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Journal articles on the topic 'Science fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Allain, Rhett. "The fictional science of science fiction." Physics World 32, no. 11 (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 (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

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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 (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 (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 O

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6

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 (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 advan

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7

OʼNeil, E., and E. N. Naumova. "Influenza: Science, Fiction, or Science Fiction?" Epidemiology 18, Suppl (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 (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 respo

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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

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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

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11

Stegmaier, Peter. "Science-Fiction oder Versorgungsrealität?" Monitor Versorgungsforschung 2024, no. 04 (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

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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 (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 developme

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13

Mullen, R. D. "Science, Fictive Science, and Science Fiction: Bleiler’s Massive Bibliography." Science Fiction Studies 18, Part 2 (1991): 267–71. https://doi.org/10.1525/sfs.18.2.267.

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14

Pierce, Erin. "Science Fiction and Fantasy." Voices from the Middle 9, no. 2 (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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15

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

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16

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 (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 misconc

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17

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 (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 tr

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18

Guerrier, Simon. "The fiction behind science fiction." Lancet Psychiatry 6, no. 12 (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 (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 familiariz

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20

Svilpis, Janis. "The Science-Fiction Prehistory of the Turing Test." Science Fiction Studies 35, Part 3 (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

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21

Weinert, Friedel. "Hypothetical, not Fictional Worlds." Kairos. Journal of Philosophy & Science 17, no. 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 use

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22

O'Krent, Michael. "Toward a Science-Fictional Interpretational Method: Reading Three Borges Stories." Science Fiction Studies 51, no. 1 (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 fict

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23

Vint, Sherryl. "Science Fiction." Perspectives on Science and Christian Faith 74, no. 3 (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

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24

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

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25

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

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26

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

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27

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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28

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

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29

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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30

Glatzer, Ulrich. "Science Fiction." kma - Klinik Management aktuell 9, no. 05 (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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31

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

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32

Williams, Raymond. "Science Fiction." Science Fiction Studies 15, Part 3 (1988): 356–60. https://doi.org/10.1525/sfs.15.3.356.

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Exclusive of space operas, SF deserves to be taken seriously—as much so as Gulliver’s Travels, say. The SF worth reading most ly falls into three categories: Putropia, Doomsday, and Space Anthropology. The first are corruptions of Utopia like Bradbury’s Fahrenheit 451; the second, apocalyptic fiction like Christopher’s The New Wine; and the last—my own preference—deal in imaginary species and cultures as in Blish’s A Case of Conscience. (RMP)

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33

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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34

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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35

Bowater, Laura, Christine Cornea, Helen James, and Richard P. Bowater. "Using science fiction to teach science facts." Biochemist 34, no. 6 (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 postgradu

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36

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 expl

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37

Pedersen, Martin Karlsson. "Økonomisk science fiction og kritisk anti-utopi." Passage - Tidsskrift for litteratur og kritik 34, no. 82 (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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38

Clarke, Jim. "Buddhist Reception in Pulp Science Fiction." Literature and Theology 35, no. 3 (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

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39

Yacine, Barka Rabeh, and Ahmad Y. Majdoubeh. "Reimagining Colonialism: Dune Within Postcolonial Science-Fiction." Theory and Practice in Language Studies 13, no. 2 (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 se

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40

Muradian, Gaiane, and Anna Karapetyan. "On Some Properties of Science Fiction Dystopian Narrative." Armenian Folia Anglistika 13, no. 1-2 (17) (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, free

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41

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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42

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

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43

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 fanta

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44

Grillmayr, Julia. "Speculations, fabulations, incantations: Science fiction, contemporary futurology and how to change the world." European Journal of American Culture 41, no. 3 (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. Als

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45

Wolfe, Gary K. "Science Fiction as Criticism as Fiction." Extrapolation 30, no. 4 (1989): 380–87. http://dx.doi.org/10.3828/extr.1989.30.4.380.

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46

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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47

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

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48

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

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49

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

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50

Slusser, George E. "Structures of Apprehension: Lem, Heinlein, and the Strugatskys." Science Fiction Studies 16, Part 1 (1989): 1–37. https://doi.org/10.1525/sfs.16.1.001.

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What is the nature of science in SF, and what role does it play in shaping its fictions? Is it a “theme”? Or a “subject”? Or does it, as is often claimed, operate as a method of inquiry, causing fictional structures to shape themselves around the cognitive adventure humankind as it investigates the material universe? Such fiction, for Stanislaw Lem, would have to focus, not on actions or characters, but on the “structure of the description.” But Lem doubts that fiction, because its structures are traditionally limited to a human viewpoint, is (inherently) adequate to this task. Epistemological

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