DOCSLIB.ORG

Clause of Congruency: a Possible Worlds Reading of Threenovelsofraybradbury

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Clause of Congruency: a Possible Worlds Reading of Threenovelsofraybradbury THE CLAUSE OF CONGRUENCY: A POSSIBLE WORLDS READING OF THREE NOVELSOFRAYBRADBURY by Nicole Adamo A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, Florida December 2002 Copyright by Nicole Adamo 2002 11 TIIE CLAUSE OF CONGRUENCY: A POSSIBLE WORLDS READING OF THREENOVELSOFRAYBRADBURY by Nicole Adamo This thesis was prepared under the direction of the candidate's thesis advisor, Dr. Thomas L. Martin, Department of English, and has been approved by the members of her supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree ofMaster of Arts. Mary E. Fa ci, Committee Member Date 111 ABSTRACT Author: Nicole Adamo Title: The Clause of Congruency: A Possible Worlds Reading of Three Novels by Ray Bradbury Institution: Florida Atlantic University Thesis Advisor: Dr. Thomas L. Martin Degree: Master of Arts Year: 2002 Using Marie-Laure Ryan' s definition of the law of minimal departure, I propose an important addendum, the clause of congruency. It is necessary to delve deeper into the connection a reader makes with a textual possible world and its relation to the actual world. The textual world, with all its various rules and mores, becomes just as accessible to the reader as the world he currently resides in, so long as it flows along in a logical manner. It is only when something appears that is incongruent with the reader's understanding of the textual world, the reader is forced to dissemble his current textual world and build a new one. Ray Bradbury utilizes the clause of congruence to reveal meaning in three of his novels. IV TABLE OF CONTENTS The Clause of Congruency: A Brief Theoretical Background ............ .. .... .. .. ......................... ...... ... 1 When Worlds Collide: Bradbury's Textual Worlds in The Martian Chronicles ......................... .... .. ................. .. ... ................. ... .. .. .. ......... .. ... ....... ............. II Mere Reflections: The Clause of Congruency and The Characters of Fahrenheit 451 ... ..... .... ................. ... .. .... ..... ....................... .......... ................ ... .. 18 The Yin and the Yang: Bradbury Balances Textual Worlds in Something Wicked This Way Comes ............................................................................. 28 Purposeful Inconsistencies: The Need for The Clause of Congruence ......................... .................. .............. .. ...... ................................................... 3 7 Notes .... ....................... ................. ..... ... ..... .... .... ... ................. .. ............. .... .... ... .... .... .................. .. ... 40 Works Cited .............. .. .. ............ ...................... ..... ..... ... ... ... ... ..... .. ...... .. ..... ..... .... ......... ... ...... .. ...... .. 41 The Clause of Congruency: A BriefTheoretical Background When literary theorists discuss the "possibility" and "impossibility" of fictional worlds, they inevitably turn to the discussion of intertextuality and minimal departure. Their claim is that a reader grasps the textual world via a linguistical mimetic interplay of the textual world and the actual world. If the textual world closely resembles the actual world, then the reader is not forced to "leave" behind the trappings of the actual world in order to construct the textures, mores, and atmosphere of the textual world. If the textual world, however, is a completely alien landscape, it will be necessary for the reader to stretch their assumptions of the possible in order to understand the text. Marie­ Lame Ryan defines this concept in no uncertain terms: "This law - to which I shall refer to as the principle of minimal departure - states that we (readers) reconstrue the central world of a textual universe in the same way we reconstrue the alternate possible worlds of nonfactual statements: as conforming as far as possible to our representation of the A W (actual world)" (51). She goes on to illuminate that this idea has difficulty standing on its own. The theory of minimal departure must exist, not independently of intertextuality, but in a symbiotic relationship as a reader builds a possible world through textual clues and prior reading experience. "Intertextuality," she explains, "replaces the world (actual world) with the written word as a frame of reference of the reading process" (54). This would allow the textual world authenticity even were it far removed from the actual world of the reader. I wish to contend that Ryan 's law reaches closure too quickly, and minimal and maximal departure in a linear fashion is too easily achieved by fictional texts. To better understand Ryan's law of minimal departure, it is important to consider how she defines a fictional text. Ryan positions her argument in a gray area fashioned by a combination of other critical approaches. She begins her discussion with an explanation ofthe referential discourse ofGottlob Frege. The Fregean approach to fiction can be established, according to Ryan, in three distinct points. (1 ) Reference can only be made to that which exists; (2) To exist is synonymous with 'to occur in the real world' and (3) Only one world exists, the world we regard as real" (14). The Fregean mode has obvious limitations, especially concerninll fantastical elements of fiction that are non-referential in the FreQean ~ ~ "real world". Because of this limited scope, Ryan contends the Fregean critical approach "turns any attempt at interpretive fiction into a ludicrous activity." (14) Events, people, and places that arise in textual worlds may occur only in said textual world and, therefore, would not exist according to the Fregean mode. It would also be impossible to distinguish true statements about the text from false ones. Think of the following example concerning the text of The Wizard of Oz. According to the text, Dorothy Gale lived in the state ofKansas. Baum is capable of writing about "Kansas" because, referentially speaking, it exists in the Fregean "real world." If Dorothy Gale lives in this "real" place, then is she also real? Or, if she does not exist, what is stopping a reader from making the statement that Dorothy Gale lived in the state of New Mexico? Felix Martinez-Bonati states that literary language is not linguistical at 2 all. He contends there is an absolute distinction between "literary poetic and other fonns of discourse" (77). In other words, literary discourse is imaginary and, by being so, it is not constrained by linguistical "rules" that define other types of discourse. Frege, according to Martinez-Bonati, can set up distinctions between the referential "real" and the unreal because fiction is outside the rhetorical circles. "Because poetic discourse is fictitious, it can be now similar to ordinary discourse, now entirely dissimilar from any real utterance. The distinctive potentialities of poetic discourse reside in the freedom of the imagination" (78). Narrative sentences are imitations of linguistical actual sentences. Martinez-Bonati describes this phenomenon as ordinary sentences being real but a poetic sentence being imaginary (83 ). These imaginary poetic sentences are given the title of"pseudo-sentences." But changing the referentially capable sentences into "pseudo-sentences" still does little to safeguard a textual world from being changed arbitrarily. Is Dorothy Gale from Kansas or New Mexico? If the statements concerning Miss Gale's home are not sentences in the linguistical sense, can one say whether they are true or false? At this point Ryan adds Thomas Pavel's ontological argument to the mix. Martinez-Bonati and Pavel seem to converge on similar ideas but Pavel allows fiction to be actual, not imaeinarv..., "' . Pavel decides errors and lies are false statements about "real" entities (occurring in the Fregean "real world"), while presenting fiction as truths about imaginary beings (Ryan 15 ). This way fictional texts can remain linguistically sound and still discuss things beyond the actual world. Pavel seems to have found an opening for literary critics to study fiction according to its own "imaginary" merits. But Ryan, once again, points out the inadequacies in this definition of fiction. Where do the 3 onto logically hybrid worlds belong? Returning to the previous example of fictitious Dorothy Gale living in the referentially real place called Kansas, how can a reader reconcile the two? The text of The Wizard of Oz only fits comfortably into Pavel's definition of fiction when Dorothy Gale, a fictitious girl, land in the imaginary world of Oz. Ryan proposes the concept of"possible worlds" or textual reference points built through the synthesis oftextual clues and the reader's understanding of the actual world. Because possible worlds exist on a plane between the reader's actual world and the "semantic domain of the fictional text," there now exists "the possibility of making truth-functional statements about a fictional universe" (16). Ryan now begs the question, wherein resides the difference between the actual world and the merely possible ones? Here she utilizes David Lewis' proposal that "our actual world is only one world among others. Actual, he continues, is indexical. Every possible world is actual but these terms are not interchangeable. 'To be actual' means
Load more

Recommended publications
  • Decades of Science Fiction Quarter 4 – 2016 – Reading & Assignment Schedule Read Each Story with the Class And/Or on Your Own
    Decades of Science Fiction Quarter 4 – 2016 – Reading & Assignment Schedule Read each story with the class and/or on your own. Write or type your short answers to the five Discussion Questions you will find at the end of each story. These are thoughtful, interpretive questions, so your answers will be original and unique. ____________________________________________________________________________________________________________ March 30: “The Disintegration Machine” by Sir Arthur Conan Doyle, pages 65-75 Due April 1 Doyle is the creator of the character Sherlock Holmes. Respond to Discussion Questions 1 through 5 on pages 75 & 76. ____________________________________________________________________________________________________________ April 1: “The Metal Man” by Jack Williamson, pages 78-87 Due April 5 Answer all five Discussion Questions on page 87. ____________________________________________________________________________________________________________ April 5: “Misfit” by Robert Heinlein, pages 119-137 Due April 7 Robert Heinlein is perhaps most well-known for his 1959 novel Starship Troopers. “Misfit” is also military science fiction. Discussion Questions 1 through 5 are on page 137. Answer them all. ____________________________________________________________________________________________________________ April 7: “Robbie” by Isaac Asimov, pages 149-165 Due April 11 “Robbie” is one of Asimov’s collected stories in I, Robot. Asimov created the “Three Laws of Robotics” in his extensive Robot series. “1. A Robot may not injure a human being, or, through inaction, allow a human being to come to harm. 2. A robot must obey the orders given it by human beings, except where such orders would conflict with the First Law. 3. A robot must protect its own existence, except where such protection would conflict with the First or Second Law.” Answer Discussion Questions 1, 2, 3, 4, & 5 on page 165.
    [Show full text]
  • Hugo Award -- Britannica Online Encyclopedia
    10/10/2017 Hugo Award -- Britannica Online Encyclopedia Hugo Award Hugo Award, any of several annual awards presented by the World Science Fiction Society (WSFS). The awards are granted for notable achievement in science �ction or science fantasy. Established in 1953, the Hugo Awards were named in honour of Hugo Gernsback, founder of Amazing Stories, the �rst magazine exclusively for science �ction. Hugo Award. This particular award was given at MidAmeriCon II, in Kansas City, Missouri, on August … Michi Trota Pin, in the form of the rocket on the Hugo Award, that is given to the finalists. Michi Trota Hugo Awards https://www.britannica.com/print/article/1055018 1/10 10/10/2017 Hugo Award -- Britannica Online Encyclopedia year category* title author 1946 novel The Mule Isaac Asimov (awarded in 1996) novella "Animal Farm" George Orwell novelette "First Contact" Murray Leinster short story "Uncommon Sense" Hal Clement 1951 novel Farmer in the Sky Robert A. Heinlein (awarded in 2001) novella "The Man Who Sold the Moon" Robert A. Heinlein novelette "The Little Black Bag" C.M. Kornbluth short story "To Serve Man" Damon Knight 1953 novel The Demolished Man Alfred Bester 1954 novel Fahrenheit 451 Ray Bradbury (awarded in 2004) novella "A Case of Conscience" James Blish novelette "Earthman, Come Home" James Blish short story "The Nine Billion Names of God" Arthur C. Clarke 1955 novel They’d Rather Be Right Mark Clifton and Frank Riley novelette "The Darfsteller" Walter M. Miller, Jr. short story "Allamagoosa" Eric Frank Russell 1956 novel Double Star Robert A. Heinlein novelette "Exploration Team" Murray Leinster short story "The Star" Arthur C.
    [Show full text]
  • FAHRENHEIT 451 by Ray Bradbury This One, with Gratitude, Is for DON CONGDON
    FAHRENHEIT 451 by Ray Bradbury This one, with gratitude, is for DON CONGDON. FAHRENHEIT 451: The temperature at which book-paper catches fire and burns PART I: THE HEARTH AND THE SALAMANDER IT WAS A PLEASURE TO BURN. IT was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his fists, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black. He strode in a swarm of fireflies. He wanted above all, like the old joke, to shove a marshmallow on a stick in the furnace, while the flapping pigeon- winged books died on the porch and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burning. Montag grinned the fierce grin of all men singed and driven back by flame. He knew that when he returned to the firehouse, he might wink at himself, a minstrel man, Does% burntcorked, in the mirror. Later, going to sleep, he would feel the fiery smile still gripped by his Montag% face muscles, in the dark.
    [Show full text]
  • Science Fiction List Literature 1
    Science Fiction List Literature 1. “The Unparalleled Adventure of One Hans Pfaall,” Edgar Allan Poe (1835, US, short story) 2. Looking Backward, Edward Bellamy (1888, US, novel) 3. A Princess of Mars, Edgar Rice Burroughs (1912, US, novel) 4. Herland, Charlotte Perkins Gilman (1915, US, novel) 5. “The Comet,” W.E.B. Du Bois (1920, US, short story) 6. Fahrenheit 451, Ray Bradbury (1951, US, novel) 7. Limbo, Bernard Wolfe (1952, US, novel) 8. The Stars My Destination, Alfred Bester (1956, US, novel) 9. Venus Plus X, Theodore Sturgeon (1960, US, novel) 10. Do Androids Dream of Electric Sheep?, Philip K. Dick (1968, US, novel) 11. The Left Hand of Darkness, Ursula K. Le Guin (1969, US, novel) 12. The Female Man, Joanna Russ (1975, US, novel) 13. “The Screwfly Solution,” “The Girl Who Was Plugged In,” “The Women Men Don’t See,” “Houston, Houston Do You Read?”, James Tiptree Jr./Alice Sheldon (1977, 1973, 1973, 1976, US, novelettes, novella) 14. Native Tongue, Suzette Haden Elgin (1984, US, novel) 15. Stars in My Pocket Like Grains of Sand, Samuel R. Delany (1984, US, novel) 16. Neuromancer, William Gibson (1984, US-Canada, novel) 17. The Handmaid’s Tale, Margaret Atwood (1985, Canada, novel) 18. The Gilda Stories, Jewelle L. Gómez (1991, US, novel; extended edition 2016) 19. Dawn, Octavia E. Butler (1987, US, novel); Parable of the Sower, Butler (1993, US, novel); Bloodchild and Other Stories, Butler (1995, US, short stories; extended edition 2005) 20. Red Spider, White Web, Misha Nogha/Misha (1990, US, novel) 21. The Rag Doll Plagues, Alejandro Morales (1991, US, novel) 22.
    [Show full text]
  • Read Jessica's Essay
    Gateway Books: A Collection of My Childhood Favorites Jessica Cole (A20) By the time I turned 13, I had moved seven times. As I ping ponged from California to Indonesia, the one constant in my life were my books. And when we settled into our current home, our house was quickly weighed down with over 700 of our favorites, but the ones that were the most precious to me were my gateway books. Every avid reader has gateway books: books that stole them away and introduced them to the joys of reading. My gateway books stayed with me through all of the moving and packing and donating until I graduated. I moved across the country for college and my suitcase was, for the first time, bookless. Objectively I knew that it made sense to leave them behind, but their absence seemed louder than ever as I spent my first night alone in this strange new place. So in my sophomore year of college I began to look to search for books that I could keep with me, books that would make me feel at home. The first find was the illustrated complete set of the Chronicles of Narnia books that stayed with my family in California. It was out of print, but I managed to ​ find an edition secondhand to keep with me. Every night for four years my father would come into my bedroom before bed. He would open up that large illustrated copy of Narnia by tugging on the red book ​ ​ mark, and then he would begin to read.
    [Show full text]
  • Catalogue 147: Science Fiction
    And God said: DELETE lines One to Aleph. LOAD. RUN. And the Universe ceased to exist. Then he pondered for a few aeons, sighed, and added: ERASE. It never had existed. For David Catalogue 147: Science Fiction Bromer Booksellers 607 Boylston Street, at Copley Square Boston, MA 02116 P: 617-247-2818 F: 617-247-2975 E: [email protected] Visit our website at www.bromer.com n the Introduction to Catalogue 123, which contained the bulk of a In his fifty years as a bookman, David naturally recognized the signifi- science fiction collection he had assembled, David Bromer noted cance of the early rarities, the books that laid the groundwork for the that “science fiction is a robust genre of literature, not allowing authors of the modern era. He was pleased to discover, when cata- one to ever complete a collection.” The progressive nature of sci- loguing Cyrano de Bergerac’s The Comical History of the States and enceI and the social fabric that it impacts means that the genre itself Empires of the Worlds of the Moon and the Sun, that its author de- has to be fluid, never quite getting pinned down like a specimen under scribed a personal music player–anticipating in the year 1687 the cre- glass. ation of the Walkman and iPod three centuries later. In this regard, it is entirely fitting that David has been drawn to science Ultimately, science fiction primed the human imagination to accom- fiction as a reader, and as a collector. He is a scientist by training, hav- plish what is perhaps its greatest achievement: the exploration of ing earned a PhD in Metallurgy from MIT and worked in research fields space and the mission to the moon in 1969.
    [Show full text]
  • Ray Bradbury”, National Endowment for the Arts
    RRaayy BBrraaddbbuurryy 1 1 “Portrait by John Sherffius”, under “Audio & Video: Ray Bradbury”, National Endowment for the Arts, http://arts.endow.gov/av/video/bradbury/bradbury.html 091027 Bibliotheca Alexandrina Compiled by Rasha Mohsen Biography 1 Ray Douglas Bradbury was born on August 22, 1920, in Waukegan, Illinois. His father, Leonard Spaulding Bradbury, worked as a telephone lineman. His mother was Esther Marie Moberg Bradbury. Bradbury had older twin brothers, Leonard and Samuel, who were born in 1916, and a younger sister, Elizabeth, born in 1926.2 In 1934, the Bradbury family drove across the country to Los Angeles, with young Ray piling out of their jalopy at every stop to plunder the local library in search of L. Frank Baum's Oz books. In 1936, Bradbury joined a weekly Thursday-night conclave that would grow to attract such science-fiction legends as Robert A. Heinlein, Leigh Brackett, and future Scientology founder L. Ron Hubbard. In 1947, Ray Bradbury married Marguerite McClure. They had met the previous April in Fowler Brothers Bookstore, where she worked—and where at first she had him pegged for a shoplifter: “Once I figured out that he wasn't stealing books, that was it. I fell for him”. 3 Ray Bradbury is best known for his highly imaginative science-fiction short stories and novels that blend social criticism with an awareness of the hazards of runaway technology. He published his first story in 1940 and was soon contributing widely to magazines. His first book of short stories, Dark Carnival (1947), was followed by The Martian Chronicles (1950), which is generally accounted a science-fiction classic in its depiction of materialistic Earthmen exploiting and corrupting an idyllic Martian civilization.
    [Show full text]
  • Libraries and Infonnation in Science Fiction
    Libraries and infonnation in science fiction by Louise M. Goodall, B.A. A Master's Dissertation, submitted in partial fulfillment of the requirements for the award of Master of Arts degree of Loughborough University. September 1997 Supervisor: Mr Alan Poulter, B.A., M.Se. Department of Information and Library Studies © Louise M. Goodall, 1997 ABSTRACT Investigates the ways in which libraries and information are represented in science fiction. Establishes that science fiction is a particularly sensitive form of literature for reflecting the society in which it was produced, and that as such it may have insights into the library and information profession. Science fiction texts discussed were chosen as representative canonical examples. The texts used are : George Orwell's Nineteen Eighty-Four, William Gibson's Neuromancer, and Ray Bradbury's Fahrenheit 451. It concludes that SF omitts to represent libraries in most instances, but portrays information as a vital resource. , .!CI;:.s::o ~l.s ii t..... .:.;.: .... · =- . ..,1 i /'C!; 40 15 7--3-0···~1 t,·.' ~ No. ~ ·.~n:'';'"N;...:...~"..._".:.H_'''''''''''''_''\'''P'M'''''',''''' ' KobSI"Z.!>1 ACKNOWLEDGEMENTS I would like to thank Alan Poulter, my supervisor, for the help and guidance he has provided me with while writing this dissertation. Thank you also to Emma for her unfailing support, and to the rest of my family for their concern and interest. iii CONTENTS Page Abstract ii Acknowledgements iii Contents iv Introduction 1 Chapter 1 : Libraries and Information 4 References 12 Chapter 2 : Science Fiction 13 References 20 Chapter 3 : Control 22 References 39 Chapter 4 : Electronic Information 42 References 58 Chapter 5 : Preservation 60 References 76 Conclusion 78 Bibliography 80 iv INTRODUCTION The purpose of this study is to establish if, and in what ways, libraries and information are represented in science fiction.
    [Show full text]
  • T.C. Çanakkale Onsek Z Mart Ün Vers Tes Sosyal B L Mler Enst Tüsü Bati D Ller Ve Edeb Yatlari Anab L M Dali Ng L Z D L Ve Edeb Yati B L M Dali
    T.C. ANAKKALE ONSEK 1 MART N VERS TES SOSYAL B L MLER ENST TS BAT2 D LLER VE EDEB YATLAR2 ANAB L M DAL2 N/ L 1 D L VE EDEB YAT2 B L M DAL2 MECHAN2SMS OF RE3RESS2ON 2N DYSTO32AN SC2ENCE F2CT2ON: FAHRENHEIT 451 AND NEUROMANCER Y'(se( Lisans Te)i Ha)+ layan Ay eg'l M RO L. EL/ N Te) Dan+ man+ Y d. Do0. D . Dile( KANTAR Bu çalsma, anakkale Onsekiz Mart niveristesi Bilimsel Ara trma Projeleri kapsamnda desteklenmi tir. ana((ale 4 2017 i ABSTRA T M RO LU ELG N, Ay eg'l. Mechanisms of Repression in Dystopian Science Fiction: Fahrenheit 451 and Neuromancer , MA Thesis, *anakkale, 20.5. Louis Althusser who is a Mar0ist thinker argues the totalitarian state systems and how they govern the states by using Ideological and Repressive State Apparatuses Ray 1radbury2s Fahrenheit 451 and 3illiam -ibson2s Neuromancer are two dystopian science fiction novels that discuss the oppression and repression of the state in technologically advanced societies 4owever, the citizens of the novels live in poor conditions and they have to obey the rules of the state and corporations in order to survive In the novels, the states not only repress the citizens but also decide how the citizens have to live and think In this MA thesis the effects of repression, oppression and virtualization in Neuromancer and Fahrenheit 451 will be analyzed in respect to Louis Althusser2s theory on Ideological and Repressive State Apparatuses In this respect, the study will be a contribution to this field within the conte0t of Althusserian reading of 1radbury and -ibson2s novels 0ey1ords:
    [Show full text]
  • Neil Gaiman with Sam Weller SAM WELLER
    Neil Gaiman with Sam Weller SAM WELLER: Hello everybody, and welcome to Ray Bradbury at 100. Today we celebrate the centennial of the genius of one of our great imagineers, the late Ray Bradbury, who was born in 1920. I’m Sam Weller, two-time Bram Stoker Award-winning writer and the authorised biographer of Mr Bradbury. I had the incredible privilege of working with Ray intimately for 12 years on four books and a graphic novel. Today’s event was originally intended to take place at the remarkable and one-of-a-kind Bath Festival, but in an ironic twist worthy of Ray Bradbury’s magnum opus Fahrenheit 451 we have moved our event to the virtual arena, broadcasting on to screens, into domiciles around the world. A bit of background on Mr Bradbury: Ray Bradbury was born on August 22nd 1920, at 4:50 in the afternoon. Imagine that – he missed 451 by just a single minute. Ray had an older brother and a beloved uncle die during the 1918 influenza pandemic. He lost his dear grandfather when he was just five years of age, and tragically his baby sister when he was just six. Ray came of age always on the precipice of poverty during the Great Depression. It was during these formative, all-important childhood years that Ray Bradbury discovered that creativity, art, story and imagination provided a portal away from these lingering sorrows. The Bradbury family moved to Hollywood when Ray was 13 years old, and he grew up a wild enthusiast of movies, now finding himself at play amidst the golden era of the silver screen.
    [Show full text]
  • The Novelist As Engineer
    The Novelist as Engineer A thesis on credible engineering components of fiction novels (supplemented by an “engineering” fiction novel) by D R Stevens for the Masters Degree in Engineering (Hons) 2007 University of Western Sydney Dedication This thesis is dedicated to Professor Steven Riley who inspired the writing of the thesis in the first place and provided encouragement when motivation waned. Acknowledgement I acknowledge the assistance of Professor Steven Riley, Professor of Research, School of Engineering, University of Western Sydney. I also acknowledge Professor Leon Cantrell who gave significant and important advice particularly on the development of the supplementary novel, (called by the new genre name En-Fi) the title of which is “Amber Reins Fall”. Thanks also go to Dr Stephen Treloar, CEO of Cumberland Industries Limited, where I am the Director of Marketing and Social Enterprises. His contribution is through the scarce resource of time the company allowed me to formulate this thesis. Finally the thesis is dedicated in no small part to Caroline Shindlair who helped tremendously with the typing and construction of the actual documentation. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, is original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. (Signature) Table of Contents Abbreviations Page ................................................................................................
    [Show full text]
  • Science Fiction Critiquing the Present, Exploring the Future
    1 Science Fiction Critiquing the Present, Exploring the Future Six Week Conceptual Unit Developed By Joshua S. Dyer College of Education University of Georgia 2 Table of Contents Texts Used in the Unit .................................................................................................................... 3 Other Materials Needed for the Unit .............................................................................................. 4 Distribution of Grades in the Unit .................................................................................................. 4 Rationale ......................................................................................................................................... 5 Goals and Accompanying Rubrics................................................................................................ 11 Reading Quiz—Handout and Rubric ...................................................................................... 13 Journal—Handout ................................................................................................................... 15 Journal—Rubric ...................................................................................................................... 16 Literature Circles—Handout................................................................................................... 18 Literature Circles—Handout on Grading................................................................................ 19 Final Project—Handout .........................................................................................................
    [Show full text]