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Journal articles on the topic 'Science fiction. rep'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Duncan, Ian. "George Eliot’s Science Fiction." Representations 125, no. 1 (2014): 15–39. http://dx.doi.org/10.1525/rep.2014.125.1.15.

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George Eliot’s recourse to comparative mythology and biology in Middlemarch and Daniel Deronda engages a conjectural history of symbolic language shared by the Victorian human and natural sciences. Troubling the formation of scientific knowledge as a progression from figural to literal usage, Eliot’s novels activate an oscillation between registers, in which linguistic events of metaphor become narrative events of organic metamorphosis.

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2

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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3

Miller, Andrew. "Lives Unled in Realist Fiction." Representations 98, no. 1 (2007): 118–34. http://dx.doi.org/10.1525/rep.2007.98.1.118.

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Referring to fiction by Charles Dickens and Henry James, this essay considers the moral psychology of counterfactual narratives, studying pressures that invite the imagination of alternate lives. Such "optative" narratives, characteristic of realism, typically become important within particular environments of attention; glancing at economic and ideological factors, the argument focuses on marriage and the loss of children.

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4

Bender, John. "Enlightenment Fiction and the Scientific Hypothesis." Representations 61, no. 1 (January 1998): 6–28. http://dx.doi.org/10.1525/rep.1998.61.1.01p0003b.

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5

Hutson, Lorna. "Imagining Justice: Kantorowicz and Shakespeare." Representations 106, no. 1 (2009): 118–42. http://dx.doi.org/10.1525/rep.2009.106.1.118.

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Ernst Kantorowicz's The King's Two Bodies is concerned with tracing the development, through the Middle Ages, of abstract concepts of the public good as separable from the monarch. Renaissance scholars, however, tend to read Kantorowicz as if English Renaissance drama collapses representations of the polity and public good into the monarch's sacred person. Renaissance equity, in particular, has recently been defined as the sacred monarch's prerogative, and has been confused with Carl Schmitt's sovereign decision on the exception. This essay argues by contrast that Renaissance thinkers saw equity as an enlargement of the law by fictions of intention for the public good, and that, accordingly, Renaissance drama invites audiences and citizens alike to engage in compassionate and equitable fiction-making by critiquing monarchical claims to sacred status.

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Smith, Rachel. "“As Often as His Heart Beat, the Name Moved”." Representations 153, no. 1 (2021): 51–67. http://dx.doi.org/10.1525/rep.2021.153.4.51.

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This essay considers an instance of medieval fictionality through the devotional text The Life of the Servant by the Dominican Henry Suso, specifically, through an examination of the “Servant’s” attempt to identify with Christ. Two forms of doubleness issue from this attempt, namely, the human servant seeking to embody the divine without remainder and his figuration as sinner and savior. Insofar as the text allows for a play between these polarities, the servant’s devotional practice can be understood as inhabiting the “as if,” or a kind of fictionality. The temptations of a devotional literalism—fiction striving to overcome its fictionality—is portrayed in the Life alongside a vision of devotion that retains the suspensions and play of the fictional.

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7

Loesberg, Jonathan. "The Ideology of Narrative Form in Sensation Fiction." Representations 13, no. 1 (January 1986): 115–38. http://dx.doi.org/10.1525/rep.1986.13.1.99p01136.

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8

Kahn, Victoria. "Political Theology and Fiction in The King's Two Bodies." Representations 106, no. 1 (2009): 77–101. http://dx.doi.org/10.1525/rep.2009.106.1.77.

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This essay argues that Ernst Kantorowicz's The King's Two Bodies is intended as a contribution to twentieth-century debates about political theology and that modern students of political theology can learn from Kantorowicz's association of political theology with legal fiction.

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9

Knapp, Jeffrey. "Selma and the Place of Fiction in Historical Films." Representations 142, no. 1 (2018): 91–123. http://dx.doi.org/10.1525/rep.2018.142.1.91.

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Every historical film must contend with the possibility that its viewers will be scandalized by its mixture of fact and fiction, but no recent historical film has faced such pressure to justify its hybrid nature as Selma has, in large part because no recent film has taken on so momentous and controversial a historical subject: the civil rights marches from Selma to Montgomery that led to the passage of the Voting Rights Act in 1965. The renewed urgency of the issues Selma dramatizes, along with the film’s own commitment to the “moral certainty” of the civil rights movement, helps explain why Selma wavers in a self-defense that links the fictionality of its historical reenactments to the purposely theatrical element of the marches themselves. But politics are not the only problem for fiction in Selma, and to show why, this essay compares Selma to an earlier historical film, The Westerner (1940), that openly flaunts the commercial nature of its fictionality.

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10

Brodhead, Richard H. "Sparing the Rod: Discipline and Fiction in Antebellum America." Representations 21, no. 1 (January 1988): 67–96. http://dx.doi.org/10.1525/rep.1988.21.1.99p02023.

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11

Ferris, Ina. "“Before Our Eyes”: Romantic Historical Fiction and the Apparitions of Reading." Representations 121, no. 1 (2013): 60–84. http://dx.doi.org/10.1525/rep.2013.121.1.60.

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This essay reads the seminal historical fiction of Walter Scott in conjunction with the medical apparition discourse that flourished in the early nineteenth century. It argues that the tactics of the historical novel in this period are best understood through an “apparitional poetics” that attempts to solve the problem of the historical image.

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12

Baker, Jessica Swanston. "Sugar, Sound, Speed." Representations 154, no. 1 (2021): 23–34. http://dx.doi.org/10.1525/rep.2021.154.3.23.

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This essay presents the song “Area Code 869,” an example of a Caribbean genre known as “wilders” or “pep,” as a form of what Kodwo Eshun calls “sonic fiction.” By focusing on sonic bodies as “bodies touched by sound,” the essay suggests that “869” offers a reimagination of the historical relationship between sugar, sound, and speed in the Eastern Caribbean island of St. Kitts, a former British sugar colony.

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13

Naiman, Eric. "Hermophobia (On Sexual Orientation and Reading Nabokov)." Representations 101, no. 1 (2008): 116–43. http://dx.doi.org/10.1525/rep.2008.101.1.116.

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Vladimir Nabokov's novels provoke a unique anxiety of interpretation that fuses hermeneutic and sexual anxieties. The article explores the simultaneous desire to interpret and the fear and shame of interpretation that Nabokov's fiction works to produce. This double bind leads to a condition of interpretive panic that takes other critics as objects of aggression and transposes to a metafictive plane the dynamics of reaction more commonly associated with anxious responses to homoerotic attraction.

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Harpham, Geoffrey Galt. "Abroad Only by a Fiction: Creation, Irony, and Necessity in Conrad's The Secret Agent." Representations 37, no. 1 (January 1992): 79–103. http://dx.doi.org/10.1525/rep.1992.37.1.99p0096b.

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15

Cohen, Margaret. "Narratology in the Archive of Literature." Representations 108, no. 1 (2009): 51–75. http://dx.doi.org/10.1525/rep.2009.108.1.51.

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To chart accurately the contours of the novel, literary historians are in the process of recovering the variety and complexity of its generic practice across its history. "Narratology in the Archive" surveys this recovery and discusses its methodology, differentiating this recovery from symptomatic reading. The article then illustrates this method with the recovery of sea adventure fiction as an influential transnational practice of the novel from Defoe to Conrad. I suggest that sea adventure plots are defined by readers' playful manipulation of information to solve problems posed by the text.

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Clover, Joshua. "Retcon." Representations 126, no. 1 (2014): 9–30. http://dx.doi.org/10.1525/rep.2014.126.1.9.

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The epistemological rupture proffered by finance in the seventies, seeming to inaugurate a distinct mode of production, is merely a form of appearance that capital’s struggle takes in crisis, beneath which the capitalist economy remains under the sway of the law of value and its source in socially necessary labor time. While narrative fiction has been taken insistently as the relevant literary mode or genre for understanding the motion and particularly the temporality of finance, poetry finally provides a better heuristic for such an understanding and, more substantially, for grasping the motion and dynamic of value moving behind the seeming of finance’s hegemony.

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Burney, Ian. "Our Environment in Miniature: Dust and the Early Twentieth-Century Forensic Imagination." Representations 121, no. 1 (2013): 31–59. http://dx.doi.org/10.1525/rep.2013.121.1.31.

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This article explores the articulation of the crime scene as a distinct space of theory and practice in the early twentieth century. In particular it focuses on the evidentiary hopes invested in what would at first seem an unpromising forensic object: dust. Ubiquitous and, to the uninitiated, characterless, dust nevertheless featured as an exemplary object of cutting-edge forensic analysis in two contemporary domains: writings of criminologists and works of detective fiction. The article considers how in these texts dust came to mark the furthest reach of a new forensic capacity they were promoting, one that drew freely upon the imagination to invest crime scene traces with meaning.

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18

NABERS, DEAK. "The Problem of Revolution in the Age of Slavery: Clotel, Fiction, and the Government of Man." Representations 91, no. 1 (2005): 84–108. http://dx.doi.org/10.1525/rep.2005.91.1.84.

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ABSTRACT This essay situates William Wells Brown's novel Clotel; or, the President's Daughter (1854) in the context of Anglo-American antislavery challenges to the legitimacy of the American Revolution on the eve of the Civil War. Brown's ambivalent approach to Thomas Jefferson in his novel matches what could be seen in the 1850s as Jefferson's ambivalent approach to human rights as a revolutionary leader. In foregrounding authorial power over his characters, Brown deploys the novel form as a way of examining the implications of the government of man.

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Reed, T. V. "Unimagined Existence and the Fiction of the Real: Postmodernist Realism in Let Us Now Praise Famous Men." Representations 24, no. 1 (October 1988): 156–76. http://dx.doi.org/10.1525/rep.1988.24.1.99p0249r.

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Kamnev, Vladimir, and Vladimir Bystrov. "The Other in Science Fiction as a Problem for Social Theory." Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, no. 4 (2020): 61–81. http://dx.doi.org/10.17323/1728-192x-2020-4-61-81.

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The paper discusses science fiction literature in its relation to some aspects of the socio-anthropological problem, such as the representation of the Other. Given the diversity of sci-fi genres, a researcher always deals either with the direct representation of the Other (a creature different from an existing human being), or with its indirect, mediated form when the Other, in the original sense of this term, is revealed to the reader or viewer through the optics of some Other World. The article describes two modes of representing the Other by sci-fi literature, conventionally designated as scientist and anti-anthropic. The scientist rep-resentation constructs exclusively-rational premises for the relationship with the Other. Edmund Hus-serl’s concept of truth, which is the same for humans, non-humans, angels, and gods, can be considered as its historical and philosophical correlate. The anti-anthropic representation, which is more attractive to sci-fi authors, has its origins in the experience of the “disenchantment” of the world characteristic of mod-ern man, especially in the tragic feeling of incommensurability of a finite human existence and the infinity of the cosmic abysses. The historical and philosophical correlate of this anti-anthropic representation can be found in Kant’s teaching of a priori cognition forms, which may be different for other thinking beings. The model of an attitude to the Other therefore cannot be based on rational foundations. As a literary ex-ample where these two ways of representing the Other are found, we propose the analysis of The Martian Chronicles by Ray Bradbury, which, on the one hand, offers the fictional extrapolation of the colonization of North America and the inevitable contacts with its indigenous population. On the other hand, The Martian Chronicles depicts a powerful and technologically advanced Martian civilization, which disap-pears for some unknown reason, or ceases to contact the settlers. The combination of these two ways of representing the Other allows Bradbury to effectively romanticize and mystify the unique historical experience of colonization, thus modifying the Frontier myth.

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Coey, J. M. D., and S. A. Chambers. "Oxide Dilute Magnetic Semiconductors—Fact or Fiction?" MRS Bulletin 33, no. 11 (November 2008): 1053–58. http://dx.doi.org/10.1557/mrs2008.225.

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AbstractMagnetism in oxides was thought to be well-understood in terms of localized magnetic moments and double-exchange or superexchange rules. This understanding was shaken by the publication of an article in 2001 stating that thin films of anatase TiO2 with only 7 at.% Co substitution had a Curie point in excess of 400 K [Matsumoto et al., Science291, 854 (2001)]. Room-temperature ferromagnetism had previously been predicted for p-type ZnO with 5 at.% Mn [Dietl et al., Science287, 1019 (2000)]. A flood of reports of thin films and nanoparticles of new oxide “dilute magnetic semiconductors” (DMSs) followed, and high-temperature ferromagnetism has been reported for other systems with no 3dcations. The expectation that these materials would find applications in spintronics motivated research in this area. Unfortunately, the data are plagued by instability and a lack of reproducibility. In many cases, the ferromagnetism can be explained by uncontrolled secondary phases; it is absent in well-crystallized films and bulk material. However, it appears that some form of high-temperature ferromagnetism can result from defects present in the oxide films [Coey, Curr. Opin. Solid State Mater. Sci.10, 83 (2007); Chambers, Surf. Sci. Rep.61, 345 (2006)], although they are not DMSs as originally envisaged.

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22

Ahmed, Siraj. "The Theater of the Civilized Self: Edmund Burke and the East India Trials." Representations 78, no. 1 (2002): 28–55. http://dx.doi.org/10.1525/rep.2002.78.1.28.

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IN FEBRUARY 1788 EDMUND BURKE OPENED the impeachment of Warren Hastings, the East India Company's first Governor-General, for the crimes that his administration had committed in India with a four-day-long speech before the House of Lords, and London's fashionable society bought tickets as if attending theater. Referred to as ''the greatest public sensation of the seventeen-eighties, ''the impeachment brought more attention than any other contemporary event to the complicated relationships of the British nation-state and its young empire in India and, more broadly, of the principles of civil society and the early modern history of imperialism. Burke's Indian speeches constitute a much longer and more intense engagement with the fundamental question that he believed the French Revolution also posed: would the modern civil society that the late eighteenth century was clearly in the process of shaping subordinate the private interests of commerce to the public virtues of landed wealth, thereby preserving national progress, or would it subordinate property to the unchecked power of capitalism, thereby making the merchant's private ethic the basis of the nation's public life and precipitating national degeneration? While the Reflections on the Revolution in France claim that the civil self is the product of national traditions, Burke's speeches and writings on British India suggest that the civil self is in fact merely a performance that masks degeneracy. Indeed, Burke's performance in the impeachment, with its own exaggerated theatricality, represented the very basis of civil society, sympathy, in terms of a set of unmistakably legible signs. Burke assumed the role of a character easily recognizable to his fashionable audience, the male protagonist of sentimental fiction, unable to control his emotions in the face of women's suffering. His very theatricality suggested that the basis of civil society lies neither in reason nor in historical development, but rather in social mimicry, giving the lie to his own theory of civil progress.

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Réév, Istváán. "The Suggestion." Representations 80, no. 1 (2002): 62–98. http://dx.doi.org/10.1525/rep.2002.80.1.62.

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THE ARCHIVES THAT HIDE THE DOCUMENTS of the second half twentieth century contain, in large part, lies. The stories that emerge from the depths of the archives describe a world of apocalyptic fantasy.There is no real situation behind most of the archival documents; they are just texts. The testimonies, confessions in most cases, are repetitions of suggested texts, while the suggestions sometimes are themselves but citations of other tainted, verbally suggested works of fiction. These documents do not describe a state of affairs independent of themselves; they create the world they supposedly describe. But the self-referential nature of the documents based on suggestions helps to decipher a world that was firmly based on lies, fearful fantasies, and sheer propaganda. In lies there lies the truth. The images of and imaginations about Cardinal Jóózsef Mindszenty's show trial in Hungary at the end of the 1940s played a crucial role in unleashing the wildest possible mutual speculations about the superhuman capabilities of the enemy on the opposing sides of the Cold War. The case triggered not just presumptions but frantic and fantastic experimentation on both sides. The suppositions and counterassumptions; the mutual fear and efforts at mutual deterrence; and the imagined words that were presumably capable of ''doing things'' all solidified the post-World War II construct, which was in turn experienced as solid and tangible reality.There was a subterranean dialogue between the two sides divided by the Iron Curtain, and the tools of communication between them were credible lies and wild fantasy with direct and fateful consequences. This paper——impatiently,but in minute detail——tries to follow the genesis and fate of a few suggested utterances. It is an effort to reconstruct the scene of the suggestion, arguing that it is not possible to understand its meaning and complexity if the analysis is detached from the scene of the event. In delineating a context for post-Word War II representations and misrepresentations of truth——through a maze of interconnected stories that lead from one side of the Atlantic to the other——history itself becomes the object of the essay's ethnographic analysis.

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24

de Paor-Evans, Adam. "The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap." Open Cultural Studies 2, no. 1 (July 1, 2018): 122–35. http://dx.doi.org/10.1515/culture-2018-0012.

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Abstract In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and sociopolitical presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society

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25

Adil Majidova, Ilaha. "The dystopian genre as one of Ray Bradbury’s creative trends." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 87–90. http://dx.doi.org/10.36719/2663-4619/61/87-90.

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Utopia is a common literary theme, especially in a speculative and science-fiction genre. Authors use utopian genre to explore what a perfect society would look like. Utopian fiction is set in a perfect world, while a dystopian novel drops its main character into a world where everything seems to have gone wrong. Dystopian fiction can challenge readers to think differently about current world. The article is devoted to the etymology of dystopia genre within Ray Bradbury’s creativity. In his short stories he tried to show the depth of his imagination. In Ray Bradbury’s fiction the world is a terrible place. He exposes the destructive side of technological progress and paradoxes of human personality in a grotty society. Key words: science-fiction, utopia, dystopia, prognosis, short story

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26

Ackert, Lloyd. "Red blood, red science, red fiction: Bogdanov’s proletarian assemblage." Metascience 23, no. 2 (July 6, 2013): 377–80. http://dx.doi.org/10.1007/s11016-013-9824-0.

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27

Moreno, Erika Tiburcio. "Red Alert: Marxist Approaches Science Fiction Cinema." Historical Journal of Film, Radio and Television 38, no. 3 (May 3, 2018): 682–83. http://dx.doi.org/10.1080/01439685.2018.1467903.

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Hayot, Eric. "Chinese Bodies, Chinese Futures." Representations 99, no. 1 (2007): 99–129. http://dx.doi.org/10.1525/rep.2007.99.1.99.

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Why did the coolie's body speak so forcefully to nineteenth-century America of its future? And how did that body's loquacious, obscene ventriloquism shape the imaginary scaffolding of America's utopias, its science fictions? This essay answers those questions by reading Arthur Vinton's Looking Further Backward (1890), one of the first American novels to imagine a Chinese military invasion of the United States.

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Ramírez, J. Jesse. "Keeping It Unreal: Rap, Racecraft, and MF Doom." Humanities 10, no. 1 (December 28, 2020): 5. http://dx.doi.org/10.3390/h10010005.

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Focusing on the masked rapper MF Doom, this article uses Karen E. Fields and Barbara J. Fields’s concept of “racecraft” to theorize how the insidious fiction called “race” shapes and reshapes popular “Black” music. Rap is a mode of racecraft that speculatively binds or “crafts” historical musical forms to “natural,” bio-geographical and -cultural traits. The result is a music that counts as authentic and “real” to the degree that it sounds “Black,” on the one hand, and a “Blackness” that naturally expresses itself in rap, on the other. The case of MF Doom illustrates how racialized peoples can appropriate ascriptive practices to craft their own identities against dominant forms of racecraft. The ideological and political work of “race” is not only oppressive but also gives members of subordinated “races” a means of critique, rebellion, and self-affirmation—an ensemble of counter-science fictions. Doom is a remarkable case study in rap and racecraft because when he puts an anonymous metal mask over the social mask that is his ascribed “race,” he unbinds the latter’s ties while simultaneously revealing racecraft’s durability.

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Lee, Yoon Sun. "Bad Plots and Objectivity in Maria Edgeworth." Representations 139, no. 1 (2017): 34–59. http://dx.doi.org/10.1525/rep.2017.139.1.34.

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Drawing on the protocols and structures of experimental science, the early nineteenth-century novelist Maria Edgeworth develops objectivity as a dimension of plot rather than of narrative viewpoint. In her novels, plot becomes a means of producing legitimately objective facts within a fictive universe.

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Hitchcock, Peter. "Accumulating Fictions." Representations 126, no. 1 (2014): 135–60. http://dx.doi.org/10.1525/rep.2014.126.1.135.

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This essay examines both the nature of the economic crisis of 2007–2008 and the intensification of finance capital in its wake. Moving between aesthetics and economics, it considers, in particular, the emergence of the “dark pool” and its implications within a massive expansion of fictitious capital.

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32

Carneiro, Gabriel. "Red alert: Marxist approaches to science fiction cinema – Aproximações entre ficção científica e marxismo." Significação: Revista de Cultura Audiovisual 44, no. 48 (December 19, 2017): 223. http://dx.doi.org/10.11606/issn.2316-7114.sig.2017.137803.

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O texto aponta os principais aspectos e abordagens do livro de ensaios Red alert: Marxist approaches to science fiction cinema, organizado por Alfredo Suppia e Ewa Mazierska, que busca relacionar filmes de ficção científica e a filosofia marxista.

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Czerny, Boris. "Viktoriya Lajoye et Patrice Lajoye, Étoiles rouges : la littérature de science-fiction soviétique." Revue des études slaves 89, no. 3 (September 15, 2018): 485–88. http://dx.doi.org/10.4000/res.2118.

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34

Larsen, Kristine. "Editing the Soul: Science and Fiction in the Genome Age by Everett Hamner." Religion & Literature 52, no. 1 (2019): 269–71. http://dx.doi.org/10.1353/rel.2019.0056.

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35

Cranny‐Francis, Anne. "Out among the stars in a red shift: Women and science fiction." Australian Feminist Studies 3, no. 6 (March 1988): 71–86. http://dx.doi.org/10.1080/08164649.1988.9961587.

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36

Kochanowicz, Rafał. "„Kwazar”, „Fantom”, „Czerwony Karzeł”, „Inne Planety”. Kilka uwag krytycznych o nietypowej sytuacji fantastycznych fanzinów w kulturze polskiej." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 249–69. http://dx.doi.org/10.14746/pspsl.2016.28.13.

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In Poland, research-related fanzines rarely include writings edited by Polish fans of science fiction, horror and fantasy. Active fans edited amateur magazines which were very important because they popularized fantastic literature and culture in Poland. The role of fantastic fanzines was not limited solely to the promotion of amateur creativity or publishing translations of foreign fiction not available on the market, but also consisted in the creation of creative bonds between writers and readers. The remnants of the activities of Polish fantastic fiction fans are about one hundred titles including “Quasar”, “Red Dwarf” and “Other Planets”. These three fanzines as effects of pure amateur work are also very similar to the professional magazines. Each of them has a different poetics and thematic dominant. They have also published stories written by famous Polish writers such as Ewa Białołęcka and Andrzej Sapkowski.

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Volland, Nicolai. "Comment on “Let's Go to the Moon”." Journal of Asian Studies 73, no. 2 (February 19, 2014): 353–58. http://dx.doi.org/10.1017/s0021911813002416.

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Things were getting busy on the major flight corridors between the Earth and Mars, or so the casual observer of socialist bloc science fiction from the 1950s might come to believe. While there are no reports of intergalactic traffic jams, Mars was becoming a destination of choice in science fiction from both sides of the Iron Curtain. In her fascinating article, Dafna Zur details the exploits of an international exploratory mission to the red planet, consisting of children from a dozen nations, including North Korea, China, and the Soviet Union. It remains unknown whether the explorers from Kim Tong Sŏp's serialized novel Youth Space Expedition Team met any other socialist space travelers on their way to Mars. But they could have very well run into spaceship #1, commanded by Zhenzhen, the protagonist of Zheng Wenguang's (1929–2003) “Cong diqiu dao huoxing” (From the Earth to Mars) (Zheng 1954a).

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Davis, M. "NICHOLAS DAMES. The Physiology of the Novel: Reading, Neural Science, and the Form of Victorian Fiction." Review of English Studies 59, no. 242 (October 25, 2007): 801–2. http://dx.doi.org/10.1093/res/hgn069.

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Dryden, L. "MATTHEW BEAUMONT. The Spectre of Utopia: Utopian and Science Fictions at the Fin de Siecle." Review of English Studies 64, no. 267 (May 23, 2013): 909–11. http://dx.doi.org/10.1093/res/hgt050.

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Freedgood, Elaine. "Ghostly Reference." Representations 125, no. 1 (2014): 40–53. http://dx.doi.org/10.1525/rep.2014.125.1.40.

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Ghostly reference is a malleable aspect of representation, a formal nexus that allows for the free play of belief and the production of worlds—two necessary conditions for the formation and sustenance of the liberal subject. In various fictions and one historical circumstance, this essay tries to take ghosts literally, to ask what they are as well as what they mean.

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Jr., Harry Berger,. "Fictions of the Pose: Facing the Gaze of Early Modern Portraiture." Representations 46, no. 1 (April 1994): 87–120. http://dx.doi.org/10.1525/rep.1994.46.1.99p0224g.

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Sahlins, Peter. "Fictions of a Catholic France: The Naturalization of Foreigners, 1685-1787." Representations 47, no. 1 (July 1994): 85–110. http://dx.doi.org/10.1525/rep.1994.47.1.99p0235k.

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LOTT, ERIC. "The First Boomer: Bill Clinton, George W., and Fictions of State." Representations 84, no. 1 (November 1, 2003): 100–122. http://dx.doi.org/10.1525/rep.2003.84.1.100.

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ABSTRACT This essay discusses the way our images of the presidency dictate our relationship with governmental structures of all kinds——also known as the state. I consider how two recent presidents' generational status as baby boomers defines them in particular ways. For Clinton, his ““blackness”” generated his evasive aura of post-1960s hipness; for Bush, his status as ““rightful heir,”” center of a long-awaited ““Restoration”” of pre-1960s values, now legitimizes his call for a reawakened imperial patriotism.

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Hampton, Timothy. "“Comment a nom”: Humanism and Literary Knowledge in Auerbach and Rabelais." Representations 119, no. 1 (2012): 37–59. http://dx.doi.org/10.1525/rep.2012.119.1.37.

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This essay studies the relationship between Erich Auerbach's account of the beginnings of literary modernity, in his well-known work on Rabelais, and the Renaissance humanism that informs both his scholarly enterprise and Rabelais's fictions. Through a study of Rabelais's depictions of the female body it shows that Rabelais's text both breaks with earlier modes of understanding bodies and narratives and questions its own authority to do so. In a process at once ethical and rhetorical Rabelais provides both the grounding and the object of Auerbach's philology.

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Davis, Erik. "Weird Naturalism of the Brothers McKenna." International Journal for the Study of New Religions 7, no. 2 (February 20, 2017): 175–98. http://dx.doi.org/10.1558/ijsnr.v7i2.31944.

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When Terence McKenna and his brother Dennis performed the so-called “Experiment at La Chorrera” in Columbia in 1971, they staged what became one of the most legendary and storied trip tales in contemporary psychedelic culture. This paper diagrams the matrix of Jungian alchemy, Marshall McLuhan, and science fiction that underpinned the protocols and conceptual apparatus of the Experiment. These ideas are tied to McKenna’s early unpublished text Crypto-Rap, which is briefly summarized as an example of “weird naturalism.” In essence, it is argued that Terence and Dennis McKenna “esotericized” media theory into an occult apparatus of resonance, sympathy, and apocalyptic ontology.

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Jean So, Richard. "Fictions of Natural Democracy: Pearl Buck, The Good Earth, and the Asian American Subject." Representations 112, no. 1 (2010): 87–111. http://dx.doi.org/10.1525/rep.2010.112.1.87.

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This essay offers a new reading of the American author Pearl Buck, focusing on her cultural concept of "natural democracy." It does so by critically reconstructing and examining this concept through three linked contexts: 1930s China, the novel The Good Earth, and the 1943 Chinese Exclusion Acts Repeal hearings. The essay argues that natural democracy enabled the emergence of a U.S.––China, trans-Pacific cultural sphere that helped to facilitate the rise of the postwar Asian American subject.

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Paris, Michael. "Red Menace! Russia and British Juvenile Fiction." Contemporary British History 19, no. 2 (June 2005): 117–32. http://dx.doi.org/10.1080/13619460500080181.

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Guerlac, Suzanne. "The Useless Image: Bataille, Bergson, Magritte." Representations 97, no. 1 (2007): 28–56. http://dx.doi.org/10.1525/rep.2007.97.1.28.

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This paper explores Bataille's writings on primitive art, specifically his essay on the Lascaux cave, in order to elaborate a notion not of the informe (as contemporary art critics have done), but of the fictive figural image. It reads this "useless image"——a term borrowed from Bataille——in the work of Magritte through Bergson's notion of resemblance and the operation of attentive recognition.

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Epstein, Julia L. "Writing the Unspeakable: Fanny Burney's Mastectomy and the Fictive Body." Representations 16, no. 1 (October 1986): 131–66. http://dx.doi.org/10.1525/rep.1986.16.1.99p0163m.

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Clune, Michael. "Orwell and the Obvious." Representations 107, no. 1 (2009): 30–55. http://dx.doi.org/10.1525/rep.2009.107.1.30.

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This article explores the perceptual vividness that characterizes both the fictional experience of 1984's characters and the sentences with which Orwell artistically renders that experience. I read these features in relation to the development of a set of techniques for renewing the perception of the world's surface in the work of Orwell and the critic Viktor Shklovsky, and I examine the problem that arises as these techniques move between artistic and political realms.

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