrates the power of successful participatory culture. The podcast has grown from modest beginnings to acquire a considerable and passionate fan network, has diversified into other media forms, and, though available for free, is financially supporting its creators and raising substantial amounts of money for charities. Crucial in its success is the creators’ cultivation of an inclusive environment for fans, and a constant attempt to feature characters representative of a diversity of gender and sexual identities, particularly those typically excluded from other science fiction worlds. This article argues that The Adventure Zone and the format of fiction podcasting demonstrate a shift in contemporary culture, away from established mass media programming and towards a participatory, transmedia, fan-focused form of storytelling which utilizes the unique advantages of new media technologies in its creation, development, and distribution.

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Wodzyński, Łukasz. "Modernism Romanced: Imaginary Geography in Jerzy Żuławski'sThe Lunar Trilogy." Slavic Review 77, no. 3 (2018): 685–703. http://dx.doi.org/10.1017/slr.2018.205.

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The article examines the imaginary geography of Jerzy Żuławski'sThe Lunar Trilogy–On the Silver Globe(1903),The Conqueror(1910), andThe Old Earth(1911) – focusing on the relationship between the author's modernist sensibilities and the trilogy's adoption of the nascent science fiction genre. While modernism and popular fiction are usually placed on opposite ends of the literary spectrum, the example of Żuławski demonstrates that popular fiction was a valuable tool for modernist authors who sought to overcome the limits of realist conventions but were reluctant to alienate the mass readership. Drawing inspiration from the broadly-conceived spatial turn in the humanities, the article positions Żuławski and his work within the literary tradition that utilizes the romance mode (as defined by Northrop Frye, Fredric Jameson, and others) to reflect on modern subjectivity and its relations with what Max Weber called the “disenchanted world.”

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Dissertations / Theses on the topic "Science fiction conventions"

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Testerman, Rebecca Lynn. "Desegregating the Future: A Study of African-American Participation in Science Fiction Conventions." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1332773873.

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Books on the topic "Science fiction conventions"

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Williams, Walter Jon. Conventions of War. New York: HarperCollins, 2005.

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European Science Fiction Convention (11th 1999 Dortmund, Germany). Trinity '99: 11. Science Fiction Tage NRW : European Science Fiction Convention : German National Science Fiction Convention : ConBuch. Berlin: Shayol Verlag, 1999.

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Copyright Paperback Collection (Library of Congress), ed. Bimbos of the death sun. Lake Geneva, WI: TSR, 1987.

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McCrumb, Sharyn. Bimbos of the death sun. Lak Geneava, WI: TSR, 1988.

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5

Nerds who kill. New York: St. Martin's Minotaur, 2005.

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Conventions of War (Dread Empire's Fall). Eos, 2005.

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Wiffle Lever To Full Daleks Death Stars And Dreamyeyed Nostalgia At The Strangest Scifi Conventions. Hodder & Stoughton General Division, 2008.

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8

Trinity '99: 11. Science Fiction Tage NRW : European Science Fiction Convention : German National Science Fiction Convention : ConBuch. Shayol Verlag, 1999.

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Bimbos of the Death Sun. Ballantine Books, 1996.

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Bimbos of the Death Sun. Fawcett, 1996.

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Book chapters on the topic "Science fiction conventions"

1

Davies, David. "Learning Through Fictional Narratives in Art and Science." In Beyond Mimesis and Convention, 51–69. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-3851-7_4.

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Burton, Tyra Anne Mitchell. "When Science Fiction Meets Reality." In Handbook of Research on the Impact of Fandom in Society and Consumerism, 280–304. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1048-3.ch014.

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Eighty years after the first science fiction convention, geek culture has gone mainstream and facilitated exponential growth in the fandom convention industry. With fandom conventions facing increasing competition and changing demographics, standing out in the crowded convention space is essential. Dragon Con founded in 1987 created the idea of the multi-genre convention that has something for everyone. Since its inception, Dragon Con has changed to fit fans' evolving tastes and formed strategic relationships with key partners. With growth comes issues related to registration, wait lines, harassment and security which need to be addressed while trying to take into account the younger and more diverse fandoms.

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Ahmed, Maaheen. "Fantasy and Science Fiction." In Openness of Comics. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805935.003.0005.

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This chapter describes and analyzes books where fantasy is the dominant element and acquires vivid degrees of visuality. Adhering to a chronological order, analyses of Moebius’ Arzach, Enki Bilal’s Nikopol trilogy, and Yslaire’sXXeCielare carried out and concluded by comparisons between these works and other popular examples of fantastic comics. In order to underscore the degrees of openness between comics generated by images, JarmoMäkilä’sTaxi Ride through Van Gogh’s Earis then discussed. The importance of Moebius’ books comes through their visual detail and the subsequent encouragement of intensive visuality and experimentation with form usually ascribed to the fine arts. The comics by Bilal, Yslaire, and Mäkilä indicate both the extent and the ways in which conventional comics have been altered:adhering more strongly to comics conventions, Bilal’s and Mäkilä’s comics offer diverse options of interpretation through, for instance, intertextual and intermedial references.

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Lamerichs, Nicolle. "A Donut for Tom Paris: Identity and Belonging at European SF/Fantasy Conventions." In Science Fiction Double Feature, 143–58. Liverpool University Press, 2015. http://dx.doi.org/10.5949/liverpool/9781781381830.003.0010.

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Jones, Gwyneth. "Introduction: Deconstructing The Starships." In Deconstructing the Starships, 3–8. Liverpool University Press, 1998. http://dx.doi.org/10.5949/liverpool/9780853237839.003.0001.

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‘Deconstructing The Starships’ references a speech originally given at the June 1988 presentation of the Arthur C. Clarke Award, at the Institute of Contemporary Arts. The speech discusses science fiction’s penetration into popular culture and its inclusion in 20th century mainstream fiction. It also analyses the structure and methodology of a science fiction novel, looking at the characterisation, narrative and literary conventions used in order to develop an understanding of the requirements of a science fiction text. The chapter references Star Wars and Star Trek throughout, and uses the two franchises to associate the Starship Enterprise with US Navy nuclear submarines in the Cold War, thus mirroring science fiction with reality.

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Redmond, Sean. "Introduction: Reading (into) the Greatest Science Fiction Film Ever Made." In Blade Runner, 7–12. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0001.

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This chapter focuses on Ridley Scott's 1982 film Blade Runner that has become one of the most lauded science-fiction films ever made. It talks about academics who have written about Blade Runner in terms of its racial and sexual politics, its exploration of humanity, and of the way it challenges many of the accepted or expected codes and conventions of the science-fiction film. It also examines how Blade Runner is considered by the British Film Institute to be a 'Modern Classic' and is often one of the most written about films when it comes to science-fiction readers. The chapter analyses how Blade Runner is often used as the seminal text with which to explore the poetics and politics of the science-fiction genre. It mentions Blade Runner as one of the biggest commercial failures of the summer of 1982 for bringing in less than half the cost of its production.

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Ahmed, Omar. "The Legacy of RoboCop." In RoboCop, 97–106. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325253.003.0006.

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This chapter explores the legacy of Paul Verhoeven's RoboCop in terms of the original critical reception, the film's relationship with its two sequels, and the marketing of the film. Released in the summer season of 1987, RoboCop was an unexpected commercial success, leading to the creation of the RoboCop universe, extending into television, video games, animation, and numerous sequels. The chapter then considers Verhoeven's work in the Hollywood science-fiction genre. The success of RoboCop led to an interest in science-fiction cinema that would lead Verhoeven to direct three more science-fiction films: Total Recall (1990), Starship Troopers (1997), and Hollow Man (2000). None of the films are pure science fiction but hybrids, fusing conventions from a broad range of genres including war movie, horror, and the political thriller.

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Jones, Gwyneth. "My Crazy Uncles: C.S. Lewis and Tolkien as Writers for Children." In Deconstructing the Starships, 60–74. Liverpool University Press, 1998. http://dx.doi.org/10.5949/liverpool/9780853237839.003.0005.

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‘My Crazy Uncles’ was originally read at a meeting of the C.S. Lewis Society in June 1994, and later published in the New York Review of Science Fiction in November 1995. It provides a retrospective discussion on the speaker’s first introduction to science fiction through imaginary worlds in children’s literature. The essay analyses the conventions and tropes used in children’s fiction and describes the ways in which they work together to ‘convince’ the reader of alternative realities. Jones also describes her own joy of reading as a child and reflects on the Chronicles of Narnia and Lord of the Rings series’ influence on her writing.

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Reid, Robin Anne. "The History of Scholarship on Lois McMaster Bujold’s Science Fiction and Fantasy." In Biology and Manners, 13–32. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621730.003.0002.

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This chapter provides a comprehensive and chronological bibliographic survey of scholarship on Lois McMaster Bujold from 1995 onwards. The chapter is structured chronologically to show changes in the scholarship on Bujold’s work and, in addition, includes selected online articles to demonstrate that Bujold’s readers are engaged with the same issues as the academics: genre, gender politics, and feminisms. The chapter shows the broad areas of scholarly consensus that exist: primarily, the agreement that Bujold’s work subverts, reverses, or complicates the genre conventions of space opera, military sf, and medievalist fantasy. The primary area of disagreement is shown to be the question of feminism in her work. The chapter is explicitly feminist in that the scholar writing the essay is a feminist specializing in feminist and gender theories and speculative fiction who applies those intellectual frameworks in this essay. It therefore pays close attention to citation practices, and puts on record the extent to which the first work on Bujold’s science fiction and fantasy was done by women scholars working in disability, feminist, and gender studies as well as the extent to which their work makes up the majority of the current scholarship.

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Shippey, Tom. "Introduction." In Hard Reading, 141–43. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382615.003.0015.

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Following on again from the previous chapter, this chapter focuses on the responses of mainstream reviewers to the two alternate histories written by Kingsley Amis, The Alteration (1976), and Russian Hide and Seek (1981). When these appeared, Amis was such an established author that responses were required in journals which normally ignored science fiction. As a result, some fifty critics with little or no knowledge of the genre were obliged to write mass-media reviews. The results are embarrassingly bad. Many failed to understand the books even on the simplest level: what happens in them. Unfamiliarity with the conventions of the genre caused often complete failure to appreciate the individual works. Science fiction proved to be hard reading indeed: too hard for some. The sophistication of the genre requires equally sophisticated reading.

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