DOCSLIB.ORG

Geschlechterrollen in Der Science Fiction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Geschlechterrollen in Der Science Fiction DIPLOMARBEIT Titel der Diplomarbeit Weibliche Geschlechterrollen in der Science-Fiction-Literatur deutschsprachiger Autorinnen Verfasserin Magdalena Hangel angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 332 Studienrichtung lt. Studienblatt: Deutsche Philologie Betreuer: Univ.-Prof. Dr. Roland Innerhofer Through a gender role reversal, science fiction can show how reprehensible gender inequality is.1 Leia: "I love you." Han: "I know." Star Wars Episode V: The Empire Strikes Back Leia Organa und Han Solo, bevor Han in Karbonit eingefroren wird. Han: "I love you." Leia: "I know." Star Wars Episode VI: The Return of the Jedi Han Solo und Leia Organa, bevor Leia auf Endor Sturmtruppen erschießt. 1 Robin Roberts: Sexual Generations: “Star Trek, The Next Generation” and Gender, Urbana: University of Illinois Press, 1999. S. 48. Meinem Betreuer, für die aufmunternden Worte sowie die freundliche und hilfreiche Betreuung dieser Diplomarbeit. Meinen verständnisvollen Arbeitskolleginnen und Arbeitskollegen auf der Bundesvertretung der Österreichischen HochschülerInnenschaft: Ihr habt mir den Rücken frei gehalten und Verständ- nis gezeigt, wenn meine Konzentration bei dieser Arbeit gelegen hat. Meiner Familie, meiner biologischer ebenso wie all jenen, die ich gerne als solche bezeichne: Eure moralische Unterstützung und endloses Mut-Zusprechen hat mich durch mein Studium und die- se Arbeit geführt. Meinen unzähligen Freundinnen und Freunden: Für euch gilt dies ebenso, mit einem besonderen Dank an jene, die durch das Martyrium des Korrektur-Lesens, Coachens und Feedback-Gebens gegangen sind. Meinem Lebensgefährten, für den keine Worte dieser Welt ausreichend sind: You know. Danke. Inhaltsverzeichnis Inhaltsverzeichnis .................................................................................................................................... 7 1. Einleitung ...................................................................................................................................... 11 2. Der Feminismus in der Science Fiction ......................................................................................... 15 2.1. Ein kurzer historischer Überblick .......................................................................................... 15 2.2. Die Gattungsproblematik....................................................................................................... 17 2.2.1. Abgrenzung von der feministischen Utopie .................................................................. 21 2.2.2. Feminist Fabulation – ein neuer Begriff? ...................................................................... 24 2.3. Fazit ....................................................................................................................................... 26 3. Frauenbewegung und feministische Science Fiction ..................................................................... 29 3.1. Literarische Themen der Ersten Frauenbewegung ................................................................ 29 3.1.1. Vorstellung der Autorinnen und ihrer Texte ................................................................. 29 3.1.2. Historischer Hintergrund ............................................................................................... 31 3.1.3. Frauenwahlrecht ............................................................................................................ 33 3.1.4. Kritik an Geschlechterrollenzuweisung......................................................................... 34 3.1.5. (Ledige) Mutterschaft .................................................................................................... 35 3.1.6. Ehe und Sexualität ......................................................................................................... 37 3.1.7. Prostitution .................................................................................................................... 38 3.1.8. Bildung .......................................................................................................................... 38 3.1.9. Zwischenfazit ................................................................................................................ 39 3.2. Literarische Themen ab der Zweiten Frauenbewegung bis zur Gegenwart .......................... 40 3.2.1. Vorstellung der Autorinnen und ihrer Texte ................................................................. 40 3.2.2. Historischer Hintergrund ............................................................................................... 42 3.2.3. Sexualität ....................................................................................................................... 43 3.2.4. Sexuelle Gewalt und männliche Gewaltausübung ........................................................ 45 3.2.5. Reproduktion und Reproduktionsarbeit......................................................................... 48 3.3. Fazit ....................................................................................................................................... 53 4. (Stereotype) Geschlechterrollen in der Science Fiction ................................................................ 55 4.1. Definition Geschlechterrolle ................................................................................................. 55 4.2. Entwicklung weiblicher Rollenbilder in der SF .................................................................... 57 4.2.1. „Real Women“............................................................................................................... 58 4.2.2. „Not-Real Women“ ....................................................................................................... 60 4.3. Rollenbilder in der FSF ......................................................................................................... 62 4.3.1. Expert Practioniers of (alternative) Science .................................................................. 62 4.3.2. Model of Feminist Community ..................................................................................... 63 4.3.3. The „Alien“ or the „Other” ............................................................................................ 64 4.4. Zwischenfazit ........................................................................................................................ 65 5. Intersektionalität und Science Fiction ........................................................................................... 67 5.1. Intersektionalität .................................................................................................................... 67 5.1.1. Geschichte des Intersektionalitätsansatzes .................................................................... 67 5.1.2. Intersektionalität als Analysemittel in Medien .............................................................. 69 5.1.3. Intersektionalität als deskriptives Mittel zur Analyse von Geschlechterrollen in der Science Fiction .............................................................................................................................. 71 5.2. Vorstellung des Differenzkategorienkatalogs ....................................................................... 74 5.2.1. Gender, Sex & Sexualität .............................................................................................. 74 5.2.2. Klasse ............................................................................................................................ 77 5.2.3. „Race“ ........................................................................................................................... 79 5.2.4. Obsorgepflichten ........................................................................................................... 80 5.2.5. Herkunft ......................................................................................................................... 81 5.2.6. Religion/ Glaubenssysteme ........................................................................................... 82 5.2.7. (Aus-) Bildung ............................................................................................................... 82 5.2.8. Sprache .......................................................................................................................... 84 5.3. Zwischenfazit ........................................................................................................................ 87 6. Textanalyse .................................................................................................................................... 89 6.1. Flugverbot – Die lebenden Steine von Jargus ....................................................................... 89 6.1.1. Barbara Slawig .............................................................................................................. 89 6.1.2. Inhalt .............................................................................................................................. 90 6.1.3. Gesellschaft ................................................................................................................... 91 6.1.4. Protagonistinnen ............................................................................................................ 96 6.1.5. Fazit Flugverbot .......................................................................................................... 102 6.2. Jägerwelten
Load more

Recommended publications
  • THEMATIEROFSEGGRI "Making Radios?" "No
    22 I TilE BIRTIIOAYOFTilE WORLD "Furniture shop, Third Ward." I tried licking Berre's nipple, but it didn't work; Berre flinched a little, and I said "Sorry:' and we both laughed. "I'm in the radio trade;' Berre said. "Did you ever think of trying that?" THEMATIEROFSEGGRI "Making radios?" "No. Broadcasting. I do the Fourth Hour news and weather." "That's you?" I said, awed. "Come over to the tower some time, I'll show you around;' said Thefirst recordedcontactwith Seggriwasin year 242 of HainishCycle93.A Berre. Wandershipsix generationsoutfrom [ao (4-Taurus)camedownon theplanet, Which is how I found my lifelong trade and a lifelong friend. As andthecaptainenteredthisreportin hisship'slog. I tried to tell Sether when I came back to the Hearth, kemmer isn't exactly what we thought it was; it's much more complicated. Sether's first kemmer was on Getheny Gor, the first day of the first month of autumn, at the dark of the moon. One of the family CAPTAIN AOLAO-OLAO'S REPORT brought Sether into kemmer as a woman, and then Sether brought me in. That was the first time I kemmered as a man. And we stayed e have spent near forty days on this world they call Se~ri or Ye- on the same wavelength, as Grand put it. We never conceived Wha-ri, well entertained, and leave with as good an estimation of together, being cousins and having some modern scruples, but we the natives as is consonant with their unregenerate state. They live made love in every combination, every dark of the moon, for years.
    [Show full text]
  • Single-Gendered Worlds in Science Fiction: Better for Whom? Victor Grech with Clare Thake-Vasallo and Ivan Callus
    VECTOR 269 – SPRING 2012 Single-gendered Worlds in Science Fiction: Better for Whom? Victor Grech with Clare Thake-Vasallo and Ivan Callus n excess of one gender is a regular and worlds are commoner than men-only worlds is that a problematic trope in SF, instantly removing any number of writers have speculated whether a world Apotential tension between the two sexes while constructed on strict feminist principles might be utopian simultaneously generating new concerns. While female- rather than dystopian, and ‘for many of these writers, only societies are common, male-only societies are rarer. such a world was imaginable only in terms of sexual This is partly a true biological obstacle because the female separatism; for others, it involved reinventing female and body is capable of bringing a baby forth into the world male identities and interactions’.2 after fertilization, or even without fertilization, so that a These issues have been ably reviewed in Brian prospective author’s only stumbling block to accounting Attebery’s Decoding Gender in Science Fiction (2002), in for the society’s potential longevity. For example, which he observes that ‘it’s impossible in real life to to gynogenesis is a particular type of parthenogenesis isolate the sexes thoroughly enough to demonstrate […] whereby animals that reproduce by this method can absolutes of feminine or masculine behavior’,3 whereas only reproduce that way. These species, such as the ‘within science-fiction, separation by gender has been the salamanders of genus Ambystoma, consist solely of basis of a fascinating series of thought experiments’.4 females which does, occasionally, have sexual contact Intriguingly, Attebery poses the question that a single- with males of a closely related species but the sperm gendered society is ‘better for whom’?5 from these males is not used to fertilise ova.
    [Show full text]
  • SFRA Newsletter
    University of South Florida Scholar Commons Digital Collection - Science Fiction & Fantasy Digital Collection - Science Fiction & Fantasy Publications 10-1-1996 SFRA ewN sletter 225 Science Fiction Research Association Follow this and additional works at: http://scholarcommons.usf.edu/scifistud_pub Part of the Fiction Commons Scholar Commons Citation Science Fiction Research Association, "SFRA eN wsletter 225 " (1996). Digital Collection - Science Fiction & Fantasy Publications. Paper 164. http://scholarcommons.usf.edu/scifistud_pub/164 This Article is brought to you for free and open access by the Digital Collection - Science Fiction & Fantasy at Scholar Commons. It has been accepted for inclusion in Digital Collection - Science Fiction & Fantasy Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. (i j ,'s' Review= Issue #225, September/October 1996 IN THIS ISSUE: SFRA INTERNAL AFFAIRS: Proposed SFRA Logo.......................................................... 5 President's Message (Sanders) ......................................... 5 Officer Elections/Candidate Statements ......................... 6 Membership Directory Updates ..................................... 10 SFRA Members & Friends ............................................... 10 Letters (Le Guin, Brigg) ................................................... 11 Editorial (Sisson) ............................................................. 13 NEWS AND INFORMATION .........................................
    [Show full text]
  • Fem SF Syll (2013)
    Feminist Science Fictions: Texts.Archives.Authors CHC424, Fall 2013 Carol A. Stabile Course Website: femscifi.wordpress.com [email protected] 541.346.5524 Office: 208 Allen Hall Office Hours: 2-4 pm Wednesdays and by appointment Anyway, I don’t see women’s lib as necessarily hitched to some wagon of general social improvement . you have to pull, except in the general sense that getting rid of social oppression of all groups is necessary to any sort of better world. But if you contemplate a revolutionary movement, it becomes a dismal thing if it is not somehow tied to utopian dreams broader than itself. I confess, I contemplate with some apathy a world in which the greed and power have simply gone coed. I mean, bully for you, cheers and all that . but . (James Tiptree, Jr. to Joanna Russ, 16 September 1973) Description: In the words of author and linguist Suzette Haden Elgin, “SF is the only genre of literature in which it's possible for a writer to explore the question of what this world would be like if you could get rid of [X], where [X] is filled in with any of the multitude of real world facts that constrain and oppress women.” By and large barred from the physical sciences, science fiction has also provided a space for feminist writers to explore relationships with science, technology, and identity, unfettered by the sexist constraints of professions or institutions and outside the generic conventions of other types of fiction. In this course, we will be looking at feminist science fiction as a form of theory, as a strategy for thinking critically about the present and imagining “what this world would be like” under different circumstances.
    [Show full text]
  • Ursula's Ansible the Artist Deals in What Cannot Be Said in Words. The
    ENG 363 Frost / Spring 2019 1 Ursula’s Ansible Single Author Study, NJCU, Spring 2019 Course number: ENG 363 (1596) Credits: 3 Days and Times: Tuesday and Thursday, 2:10 PM – 3:25 PM Classroom: TBA Website: leguin2019.wordpress.com Instructor: Corey Frost Email: [email protected] Office: Karnoutsos 334 Office hours: by appointment, M 12-2 PM or T/Th 3:30–4:30 PM The artist deals in what cannot be said in words. The artist whose medium is fiction does this in words. The novelist says in words what cannot be said in words. —Ursula Le Guin Course Description From the academic catalog: In ENGL 363, Single Author Study, students examine in depth one author's body of work and place within literary history. Each section of Single Author Study will focus on the literary career, influences, and impact of one author of major literary historical significance. In Spring 2019, ENGL 363 focuses on the work of Ursula K. Le Guin, an iconic American author of novels, short stories, poetry, and essays, whose writing career began in the early 1960s and ended with her death early in 2018. In class you’ll learn some context for the work: we’ll discuss the history of speculative fiction, feminism, anthropology, anarchism, Taoism, eco-criticism, and revolution, among other ideas. We’ll talk about the thinkers and writers who influenced Le Guin and those that she influenced herself. We’ll also talk, of course, about the books, reading them closely and vigorously. Your main responsibility as a student in the course will be to read the texts and to allow your mind to become temporarily untethered from the world you know.
    [Show full text]
  • Table of Contents
    L.A.con III 1996 A convention report by Evelyn C. Leeper (with appendix by Mark R. Leeper) Copyright 1996 Evelyn C. Leeper and Mark R. Leeper Table of Contents Introduction Convention Center Registration/Program Books/Etc Art Show Programming Overlooked Books and Overrated Novels Religion In SF Books and Movies Miscellaneous Overrated Films and Overlooked Movies The Future Of Religion Funny Stories From Science Research and Development Dinosaurs The Retro-Hugo Award Ceremony Treks Not Taken Parties (Friday) Death of the Book Alternate Histories In Reality Style Vs. Substance Nanotechnology Do We Need A New Definition Of Literacy? Is The Scientific Method The Death Of God? GHOST IN THE SHELL The L.A.con III Masquerade Parties (Saturday) Reading: James Morrow Gender Roles: What Makes A Tiptree Award Winner James White Reception Life on Mars Why Is Fandom So White? Why Is Science Fiction So White? The Hugo Awards Ceremony Parties (Sunday) Images of Mars Debate: There Are Some Things Man Was Not Meant to Know Miscellaneous Film Presentations at L.A.con III by Mark R. Leeper Introduction L.A.con III, the 54th World Science Fiction Convention, was held from 29 August through 2 September 1996 in Anaheim, California. There were approximately 6531 people attending. L.A.con III did not start auspiciously for us. We were scheduled on a 5:15 PM non-stop from Newark to Los Angeles, but United called us at about 1 PM to tell us that flight was canceled. After some negotiation ("No, we don't want to leave from Kennedy") we ended up on a 5:05 PM flight to Denver, connecting after an hour lay-over with a flight to Los Angeles.
    [Show full text]
  • Entre Genre E Gender: Uma Análise Comparativa Da Ficção Científica Feminista Em the Gate to Women’S Country, De Sheri S
    PROGRAMA DE MESTRADO EM LETRAS UNIVERSIDADE FEDERAL DE SÃO JOÃO DEL-REI Dissertação de Mestrado Entre genre e gender: uma análise comparativa da ficção científica feminista em The Gate to Women’s Country, de Sheri S. Tepper, e The Matter of Seggri, de Ursula K. Le Guin Julia Chagas da Costa Mattos São João del-Rei, fevereiro de 2014 Julia Chagas da Costa Mattos Entre genre e gender: uma análise comparativa da ficção científica feminista em The Gate to Women’s Country, de Sheri S. Tepper, e The Matter of Seggri, de Ursula K. Le Guin Dissertação apresentada ao Programa de Mestrado em Letras da Universidade Federal de São João del-Rei como requisito parcial para a obtenção do título de Mestre em Letras. Área de Concentração: Teoria Literária e Crítica da Cultura Linha de Pesquisa: Literatura e Memória Cultural Orientadora: Dra. Adelaine LaGuardia São João del-Rei/MG Fevereiro/2014 FICHA CATALOGRÁFICA Julia Chagas da Costa Mattos Entre genre e gender: uma análise comparativa da ficção científica feminista em The Gate to Women’s Country, de Sheri S. Tepper, e The Matter of Seggri, de Ursula K. Le Guin Banca Examinadora ____________________________________________________________ Profa. Dra. Adelaine LaGuardia Nogueira- (UFSJ) - (orientadora) ___________________________________________________________ _ Profa. Dra. Bárbara Maria das Neves – (FAETC e FTESM) – (titular) ____________________________________________________________ Prof. Dr. Luiz Manoel da Silva Oliveira – (UFSJ) – (titular) ____________________________________________________________ Prof. Dr. Cláudio Marcio do Carmo Coordenador do Programa de Pós-Graduação em Letras Fevereiro 2014 A minha mãe, Teresa, que passou noites e noites em claro e a Renan, meu amor, que sempre esteve ao meu lado.
    [Show full text]
  • New Writing on the Works of Ursula K. Le Guin
    PARADOXA, NO. 21, 2008 Boldly to Re-Venture: New Writing on the Works of Ursula K. Le Guin Sylvia A. Kelso James Cook University, Townsville, North Queensland, Australia Introducing a critical volume on Ursula K. Le Guin in 2008 is a task that, to outrageously misappropriate a famous Australian poem, well might make the boldest hold “his” breath. Given the current accumulation of journal articles, essay collections, and full-length books on Le Guin’s work, bold indeed must be the soul who dares assume the usual omniscient, omnipotent editorial voice, implying that he or she has not only read all the original texts, but all the secondary work, and now knows better enough to pontificate upon it all. It hardly seems necessary to supply the obligatory career sketch with an author like Le Guin: especially since said author is currently garnering starred reviews for Lavinia, a return to the historical novel, last seen from her with Malafrena (1979), which, we usually assume, grew out of the Orsinian tales composed in her oldest imagined country of all. Nevertheless, between There and Here intervenes a writing span of more than half a century, if we include those early unpublished inventions, not only studded with notable works, but in my view, growing stronger as it goes. The nearest parallel I can find is W. B. Yeats, whose fruitful span is also astonishing, and whose work “improves,” from the melopoeia of the “Celtic Twilight” and classics like “The Sally Gardens,” to the bareboned landmarks of final poems like “Under Ben Bulben.” Nor is it difficult to apply to Le Guin, as is so often done with Yeats, the adjective “great.” It’s personally heartening to me, a late starter in publication, that over ten years of that writing span lie before Cele Goldsmith published “April in Paris” in 1962.
    [Show full text]
  • No. 5 2020 Messengers from the Stars: on Science Fiction and Fantasy No
    No. 5 2020 Messengers from the Stars: On Science Fiction and Fantasy No. 5 – 2020 Editorial Board | Adelaide Serras Ana Daniela Coelho Ana Rita Martins Angélica Varandas Diana Marques João Félix José Duarte Advisory Board | Adam Roberts (Royal Holloway, Univ. of London, UK) David Roas (Univ. Autónoma de Barcelona, Spain) Flávio García (Univ. do Estado do Rio de Janeiro, Brazil) Henrique Leitão (Fac. de Ciências, Univ. de Lisboa, Portugal) Jonathan Gayles (Georgia State University, USA) Katherine Fowkes (High Point University, USA) Ljubica Matek (Univ. of Osijek, Croatia) Mª Cristina Batalha (Univ. do Estado do Rio de Janeiro, Brazil) Martin Simonson (Univ. of the Basque Country, Spain) Susana Oliveira (Fac. de Arquitectura, Un. de Lisboa, Portugal) Teresa Lopez-Pellisa (Univ. Autónoma de Barcelona, Spain) Copy Editors | Ana Rita Martins || Ana Daniela Coelho || David Klein Martins | João Félix || José Duarte Translator | Diogo Almeida Photography | Duarte Amaral Netto Site | http://messengersfromthestars.letras.ulisboa.pt/journal/ Contact | [email protected] ISSN | 2183-7465 Editor | Centro de Estudos Anglísticos da Universidade de Lisboa | University of Lisbon Centre for English Studies Alameda da Universidade - Faculdade de Letras 1600-214 Lisboa - Portugal 2 Messengers from the Stars: On Science Fiction and Fantasy Guest Editor Matthew Hill Co-Editor No. 5 João Félix 3 TABLE OF CONTENTS EDITORIAL 5 GUEST EDITOR: MATTHEW HILL MONOGRAPH SECTION 9 UTOPIA’S EXTINCTION: THE ANTHROPOSCENIC LANDSCAPES OF URSULA K. LE GUIN JONATHAN HAY 10 IS THERE STILL HOPE FOR A BETTER FUTURE? PROBING THE ANSWER IN URSULA LE GUIN’S THE DISPOSSESSED AND MARGARET ATWOOD’S THE YEAR OF THE FLOOD TRANG DANG 28 BLACK MIRROR’S “FIFTEEN MILLION MERITS”: RE-DEFINING HUMAN BODIES WITH DYSTOPIAN TECHNOLOGY ZITA HÜSING 42 “THERE ARE NO HEROES IN GOTHAM”: SUBVERTING THE SUPERHERO NARRATIVE AND DEPICTING DYSTOPIAN LANDSCAPES IN GOTHAM.
    [Show full text]
  • Ursula I(. Le Guin Hainish Novels & Stories
    URSULA I(. LE GUIN HAINISH NOVELS & STORIES VOLUME Two The Word for World Is Forest Stories Five Ways to Forgiveness The Telling Brian Attebery, editor .. THE LIBRARY OF AMERICA Contents Volume compilation, notes, and chronology copyright© 2017 by Literary Classics of the United States, Inc., New York, N.Y. Introduction by Ursula K. Le Guin . ..... Xl All rights reserved. No part of this book may be reproduced in any manner whatsoever without THE WoRD FOR WORLD FOREST . .. l the permission of the publisher, except in the case of brief Is quotations embodied in critical articles and reviews. STORIES Visit our website at www.loa.org. The Shobies' Story .......................... 107 Introduction copyright© 2017 by Ursula K. Le Guin. Dancing to Ganam . ........................ 134 The Word for World Is Forest copyright© 1972 by Ursula K. Le Guin. Another Story or A Fisherman of the Inland Sea ... 168 Published by arrangement with Tom Doherty Associates. Unchosen Love .................... 207 The Telli1tlf copyright© 2000 by Ursula K. Le Guin. Published by Mountain Ways .................... arrangement with Houghton Mifflin Harcourt Publishing Company. 226 All other texts published by arrangement with the author. The Matter of Seggri . .......... .. 250 Solitude .. ............ ....... .... 290 Endpaper by Donna G. Brown for Library of America. This paper meets the requirements of STORY SUITE: FIVE WAYS TO FORGIVENESS ANSI/NIS0 z39.48-1992 (Permanence of Paper). Betrayals ......... ... .............. 321 Distributed to the trade in the United States Forgiveness Day ....................... 353 by Penguin Random House lnc. A Man of the People ................... 408 and in Canada by Penguin Random House Canada Ltd. A Woman's Liberation .................. 457 Library of Congress Control Number: 2016958894 Old Music and the Slave Women .......
    [Show full text]
  • Creative Journal of the National Fantasy Fan Federation History and Research Bureau the Editor Is John Thiel, Residing at 30 N
    Origin 32 October 2020 Creative Journal of the National Fantasy Fan Federation History and Research Bureau The Editor is John Thiel, residing at 30 N. 19th Street, Lafayette, Indiana 47904, email [email protected] Cover by Rell and Austin Martin Staff Jon Swartz, 12115 Missel Thrush Court, Austin, Texas 78750, [email protected] Jeffrey Redmond, 1335 Beechwood NE, Grand Rapids, MI 49505-3830, [email protected] Judy Carroll, 975 East 120 South, Spanish Fork, Utah 84660, [email protected] CONTENTS Editorial, What Makes Science Fiction Significant? By John Thiel, page three Early Popular Library Science Fiction Paperbacks, by Jon Swartz, page four Feminist Science Fiction, by Jeffrey Redmond, page eleven A Female Perspective on Science Fiction Movies, by Judy Carroll, page twenty-five An Examination of Science Fiction Research Resources, by John Thiel, page twenty seven EDITORIAL What Makes Science Fiction Significant? Or fantasy fiction, for that matter, as this is the National FANTASY Fan Federation. Well, that term “fantasy” was often used to describe science fiction back in the days when the N3F was originated. “These are fantasies”, people would say of the stories published in the magazines—much of which talk ended up in the letter columns. Sometimes the term “science fantasy” would replace “science fiction”, which was the term announced in Amazing Stories. “Scientifiction”, or “scientific fiction” was tried out as an alternative term, but the stf wasn’t always that scientific. These terms were juggled around quite a bit. Now there is science fiction and fantasy, two enduring terms, though there’s an attempt to replace one if not both with “Speculative Fiction”.
    [Show full text]
  • James Tiptree, Jr. Award Cumulative List the James Tiptree, Jr
    James Tiptree, Jr. Award Cumulative List The James Tiptree, Jr. Award The 1991 James Tiptree, Jr. Award The James Tiptree, Jr. Award is given to the work of science fiction or fan- WisCon 16, Madison, WI tasy published in one year which best explores or expands gender roles. Prize: chocolate typewriters Song: “Sister Suffragettes,” from Mary Poppins The Founding Mothers Karen Joy Fowler and Pat Murphy Judges Suzy McKee Charnas The Heroes Sherry Coldsmith The people who made the bake sales, contributed to and produced the Bruce McAllister cookbooks, designed the t-shirts, sewed the quilt, donated unsolicited Vonda McIntyre cash, attended the annual ceremonies, and otherwise contributed to the Debbie Notkin (coordinator) ongoing life and saga of the Tiptree organism. The energy and enthusiasm Non-attributed commentary harvested from correspondence among the the award engenders is incontrovertible proof of just how hungry the sci- judges. ence fiction community is for this award, and how ready everyone has been to make it happen and make it keep happening. Winners of the 1991 James Tiptree, Jr. Award The Process A Woman of the Iron People Each year Founding Mothers, Pat Murphy and Karen Joy Fowler appoint Eleanor Arnason, William Morrow, 1991 a panel of five judges to read and discuss among themselves the merits of “Four-square grumpy humor and effortless inventiveness. It explores the gender-bending fiction published in the previous year. Anyone and every- situation of a people much more obviously (if not more deeply) fixed in one is invited to forward recommendations for novels and short fiction to mammalian psycho-sexual wiring than we are (or think we are).
    [Show full text]