Instigation of Biopunk in Literature With
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ENGL 279 Course Title: Science Fiction and Dystopic Literature Units
Course name: ENGL 279 Course title: Science Fiction and Dystopic Literature Units: 3 Course Description: This course is designed to increase students’ knowledge of the literary genre known as Science Fiction. Emphasis will be on the study of literature--novels and short fiction--that depicts our future world, visionary scientific endeavor, and conflicts between humans, aliens, and sentient technology. Students will study the history, exciting contemporary trends, and the relevant contemporary issues in Science Fiction, including dystopia vs. utopia, artificial intelligence, current theory concerning technology, cloning and physical science, human psychology in a futuristic environment, and the rise of Cyberpunk and new Alternate Reality literature within the genre. Prerequisites: Completion of ENGL 101 Course Objectives: l. Analyze the role of literature as a means of reflecting and shaping thought and behavior. 2. Recognize and employ literary terminology and the language of literary criticism. 3. Identify, interpret, and compare and contrast specific leitmotifs and character types of the Science Fiction genre. 4. Practice critical reading and writing skills. 5. Conduct research and synthesize material from outside the given text in developing a written or oral project. 6. Recognize the attributes that make literary works universal and timeless, as well as unique to certain genres. 7. Demonstrate the ability to discuss literature using relevant support from the text. 8. Evaluate a literary work objectively, being able to understand and analyze critical responses to the works read. Course Content: I. In discussing the roots of many essential elements of Science Fiction, the instructor will guide students in: A. Distinguishing the important archetypes of Science Fiction. -
A Very Short History of Cyberpunk
A Very Short History of Cyberpunk Marcus Janni Pivato Many people seem to think that William Gibson invented The cyberpunk genre in 1984, but in fact the cyberpunk aesthetic was alive well before Neuromancer (1984). For example, in my opinion, Ridley Scott's 1982 movie, Blade Runner, captures the quintessence of the cyberpunk aesthetic: a juxtaposition of high technology with social decay as a troubling allegory of the relationship between humanity and machines ---in particular, artificially intelligent machines. I believe the aesthetic of the movie originates from Scott's own vision, because I didn't really find it in the Philip K. Dick's novel, Do Androids Dream of Electric Sheep (1968), upon which the movie is (very loosely) based. Neuromancer made a big splash not because it was the "first" cyberpunk novel, but rather, because it perfectly captured the Zeitgeist of anxiety and wonder that prevailed at the dawning of the present era of globalized economics, digital telecommunications, and exponential technological progress --things which we now take for granted but which, in the early 1980s were still new and frightening. For example, Gibson's novels exhibit a fascination with the "Japanification" of Western culture --then a major concern, but now a forgotten and laughable anxiety. This is also visible in the futuristic Los Angeles of Scott’s Blade Runner. Another early cyberpunk author is K.W. Jeter, whose imaginative and disturbing novels Dr. Adder (1984) and The Glass Hammer (1985) exemplify the dark underside of the genre. Some people also identify Rudy Rucker and Bruce Sterling as progenitors of cyberpunk. -
BARRY N. MALZBERG Introduction by D
REVELATIONS A Paranoid Novel of Suspense BARRY N. MALZBERG Introduction by D. Harlan Wilson AP ANTI-OEDIPUS PRESS Revelations Copyright © 1972 by Barry N. Malzberg ISBN: 978-0-99-915354-3 Library of Congress Control Number: 2020934879 First published in the United States by Warner Paperback First Anti-Oedipal Paperback Edition: March 2020 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author and publisher. Published in the United States by Anti-Oedipus Press, an imprint of Raw Dog Screaming Press. www.rawdogscreaming.com Introduction © 2020 by D. Harlan Wilson Afterword © 1976 by Barry N. Malzberg Afterword to an Afterword © 2019 by Barry N. Malzberg Cover Design by Matthew Revert www.matthewrevert.com Interior Layout by D. Harlan Wilson www.dharlanwilson.com Anti-Oedipus Press Grand Rapids, MI www.anti-oedipuspress.com SF SCHIZ FLOW PRAISE FOR THE WORK OF BARRY N. MALZBERG “There are possibly a dozen genius writers in the genre of the imaginative, and Barry Malzberg is at least eight of them. Malzberg makes what the rest of us do look like felonies!” —Harlan Ellison “Malzberg makes persuasively clear that the best of science fiction should be valued as literature and nothing else.” —The Washington Post “One of the finest practitioners of science fiction.” —Harry Harrison “Barry N. Malzberg’s writing is unparalleled in its intensi- ty and in its apocalyptic sensibility. His detractors consider him bleakly monotonous and despairing, -
New Alt.Cyberpunk FAQ
New alt.cyberpunk FAQ Frank April 1998 This is version 4 of the alt.cyberpunk FAQ. Although previous FAQs have not been allocated version numbers, due the number of people now involved, I've taken the liberty to do so. Previous maintainers / editors and version numbers are given below : - Version 3: Erich Schneider - Version 2: Tim Oerting - Version 1: Andy Hawks I would also like to recognise and express my thanks to Jer and Stack for all their help and assistance in compiling this version of the FAQ. The vast number of the "answers" here should be prefixed with an "in my opinion". It would be ridiculous for me to claim to be an ultimate Cyberpunk authority. Contents 1. What is Cyberpunk, the Literary Movement ? 2. What is Cyberpunk, the Subculture ? 3. What is Cyberspace ? 4. Cyberpunk Literature 5. Magazines About Cyberpunk and Related Topics 6. Cyberpunk in Visual Media (Movies and TV) 7. Blade Runner 8. Cyberpunk Music / Dress / Aftershave 9. What is "PGP" ? 10. Agrippa : What and Where, is it ? 1. What is Cyberpunk, the Literary Movement ? Gardner Dozois, one of the editors of Isaac Asimov's Science Fiction Magazine during the early '80s, is generally acknowledged as the first person to popularize the term "Cyberpunk", when describing a body of literature. Dozois doesn't claim to have coined the term; he says he picked it up "on the street somewhere". It is probably no coincidence that Bruce Bethke wrote a short story titled "Cyberpunk" in 1980 and submitted it Asimov's mag, when Dozois may have been doing first readings, and got it published in Amazing in 1983, when Dozois was editor of1983 Year's Best SF and would be expected to be reading the major SF magazines. -
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. -
Modern Mythopoeia &The Construction of Fictional Futures In
Modern Mythopoeia & The Construction of Fictional Futures in Design Figure 1. Cassandra. Anthony Fredrick Augustus Sandys. 1904 2 Modern Mythopoeia & the Construction of Fictional Futures in Design Diana Simpson Hernandez MA Design Products Royal College of Art October 2012 Word Count: 10,459 3 INTRODUCTION: ON MYTH 10 SLEEPWALKERS 22 A PRECOG DREAM? 34 CONCLUSION: THE SLEEPER HAS AWAKEN 45 APPENDIX 77 BIBLIOGRAPHY 90 4 Figure 1. Cassandra. Anthony Fredrick Augustus Sandys. 1904. Available from: <http://culturepotion.blogspot.co.uk/2010/08/witches- and-witchcraft-in-art-history.html> [accessed 30 July 2012] Figure 2. Evidence Dolls. Dunne and Raby. 2005. Available from: <http://www.dunneandraby.co.uk/content/projects/69/0> [accessed 30 July 2012] Figure 3. Slave City-cradle to cradle. Atelier Van Lieshout. 2009. Available from: <http://www.designboom.com/weblog/cat/8/view/7862/atelier-van- lieshout-slave-city-cradle-to-cradle.html> [accessed 30 July 2012] Figure 4. Der Jude. 1943. Hans Schweitzer. Available from: <http://www.calvin.edu/academic/cas/gpa/posters2.htm> [accessed 15 September 2012] Figure 5. Lascaux cave painting depicting the Seven Sisters constellation. Available from: <http://madamepickwickartblog.com/2011/05/lascaux- and-intimate-with-the-godsbackstage-pass-only/> [accessed 05 July 2012] Figure 6. Map Presbiteri Johannis, Sive, Abissinorum Imperii Descriptio by Ortelius. Antwerp, 1573. Available from: <http://www.raremaps.com/gallery/detail/9021?view=print > [accessed 30 May 2012] 5 Figure 7. Mercator projection of the world between 82°S and 82°N. Available from: <http://en.wikipedia.org/wiki/Mercator_projection> [accessed 05 July 2012] Figure 8. The Gall-Peters projection of the world map Available from: <http://en.wikipedia.org/wiki/Gall–Peters_projection> [accessed 05 July 2012] Figure 9. -
Astrosociology and Science Fiction: a Synergy
Astrosociology and Science Fiction: a Synergy Simone Caroti Purdue University 500 Oval Drive West Lafayette, IN 765-426-4380; [email protected] Abstract. Both astrosociology and science fiction have claimed outer space as their preferred turf. Astrosociology did so in order to study the impact of space on human societies, and to develop a set of protocols that earthbound governments can utilize to prepare us for the next phase of humanity’s adventure outside our home planet. Science fiction, on the other hand, found in outer space a fitting environment for dramatizing in a work of fiction the potential outcomes attending the kind of decision astrosociology is trying to foster in actuality. This paper explores the relationship between the two fields, and examines ways in which science fiction can contribute to the creation of an astrosociological consciousness. Particular attention will be given to the most relevant commonality that the two fields share: both astrosociology and science fiction are earthbound disciplines, areas of inquiry created by those who never left earth for those who never left earth. They can potentially function as partners in the endeavor of educating the bulk of humanity on the subject of space flight and space colonization. Keywords: Astrosociology, Science Fiction, Astrosocial Phenomena, Astrosocial Triggers, Definitions. PACS: 87.23.Ge; 89.65.s; 89.65.Ef INTRODUCTION My purpose in this paper is twofold: on the one hand, I will attempt to give a functional working definition of both astrosociology (AS) and science fiction (SF), with a view to identifying their respective areas of competence. On the other hand, I will try to develop a series of protocols through whose agency science fiction can either become an astrosociological discipline or open itself up to an astrosociological perspective. -
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 -
Afrofuturism: the World of Black Sci-Fi and Fantasy Culture
AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISMAFROFUTURISM THE WORLD OF BLACK SCI-FI AND FANTASY CULTURE YTASHA L. WOMACK Chicago Afrofuturism_half title and title.indd 3 5/22/13 3:53 PM AFROFUTURISM Afrofuturism_half title and title.indd 1 5/22/13 3:53 PM Copyright © 2013 by Ytasha L. Womack All rights reserved First edition Published by Lawrence Hill Books, an imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 978-1-61374-796-4 Library of Congress Cataloging-in-Publication Data Womack, Ytasha. Afrofuturism : the world of black sci-fi and fantasy culture / Ytasha L. Womack. — First edition. pages cm Includes bibliographical references and index. ISBN 978-1-61374-796-4 (trade paper) 1. Science fiction—Social aspects. 2. African Americans—Race identity. 3. Science fiction films—Influence. 4. Futurologists. 5. African diaspora— Social conditions. I. Title. PN3433.5.W66 2013 809.3’8762093529—dc23 2013025755 Cover art and design: “Ioe Ostara” by John Jennings Cover layout: Jonathan Hahn Interior design: PerfecType, Nashville, TN Interior art: John Jennings and James Marshall (p. 187) Printed in the United States of America 5 4 3 2 1 I dedicate this book to Dr. Johnnie Colemon, the first Afrofuturist to inspire my journey. I dedicate this book to the legions of thinkers and futurists who envision a loving world. CONTENTS Acknowledgments .................................................................. ix Introduction ............................................................................ 1 1 Evolution of a Space Cadet ................................................ 3 2 A Human Fairy Tale Named Black .................................. -
William Gibson Fonds
William Gibson fonds Compiled by Christopher Hives (1993) University of British Columbia Archives Table of Contents Fonds Description o Title / Dates of Creation / Physical Description o Biographical Sketch o Scope and Content o Notes File List Catalogue entry (UBC Library catalogue) Fonds Description William Gibson fonds. - 1983-1993. 65 cm of textual materials Biographical Sketch William Gibson is generally recognized as the most important science fiction writer to emerge in the 1980s. His first novel, Neuromancer, is the first novel ever to win the Hugo, Nebula and Philip K. Dick awards. Neuromancer, which has been considered to be one of the influential science fiction novels written in the last twenty-five years, inspired a whole new genre in science fiction writing referred to as "cyberpunk". Gibson was born in 1948 in Conway, South Carolina. He moved to Toronto in the late 1960s and then to Vancouver in the early 1970s. Gibson studied English at the University of British Columbia. He began writing science fiction short stories while at UBC. In 1979 Gibson wrote "Johnny Mnemonic" which was published in Omni magazine. An editor at Ace books encouraged him to try writing a novel. This novel would become Neuromancer which was published in 1984. After Neuromancer, Gibson wrote Count Zero (1986), Mona Lisa Overdrive (1988), and Virtual Light (1993). He collaborated with Bruce Sterling in writing The Difference Engine (1990). Gibson has also published numerous short stories, many of which appeared in a collection of his work, Burning Chrome (1986). Scope and Content Fonds consists of typescript manuscripts and copy-edited, galley or page proof versions of all five of Gibson's novels (to 1993) as well as several short stories. -
Science Fiction, Steampunk, Cyberpunk
SCIENCE FICTION: speculative but scientific plausability, write rationally, realistically about alternative possible worlds/futures, no hesitation, suspension of disbelief estrangement+cognition: seek rational understanding of NOVUM (D. Suvin—cognitive estrangement) continuum bw real-world empiricism & supernatural transcendentalism make the incredible plausible BUT alienation/defamiliarization effect (giant bug) Literature of human being encountering CHANGE (techn innovat, sci.disc, nat. events, soc shifts) origins: speculative wonder stories, antiquity’s fabulous voyages, utopia, medieval ISLAND story, scientifiction & Campbell: Hero with a 1000 Faces & Jules Verne, HG Wells (Time Machine, War of the Worlds, The Island of Dr Moreau), Mary Shelley (Frankenstein), Swift Gulliver’s Travels Imaginative, Speculative content: • TIME: futurism, alternative timeline, diff hist. past, time travel (Wells, 2001. A Space Odyssey) • SPACE: outer space, extra-terrestrial adventures, subterranean regions, deep oceans, terra incognita, parallel universe, lost world stories • CHARACTERS: alien life forms, UFO, AI, GMO, transhuman (Invisible Man), mad scientist • THEMES: *new scientific principles, *futuristic technology, (ray guns, teleportation, humanoid computers), *new political systems (post-apocalyptic dystopia), *PARANORMAL abilities (mindcontrol, telekinesis, telepathy) Parallel universe: alternative reality: speculative fiction –scientific methods to explore world Philosophical ideas question limits & prerequisites of humanity (AI) challenge -
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.