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Journal articles on the topic 'Science fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 April 2025

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1

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

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2

Rowe, Raymond C. "Private prescription: Science fiction – fictional science?" Drug Discovery Today 6, no. 11 (June 2001): 561–62. http://dx.doi.org/10.1016/s1359-6446(01)01814-1.

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3

Likhachevskaya, Alina. "Extro-Science Fiction and Science Falsity." Philosophical Literary Journal Logos 34, no. 4 (2024): 26–40. http://dx.doi.org/10.17323/0869-5377-2024-4-26-40.

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The article presents a critical response to Quentin Meillassoux’s essay Science Fiction and Extro-Science Fiction and proves the impossibility of “fiction of worlds outside- science.” A reconstruction of Meillasoux’s three types of XSF-worlds followed by a demonstration of their failure. Author suggests a shift of emphasis in the notion of “science fiction” from the first word to the second: this move draws attention to the constitutive role of fictitiousness as a characteristic of XSF-worlds rather than their scientific nature. Referring to the philosopher’s earlier works, the author performs a “Ptolemy’s Revenge:” fictional worlds are the product of imagination, which implies the impossibility of decentring thought relative to extro-science fiction. Both classic and contemporary works of the SF are used as illustrations, so the text will be of interest not only to speculative realism researchers, but also to sci-fi fans.
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4

Xia, Tianyi. "The Development History of Chinese Science Fiction from Liu Cixin's Science Fiction." International Journal of Languages, Literature and Linguistics 6, no. 3 (September 2020): 136–41. http://dx.doi.org/10.18178/ijlll.2020.6.3.265.

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5

Isto, Raino. "How Dumb Are Big Dumb Objects? OOO, Science Fiction, and Scale." Open Philosophy 2, no. 1 (October 30, 2019): 552–65. http://dx.doi.org/10.1515/opphil-2019-0039.

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AbstractThis article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written in the 1970s, Big Dumb Objects (often called BDOs) have been understood in terms of science fiction’s enduring interest in the technological sublime and the transcendental. While object-oriented ontology has often turned to science fiction and weird fiction for inspiration in rethinking the possibilities inherent in things and their relations, it has not considered the implications of BDOs for a theory of the object more broadly. The goal of this article is to consider how extreme size and representations of scale in science fiction can help expand an understanding of the object along lines that are similar to those pursued by object-oriented ontology, especially Timothy Morton’s notion of hyperobjects.
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Dilmurodovich, Nishonov Ilxom. "The evolution of science fiction: from proto-science fiction to new wave period." International Journal Of Literature And Languages 5, no. 3 (March 1, 2025): 130–34. https://doi.org/10.37547/ijll/volume05issue03-33.

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The following paper aims to explore the trajectory of science fiction literature, tracing its development from its foundational elements to the emergence and evolution of the cyberpunk as a subgenre of science fiction. Beginning with an examination of the origins and main features of science fiction in American literature, the paper delves into the thematic and stylistic elements that have characterized this genre over time. With roots in the speculative fiction of the early 19th century and the golden age of pulp magazines, science fiction has continually evolved alongside technological advancements and cultural shifts. From exploring space exploration and alien encounters to grappling with the ethical implications of scientific innovation, science fiction has served as a mirror to society's hopes, fears, and aspirations. The given research analyzes all stages of sci-fi development, commencing fromproto-science fiction until the formation of new wave movement.
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7

OʼNeil, E., and E. N. Naumova. "Influenza: Science, Fiction, or Science Fiction?" Epidemiology 18, Suppl (September 2007): S42. http://dx.doi.org/10.1097/01.ede.0000276550.11733.25.

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8

Reinsborough, Michael. "Science fiction and science futures: considering the role of fictions in public engagement and science communication work." Journal of Science Communication 16, no. 04 (September 20, 2017): C07. http://dx.doi.org/10.22323/2.16040307.

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The imagination of possible scientific futures has a colourful history of interaction with scientific research agendas and public expectations. The 2017 annual UK Science in Public conference included a panel discussing this. Emphasizing fiction as a method for engaging with and mapping the influence of possible futures, this panel discussed the role of science fiction historically, the role of science fiction in public attitudes to artificial intelligence, and its potential as a method for engagement between scientific researchers and publics. Science communication for creating mutually responsive dialogue between research communities and publics about setting scientific research agendas should consider the role of fictions in understanding how futures are imagined by all parties.
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9

Rabkin, Eric S., James B. Mitchell, and Carl P. Simon. "Who Really Shaped American Science Fiction?" Prospects 30 (October 2005): 45–72. http://dx.doi.org/10.1017/s0361233300001976.

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Treating science fiction, critics have taught us to understand that the field shrugged itself out of the swamp of its pulp origins in two great evolutionary metamorphoses, each associated with a uniquely visionary magazine editor: Hugo Gernsback and John W. Campbell Jr. Paul Carter, to cite one critic among many, makes a case that Hugo Gernsback's magazines were the first to suggest thatscience fiction was not only legitimate extrapolation… [but] might even become a positive incentive to discovery, inspiring some engineer or inventor to develop in the laboratory an idea he had first read about in one of the stories. (5)Another, critic and author Isaac Asimov, argues that science fiction's fabledGolden Age began in 1938, when John Campbell became editor of Astounding Stories and remolded it, and the whole field, into something closer to his heart's desire. During the Golden Age, he and the magazine he edited so dominated science fiction that to read Astounding was to know the field entire. (Before the Golden Age, xii)Critics arrive at such understandings not only by surveying the field but also — perhaps more importantly — by studying, accepting, modifying, or even occasionally rejecting the work of other critics. This indirect and many-voiced conversation is usually seen as a self-correcting process, an informal yet public peer review. Such interested scrutiny has driven science fiction (SF) criticism to evolve from the letters to the editor and editorials and mimeographed essays of the past to the nuanced literary history of today, just as, this literary history states, those firm-minded editors helped SF literature evolve from the primordial fictions of Edgar Rice Burroughs into the sophisticated constructs of William S. Burroughs.
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10

Bonetto, Éric, Cynthia Lopez-Bagousse, Dimitri Naczaj, Nathalie Bonnardel, and Thomas Arciszewski. "Le design-fiction entre science-fiction et sciences comportementales." Marché et organisations Pub. anticipées (December 31, 2024): I131—XXX. https://doi.org/10.3917/maorg.pr1.0131.

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Cet article propose d’intégrer la méthode du design-fiction, basée sur les imaginaires et les prototypes science-fictionnels, dans l’approche des sciences comportementales. Cette intégration a deux objectifs : (1) rendre compte des mécanismes cognitivo-comportementaux qui fondent cette méthode de plus en plus prisée par les organisations, et (2) en saisir précisément les objectifs afin de pouvoir en évaluer les effets, en questionnant non seulement sa fonction épistémique (i.e., les types de connaissances que le design-fiction vise à créer), mais également sa fonction conative (i.e., les types de comportements qu’il cherche à initier ou à modifier). Ainsi, nous proposons un cadre applicatif rigoureux qui envisage le design-fiction comme une modalité d’action sur des dimensions qui favorisent le changement de comportement, à savoir les opinions, les normes subjectives et la perception du contrôle.
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11

Stegmaier, Peter. "Science-Fiction oder Versorgungsrealität?" Monitor Versorgungsforschung 2024, no. 04 (August 4, 2024): 25. http://dx.doi.org/10.24945/mvf.04.24.1866-0533.2639.

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Since its premiere a good six years ago, the Janssen Open House has continuously evolved: from an all-day live event in Neuss (before Corona) to an all-day livestream at the Janssen (during Corona) to the current curriculum: one or two closed virtual think tanks on one topic each, followed by a joint publication and a live-streamed panel discussion in which the discussion is 'opened' to the interested public. This year, the JOH took place live for the first time at the HSK in Berlin. The session was hosted by Dr Holger Bartz, Medical Director, and Dr Ursula Kleine-Voßbeck, Medical Director of Infectious Diseases and Vaccines at Johnson & Johnson Germany.
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12

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

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Science fiction is a genre of art that caters to the popular taste of the people. It presents a world mixed with science and fictional elements. It can be taken as a microcosm of fictional literature. It uses to present unfamiliar and unknown things in a familiar and known way. It provides its diverse themes and issues not only in texts but also in films. When science fiction is adapted into movies, it is able to attract a large number of audiences specially the young generation of writers. Science fictional films cover the issues like future society, challenges created by scientific developments, human enhancement through science and technology, human-machine clash, hybrid identity, world of aliens, and Artificial Intelligences. There are many films in western countries covering the issue of science fiction. Production houses designed the films in such a way that it can make an appeal to the audience. Even in India, there are several science fiction films. From 1952 to the present, Indian cinema contributes a lot by producing one after another attracting films on the theme of science fiction. The present paper is going to analyze two films Koi...Mill Gaya and its sequel Krish 3 from the perspectives of science fiction. The paper will also try to present the history of science fiction films in India and in the West. It attempts to depict the science fictional elements and new techniques shown in the films. These films are the representations of future society which accepts the inhabitation of different beings like modified human, superhuman and aliens.
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13

Pierce, Erin. "Science Fiction and Fantasy." Voices from the Middle 9, no. 2 (December 1, 2001): 74–77. http://dx.doi.org/10.58680/vm20012388.

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Offers brief annotations of 40 science fiction and fantasy books that middle school readers might enjoy. Notes that readers can confront the realities of this real world as the fictional characters fight good and evil, search for identity, summon courage, and enjoy family and friends.
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14

Bailey, Edward. "Science Fiction, Historical Fiction and Religion Fiction?" Implicit Religion 17, no. 4 (December 12, 2014): 539–41. http://dx.doi.org/10.1558/imre.v17i4.539.

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15

Kyomugisha T, Asiimwe. "The Role of Fiction in Shaping the Public Perception of Science." RESEARCH INVENTION JOURNAL OF CURRENT RESEARCH IN HUMANITIES AND SOCIAL SCIENCES 4, no. 1 (March 28, 2025): 37–41. https://doi.org/10.59298/rijcrhss/2025/413741.

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Science fiction and other fictional portrayals of science play a significant role in shaping public perception and understanding of scientific principles, discoveries, and ethical dilemmas. Fiction serves as a bridge between scientists and the general public, introducing complex scientific ideas in accessible and engaging narratives. Historically, literature and film have influenced how society perceives technological advancements, scientific progress, and the potential consequences of innovation. While fiction can inspire curiosity and enthusiasm for science, it can also contribute to misconceptions and unrealistic expectations. This paper investigates the intersection of fiction and science communication, examining historical representations of science in fiction, its impact on public attitudes toward scientific discovery, and the ethical implications of fictionalized portrayals. Through case studies of notable works, this study highlights both the benefits and challenges of using fiction as a tool for scientific engagement and education. Keywords: Science fiction, public perception, scientific communication, ethics in science fiction, technological impact, scientific literacy.
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16

Gao, Jiali, and Yan Hua. "On the English Translation Strategy of Science Fiction from Humboldt's Linguistic Worldview —Taking the English Translation of Three-Body Problem as an Example." Theory and Practice in Language Studies 11, no. 2 (February 1, 2021): 186. http://dx.doi.org/10.17507/tpls.1102.11.

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In recent years, many science fictions have been published, such as The Three-body Problem, The Wandering Earth, and so on. The number of people who are interested in science fiction is increasing. Meanwhile, the translation of science fiction has become more important. The Linguistic Worldview proposed by Humboldt is of great importance to the translation of science fiction. This thesis is based on Linguistic Worldview. It analyzes The Three-body Problem (English version) and the importance of such theory to the translation of science fiction. It proposes three translation strategies: free translation, literal translation, and transcreation.
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17

Svilpis, Janis. "The Science-Fiction Prehistory of the Turing Test." Science Fiction Studies 35, Part 3 (November 1, 2008): 430–49. https://doi.org/10.1525/sfs.35.3.0430.

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Alan M. Turing’s test for machine intelligence (1950) involves a science-fictional dialogue in which a computer or an alien communicates with a human, who judges whether it is intelligent. Dialogues of this kind were already part of science fiction by the mid-1930s, and an analysis of Stanley G. Weinbaum’s “A Martian Odyssey” (1934) demonstrates how nuanced they could be. Robot stories of the late 1930s and early 1940s exhibit sophisticated variations. The mechanism for this development was pulp science fiction’s reader-editor-author feedback system, which identified failed attempts to recycle old story ideas and prompted more imaginative treatments of those ideas.
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18

Guerrier, Simon. "The fiction behind science fiction." Lancet Psychiatry 6, no. 12 (December 2019): e32. http://dx.doi.org/10.1016/s2215-0366(19)30452-3.

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19

Zhang, Richard, and Duri Long. "Beyond Content: Leaning on the Poetics of Defamiliarization in Design Fictions." Proceedings of the ACM on Human-Computer Interaction 9, GROUP (January 10, 2025): 1–19. https://doi.org/10.1145/3701184.

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Literary approaches to design fictions, though previously theorized to be diverse in form and content, often fall within narrow stylistic and content boundaries such as speculative abstracts, memos, and studies. By drawing on a rich history of science fiction criticism, we advocate for literary design fictions that diverge from what is commonplace in HCI and design research. We foreground our paper with a discussion of the poetics of science fiction, and their relationship to current design fiction practices. Specifically, we highlight how the poetics of a design fiction can work to familiarize or defamiliarize readers from the imagined world presented. We thus argue that considerations of poetics, specifically how they work to (de)familiarize readers of design fictions, enrich understanding of design fictions as a research method. We then provide and discuss three design fictions in the forms of poetry and flash fiction, which fictionalize anthropomorphism in AI and AI explainability, AI assistants and AI privacy, and the relationship between AI and human autonomy. This paper makes two contributions: 1) a poetics-based framework that broadens current understandings of written design fictions and 2) three design fictions that speculate on the future of human-AI interaction.
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20

O'Krent, Michael. "Toward a Science-Fictional Interpretational Method: Reading Three Borges Stories." Science Fiction Studies 51, no. 1 (March 2024): 32–52. http://dx.doi.org/10.1353/sfs.2024.a920232.

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ABSTRACT: This article reconsiders Samuel R. Delany's theory of science fiction as a form of language in order to develop the notion that science fiction is a method of making meaning and reading texts. Three stories by the Argentinian writer Jorge Luis Borges, "The Aleph," "The Library of Babel," and "Tlön, Uqbar, Orbis Tertius," are read as science fiction to demonstrate how the method functions. Borges's ambiguous relationship with science fiction during his lifetime is well-documented, but no previous study of Borges as a science-fiction writer exists in English. The notion of science fiction as a way of reading enables a reading that treats the elements of textual playfulness that make Borges's texts so beloved throughout literary studies as science fictional, because they encourage the reader to reconstruct an alternate world around the text and create a comprehensive theory of how that world works.
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21

Weinert, Friedel. "Hypothetical, not Fictional Worlds." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 110–36. http://dx.doi.org/10.1515/kjps-2016-0019.

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Abstract This paper critically analyzes the fiction-view of scientific modeling, which exploits presumed analogies between literary fiction and model building in science. The basic idea is that in both fiction and scientific modeling fictional worlds are created. The paper argues that the fiction-view comes closest to certain scientific thought experiments, especially those involving demons in science and to literary movements like naturalism. But the paper concludes that the dissimilarities prevail over the similarities. The fiction-view fails to do justice to the plurality of model types used in science; it fails to realize that a function like idealization only makes sense in science because models, unlike works of fiction, can be de-idealized; it fails to distinguish sufficiently between the make-believe (fictional) worlds created in fiction and the hypothetical (as-if) worlds envisaged in models. Representation characterized in the fiction-view as a license to draw inferences does not sufficiently distinguish between inferences in fiction from inferences in scientific modeling. To highlight the contrast the paper proposes to explicate representation in terms of satisfaction of constraints.
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22

Vint, Sherryl. "Science Fiction." Perspectives on Science and Christian Faith 74, no. 3 (September 2022): 191–92. http://dx.doi.org/10.56315/pscf9-22vint.

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SCIENCE FICTION by Sherryl Vint. Cambridge, MA: The MIT Press, 2021. 224 pages. Paperback; $15.95. ISBN: 9780262539999. *Science Fiction is the story of the romance between fiction and science. The goal of the book is not to define the history or essence of science fiction, but rather to explore what it "can do" (p. 3). How does fiction affect scientific progress? How does it influence which innovations we care about? In the opposite direction, what bearing does science have on the stories that are interesting to writers at a point in time? Science Fiction references hundreds of books to paint a cultural narrative surrounding science fiction. Throughout the book, Vint refers to the fiction as ‘sf' in order to avoid distinctions between science fiction and speculative fiction. The dynamic between science and fiction is a relationship defined by both scientific progress and by forming judgments of the direction of development through a lens of fiction. Fiction is cause and effect; we use fiction to reflect upon changes in the world, and we use fiction to explore making change. *Vint, Professor of Media and Cultural Studies and of English at the University of California, Riverside, gives overviews of different areas of sf. These include some of the most common sf elements, such as utopias and dystopias (chap. 2), as well as relatively recent concerns, such as climate change (chap. 7). Through these questions, she is navigating one question: how does sf engage with the world? It is more complex than the commonly reflected-upon narrative that sf is an inspiration to inventors--it is a relationship moving in both directions and involves value judgments as well as speculation about scientific possibilities. *The book also navigates the attitudes at the root of sf. Vint presents sf as a fundamentally hopeful, perhaps even an optimistic, genre. She describes sf as "equally about frightening nightmares and wondrous dreams" (p. 13). Yet even dystopian stories require hope for a future. Showing the world gone wrong still requires "the seeds of believing that with better choices we might avoid these nightmares" (p. 32). This is certainly true in the discussion of climate change sf. Where nonfiction writing often focuses on the impartial mitigation of disasters, the heart of fiction offers "the possibility to direct continuous change toward an open future that we (re)make" (p. 136). *The most surprising chapter is the penultimate one, focusing on economics (chap. 8). Vint discusses the recent idea of money as a "social technology" (p. 143) and the ways our current economy is increasingly tied to science, including through AI market trading and the rise of Bitcoin. The chapter also focuses on fiction looking at alternative economic systems--how will the presence or absence of scarcity, altered by technology, change the economic system? Answers to this and similar questions have major implications on the stories we tell and the way we seek to structure society. *As Christians, we have stories to help us deal with our experiences in life and our hope for the future. Science Fiction discusses sf as the way that our communities, including the scientific community, process life's challenges and form expectations for the future. We must not only repeat the stories from scripture, but also participate in the formation of the cultural narratives as ambassadors of Christ. While Science Fiction does not discuss the role of religion in storytelling, the discussion of our ambitions and expectations for the future is ripe for a Christian discussion. *Vint describes sf as a navigational tool for the rapid changes occurring in the world. Science Fiction references many titles that illustrate the different roles sf has played at historical points and that continue to form culture narratives. While some pages can feel like a dense list of titles, it is largely a book expressing excitement about the power and indispensability of sf. I would recommend this book for those who want to think about interactions between fiction, science, and culture, or learn about major themes of sf, as well as those interested in broadening the horizons of their sf reading. *Reviewed by Elizabeth Koning, graduate student in the Department of Computer Science, University of Illinois at Urbana-Champaign, Urbana, IL 61801.
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23

Venable, Peter C. "Science Fiction." Anglican Theological Review 98, no. 4 (September 2016): 726. http://dx.doi.org/10.1177/000332861609800411.

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24

Arcana, Judith. "FICTION SCIENCE." Bridges: A Jewish Feminist Journal 11, no. 1 (April 2006): 69–70. http://dx.doi.org/10.2979/bri.2006.11.1.69.

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25

Hassler-Forest, Dan. "Science Fiction." Utopian Studies 35, no. 2-3 (December 2024): 735–39. https://doi.org/10.5325/utopianstudies.35.2-3.0735.

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26

Arcana, Judith. "Fiction, Science." Bridges: A Jewish Feminist Journal 11, no. 1 (2006): 69–70. http://dx.doi.org/10.1353/brd.2006.0001.

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27

Davenport, Edward. "Fiction Science." Philosophy of the Social Sciences 17, no. 4 (December 1987): 579–84. http://dx.doi.org/10.1177/004839318701700410.

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28

Plotz, John. "Science Fiction." Victorian Literature and Culture 46, no. 3-4 (2018): 854–58. http://dx.doi.org/10.1017/s106015031800102x.

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29

Glatzer, Ulrich. "Science Fiction." kma - Klinik Management aktuell 9, no. 05 (May 2004): 60–61. http://dx.doi.org/10.1055/s-0036-1572785.

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Werbung wirkt. Man fragt sich zwar oft, wieso einige Strategen ausgerechnet dieses oder jenes Motiv verwenden, Fakt ist jedoch: Werbung verlieh schon so manchem Produkt Flügel. Eine erfolgreiche Motivationskampagne zur Blutspende hat auch die Bundeszentrale für gesundheitliche Aufklärung hinter sich. So erfolgreich, dass die neue Kampagne inzwischen Kritik hervorruft: Es sei Verschwendung von Regierungsmitteln, für Blutspenden zu werben.
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30

Ranpura, Ashish, and Daniel Glaser. "Science Fiction." Index on Censorship 36, no. 3 (August 2007): 175–79. http://dx.doi.org/10.1080/03064220701552565.

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31

Fowler, David. "Mathematics in Science Fiction: Mathematics as Science Fiction." World Literature Today 84, no. 3 (2010): 48–52. http://dx.doi.org/10.1353/wlt.2010.0188.

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32

Ndalianis, Angela. "Bowie and Science Fiction / Bowie as Science Fiction." Cinema Journal 57, no. 3 (2018): 139–49. http://dx.doi.org/10.1353/cj.2018.0036.

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33

Bowater, Laura, Christine Cornea, Helen James, and Richard P. Bowater. "Using science fiction to teach science facts." Biochemist 34, no. 6 (December 1, 2012): 15–20. http://dx.doi.org/10.1042/bio03406015.

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The contributors to this discussion teach in three different Faculties at the University of East Anglia (UEA) – Science, Arts & Humanities and Medicine & Health Sciences. They have each used science fiction to explore learning outcomes in their distinct teaching practices. The discussion below highlights how contemporary science fiction can operate as a touchstone for debate that informs biochemistry teaching. Laura, Helen and Richard have all studied basic sciences, gaining PhDs in various aspects of biochemistry and molecular biology, and each have taught undergraduates and postgraduates at UEA. Helen and Richard are based in the Faculty of Science. Laura is based in the Faculty of Medicine & Health Sciences, and uses her interest in science communication to explore university teaching practices that involve science fiction. Christine gained a PhD from her research of technology and performance in science fiction film and is based in the Faculty of Arts & Humanities.
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34

Pedersen, Martin Karlsson. "Økonomisk science fiction og kritisk anti-utopi." Passage - Tidsskrift for litteratur og kritik 34, no. 82 (December 20, 2019): 111–26. http://dx.doi.org/10.7146/pas.v34i82.118460.

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The article gives a short introduction to the new field of “economic science fictions” and discusses an economic approach to science fiction focusing on the class aspect of utopian and anti-utopian science fiction. By tracing a common interest in the new regimes of accumulation and exploitation of cognitive labor between Cognitive Capitalism and Dave Eggers’ anti-utopian novel The Circle, the article highlights the dangerous dynamic between class-specific utopian desire and new forms of technologically driven economic exploitation.
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35

Shkurov, Ye V. "ANTHROPOLOGICAL CREDO OF CONTEMPORARY SCIENCE FICTION." PHILOLOGICAL SCIENCES JOURNAL 2 (2023): 53–61. http://dx.doi.org/10.52081/phsj.2023.v02.i2.011.

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The paper delves into an analysis of how humanity is portrayed within the expansive realm of science fiction. Recognizing the genre's unparalleled ability for world-building, the study examines science fiction as a cultural artifact that mirrors societal values, fears, and aspirations. It investigates how the genre adapts by analytically modeling shifts in human viewpoints in alignment with scientific theories and technological progress. Within the landscape of science fiction literature, the human subject takes on a complex role, serving as a vessel for cultural, ethical, and ontological exploration. Through narrative and speculative frameworks, the genre probes the transformative forces affecting human experience and physiology, while consistently emphasizing the enduring essence of humanity. The paper meticulously explores the role of the human subject in science fiction, outlining how the genre provides a nuanced investigation set against a backdrop of scientific and socio-cultural evolution. It contends that although science fiction stretches the limits of human experience, it invariably maintains a fundamental core of humanity, aligning itself with the broader objectives of anthropological study. Contemporary science fiction thus serves not only as a lens for scrutinizing the anxieties and hopes about humanity's future but also as a platform for speculative inquiry into the very nature of human existence.
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36

Grillmayr, Julia. "Speculations, fabulations, incantations: Science fiction, contemporary futurology and how to change the world." European Journal of American Culture 41, no. 3 (September 1, 2022): 267–79. http://dx.doi.org/10.1386/ejac_00079_1.

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After giving a short insight into the ambivalent relationship between science fiction (SF) and futurology, this article sheds light on the current trend of what can be called science-fictional scenario writing, focusing on the publications of the Center for Science and the Imagination at the Arizona State University. The stories published in projects, such as Hieroglyph, the Climate Fiction short story contest Everything Change or the Tomorrow Project, are indistinguishable from conventional SF short stories. However, the frameworks of these projects share a certain futurological ambition. Also, they seek to enable the readers and writers of these stories to actively shape possible futures. In search for a label for this specific text form, Rebecca Wilbanks aptly coined the term ‘incantatory fictions’. This article explores the nature, the self-understanding und the practices of these speculations, fabulations and incantations by considering the metatexts of the afore-mentioned publications and by talking to people who work at the interface between SF and futurology.
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Oleinikova, Halyna. "Conceptual standart of science fiction genre." SCIENTIFIC BULLETIN OF THE IZMAIL STATE UNIVERSITY OF HUMANITIES, no. (38) (November 2, 2018): 180–84. http://dx.doi.org/10.31909/26168820.2018-(38)-29.

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Savenko, Olesya Viktorovna. "SCIENCE FICTION WRITERS' PREDICTIONS COME TRUE." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 08 (August 31, 2021): 36–38. http://dx.doi.org/10.37547/philological-crjps-02-08-09.

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Yacine, Barka Rabeh, and Ahmad Y. Majdoubeh. "Reimagining Colonialism: Dune Within Postcolonial Science-Fiction." Theory and Practice in Language Studies 13, no. 2 (February 1, 2023): 501–7. http://dx.doi.org/10.17507/tpls.1302.27.

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This research paper will examine the science-fiction novel Dune as a postcolonial work. Colonial history and literature that have been the central focus of postcolonial studies influenced the structure of many science-fiction novels. One of these was Herbert’s Dune (1965), which carries a colonial formula into a new fictionalized setting. However, very few postcolonial studies cross into the science-fiction novel, and fewer still consider the science-fictional element that sets it apart as a genre. Thus, this article attempts to provide a new perspective on Dune as a postcolonial novel that sets a new premise for our understanding of postcolonialism. In employing the early anticolonial thoughts of Amilcar Cabral and his notion of resistance, this study will trace these anticolonial notions throughout the novel. In addition, it will consider the novel’s science-fictional element of spice and how it proves detrimental in perceiving the novel as a new form of postcolonial narrative.
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Clarke, Jim. "Buddhist Reception in Pulp Science Fiction." Literature and Theology 35, no. 3 (August 1, 2021): 355–73. http://dx.doi.org/10.1093/litthe/frab020.

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Abstract Science fiction has a lengthy history of irreligion. In part, this relates to its titular association with science itself, which, as both methodology and ontological basis, veers away from revelatory forms of knowledge in order to formulate hypotheses of reality based upon experimental praxis. However, during science fiction’s long antipathy to faith, Buddhism has occupied a unique and sustained position within the genre. This article charts the origins of that interaction, in the pulp science fiction magazines of the late 1920s and early 1930s, in which depictions of Buddhism quickly evolve from ‘Yellow Peril’ paranoia towards something much more intriguing and accommodating, and in so doing, provide a genre foundation for the environmental concerns of much 21st-century science fiction.
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Šešlak, Mirko Ž. "PHILIP K. DICK’S UBIK: A NATURAL POSSIBLE WORLD OF SCIENCE FICTION OR A SUPERNATURAL POSSIBLE WORLD OF FANTASY?" Lipar XXIV, no. 82 (2023): 107–21. http://dx.doi.org/10.46793/lipar82.107s.

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The article aims to explore whether the text of Philip K. Dick’s Ubik constructs a natural (physi- cally possible) or a supernatural (physically impossible) fictional world. According to Darko Suvin, one of the fundamental traits of science fiction is that its texts construct natural, physically possible fictional worlds. Readers of science fiction have often complained of Ubik, regarding it a confusing work, riddled with supernatural impurities and a lack of precise explanations. The betrayal of these expectations often casts doubt on whether this novel is science-fictional or a work of fantasy. If we aim to determine whether the fictional world of Ubik belongs to the possible worlds of science fiction, the theoretical framework for such a task can be found in Lubomir Doležel’s possible worlds theory. To do this, we must analyze the alethic constraints of the given fictional world, for those narrative modalities govern the formation of the fic- tional world’s physical laws and determine what is possible, impossible and necessary within its boundaries. If our analysis shows that the alethic constraints present in Ubik are analogous to the physical laws of the real world, we will prove that this fictional world is physically pos- sible and therefore possesses one of the fundamental traits of science fiction, naturalness. If our analysis shows otherwise, the fictional world of Ubik can be relegated to the supernatural, physically impossible worlds of fantasy.
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Muradian, Gaiane, and Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative." Armenian Folia Anglistika 13, no. 1-2 (17) (October 16, 2017): 7–18. http://dx.doi.org/10.46991/afa/2017.13.1-2.007.

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Dystopia is a narrative form of fiction in general and of science fiction in particular. Using elements of science fiction discourse like time travel, space flight, advanced technologies, virtual reality, genetic engineering, etc. – dystopian narrative depicts future fictive societies presenting in peculiar prose style a future in which humanity has fallen into destruction, ruin and decline, in which human life and nature are wildly abused, exploited and destroyed, in which a totalitarian, highly centralized, and, therefore, oppressive social organization sacrifices individual expression, freedom of choice and idiosyncrasy of the society and its members. It is such critical and creative reflections of science fiction dystopian narrative that are focused on in the present case study with the aim of bringing out certain properties in terms of narrative types and devices, figurative discourse and cognitive notions through which science fiction dystopia expresses and conveys its overarching message, i.e. the warning to stop before it is too late to the reader.
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Wolfe, Gary K. "Science Fiction as Criticism as Fiction." Extrapolation 30, no. 4 (January 1989): 380–87. http://dx.doi.org/10.3828/extr.1989.30.4.380.

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CROWLEY, JOHN. "FICTION IN REVIEW CLASSIC SCIENCE FICTION." Yale Review 101, no. 3 (2013): 162–71. http://dx.doi.org/10.1353/tyr.2013.0084.

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CROWLEY, JOHN. "FICTION IN REVIEW CLASSIC SCIENCE FICTION." Yale Review 101, no. 3 (June 18, 2013): 162–71. http://dx.doi.org/10.1111/yrev.12069.

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Allday, Jonathan. "Science in science fiction." Physics Education 38, no. 1 (December 20, 2002): 27–30. http://dx.doi.org/10.1088/0031-9120/38/1/304.

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Doran, Heather. "Science Fiction – Science Fact." Biochemist 45, no. 6 (December 20, 2023): 1. http://dx.doi.org/10.1042/bio_2023_166.

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Burke, Verity, and Will Tattersdill. "Introduction: Museums in Science Fiction, Science Fiction in Museums." Configurations 30, no. 3 (June 2022): 247–56. http://dx.doi.org/10.1353/con.2022.0016.

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Johnson, Brian David. "Science Fiction Prototyping: Designing the Future with Science Fiction." Synthesis Lectures on Computer Science 3, no. 1 (April 19, 2011): 1–190. http://dx.doi.org/10.2200/s00336ed1v01y201102csl003.

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SINGH, JUHI BIRLA AND NEETU. "Atwoods The Handmaid Tale: Dystopian and Science Fiction." WORLD JOURNAL OF APPLIED SCIENCE AND RESEARCH 10-11, no. 01-02 (December 2021): 51. https://doi.org/10.59467/wjasr.2021.10-11.51.

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Science fiction includes such a wide range and subgenres that it is notoriously difficult to define. Many authors, editors, and critics over the years since science fiction, become clearly separate from other genres. Definitions of related terms such as Science Fantasy speculative fiction, and tabulation are included where they are intended as definitions of aspects of science fiction because they illuminate related definitions-J.O. Bailey 1947. A piece of scientific fiction is a narrative of an imaginary invention or discovery in the natural sciences and consequent adventures and experiences. It must be a scientific discovery same thing that the author at least rationalizes as possible to science. Canadian Booker Prize winner twice uses Science fiction in her one of the best novel The Handmaid Tale where she gives a clear picture of Canadian society how the effect of the nuclear attack on the hand maid. . KEYWORDS :Social diagnosis, History, Science fiction, Myths
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