CENTRAL MICHIGAN UNIVERSITY GLOBAL CAMPUS COURSE SYLLABUS
I. IDENTIFYING INFORMATION Course: ENG 323 Course Title: Fantasy and Science Fiction EPN: 22225427 Term: Summer II Location: Online Course Dates: 5/20, 8/9/2013 Course Days and Times: N\A
Prerequisites: A grade of C or better in ENG 101 or ENG 103.
Blackboard: Blackboard is a web-based learning management system licensed by CMU. Within Blackboard, a course website, also known as a shell, is automatically created for every CMU course. Face-to-face courses may or may not incorporate Blackboard, whereas Blackboard course shells are always used for online courses and will be available to you prior to the course start date. Seeing the course shell listed in Blackboard with unavailable adjacent to its title is an indication that your instructor has not made it available and is in no way indicative of registration status. To access Blackboard, open a web browser and enter http://www.cmich.edu/blackboard. After the site loads, enter your CMU Global ID and password in the respective spaces provided. Click the "login" button to enter Blackboard and then the link to the appropriate course to enter the course's Blackboard shell. If you need assistance, contact the IT Helpdesk at 989-774-3662 / 800-950-1144 x. 3662. Self-guided student tutorial resources are also available at http://www.cmich.edu/blackboard.
Instructor: Nicole Sparling Primary Phone Number: 989-774-2660 Secondary Phone Number: N\A E-Mail Address: [email protected] Office hours: Sundays 9-10pm (EST) on Wimba Chat, or by phone appointment; The best and fastest way to reach me is through Availability: email. Academic Biography:
Nicole L. Sparling is currently Assistant Professor of World Literature at Central Michigan University. She earned her Ph.D. in Comparative Literature and Women’s Studies at the Pennsylvania State University. She specializes in comparative studies of North and South American cultural production and, more specifically, in the literature of the twentieth century written in English, Spanish, and Portuguese from these regions. Much of her research focuses on issues of knowledge production as it relates to disciplinary formation and the construction of identity. Her most recent work places into conversation the various scientific, national, and literary discourses that shape contemporary notions about sexual difference and reproduction. In the last few years, her scholarship and teaching has involved an extensive examination of genre, such as science fiction, fantasy, magical realism, dystopia, and detective fiction.
II. TEXTBOOKS AND INSTRUCTIONAL MATERIALS Order books from MBS at http://bookstore.mbsdirect.net/cmu.htm Textbooks and Course Materials: Title: Do Androids Dream of Electric Sheep (AKA: Blade Runner) Author: Dick Edition: 1982 ISBN: 978-0-345-35047-3 Publisher: Random House Required: Yes
Title: Dracula Author: Stoker Edition: (REV) 03 ISBN: 978-0-14-143984-6 Publisher: Penguin Group Required: Yes
Title: Fahrenheit 451 Author: Bradbury Edition: 2012 ISBN: 978-1-4516-7331-9 Publisher: Simon & Schuster Required: Yes
Title: Frankenstein Author: Shelley Edition: 2004 ISBN: 978-0-7434-8758-0 Publisher: Simon & Schuster Required: Yes
Title: Hobbit: or There and Back Again Author: Tolkien Edition: 2001 ISBN: 978-0-618-26030-0 Publisher: Houghton Mifflin Required: Yes
Title: Science Fiction: Stories and Contexts (an anthology) Author: Masri Edition: 2009 ISBN: 978-0-312-45015-1 Publisher: MPS Required: Yes
Title: The Strange Case of Dr. Jekyll and Mr. Hyde Author: Stevenson Edition: (REV)02 ISBN: 978-0-14-143973-0 Publisher: Penguin Group Required: Yes
Title: Time Machine Author: Wells Edition: 2005 ISBN: 978-0-14-143997-6 Publisher: Penguin Group Required: Yes
Course Reserves: N\A Required Materials: N\A Recommended Materials: N\A
III. COURSE DESCRIPTION
History, meaning, and influence of fantasy and science fiction. Emphasis on 19th-21st century literature and film. (Group I-A)
IV. COURSE GOALS AND OBJECTIVES Both the general objectives of the course and the specific learning outcomes are discussed below.
General Objectives This is an upper-level English course that is designed to explore the literature and film of fantasy and science fiction. The focus is on the history and meaning of fantasy and science fiction, with a strong emphasis on late 19th through 21st century materials, especially short stories, novels, and films. The overall objective of the course is to provide students with the tools to understand the plots, settings, characters, writing styles, and themes of fantasy and science fiction, as well as the history of these genres. This course focuses on teaching students how to read, analyze, appreciate, and write about fantasy and science fiction.
As a University Program course in Subgroup IA, this course focuses on “discerning coherence, order, meaning and significance in human events and ideas. The focus is upon substantial and significant aspects of human experience and upon the development of ideas and ideals. The subject matter may range from the examination of broadly general or universal propositions to the examination of human thoughts and actions in various contexts over a period of time” (“The University Program: A Basic Documents Set”, p. 3).
This course focuses on writing as a process of thinking as well as a mode of communication/ expression. Writing will be presented as an integral aspect of thinking and learning and will, therefore, be a pervasive activity in this class.
Specific Learning Outcomes
Students who successfully complete this course will be able to demonstrate through their performance on writing assignments and exams that they
1. understand how fantasy and science fiction relate to conventional literature.
2. have learned about significant events, authors, and literary works in the history of fantasy and science fiction.
3. can competently read, understand, and analyze three major forms of fantasy and science fiction (i.e. the novel, the short story, and film) in terms of plot, setting, characters, style, and themes/messages.
4. recognize the wide variety of themes present in fantasy and science fiction, as well some critical approaches to analyzing those themes (e.g., extrapolation, metaphor, estrangement/novum, icons and megatexts, feminism, post-colonialism).
5. can recognize and analyze blurred genres in which elements of fantasy, science fiction, and conventional literature are combined in one text or film.
6. can recognize and articulate the characteristics of sub-genres, e.g. dark fantasy, epic/heroic fantasy, sword & sorcery fantasy, military sci-fi, cyberpunk, utopian/dystopian, etc.
7. understand that fantasy and science fiction are not trivial but are important cultural and political phenomena.
8. understand that although fantasy and science fiction originated in a male-dominated European tradition, these genres have changed over time and much now reflects gender and cultural diversity.
V. METHODOLOGY
Students will read the assigned texts and supporting materials, listen to audio lectures, and watch films. In this course they will write one analytical paper and take exams composed of comprehension questions, short answer questions, and essay questions. Students will also be expected to post their responses weekly to the discussion board as well as comment on their classmate’s postings. Finally, students will also be expected to submit their answers the assigned study questions for each week. Students should expect to spend 8-12 hours per week on this course.
VI. COURSE OUTLINE/ASSIGNMENTS Pre-Class Assignment: Please use the Get to Know Each Other! discussion board to introduce yourself to the rest of the class. Be sure to tell us about your major, your educational background, your interests, and your expectations for this course. Please keep in mind that even though this class takes place in a virtual setting, you should still be professional with the content of your posts and courteous in your tone as you interact with others. Course Outline:
Week One (5/20-5/26)
1. Read: The Hobbit.
2. Watch: your choice of either Clash of the Titans (1981) or Ulysses (1954)
3. Listen: to this week’s audio lecture.
4. Answer: study questions (submit them via the Blackboard link under the Assignments tab) and discussion board questions (select the appropriate discussion board in accordance with the week in the semester. Note: The discussion board in Blackboard serves as the substitute for classroom discussion each week).
5. Participate: in Wimba chat, the first chat, Sunday night, May 26, at 8:00 pm, EST.
Week Two (5/27-6/2)
1. Read: Dracula.
2. Watch: your choice of either The Exorcist (1973) or The Amityville Horror (1979). 3. Listen: to this week’s audio lecture.
4. Answer: study questions and discussion board questions.
5. Participate in Wimba chat session this week, Sunday night, June 6, at 8:00pm, EST.
Week Three (6/3-6/9)
Exam 1 (covering materials—films, novels, and audio lectures—from weeks one and two)
Week Four (6/10-6/16)
1. Read: from Science Fiction (1-10, 17-18, 18-33, 194-195, 296-331, 476-478, 478-503).
2. Watch: The Day the Earth Stood Still (1951) and It Came from Outer Space (1951) and Them (1954).
3. Listen: to this week’s audio lecture.
4. Answer: study questions and discussion board questions.
Week Five (6/17-6/23)
1. Read: from Science Fiction (702-704, 768-774, 892-894, 969-984, 1028-1029, and 1110-1132).
2. Watch: Close Encounters of the Third Kind (1977) and Aliens II (the second one in this series) and Independence Day.
3. Listen: to this week’s audio lecture.
4. Answer: study questions and discussion board questions.
Week Six (6/24-6/30)
1. Read: Frankenstein.
2. Watch: The Fly (either 1958 version with Vincent Price or 1986 version with Jeff Goldblum)
3. Listen: to this week’s audio lecture.
4. Answer: study questions and discussion board questions.
5. Participate: in Wimba chat session this week, Sunday night, June 30th, at 8:00 pm, EST.
***Students should select their final paper topics (see approved topics under the Assignments tab in Blackboard) and begin working on their papers this week.***
Week Seven (7/1-7/7)
Exam 2 (covering materials—films, novels, and audio lectures—from weeks four, five, and six)
Week Eight (7/8-7/14)
1. Read: Time Machine
2. Watch: 2001: A Space Odyssey (1968)
3. Listen: to this week’s audio lecture.
4. Answer: study questions and discussion board questions.
Week Nine (7/15-7/21)
1. Read: The Strange Case of Dr. Jekyll and Mr. Hyde.
2. Watch: Cat People.
3. Listen: to this week’s audio lecture.
4. Answer: study questions and discussion board questions.
Week Ten (7/22-7/28)
1. Read: Fahrenheit 451 and in Science Fiction (1015-1027)
2. Watch: Robocop (1987) 3. Listen: to this week’s audio lecture.
4. Answer: study questions and discussion board questions.
5. Participate: in Wimba chat session this week, Sunday night, July 28th, at 8:00 pm, EST.
Week Eleven (7/29-8/4)
1. Read: Do Androids Dream of Electric Sheep?
2. Watch: Mad Max Beyond Thunderdome (1985)
3. Listen: to this week’s audio lecture.
4. Answer: study questions and discussion board questions
5. Participate: in Wimba chat session this week, Sunday night, August 4th, at 8:00 pm, EST.
Week Twelve (8/5-8/9)
Final Exam (covering materials—films, novels, and audio lectures—from weeks eight, nine, ten, and eleven)
Final Paper is due.
Make-Up Policy: Assignments, exams, and papers must be completed in a timely manner, according to the schedule provided. Late assignments will not be accepted and there will be no make-up exams. Please contact the instructor right away if you are having problems fulfilling course requirements.
Assignment Due Dates: Discussion Board Questions (due weekly, except during exam weeks)
In order to receive full credit on each discussion board, the student must post twice, writing the following: 1) an original response to the discussion board questions about the readings/films that provides evidence of the student’s ability to engage critically with the material. This means that the student cannot simply reiterate what another student has already said, that s/he must review the other postings before they write their own, and that statements of interpretation must be backed by textual evidence, i.e., page numbers and quotes; AND 2) at least one thoughtful response to an original posting made by a fellow classmate. Students whose postings are not written in complete sentences and do not comply with standard grammatical and spelling rules will not receive full credit.
Study Questions (due weekly, except during exam weeks)
Please make sure you have read the assigned readings and have listened to the assigned audio lecture prior to answering these questions. Keep in mind that some questions will require longer and more detailed answers than others. Open the attached file and answer each of the questions in complete sentences in the space following each question, so that I can keep track of your answers. Once you have completed these study questions, save the file and submit it to be graded by clicking on the title link and attaching your document.
Exams (due: Week 3, Week 7, Week 12)
Exams are comprised of comprehension questions, short answer questions, and essay questions drawn from the required readings, films, and audio lectures. Exams are held online and must be completed within a designated time frame.
Final Paper (8/9)
Students should select ONE of the following Approved Final Paper Topics:
#1: Using the film Mad Max beyond Thunderdome (film), The Time Machine (text), Fahrenheit 451 (text), write a paper that supports the following thesis: "Mankind is doomed to make the same mistakes, even though people have history to show them the errors of exploiting science for destructive means."
#2: Using Frankenstein (novel), Do Androids Dream of Electric Sheep? (novel), and The Fly (film), write a paper that supports the following thesis: "The bad scientist is a megalomaniac, using science to pervert nature, creating monsters in his attempt to be like God."
#3: Using Dracula (novel), and either The Exorcist (film) or The Amityville Horror (film), as well as your choice of one of the following films: 28 Days Later, I am Legend, or Children of Men, write a paper that supports the following thesis: "Fantasy shows that the idea of the supernatural is an important underlying fear prevalent in the psyche of humanity, which manifests itself differently, depending on the social or historical circumstances which spawns the creation of that work of literature or film."
#4: Using The Day the Earth Stood Still (film), It Came from Outer Space (film), Close Encounters of the Third Kind (film), Them (film), Aliens (film), and Independence Day (film), write a paper that supports the following thesis: "Depending on the era and socio-political environment in which a film is created, the creatures depicted in these films can be either a menace to mankind or a deliverance from destruction." Be sure to specify how such socio-political forces determine the environments under discussion.
#5: Using all the films in choice #4, support the following thesis: "Depending on the era and socio-political environment in which a creature film is created the government, police, and scientists can be seen as either good or bad forces, and these films clearly show these oppositions." Be sure to specify how such socio- political forces determine the environments under discussion.
#6: Using the novels, Frankenstein and Do Androids Dream of Electric Sheep?, support the following thesis: "The creation of artificial life in these novels shows that if human beings create artificial life, we will create a race of second class citizens because our nature is to use science to support our need to subjugate others different from ourselves."
#7: Using the scientists in the novels, Frankenstein and Dr. Jekyll and Mr. Hyde, and the films, The Fly, I am Legend, The Day the Earth Stood Still, and It Came From Outer Space, support the following thesis: "The scientist is rarely shown in neutral or ambivalent ways but as either the evil, mad scientist, or as the benevolent hope for humankind's survival."
Formatting for the Final Paper:
Your final papers should be 8-10 typed, double-spaced pages, not including the works cited page. Papers should be written in accordance with MLA Style, which means that students should cite page numbers or scene numbers in parentheses whenever they summarize, paraphrase, or quote from one of the works we have read/watched. Be sure to introduce and interpret all quotes and ideas that are not your own. Also part of MLA style is a works cited page, in which full bibliographic information for each source is listed in alphabetical order. The Purdue OWL (http://owl.english.purdue.edu/owl/resource/747/01/) is a helpful source for navigating MLA style. Your final paper should also have a title of your own making, one that is original to your paper, followed by your name, ENG 323 Final Paper, Summer 2013, and Dr. Nicole Sparling. Include your last name and the page number in the header, right justified (and mark different first page).
Elements of Writing Style:
Within the first few pages of your paper, you should establish the significance of your analysis and the exigency of your argument. In other words, you should be able to tell us what your exercise of literary analysis reveals and why it is important. Signposting can be really important to guiding your reader/listener through your argument. It is helpful, for instance, to tell the reader exactly what you plan to do in your paper and how you organize your argument. It is also wonderful if you can tie your interpretations and analysis back to your thesis. When in doubt, err on the side of being more specific in your word choice. For instance, “society” could be replaced by “contemporary American society” or “American literature” could be replaced by “late twentieth century U.S. literature.” Indeed, providing time and place, or identifying specific groups/nations will make your essay more convincing and your arguments more manageable.
Types of Evidence to Consider:
Keep in mind that you must use textual/filmic evidence in order to support your thesis. Use the following list to consider possible types of evidence that you might include to support your analysis, noting that wherever you see “text” that it refers to both literary texts and film texts:
Use of language: Look up any words you do not know or which are used in unfamiliar ways. Also, note (and verify) interesting connotations of words. Did the author coin any words? Are there any slang words, innuendoes, puns, ambiguities? Do the words have interesting etymologies?
Irony: How does irony operate in the text, if at all? What effect does the use of irony have on the reader or on his/her interpretation of the text?
Imagery: What sort of imagery is invoked? How do the images relate to those in the rest of the text? What happens to the imagery over the course of the text?
Rhetorical Devices: Note particularly interesting metaphors, similes, images, or symbols, especially ones that recur in the text. Are there any classical, biblical or historical allusions? How do the rhetorical devices work with respect to the themes of the text as a whole?
Gender: How does the text construct gender (masculinity or femininity) through its characters? What issues of gender identity does it evoke? How does it represent women’s/men’s issues? Does it reveal something interesting about women’s/men’s writing?
Identity: How does the text represent, engage with, or critique other aspects of identity, e.g., race, sexuality, class, ability, religion, political affiliations, etc. through its characters?
Knowledge: What does the text convey about knowledge production? What kinds of knowledge production do the characters or does the author value? Does knowledge come from individual or collective experience, detached observation, the scientific process, religion and theology, imagination and dreams, or the supernatural and “other” realms?
Genre: In what particular genre categories does it fall? What distinguishes this text from others within its same genre? What sorts of contributions does this text make aesthetically as well as politically?
Allegory: Can this text be read as allegorical? If so, how does this fantastical or other world map onto our own? What kinds of ideas does such a comparison reveal?
Sociopolitical context: How does the space and time in which a particular text was produced shape the concerns of the author? What impact do culture, history, memory, politics, and world events have on the narrative? Who is telling the story and why is his/her perspective significant?
Wimba Chat (5/26; 6/6; 6/30; 7/28; 8/4)
Students are expected to participate in five wimba chat sessions, either through the instant message function or orally via a microphone and headset. Post-Class Assignment: There is no post-class assignment. Student Involvement Hours: Students should expect to spend an average of 10-12 hours per week on this course. VII. CRITERIA FOR EVALUATION Evaluation Criteria:
Percent Total Points
Discussion Board Questions 10% 50
Study Questions 15% 75
Wimba Chat 5% 25
Exam 1 15% 75
Exam 2 15% 75
Final Exam 20% 100
Final Paper 25% 125
Grading Scale:
A 96-100
A- 92-95
B+ 88-91
B 84-87
B- 80-83
C+ 76-79
C 72-75
C- 68-71
D+ 64-67
D 60-63
D- 56-59
E 55 or less
Late Assignments:
Late assignments will not be accepted and there will be no make-up exams.
Make-ups and Rewrites: Assignments, exams, and papers must be completed in a timely manner, according to the schedule provided. Please contact the instructor right away if you are having problems fulfilling course requirements.
VIII. EXPECTATIONS Attendance and Participation: I have set up office hours via Wimba chat, Wimba group chat sessions, and the Discussion Board in order to provide opportunities for you to communicate with me and each other as well as to simulate online the kinds of opportunities for exchange you might have in a face-to-face setting. Please keep in mind that even though this class takes place in a virtual setting, you should still be professional with the content of your posts and courteous in your tone as you interact with others. This course requires you to work at a designated pace and to be proactive and self-disciplined in order to complete the weekly tasks. Please be sure to give yourself adequate time to do the readings, watch the films, listen to the audio lectures earlier in the week, so that you are able to complete the assignments by the due dates. Academic Integrity: Because academic integrity is a cornerstone of the University's commitment to the principles of free inquiry, students are responsible for learning and upholding professional standards of research, writing, assessment, and ethics in their areas of study. Written or other work which students submit must be the product of their own efforts and must be consistent with appropriate standards of professional ethics. Academic dishonesty, which includes cheating, plagiarism and other forms of dishonest or unethical behavior, is prohibited. A breakdown of behaviors that constitute academic dishonesty is presented in the CMU Bulletin (https://bulletins.cmich.edu/).
Student Rights and Responsibilities:
Each member of the Central Michigan University community assumes an obligation regarding self conduct to act in a manner consistent with a respect for the rights of others and with the University's function as an educational institution. As guides for individual and group actions within this community, the University affirms the general principles of conduct described in the Code of Student Rights, Responsibilities and Disciplinary Procedures at https://www.cmich.edu/about/leadership/office_provost/dean/Pages/Code-of-Student-Rights.aspx.
IX. SUPPORT SERVICES AND OTHER REQUIREMENTS Global Campus Library Services (GCLS)
CMU offers you a full suite of library services through its Global Campus Library Services (GCLS) department. Reference librarians will assist you in using research tools and locating information related to your research topic. The library???s Documents on Demand office will help you obtain copies of the books and journal articles you need. Check out the GCLS website at http://ocls.cmich.edu for more information.
Reference librarian contact information: 1. By phone: (800) 544-1452. 2. By email: [email protected] 3. By online form: http://ocls.cmich.edu/reference/index.html#form
Documents on Demand office contact information: 1. By phone: (800) 274-3838 2. By email: [email protected] 3. By fax: (877) 329-6257 3. By online form: http://ocls.cmich.edu/delivery/index.html
Writing Center
The CMU Writing Center is a free online service for all CMU students, providing help with grammar, citations, bibliographies, drafts, and editing of academic papers. Suggestions and feedback are typically provided within two business days. For additional information and to submit work, visit http://webs.cmich.edu/writingcenter/
Mathematics Assistance Center
The CMU Mathematics Assistance Center provides free tutoring in mathematics and statistics to students enrolled in select courses. Tutoring is available online and via telephone. To see what courses qualify and to register with the Math Assistance Center, visit http://global.cmich.edu/mathcenter/tutoring-request.aspx.
ADA
CMU provides individuals with disabilities reasonable accommodations to participate in educational programs, activities and services. Students with disabilities requiring accommodations to participate in class activities or meet course requirements should contact Susie Rood, Director of Student Disability Services at (800) 950-1144, extension 3018 or email her at [email protected], at least 4 weeks prior to registering for class. Students may find additional ADA information and forms at http://go.cmich.edu/support_services/academic/StudentDisabilityServices/Pages/default.aspx
Note to faculty: CMU Administration will notify you if applicable; otherwise, the student will provide a "Notification Letter to the Instructor" outlining the accommodations the student is approved to receive.
X. BIBLIOGRAPHY Selected Bibliography
Delany, Samuel. Silent Interviews: On Language, Race, Sex, Science Fiction, and Some Comics: A Collection of Written Interviews. Hanover, NH: Wesleyan University Press and the University Press of New England, 1994.
Freedman, Carl. Critical Theory and Science Fiction. Middletown, CT: Wesleyan, 2004.
Flanagan, Mary and Austin Booth. Reload: Rethinking Women + Cyberculture. Cambridge, MA: MIT Press, 2002.
Gunn, James, Marleen S. Barr, and Matthew Candelaria, eds. Reading Science Fiction. New York, NY: Pal grave Macmillan, 2009.
Gunn, James and Matthew Candelaria, eds. Speculations on Speculation: Theories of Science Fiction. Lanham, MD: Scarecrow Press, 2005.
Haraway, Donna Jeanne. Primate Visions: Gender, Race, and Nature in the World of Modern Science. New York, NY: Routledge, 1989.
---. Simians, Cyborgs, and Women: The Reinvention of Nature. London, UK: Free Association Books, 1996.
---. When Species Meet. Minneapolis, MN: University of Minnesota Press, 2008. Hassler, Donald M. Political Science Fiction. Columbia, SC: University of South Carolina Press, 1997.
Helford, Elyce Rae. Fantasy Girls: Gender in the New Universe o/Science Fiction and Fantasy Television. Lanham, MD: Rowman & Littlefield, 2000.
Hochscherf, Tobias, and James Leggott, eds. British Science Fiction Film and Television: Critical Essays. Jefferson, NC: McFarland. 2011.
Holland, Steve, and Alex Summersby. Sci-Fi Art: A Graphic History. NY: Harper Design, 2009.
Howells, Coral Ann. Margaret Atwood. New York, NY: Palgrave Macmillan, 2005. James, Edward and Farah Mendelsohn, eds. The Cambridge Companion to Science Fiction. Cambridge, UK: Cambridge University Press, 2003.
--- eds. The Cambridge Companion to Fantasy Literature. Cambridge, UK: Cambridge University Press. 2012.
Jameson, Fredric. Archaeologies of the Future: The Desire Called Utopia. Brooklyn, NY: Verso. 2007.
Joshi, S. T. The Weird Tale. Rockville, MD: Wildside, 2003.
Larbalestier, Justine,ed. Daughters of Earth: Feminist Science Fiction in the Twentieth Century. Middletown, CT: Wesleyan UP: 2006.
Lavender, Isaiah. Race in American Science Fiction. Bloomington, IN: Indiana University Press.
Leonard, Elisabeth Anne. Into Darkness Peering: Race and Color in the Fantastic. Westport, CT: Greenwood Press, 1997.
Lewes, Darby. Dream Revisionaries: Gender and Genre in Women's Utopian Fiction, 1870-1920. Tuscaloosa, AL: University of Alabama Press, 1995.
Macpherson, Heidi Slettedahl. The Cambridge Introduction to Margaret Atwood. Cambridge and New York: Cambridge University Press, 2010.
Melzer, Patricia. Alien Constructions: Science Fiction and Feminist Thought. Austin, TX: University of Texas Press, 2006.
Mendlesohn, Farah. Rhetorics 0/ Fantasy. Middletown, CT: Wesleyan. 2008. Merrick, Helen. The Secret Feminist Cabal: A Cultural History o/Science Fiction Feminisms. Seattle, WA: Aqueduct Press, 2009.
Mohr, Dunja M. Worlds Apart: Dualism and Transgression in Contemporary Female Dystopias. Jefferson, NC: McFarland & Co., 2005.
Nama, Adilifu. Black Space: Imagining Race in Science Fiction Film. Austin, TX: University of Texas Press.
Noonan, Bonnie. Women Scientists in Fifties Science Fiction Films. Jefferson, NC: McFarland & Co., 2005. Parrinder, Patrick (ed.). Learningfrom Other Worlds: Estrangement, Cognition, and the Politics o/Science Fiction and Utopia. Durham, NC: Duke University Press, 2000.
Roberts, Robin. A New Species: Gender and Science in Science Fiction. Urbana, IL: U of Illinois Press, 1993.
Russ, Joanna. To Write Like a Woman: Essays in Feminism and Science Fiction. Bloomington, IN: Indiana University Press, 1995.
Sanders, Steven M. The Philosophy o/Science Fiction Film. Lexington, KY: University Press of Kentucky, 2009.
Shaw, Debra Benita. Women, Science, and Fiction: The Frankenstein Inheritance. New York, NY: Palgrave, 2000.
Sobchak, Vivian. Screening Space: The American Science Fiction Film, 2nd ed. New Brunswick, NJ: Rutgers, 1987.
Stockwell, Peter. The Poetics o/Science Fiction. Upper Saddle River, NJ: Pearson Education, 2001.
Suvin, Darko. Metamorphoses of Science Fiction. New Haven, CT: Yale, 1979.
------. Positions and Presuppositions in Science Fiction. Kent, OH: Kent State Univ. Press 1988.
Thaler, Ingrid. Black Atlantic Speculative Fictions: Octavia E. Butler, Jewelle Gomez, and Nalo Hopkinson. New York, NY: Routledge, 2009.
Wolfe, Gary K. Evaporating Genres: Essays on Fantastic Literature. Middletown, CT: Wesleyan, 2011.
Yaszek, Lisa. The Self Wired: Technology and Subjectivity in Contemporary Narrative. New York, NY: Routledge, 2002. Center Information
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CMU does not discriminate on the basis of sex in the education program or activity that it operates, including admission and employment, and is required by Title IX of the Education Amendments of 1972 not to discriminate in such a manner.
Inquiries about the application of Title IX can be made to CMU’s Title IX Coordinator, the US Department of Education’s Assistant Secretary, or both.
CMU’s Title IX Coordinator can be reached at: Office: 103 E. Preston St. Bovee University Center, suite 306 Mount Pleasant, MI 48858 Email: [email protected] Phone: 989-774-3253
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