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Par Octavia E. Butler. 1979
Dana, a modern black woman, is celebrating her twenty-sixth birthday with her new husband when she is snatched abruptly from…her home in California and transported to the antebellum South. Rufus, the white son of a plantation owner, is drowning, and Dana has been summoned to save him. Dana is drawn back repeatedly through time to the slave quarters, and each time the stay grows longer, more arduous, and more dangerous until it is uncertain whether or not Dana's life will end, long before it has a chance to begin.
Par Joseph Packer, Ethan Stoneman. 2018
In A Feeling of Wrongness, Joseph Packer and Ethan Stoneman confront the rhetorical challenge inherent in the concept of pessimism…by analyzing how it is represented in an eclectic range of texts on the fringes of popular culture, from adult animated cartoons to speculative fiction.Packer and Stoneman explore how narratives such as True Detective, Rick and Morty, Final Fantasy VII, Lovecraftian weird fiction, and the pop ideology of transhumanism are better suited to communicate pessimistic affect to their fans than most carefully argued philosophical treatises and polemics. They show how these popular nondiscursive texts successfully circumvent the typical defenses against pessimism identified by Peter Wessel Zapffe as distraction, isolation, anchoring, and sublimation. They twist genres, upend common tropes, and disturb conventional narrative structures in a way that catches their audience off guard, resulting in belief without cognition, a more rhetorically effective form of pessimism than philosophical pessimism.While philosophers and polemicists argue for pessimism in accord with the inherently optimistic structures of expressive thought or rhetoric, Packer and Stoneman show how popular texts are able to communicate their pessimism in ways that are paradoxically freed from the restrictive tools of optimism. A Feeling of Wrongness thus presents uncharted rhetorical possibilities for narrative, making visible the rhetorical efficacy of alternate ways and means of persuasion.
Par Robb Pearlman. 2014
See the Enterprise. See the Enterprise go boldly. Go Go Go, Enterprise! Go Boldly! Join Kirk and Spock as they…go boldly where no parody has gone before!This Prime Directive primer steps through The Guardian of Forever to a simpler time of reading, writing, and red shirts. From the mind of New York Times bestselling pop culturalist Robb Pearlman, Fun with Kirk and Spock will help cadets of all ages master the art of reading as their favorite Starfleet officers, Klingons, Romulans, Andorians, and Gorn beam down into exciting adventures.
Par Robert Arellano. 2001
An abandoned child hustles on the streets of a dystopic, near-future Boston in the aftermath of the Great Devaluation--squatters have…turned the tunnel system into an underground hive known as Dig City. In an elaborate search for his unknown parents, Eddie narrates through several levels of deception: street performer, pickpocket, adoptee, casino employee, and finally commander of the subterranean revolution. Fast Eddie is a convoluted Oedipal adventure blending low-brow scenarios with high-art diction, reminiscent of Robert Coover, John Hawkes, and Edmund White.Cuban-American author Robert Arellano instructs fiction workshops at Brown University. He spends his breaks playing guitar for indie rock outfit Palace Brothers. Arellano's interactive novel, Sunshine '69, was published by SonicNet in 1996. He lives in Providence, Rhode Island.
Artificial Culture is an examination of the articulation, construction, and representation of "the artificial" in contemporary popular cultural texts, especially…science fiction films and novels. The book argues that today we live in an artificial culture due to the deep and inextricable relationship between people, our bodies, and technology at large. While the artificial is often imagined as outside of the natural order and thus also beyond the realm of humanity, paradoxically, artificial concepts are simultaneously produced and constructed by human ideas and labor. The artificial can thus act as a boundary point against which we as a culture can measure what it means to be human. Science fiction feature films and novels, and other related media, frequently and provocatively deploy ideas of the artificial in ways which the lines between people, our bodies, spaces and culture more broadly blur and, at times, dissolve. Building on the rich foundational work on the figures of the cyborg and posthuman, this book situates the artificial in similar terms, but from a nevertheless distinctly different viewpoint. After examining ideas of the artificial as deployed in film, novels and other digital contexts, this study concludes that we are now part of an artificial culture entailing a matrix which, rather than separating minds and bodies, or humanity and the digital, reinforces the symbiotic connection between identities, bodies, and technologies.
Par Farah Mendlesohn. 2009
Joanna Russ, a feminist writer best known for The Female Man (1975), has produced a fierce, intense body of fiction…and essays whose influence has been wide-ranging and complex. Her many publications include How to Suppress Women's Writing (1983), and she has won both of science fiction's most prestigious awards, the Nebula and the Hugo. The essays in this volume examine every aspect of Russ's body of work and provide a critical assessment that is long overdue. The first part of the book, "Criticism and Community," gives readers a context for and overview of Russ's works, and includes discussions of Russ's role in the creation of a feminist science fiction tradition. The second part, "Fiction," offers detailed analyses of some of Russ's writing. Contributors include: Andrew M. Butler, Brian Charles Clark, Samuel R. Delany, Edward James , Sandra Lindow, Keridwen Luis, Paul March-Russell, Helen Merrick, Dianne Newell, Graham Sleight, Jenea Tallentire, Jason Vest, Sherryl Vint, Pat Wheeler, Tess Williams, Gary K. Wolfe, and Lisa Yaszek.
Par Istvan Csicsery-Ronay Jr.. 2011
As the world undergoes daily transformations through the application of technoscience to every aspect of life, science fiction has become…an essential mode of imagining the horizons of possibility. However much science fiction texts vary in artistic quality and intellectual sophistication, they share in a mass social energy and a desire to imagine a collective future for the human species and the world. At this moment, a strikingly high proportion of films, commercial art, popular music, video and computer games, and non-genre fiction have become what Csicsery-Ronay calls science fictional, stimulating science-fictional habits of mind. We no longer treat science fiction as merely a genre-engine producing formulaic effects, but as a mode of awareness, which frames experiences as if they were aspects of science fiction. The Seven Beauties of Science Fiction describes science fiction as a constellation of seven diverse cognitive attractions that are particularly formative of science-fictionality. These are the "seven beauties" of the title: fictive neology, fictive novums, future history, imaginary science, the science-fictional sublime, the science-fictional grotesque, and the Technologiade, or the epic of technsocience's development into a global regime.
Par Claire Colebrook. 2023
Who Would You Kill to Save the World? examines how postapocalyptic cinema uses images from the past and present to…depict what it means to preserve the world—and who is left out of the narrative of rebuilding society. Claire Colebrook redefines &“the world&” as affluent Western society and &“saving the world&” as preventing us from becoming the othered them who are viewed in their suffering. Colebrook further examines how the use of postapocalyptic cinema is a humanist—Western, capitalist, colonizing, white, heteronormative, and individualist—creation and challenges the notion that a world built on foundations of exploitation is worth saving. Colebrook combines postapocalyptic fiction, concern over the global climate crisis, colonialism, and anti-Blackness to explain how contemporary postapocalypse blockbusters circulate ideas of whiteness and the right of the privileged to rebuild the world. Who Would You Kill to Save the World? is a provocative addition to the field of extinction studies and challenges the conceptual frames we use to define ourselves.
Par Pamela Clemit, Nora Crook, Betty T Bennett. 1996
These eight volumes contain the works of Mary Shelley and include introductions and prefatory notes to each volume. Included in…this edition are "Frankenstein" (1818), "Matilda" ((1819), "Valperga" (1823), "The Last Man" (1826), "Perkin Warbeck" (1830) and "Lodore" (1835).