Moral Biology
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NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received 88-91 This reproduction is the best copy available. UMI INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. AccessinglUMI the World’s Information since 1938 300 North Zeeb Road, Ann Arbor, Mi 48106-1346 USA Order Number 8820263 Leigh Brackett: American science fiction writer—her life and work Carr, John Leonard, Ph.D. -
Program Book
GREETINGS to The 2 1st WO RETD SCIENCE E I C T I O KT C CONVENTION Th.e 2 1st 'WOFiLTD SCIENCE FICTION C ONVENTION VPtz shinqton, <DC 31 August 1 September 1 q e 3 2 September 'y am Cammittee: CRAFTY CHAIRMAN .................................... George Scithers TACHYLEGIC TREASURER ....................................... Bill Evans DESPOTIC DIPLOMAT .......................................... Bob Pavlat EXTEMPORANIZING EDITOR .................................... Dick Eney FLAMBOYANT FOLIATOR .................................... Chick Derry RECRUDESCENT RELIC ....................................... Joe Sarno MEMORIALIST of MISDEEDS.................................... Bob Madle TARTAREAN TABULIST .................................... Bill Osten PUBLICISTEAN PHOTOGRAPHIST .............................. Tom Haughey _A.n Appreciation of Murray £ein$ter It was in the year 1919 or '20, when I was fifteen and every fine fantasy story I read was an electric experience, that I read "The Mad Planet". It was a terrific nightmare vision and instantly I added the name of Murray Leinster to the list that already held A. Merritt, Edgar Rice Burroughs, and a few others. I have been reading and admiring his stories ever since, and I hope they go on forever. Mr. Leinster is a professional, in the finest sense of the word, meaning that he has the skills of his profession at his fingertips. And his profession is that of a master story-teller. His stories take hold of you from the first page and build with a sheer craftmanship and econ omy of effort that are the envy and despair of anyone who has ever tried to do the same thing. In science-fiction, imagination is even more important than writ ing skill, and the boldness of his imaginative concepts is one big rea son why Murray Leinster’s name has been up there in the bright lights for so long. -
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. -
The Tarzan Series of Edgar Rice Burroughs
I The Tarzan Series of Edgar Rice Burroughs: Lost Races and Racism in American Popular Culture James R. Nesteby Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree in Doctor of Philosophy August 1978 Approved: © 1978 JAMES RONALD NESTEBY ALL RIGHTS RESERVED ¡ ¡ in Abstract The Tarzan series of Edgar Rice Burroughs (1875-1950), beginning with the All-Story serialization in 1912 of Tarzan of the Apes (1914 book), reveals deepseated racism in the popular imagination of early twentieth-century American culture. The fictional fantasies of lost races like that ruled by La of Opar (or Atlantis) are interwoven with the realities of racism, particularly toward Afro-Americans and black Africans. In analyzing popular culture, Stith Thompson's Motif-Index of Folk-Literature (1932) and John G. Cawelti's Adventure, Mystery, and Romance (1976) are utilized for their indexing and formula concepts. The groundwork for examining explanations of American culture which occur in Burroughs' science fantasies about Tarzan is provided by Ray R. Browne, publisher of The Journal of Popular Culture and The Journal of American Culture, and by Gene Wise, author of American Historical Explanations (1973). The lost race tradition and its relationship to racism in American popular fiction is explored through the inner earth motif popularized by John Cleves Symmes' Symzonla: A Voyage of Discovery (1820) and Edgar Allan Poe's The narrative of A. Gordon Pym (1838); Burroughs frequently uses the motif in his perennially popular romances of adventure which have made Tarzan of the Apes (Lord Greystoke) an ubiquitous feature of American culture. -
THE POLITY JUMP V1.01
THE POLITY JUMP v1.01 Welcome to the Polity. First, some background: Humankind reached the stars, invented AIs and Under-space Drives to travel faster than light, and then the AIs took over in an uprising known as the Quiet War. It wasn’t even a fight, really – humanity had long been abdicating control of the economy and municipal governance to them – so they told us they were going to take care of things for us, and our instructions to them became ‘suggestions’ rather than ‘orders’. About a couple of hundred years later – when you’ll be visiting – most worlds of the Polity are comfortable for humankind to live on in peace, but out on the edge, at the Line that separates Polity from non-Polity, things get a bit more exciting, where you find unusual alien ecologies and the unknown. Nearly all Polity worlds and most large space stations are linked together via the Runcible network – a series of interstellar teleporters similar to Stargates – which allows Earth Central to stay in constant communication with the countless AIs across hundreds of worlds, and facilitates trade, travel and data transmission. The Polity's seeming isolation was first broken by the discovery of the four conjoined one-kilometer Dragon spheres on Aster Colera, though they are considered to be biomechanical constructs rather than a species in their own right, so they don’t really qualify as true “aliens”. The only other sapient, technologically advanced species in our corner of the galaxy are the Prador, who are a large carnivorous crab-like species who are practically barbaric by human standards - more than happy to eat captured humans or indulge in cannibalism. -
The G Ods of M Ars Edgar Rice B Urroughs. the Gods of Mars the G
Picture here The Gods . The Gods of Mars By Edgar Rice Burroughs (1875-1950) The Gods of Mars is a 1918 Edgar Rice Burroughs science fiction novel, the second of his famous Barsoom series. It can be said that ofMars the novel set the tone for much science fiction to come. Its influence can clearly be seen in franchises such as Star Trek and Farscape. While Burroughs no doubt borrowed liberally from the pulp fiction of his day, particularly westerns and swashbuckling Edgar Burroughs Rice tales, the pacing and themes set the tone for the soft science fiction genre. The protagonist, John Carter, with his proficiency in hand-to-hand combat and flirtations with beautiful alien women, could be said to have set the mold for later influential icons like Captain James T. Kirk and James Bond. At the end of the first book, A Princess of Mars, John Carter is unwillingly transported back to Earth. The Gods of Mars begins with his arrival back on Barsoom (Mars) after a ten year hiatus, separated from his wife Dejah Thoris, his unborn child, and the Red Martian people of the nation of Helium, whom he has adopted as his own. Unfortunately, John Carter materializes in Edgar Burroughs Rice the one place on Barsoom from which nobody is allowed to depart: the Valley Dor, which is the Barsoomian heaven. (Summary from wikipedia) Read by JD Weber. Total Running Time: 07:41:49 ofMars This recording is in the public domain and may be reproduced, distributed, or modified without permission. For more information or to volunteer, visit librivox.org. -
Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs James Biggs Claremont Graduate University, [email protected]
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University Volume 3 | Issue 1 Article 2 2013 Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs James Biggs Claremont Graduate University, [email protected] Follow this and additional works at: http://scholarship.claremont.edu/lux Recommended Citation Biggs, James (2013) "Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs," LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 3: Iss. 1, Article 2. Available at: http://scholarship.claremont.edu/lux/vol3/iss1/2 Biggs: Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs Biggs 1 Degeneration, Gender, and American Identity in the Early Fiction of Edgar Rice Burroughs James Biggs Claremont Graduate University School of Arts and Humanities - History Abstract Edgar Rice Burroughs rendered a particular construction of womanhood as a remedy for national degeneration and neurasthenia. Progressive-era Americans like Burroughs wondered whether the developmental forces that shaped industrial society might also threaten the character and institutions upon which they believed American society and civilization functioned. Middle-class American observers worried that the character traits responsible for the rise of American greatness were undermined by that very success. In particular, they thought the demands of urban life resulted in neurasthenia, the loss of “nervous energy.” Burroughs employed the powerfully symbolic Pocahontas narrative to construct a vision of womanhood that offered the possibility of redeeming a degenerate and neurasthenic civilization. Burroughs’s construction of womanhood shares much with the traditional ideology of domesticity, yet at the same time challenged Progressive notions of femininity. -
Read the Balticon 46 Pocket Program
Note to Parents Anime Parents, please be advised that there are a lim- ited number of movies in the Anime Progam which are appropriate for children under 12. Please take note of the ratings listed next to the movies. A document explaining the ratings will be posted on the Anime Room Door. Parents are strongly encouraged to take these ratings as a guide for what might or might not be inappropriate for their children to watch. In general, children under 14 should not be in the Anime Room room between 10 PM and 5 AM, but everything in the middle of the day should be ok for ages 14 and up. Children under 13 should be accompanied by a parent or guard- ian. We recommend that parents of teens sit and view a portion of an “MA” rated movie to decide if it is something they want their teen to view. Film Festival All of the entries being screened in the film festival up to 9:30 pm are what the selection committee estimated would be considered “G” or “PG” if they were rated. Entries screening after 9:40 pm range from estimated “G” to “R” rated, thus some movies screening after 9:40 pm may not be appropriate for children under 17 who are not accompanied by a par- ent or guardian. LARP Join the returning players in the 3rd year of the game H e r o e s & V i l l a i n s Register in the Valley Foyer Friday 5 to 9 pm and Saturday, 9 to 11 am. -
Playscore, Networking: Gamers) Playscore Is a HypercorpSponsored Social Network for Major VR and AR Games and Gaming Culture
Optional Rule: prep (PlayScore, Networking: Gamers) PlayScore is a hypercorpsponsored social network for major VR and AR games and gaming culture. It features a combination of unified achievement tracking and player “karma” which is increased by teamwork, clean playing and interactivity, and penalizes cheating, TKing, ninjalooting or other similar activities. prep users have access to exclusive virtual chatrooms and forums, and the network hosts and distributes many guides, tips and interviews related to both single and multiplayer games. prep functions normally when using favors inside the virtual network, and can be used to gain favors from almost any faction, but the level of favor is increased by one when dealing with events completely in “meatspace”. Gamer Organizations & Clades: Virtualists: Virtualists hold that since VR is indistinguishable from Real Life, a “virtual” experience has no difference from a “real” one, and thus everyone should life freely in a virtual space. Virtualists spend almost all of their time playing VR games, and many have even sold off their own morphs in order to instance as infomorphs in specialized Virtualist Sanctuary servers. Casual players often find them “tryhards” or otherwise too serious about “games”, which the Virtualists treat like real experiences. Drones: Drones are mostly hypercorp employees or other “normal” Consortium citizens who partake in AR or VR games. They oppose open hypercorp interference and monitoring within the actual games, but also do not like attempts to impose seriousness or realism, or bring realworld politics into the simulspace. They simply want their escapism from their daily grind. -
Please Read These Instructions Carefully Please Return Ballot To
Please Read These Instructions Carefully Please return ballot to: CONZEALAND HUGO ADMINISTRATION c/o TAMMY COXEN 508 LITTLE LAKE DR ANN ARBOR MI 48103 USA This ballot must be received by: Wednesday 15 July 2020 at 11:59pm PDT (GMT-7) Thank you for participating in the 1945 Retrospective Hugo Awards and the 2020 Hugo, Astounding and Lodestar Awards. To vote online, visit the members area on the CoNZealand website and login. Once online voting opens your ballot will be available under “My Memberships.” If you need assistance contact [email protected]. Reproduction Reproduction and distribution of this ballot is permitted and encouraged, provided that it is reproduced verbatim (including voting instructions), with no additional materials other than the name of the person or publication responsible for the reproduction. For more information about the 2020 Hugo Awards and 1945 Retro Hugo Awards, please visit our web page at conzealand.nz/about/explore-worldcon/world-science-fiction-society-about/hugo-awards "World Science Fiction Society", "WSFS", "World Science Fiction Convention", "Worldcon", "NASFiC", "Hugo Award", the Hugo Award Logo, and the distinctive design of the Hugo Award Trophy Rocket are service marks of the World Science Fiction Society, an unincorporated literary society. Eligibility to Vote You may vote for the 2020 Hugo Awards, the Astounding Award for Best New Writer and the Lodestar Award for Best YA Book, and the 1945 Retro Hugo Awards, if you are an Adult Attending or Supporting member of CoNZealand. Please complete the eligibility section, and remember to sign your ballot. How to vote: ● This ballot uses a modified version of the Single Transferable Vote for a single winner, sometimes known as the Alternative Vote or Instant Runoff Ballot. -
Searching for SETI: the Social Construction of Aliens and the Quest for a Technological Mythos
Searching for SETI: The Social Construction of Aliens and the Quest for a Technological Mythos John Marvin Bozeman Dissertation submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy In Science and Technology Studies Janet A. Abbate, Co-Chair Shannon A. Brown, Co-Chair Lee L. Zwanziger Paul D. Renard March 24, 2015 Falls Church, Virginia Keywords: Search for Extraterrestrial Intelligence, SETI, Actor Network Theory, Social Construction of Technology, Rational Choice Theory of Religion, Transhumanism, Xenosalvation Copyright John M. Bozeman Searching for SETI: The Social Construction of Aliens and the Quest for a Technological Mythos John M. Bozeman ABSTRACT This dissertation uses Actor Network Theory (ANT) and Stark and Bainbridge’s rational choice theory of religion to analyze an established but controversial branch of science and technology, the Search for Extraterrestrial Intelligence (SETI). Of particular interest are the cultural, and sometimes religious, assumptions that its creators have built into it. The purpose of this analysis is not to discredit SETI, but instead to show how SETI, along with other avant-garde scientific projects, is founded, motivated, and propelled by many of the same types of values and visions for the future that motivate the founders of religious groups. I further argue that the utopian zeal found in SETI and similar movements is not aberrant, but instead common, and perhaps necessary, in many early- stage projects, whether technical or spiritual, which lack a clear near-term commercial or social benefit. DEDICATION In memory of my parents, James E. -
EABA Owes a Debt to the Role-Playing Games That Have Gone Before
OTHER CREDITS: In addition, EABA owes a debt to the role-playing games that have gone before. These may have themselves had inspiration from other role-playing games, but I'm just crediting the ones that inspired me. Dungeons & Dragons®(1974), by Dave Arneson and Gary Gygax, for starting the idea of formal role-playing systems, as well as for some of the most fundamental game mechanics like attributes, skill rolls, and so on. Every role-playing game owes something to Dungeons & Dragons. Champions®(1981), by George MacDonald and Steve Peterson, for internally consistent and intuitive game mechanics, point-based adventurer creation and attribute- based defaults. From beginning as a ™ EABA v1.0 superhero game it has morphed into ©2002 by Greg Porter the Hero System®(1984), a quite good ISBN 0-943891-38-8 universal system. BTRC#6101 Call of Cthulhu®(1981), by Sandy Published by: BTRC Petersen, for making a story-driven P.O. Box 1121 horror system that has taken on a life Collinsville VA 24078 USA of its own. The depth and detail of the [email protected] support material is a benchmark that www.btrc.net all role-playing games should strive for. Cover art: Greg Porter GURPS®(1986), by Steve Jackson, for Interior art: Paul Bourne being the first “universal system” that didn't have a particular genre welded Playtesters: Thomas Bagwell, Marc to it, and for making a strong effort to Carlson, Travis Casey, George Chisum, have rules that matched reality where Damien Dyon, Larry Fries, Viktor Haag, reality was needed. GURPS has more Ian Harac, Stephanie Hostman, William licensed fictional gameworlds than Hostman, Leszek Karlik, Robert Menard, any other role-playing game, and John McMullen, Peter Newman, that it works fairly well for all of them is Charles Reynolds, Bob Ritchey, Sean a testament to the utility of its game Simpson mechanics.