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Panels Seeking Participants
Panels Seeking Participants • All paper proposals must be submitted via the Submittable (if you do not have an account, you will need to create one before submitting) website by December 15, 2018 at 11:59pm EST. Please DO NOT submit a paper directly to the panel organizer; however, prospective panelists are welcome to correspond with the organizer(s) about the panel and their abstract. • Only one paper proposal submission is allowed per person; participants can present only once during the conference (pre-conference workshops and chairing/organizing a panel are not counted as presenting). • All panel descriptions and direct links to their submission forms are listed below, and posted in Submittable. Links to each of the panels seeking panelists are also listed on the Panel Call for Papers page at https://www.asle.org/conference/biennial-conference/panel-calls-for-papers/ • There are separate forms in Submittable for each panel seeking participants, listed in alphabetical order, as well as an open individual paper submission form. • In cases in which the online submission requirement poses a significant difficulty, please contact us at [email protected]. • Proposals for a Traditional Panel (4 presenters) should be papers of approximately 15 minutes-max each, with an approximately 300 word abstract, unless a different length is requested in the specific panel call, in the form of an uploadable .pdf, .docx, or .doc file. Please include your name and contact information in this file. • Proposals for a Roundtable (5-6 presenters) should be papers of approximately 10 minute-max each, with an approximately 300 word abstract, unless a different length is requested in the specific panel call, in the form of an uploadable .pdf, .docx, or .doc file. -
Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. -
13Th Valley John M. Del Vecchio Fiction 25.00 ABC of Architecture
13th Valley John M. Del Vecchio Fiction 25.00 ABC of Architecture James F. O’Gorman Non-fiction 38.65 ACROSS THE SEA OF GREGORY BENFORD SF 9.95 SUNS Affluent Society John Kenneth Galbraith 13.99 African Exodus: The Origins Christopher Stringer and Non-fiction 6.49 of Modern Humanity Robin McKie AGAINST INFINITY GREGORY BENFORD SF 25.00 Age of Anxiety: A Baroque W. H. Auden Eclogue Alabanza: New and Selected Martin Espada Poetry 24.95 Poems, 1982-2002 Alexandria Quartet Lawrence Durell ALIEN LIGHT NANCY KRESS SF Alva & Irva: The Twins Who Edward Carey Fiction Saved a City And Quiet Flows the Don Mikhail Sholokhov Fiction AND ETERNITY PIERS ANTHONY SF ANDROMEDA STRAIN MICHAEL CRICHTON SF Annotated Mona Lisa: A Carol Strickland and Non-fiction Crash Course in Art History John Boswell From Prehistoric to Post- Modern ANTHONOLOGY PIERS ANTHONY SF Appointment in Samarra John O’Hara ARSLAN M. J. ENGH SF Art of Living: The Classic Epictetus and Sharon Lebell Non-fiction Manual on Virtue, Happiness, and Effectiveness Art Attack: A Short Cultural Marc Aronson Non-fiction History of the Avant-Garde AT WINTER’S END ROBERT SILVERBERG SF Austerlitz W.G. Sebald Auto biography of Miss Jane Ernest Gaines Fiction Pittman Backlash: The Undeclared Susan Faludi Non-fiction War Against American Women Bad Publicity Jeffrey Frank Bad Land Jonathan Raban Badenheim 1939 Aharon Appelfeld Fiction Ball Four: My Life and Hard Jim Bouton Time Throwing the Knuckleball in the Big Leagues Barefoot to Balanchine: How Mary Kerner Non-fiction to Watch Dance Battle with the Slum Jacob Riis Bear William Faulkner Fiction Beauty Robin McKinley Fiction BEGGARS IN SPAIN NANCY KRESS SF BEHOLD THE MAN MICHAEL MOORCOCK SF Being Dead Jim Crace Bend in the River V. -
Network Aesthetics
Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor ___________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor __________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Patrick Jagoda 2010 Abstract Following World War II, the network emerged as both a major material structure and one of the most ubiquitous metaphors of the globalizing world. Over subsequent decades, scientists and social scientists increasingly applied the language of interconnection to such diverse collective forms as computer webs, terrorist networks, economic systems, and disease ecologies. The prehistory of network discourse can be -
Mirrorshade Women: Feminism and Cyberpunk
Mirrorshade Women: Feminism and Cyberpunk at the Turn of the Twenty-first Century Carlen Lavigne McGill University, Montréal Department of Art History and Communication Studies February 2008 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy in Communication Studies © Carlen Lavigne 2008 2 Abstract This study analyzes works of cyberpunk literature written between 1981 and 2005, and positions women’s cyberpunk as part of a larger cultural discussion of feminist issues. It traces the origins of the genre, reviews critical reactions, and subsequently outlines the ways in which women’s cyberpunk altered genre conventions in order to advance specifically feminist points of view. Novels are examined within their historical contexts; their content is compared to broader trends and controversies within contemporary feminism, and their themes are revealed to be visible reflections of feminist discourse at the end of the twentieth century. The study will ultimately make a case for the treatment of feminist cyberpunk as a unique vehicle for the examination of contemporary women’s issues, and for the analysis of feminist science fiction as a complex source of political ideas. Cette étude fait l’analyse d’ouvrages de littérature cyberpunk écrits entre 1981 et 2005, et situe la littérature féminine cyberpunk dans le contexte d’une discussion culturelle plus vaste des questions féministes. Elle établit les origines du genre, analyse les réactions culturelles et, par la suite, donne un aperçu des différentes manières dont la littérature féminine cyberpunk a transformé les usages du genre afin de promouvoir en particulier le point de vue féministe. -
Hugo Awards Issue H
HUGO ISSUE The Solitary Star SUNDAY, SEPTEMBER 1, 2013 2013 Hugo Awards Best Novel: Redshirts: A Novel with Three Codas by John Scalzi (Tor) Best Novella: “The Emperor's Soul” by Brandon Sanderson (Tachyon Publications) Best Novelette: “The Girl-Thing Who Went Out for Sushi” by Pat Cadigan (Edge of Infinity, Solaris) Best Short Story: “Mono no aware” by Ken Liu (The Future is Japanese, VIZ Media LLC) Best Related Work: Writing Excuses, Season 7 by Brandon Sanderson, Dan Wells, Mary Robinette Kowal, Howard Tayler, and Jordan Sanderson Best Graphic Story: Saga, Volume 1 written by Brian K. Vaughan, illustrated by Fiona Staples (Image Comics) Best Dramatic Presentation (Long Form): The Avengers Screenplay & Directed by Joss Whedon (Marvel Studios, Disney, Paramount) Best Dramatic Presentation (Short Form): Game of Thrones: “Blackwater” Written by George R.R. Martin, Directed by Neil Marshall. Created by David Benioff and D.B. Weiss (HBO) Best Editor – Short Form: Stanley Schmidt Best Editor – Long Form: Patrick Nielsen Hayden Best Professional Artist: John Picacio Best Semiprozine: Clarkesworld edited by Neil Clarke, Jason Heller, Sean Wallace and Kate Baker Best Fanzine: SF Signal edited by John DeNardo, JP Frantz, and Patrick Hester Best Fancast: SF Squeecast, Elizabeth Bear, Paul Cornell, Seanan McGuire, Lynne M. Thomas, Catherynne M. Valente (Presenters) and David McHone-Chase (Technical Producer) Best Fan Writer: Tansy Rayner Roberts Best Fan Artist: Galen Dara John W. Campbell Award for Best New Writer: Mur Lafferty Total number of valid ballots received: 1,848 Number of ballots needed to pass the 25% rule: 462 All categories passed easily Hugo Administration: Todd Dashoff Hugo Awards Subcommittee: Todd Dashoff, Vincent Docherty, Saul Jaffe, Steven Staton, Beth Welsh, Ben Yalow Hugo Final Ballot Counting Software: Jeff Copeland Hugo Packet: Beth Welsh o Hugo Packet Staff: Andrew A. -
118 Reviews of Books Does, the Book Is a Pleasure. He Roots It in Feminist, Race, and Sf Scholarship, Just As He Grounds Butler
118 Reviews of Books does, the book is a pleasure. He roots it in feminist, race, and sf scholarship, just as he grounds Butler in black American women’s writing traditions and sf tropes. Moreover, he stays focused on his literary argument and doesn’t get lost in the weeds of debates about agency, humanism, and the problematic legacy of the Enlightenment. Ultimately, Of Bodies, Communities, and Voices is indispensable for any Butler scholar, primarily because of the ways he connects so many of her work’s central concerns without reducing its complexity or variety. It will function more as a source of research than pedagogy, except maybe in upper-level classes centered on Butler. I recommend it not only to scholars of Butler but sf in general, especially in terms of afrofuturism, posthumanism, or any of Bast’s focal points (agency, bodies, community, voice). Biopunk SF in Liquid Modernity. Lars Schmeink. Biopunk Dystopias: Genetic Engineering, Society and Science Fiction. Liverpool: Liverpool University Press, 2016. 288 pp. ISBN 978-1-78-138376-6. £75 hc. Reviewed by D. Harlan Wilson Biopunk is among the more recent sf subgenres to emerge from the virtual citadel of 1980s cyberpunk. There have been others—most prominently steampunk, but also splatterpunk, nanopunk, dieselpunk, bugpunk, even elfpunk and monkpunk—but biopunk narratives are perhaps the first truly authentic descendant of the cyberpunks, featuring gritty dystopian settings, beat characters, corporate terrorism, techno-pathology, and body invasion. Instead of hacking computers, however, biopunks hack DNA and operate in worlds where the processes and products of genetic engineering are brought to bear by various forms of mad scientism. -
Solarpunk: L'utopia Che Vuole Esistere a Cura Di Giulia Abbate E Romina Braggion
Solarpunk: l'utopia che vuole esistere a cura di Giulia Abbate e Romina Braggion Zest Letteratura sostenibile | © Tutti i diritti riservati I Per ZEST Letteratura sostenibile | 2020 Progetto Prose Selvatiche – Osservatorio sull'Eco-fiction www.zestletteraturasostenibile.com Tutti i diritti riservati in copertina immagine di Rita Fei Zest Letteratura sostenibile | © Tutti i diritti riservati II Prima la domanda: perché? Nato negli anni '10 di questo secolo, emanazione diretta della fantascienza quanto dell'eco-fiction classica, il solarpunk ha alcune caratteristiche che hanno richiamato la nostra attenzione e che troviamo utile sistematizzare e far conoscere. Questo perché il solarpunk si fa interprete di sentimenti e istanze attualissime e utili a un progresso collettivo, organico, equo, ecologico, inclusivo; si esplicita in un comparto visuale che va oltre la mera suggestione estetica; fin dai suoi inizi esprime una visione politica complessa e aperta a vari contributi, ma chiara. È un genere, insomma, che potrebbe essere un movimento: potrebbe aiutarci non solo a immaginare un futuro migliore, ma anche a costruire strategie operative per avvicinarci a tali visioni condivise. Radici: le immagini Risalire alle le radici del solarpunk è stata una scoperta: ci ha portate su strade affatto scontate, in un lavoro di ricostruzione cross-mediale. Queste radici non sono letterarie, ma legate al mondo di Tumblr, una piattaforma di comunicazione di nicchia: mescola il microblogging con la diffusione social, dando la preminenza a contenuti visuali; è qui che il solarpunk ha mosso i suoi primi passi, identificandosi in una serie di immagini, che mostravano mondi futuri diversi da quelli a cui ci ha abituato la distopia postapocalittica e l'immaginario urbano cyberpunk. -
Asfacts Oct19.Pub
doon in 2008. His final story, “Save Yourself,” will be published by BBC Books later this year. SF writers in- Winners for the Hugo Awards and for the John W. cluding Charlie Jane Anders, Paul Cornell, and Neil Campbell Award for Best New Writer were announced Gaiman have cited his books as an important influence. August 18 by Dublin 2019, the 77th Worldcon, in Dub- Dicks also wrote over 150 titles for children, including lin, Ireland. They include a couple of Bubonicon friends the Star Quest trilogy, The Baker Street Irregulars series, – Mary Robinette Kowal, Charles Vess, Gardner Dozois, and The Unexplained series, plus children’s non-fiction. and Becky Chambers. The list follows: Terrance William Dicks was born April 14, 1935, in BEST NOVEL: The Calculating Stars by Mary Robi- East Ham, London. He studied at Downing College, nette Kowal, BEST NOVELLA: Artificial Condition by Cambridge and joined the Royal Fusiliers after gradua- Martha Wells, BEST NOVELETTE: “If at First You Don’t tion. He worked as an advertising copywriter until his Succeed, Try, Try Again” by Zen Cho, BEST SHORT STO- mentor Malcolm Hulke brought him in to write for The RY: “A Witch’s Guide to Escape: A Practical Compendi- Avengers in the ’60s, and he wrote for radio and TV be- um of Portal Fantasies” by Alix E. Harrow, BEST SERIES: fore joining the Doctor Who team in the late ’60s. He Wayfarers by Becky Chambers, BEST GRAPHIC STORY: also worked as a producer on various BBC programs. He Monstress, Vol 3: Haven by Marjorie Liu and illustrated is survived by wife Elsa Germaney (married 1963), three by Sana Takeda, sons, and two granddaughters. -
Living in the End Times Programme
Living in the End Times: Utopian and Dystopian Representations of Pandemics in Fiction, Film and Culture 13-15 January 2021 A Virtual Conference Hosted by Cappadocia University, Turkey Keynote Speakers: Maggie Gee, Larissa Lai, Elizabeth Outka, Kim Stanley Robinson, Raffaella Baccolini, Laurence Davis, Patricia McManus, Tom Moylan, Darko Suvin, and Phillip E. Wegner Organising Committee: Heather Alberro (Nottingham Trent University, UK) Emrah Atasoy (Cappadocia University, Turkey) Nora Castle (University of Warwick, UK) Rhiannon Firth (University of Essex, UK) Martin Greenwood (University of Manchester, UK) Robert Horsfield (Birmingham, UK) Burcu Kayışcı Akkoyun (Boğaziçi University, Turkey) Pelin Kıvrak (Harvard University, USA) Conrad Scott (University of Alberta, Canada) Bridget Vincent (University of Nottingham, UK) Contents Conference Schedule 01 Time Zone Cheat Sheets 07 Schedule Overview & Teams/Zoom Links 09 Keynote Speaker Bios 13 Musician Bios 18 Organising Committee 19 Panel Abstracts Day 2 - January 14 Session 1 23 Session 2 35 Session 3 47 Session 4 61 Day 3 - January 15 Session 1 75 Session 2 89 Session 3 103 Session 4 119 Presenter Bios 134 Acknowledgements 176 For continuing updates, visit our conference website: https://tinyurl.com/PandemicImaginaries Conference Schedule Turkish Day 1 - January 13 Time Opening Ceremony 16:00- Welcoming Remarks by Cappadocia University and 17:30 Conference Organizing Committee 17:30- Coffee Break (30 min) 18:00 Keynote Address 1 ‘End Times, New Visions: 18:00- The Literary Aftermath of the Influenza Pandemic’ 19:30 Elizabeth Outka Chair: Sinan Akıllı Meal Break (60 min) & Concert (19:45-20:15) 19:30- Natali Boghossian, mezzo-soprano 20:30 Hans van Beelen, piano Keynote Address 2 20:30- 22:00 Kim Stanley Robinson Chair: Tom Moylan Follow us on Twitter @PImaginaries, and don’t forget to use our conference hashtag #PandemicImaginaries. -
Opuntia-452.Pdf
Middle August 2019 Around The Hotel. Opuntia is published by Dale Speirs, Calgary, Alberta. It is posted on www.efanzines.com and The cover shows a licence plate I saw in the hotel parking lot. www.fanac.org. My e-mail address is: [email protected] When sending me an emailed letter of comment, please include your name and town in the message. Bottom: I took a long shot of the hotel from a half-block away. At left is the Atrium section where the dealer bourse and science panels were. At right is the Tower section where most of the literary seminars were. The two are connected at their third stories by an enclosed pedestrian crossing over Bonaventure Drive. Most con-goers preferred the shorter route out on the street, and crossed at the WHEN WORDS COLLIDE 2019 traffic lights. by Dale Speirs Below: Registration was quick and easy. Well organized. [Reports of previous WWC conventions appeared in OPUNTIAs #71, 253, 266, 282, 318, 350, 387, and 421.] Calgary’s ninth annual readercon When Words Collide was held on the weekend of August 9 to 11. It took place at the usual venue of the Delta South hotel on Southland Drive SE and straddling overtop Bonaventure Drive. The membership was capped at 750 plus volunteers, so the convention was like a village rather than the mob scenes of Calgary Comic Expo (90,000 paid attendees) or the Calgary anime convention Otafest (8,000 paid). As with my past reports, I’ll sort events out by theme rather than chronology. -
7 It Was Already Five Past Nine, but the Shop Was Dark. Sebastian Was Late. 'Damn You, Seb,' Cait Said Aloud, Unlocking
One It was already five past nine, but the shop was dark. Sebastian was late. ‘Damn you, Seb,’ Cait said aloud, unlocking the doors and propping them open with the stone Snugglepot and Cuddlepie statues she’d bought from a Gumtree seller some years back. They were stupidly heavy and sadly battered – Cuddlepie’s nose had been bashed off somewhere along the line – but Cait was still delighted with the purchase. ‘I know they’re not exactly beating the doors down on a Saturday, but I can’t afford to be missing out on passing trade while he’s getting his act together,’ she told Snugglepot. She flicked on the lights and started hauling out the first of the two front trolleys. Made by the same carpenter who had made the rest of the shop’s fittings, each had four wheeled legs supporting a large, shallow wooden tray at waist height. Cait had filled them with rows of books standing face-forward, leaning back like slanted dominoes, for display outside. She had hand-picked every title. Impulse buys, little joke and gift books: 1001 songs to listen to in love, another 1001 for breakups, 101 countries to visit when you finally manage to get off your arse and stop wasting money on impulse buys. Et cetera. But also novels and nonfiction, teasers to hint at the vast range of stock inside. The trolley’s weight pulled it swiftly down the ramp, Cait struggling to hang on to it and not let it career across the road to the cafe opposite.