robertoqs

joined 1 year ago
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[...] explore an image that is so ubiquitous in the genre that it transcends the label “icon” — the image of the barrier between known and unknown. Chapters Three through Five explore specific icons that science fiction has evolved concerning artificial or unnatural environments: the spaceship, which represents entry into the unknown; the city, which represents subjugation of the unknown; and the wasteland, which represents the reemergence of the unknown. Finally, Chapters Six and Seven shift the focus from images of the environment to images of humanity itself, first as reflected in technology through the icon of the robot, and then as reflected in the images of transformation that are represented by science fiction’s various treatments of monsters, aliens, and transformed humans. Obviously, many of these icons overlap and merge in certain works. The alien being becomes the robot, the robot becomes the spaceship, the spaceship becomes the city, the city becomes the wasteland: such transformations and combinations of the favourite images of the genre become like variations on a theme [...]

— Gary K. Wolfe, The Known and the Unknown: The Iconography of Science Fiction (1979).

[–] robertoqs 5 points 9 months ago

Thank you for your essential work on maintaining literature.cafe's hygiene.

[–] robertoqs 1 points 9 months ago* (last edited 9 months ago)

Please note the metadata of the DePauw University hyperlinks never references SFS, in case of confusion. Furthermore, you might be interested in the SFE article on SFS, although it's outdated (last modified 2022).

 

From the homepage:

Science Fiction Studies is published three times a year (March, July, November) by SF-TH Inc. at DePauw University. The Science Fiction Studies website publishes abstracts of all articles, as well as the full texts of all reviews, historical documents, and selected essays appearing in the journal since its founding in 1973 by R.D. Mullen. Full texts of articles are posted only after an issue has been sold out.

The most recent issue, as of November 2023, is #151.

 

In this perspective, SF [sic] should not be seen (as I will argue at length in the theoretical part of this book) in terms of science, the future, or any other element of its potentially unlimited thematic field. Rather, it should be defined as a fictional tale determined by the hegemonic literary device of a locus and/or dramatis personae that (1) are radically or at least significantly different from the empirical times, places, and characters of “mimetic” or “naturalist” fiction, but (2) are nonetheless —to the extent that SF differs from other “fantastic” genres, that is, ensembles of fictional tales without empirical validation— simultaneously perceived as not impossible within the cognitive (cosmological and anthropological) norms of the author's epoch.

— Darko Suvin, Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre (1979, rev. 2016).

[–] robertoqs 2 points 9 months ago
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In 1972 Darko Suvin defined sf [sic] as “a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative framework alternative to the author's empirical environment”. By “cognition” Suvin appears to mean the seeking of rational understanding, and by “estrangement” something akin to Bertolt Brecht's Verfremdungseffekt, defined in 1948 thus: “A representation which estranges is one which allows us to recognize its subject, but at the same time make it seem unfamiliar.” Perhaps the most important part of Suvin's definition, and the easiest with which to agree, is the emphasis he puts on what he and others have called a novum, a new thing — some difference between the world of the fiction and what Suvin calls the “empirical environment”, the real world outside. The presence of a novum is insufficient in itself, of course, to define sf, since the different and older tradition of fantasy likewise depends on the novum.

— Brian M. Stableford, John Clute and Peter Nicholls, “Definitions of SF”, The Encyclopedia of Science Fiction, eds John Clute and David Langford (4th edn, 2021).

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submitted 9 months ago by robertoqs to c/sfstudies
 

Last modified June 2020.

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SFE: History of Science Fiction (sf-encyclopedia.com)
submitted 9 months ago by robertoqs to c/sfstudies
 

Last modified December 2022.

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submitted 9 months ago by robertoqs to c/sfstudies
 

The SFE's article about itself (last modified October 2021).

[–] robertoqs 4 points 10 months ago

This week I started reading Ursula K. Le Guin's Rocannon's World (1966). I had previously read The Ones Who Walk Away from Omelas (1973), and the The Dispossessed (1974) is in progress.

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submitted 10 months ago* (last edited 10 months ago) by robertoqs to c/meta
 

Now I'm crossposting from Lemmy to Mastodon, by tagging myself, @robertoqs@writing.exchange. Lemmy's “Title” field produces, conversely, an initial separated line in the resulting toot.

Edit: But only a link to Lemmy is displayed in said toot, and not the post's “Body” field.

[–] robertoqs 1 points 1 year ago

Besides the advent of the world wide web, I've always supposed the proliferation of audiobooks and podcasts has had a fundamental link with the proliferation of traffic jams.

[–] robertoqs 2 points 1 year ago

I've never been much of an audiobook listener. However, the few ones I've listened to I've enjoyed very much. Excellent narration, excellent voice acting. I used to play them while cooking, and then while eating what I had just cooked. Then if I was drinking wine with the food, the experience continued, extending into the horizons of my imagination.

[–] robertoqs 7 points 1 year ago (1 children)

I think it makes perfect sense. Federation is great, certainly, but at the same time it's desirable to keep certain communities local, as otherwise they might not be able to focus on what they're meant to be about.

While the fluidity of interconnection is one of the principal aspects of the fediverse, if no particular group were able to specialize, then having different instances, or even using different applications, could become pointless.

[–] robertoqs 3 points 1 year ago

I'm an avid reader of L. E. Modesitt Jr's oeuvre. I'm usually on at least one of his novels in parallel with whatever else I'm reading at that moment. For a few years now, I've been immersed in his “Saga of Recluce” series, an informal name given by the readers, if I remember correctly. I'm currently at the fifth novel, in publication order, which is also the last one in the internal chronological order. After that, I'll continue with the sixth published novel, one of the oldest stories in the internal chronology, and one that narrates essential events. Following that one, I plan on interrupting the publication order to then read another few novels that I'm more interested in, due to the fundamental importance of those stories in the global arc, and therefore in the worldbuilding. Some of them narrate the oldest events in that world, thus far.

To anyone who may be interested in the series, my recommendation is to not search for worldbuilding and plot details online. I think it's best to get into it without knowing, or knowing as little as possible. Concomitantly, I agree with the author on his recommendation to read everything in publication order.

More recently, I started one of his science fiction novels, which is what has most of my attention at the moment, in fiction reading. It's Gravity Dreams (1999).