Feminist Science Fiction Studies

In her 1995 novel, Shadow Man, Melissa Scott explores an alternative future where humanity’s sexual diversity has drastically increased after being exposed to the radiation and chemical drugs that surround space travel. In the text, Scott presents both a seemly all-inclusive place where different gender identities, sexual orientations and sex differences are recognized and accepted, as well as a second national space where the gender binary and heteronormativity are not only heavily endorsed but also seen as a prerequisite to belong and be recognized as human. In this article, I draw from different academic fields such as science fiction studies, space studies and feminist and queer studies to explore how the speculative elements of the novel influence the construal of gender identity, and I question whether Scott’s narrative can be interpreted as a hopeful space for queer liberation in the face of hostility. I analyse how the economic relations between both spaces, Hara and the Concord worlds, shape the understanding of gender and sexuality, and I focus on how the friction between the two systems highlights the power of the nation-state to mark certain bodies as foreign, undesirable and abjected. Finally, I conclude that Scott’s depiction of ‘the wry-abled’ and ‘the odd-bodied’ offers nuanced opportunities to interact with the sex-gender system through speculation while emphasizing how these categories are artificial social constructions.

By briefly addressing moments/themes in 1970s feminist utopias that anticipate the full-blooded critical dystopias of the 1990s, the paper discusses the critical imaginaries of Marge Piercy’s 1991 feminist cyberpunk novel He, She and It (1991), and Octavia E. Butler’s 1990s Parable series: Parable of the Sower and Parable of the Talents. Butler is a champion of the critical “afrofuturist” dystopia; she brilliantly intertwines the critical strands of class, gender and race by reflecting on ways of resistance and alternative
social models to corporate neofeudalism and neoslavery, and depicts them as practiced by an African-American girl. Piercy offers a similarly multifaceted reflection on class, gender and anthropo-andro-centrism in her narrative, where a woman and a cyborg fight the all-powerful corporation, and join an anticorporate alliance that spans diverse social strata.

Throughout history, women have often been depicted in literature as secondary characters, confined to limited roles and overshadowed by their male counterparts. This pervasive narrative reflects broader societal expectations and gender biases that have historically marginalized women. In Margaret Atwood's "Happy Endings," these themes are brought to the forefront through a series of interconnected scenarios, each offering a different perspective on the lives of its characters. Through the lens of feminism, the women’s experiences in each scenario, uncovered the underlying gender biases and societal expectations embedded within the story. It determined how traditional gender roles are often imposed on the characters, particularly highlighting the limited options available to female characters. The findings also revealed the struggles of women and their distinct roles in the society, bringing light to the stereotypes that confine women and further calls for a re-examination of the societal structures that perpetuate these inequalities.

American pulp magazines of the 1930s often maintained reader letter departments, some of which extended to multiple pages per issue. These departments not only served to voice reader preferences but also to debate more esoteric concerns. In this study, I first examine attitudes towards American pulp audiences in the thirties through a survey of contemporaneous scholarship, trade journals, memoirs, and private correspondence bearing upon the perceptions of critics, editors, and authors. The second part offers an analysis of the letter department in the influential sf pulp Astounding from 1930 to 1939. Attention is given to how readers, sometimes in conjunction with editors, articulate positions concerning the 'proper' balance of scientific and imaginative content. Employing Patrick Parrinder's paradigmatic model from 'Science Fiction: Metaphor, Myth or Prophecy?', I read this division as an engagement between propheticpositivist and mythic-relativist modes of scientific representation. I further argue that this developmental thread demonstrates reader attraction to this mythic dimension almost from the inception of the sf pulps.

The Weird in Literature and Media Sitting at the intersection among folk stories, horror, and science fiction, The Weird is a significant conceptualization of storytelling in a variety of different media forms. Many authors, podcasters, filmmakers, and social media participants spend energy and attention on different kinds of stories that fall within the Weird.

This thesis examines Mary Shelley's novel Frankenstein based on an analysis of human nature and what makes us human while focusing on and exploring different aspects of fields such as philosophy, psychology, and sociology to point out the true human essence. Also, the period of Romanticism is briefly mentioned and inquired about, as it is known for heightened emotions, rapid changes, advancements, and individual perceptions of the feelings of people. Moreover, the posthuman representation of Frankenstein's monster is analysed for a better understanding of what a human being is and how it differentiates from other species according to emotions, environment, nature and nurture, or work of the human mind, and ability of perception due to consciousness and subconsciousness. Incorporating evidence from primary and secondary resources, this study demonstrates how human beings behave, how they are influenced, and what it means to be a human while implying different viewpoints through analysis of the characters and their behavioural patterns, as well as their actions and consequences through view of romantic period and separation from natural settings closest to human race.

At the start of 2086, tech-conglomerate Delphi Corp. slips into an alternate reality where an ancient war between Reptilians & Greys threatens to destroy Earth. The firm’s supercomputer software is malfunctioning and when business tycoon & CEO Ellis Bartram realizes their blunder people around the country are already dead. The battle brewing on the other side pits Reptilians named Yhemlen – and Greys – against each other for survival. As the economic crisis worsens, a classified project arises in Washington, D.C. to fix the automated failures and put an end to the radioactive outbreak Delphi Corp. caused. Scientists delve into the Cloud source code using a Neural-Link, though what they discover is an alternate timeline on prehistoric Earth that forever alters their vision of the past. Once humans enter the fray, they are forced to solve an ancient mystery before their world is devoured.

Heroism as an idea dates back to the very dawn of stories portraying ancient heroes and heroines as if they were gods or god-like. Despite being a much later invention, historical fiction (very broadly defined) has been consistently preoccupied with divine-like heroes and heroines. And, whether these are works authored by the early or the latter representatives of the genre, they abound in gladiators (The Students of Spartacus, Gladiator) or warriors (Count Belisarius, Troy) that both draw on the Antique heroism patterns and rework them from the perspective of later trends, ideas, and contexts. More recent incarnations of heroism-and hence ones that could be found employed in historical fiction even more readily-include Carlyle's idea of the great man as the key agent making history, Campbell's journeying hero, and the idea of heroic imagination proposed by

Review of the book The Straight Mind and Other Essays by Monique Wittig.

DIAS, Kelvin Araújo da Nóbrega. A ABORDAGEM RADICAL DE WITTIG PARA ABOLIR O GÊNERO. Revista Brasileira de Sexualidade Humana, v. 35, p. 1188, 2024. DOI: 10.35919/rbsh.v35.1188. Disponível em: https://www.rbsh.org.br/revista_sbrash/article/view/1188. Acesso em: 9 ago. 2024.

Acknowledging the voices of the living by directly addressing the voices of the specter, Derrida's spectral address is broadly influenced by Levinas' work on ethics and his vision of responsibility towards the Other in face-to-face encounters. Bego, Bettina. "Emmanuel Levinas." Stanford Encyclopedia of Philosophy, 7 Aug 2019. . Accessed 20 June 2023. This is predominantly significant in our arguments about ghostly textuality in TV adaptations as we discuss in the first chapters of this thesis. 8 This is even more relevant in our analysis of televisual serial texts in which spectacle and viewing are at the core of its theoretical conception, especially in reception studies.

Sultana's Dream, written by Begum Rokeya Sakhawat Hossain in 1905, is a utopian novella that challenges established gender norms in a manner that effectively undermines the process of conventional gender stereotyping. Hossain's narrative unfolds in Ladyland, a society where women undertake responsibility for various aspects of life, while men are confined to purdah, secluded quarters designated for their isolation. The story, despite its brevity, explores the reestablishment of a matriarchal government, the peaceful stabilization of society, the widespread use of technology without male involvement, the celebration of intellect over physical strength, and the subversion of traditional gender roles, thereby underlining the inherent subordinate conditions of women due to their culture embroidered with religious attributions. Although the story occasionally favours women over men, its purpose, as is proper to the function of utopianism, is to inspire readers by demonstrating the possibility of a better future. This article, therefore, aims to explore the role of religion as an apparatus of the inherent Indian culture in oppressing and isolating women, with reference to Hossain's seminal work, Sultana's Dream.

‎„Złota era” polskiej SF zakończyła się na dobre w roku 1989. Tzw. transformacja systemowa, ‎która zaczęła się w tymże roku, wpłynęła negatywnie także na polską SF. Monopolistyczne ‎pozycje utraciły wówczas państwowe wydawnictwa książkowe, a nowo powstałe, na ogół ‎niewielkie, efemeryczne prywatne firmy nastawione głównie na zysk wydawały masowo ‎zachodnią literaturę SF, na ogół niewysokich lotów ‎. Z czasem jednak rynek okrzepł i zaczęło ‎się liczyć kilka poważniejszych wydawnictw, wśród których należy wymienić oficyny takie jak ‎np.: Prószyński i S-ka, SuperNowa, Amber, Rebis, Zysk i S-ka oraz Solaris‎.

As “writers of a larger reality”, Virginia Woolf (1882 - 1941) and Ursula K. Le Guin (1929 - 2018) were, each in their own time, novelists and essayists who were not limited to seeing words and their meanings as closed correspondences, watertight. Understanding the art of writing through the lens of the collective and of multiplicity, both wrote fiction as if to expand the reach of words and amplify the metaphors that could arise from them. This essay intends to investigate some of the points of contact between Woolf and Le Guin, thinking in particular the dialogue between the non-fiction writings, “Mr. Bennett and Mrs. Brown” (1924), written by Woolf, and Le Guin’s posthumous response in the text “Science Fiction and Mrs. Brown” (1986). The second part of the essay develops on Woolf and Le Guin’s criticisms of the concept of heroism, as well as proposals for reformulating the “primordial” narrative of the hero in terms of a fundamental interdependence for life in society, for the valuing of difference (BUTLER, 2020; BRAIDOTTI, 2011).

An article on psychological science fiction of the 20th century. Based on analysis of science fiction evolution throughout the century,  a general quality of characterization  specific to its contemporary stage is defined as  correlated with the coordinates of cosmic and historical dimensions, which are  introduced as foremost to assess relationships with people.
Published in Russian in 2001.

The purpose of the present study is to read Margaret Atwood's The Handmaid's Tale and George Orwell's Nineteen Eighty-Four, according to the thought and ideas of Michel Foucault. The concepts of power, identity, and resistance, which lie at the heart of the two novels are investigated and discussed. Proposing that power relations in any society affect the whole spectrum of people's lives, Foucault argues that power relations determine the way we see ourselves and perceive the world around us. Foucault adheres to the power sources and means of all phenomena and tools found around us. He believes that power is not limited to one source, can be found in all layers of society, and is positive and productive. Power, he believes controls people by the process of normalization. Resistance to power, therefore, has to be done from inside the power structure because power is an all-embracing entity out of which nobody can act. Foucault proposes the process of 'care of the self' as a way to resistance. Atwood's heroine 'Offred' and Orwell's hero 'Winston Smith' try to resist the power of a totalitarian regime in their society and personal life, and they attempt to set themselves free from the bounds of a totalitarian regime. Offred's method in The Handmaid's Tale and George Orwell's Nineteen Eighty-Four, Page 2 of 25 2 resistance to power is a Foucauldian method, and her indirect resistance fits into Foucault's methodology about modern power, leading her to find her freedom. But Winston's process of resistance does not fit into Foucault's definition of the term, he tries to confront power directly and from outside, also he doesn't have enough knowledge of his social, cultural, and private life which Foucault believes is the first condition for effective resistance, therefore Winston's efforts do not lead to the successful result. In a close scrutinizing reading and examining power structure in the two novels, issues like Disciplinary Power, Panopticon, and Surveillance in Gileadian and Oceanic societies are investigated, and it is demonstrated how the two totalitarian regimes through different methods consolidate their grip on power, and how they deprive their citizens of their own real identity and give them the new one according to their rules.

Andrea Goldsmith has published seven novels, most recently The Memory Trap (2013) and Reunion (2009). I had not met her before I visited her home in an inner suburb of Melbourne to record this interview, but I had read her 2002 novel The Prosperous Thief with great admiration, and we had recently corresponded by email over our shared appreciation of Iris Murdoch. She had written a very kind review of my 2003 publication of interviews with Iris Murdoch, From a Tiny Corner in the House of Fiction, so it seemed fitting that I interview her for Writers in Conversation. I sent her some questions a few weeks before we met, and these provided a loose framework for our discussion. Goldsmith lives in the roomy modern town house she shared for many years with her late partner, the poet Dorothy Porter, who died five years ago, although she is clearly still very much a presence in Goldsmith's life. We sat in a comfortable room at the back of the house, looking out on a pleasant courtyard garden. Her dog Lotte, an affectionate, well-behaved poodle, shared the sofa during much of our conversation. Contented canine snufflings often appear on the recording, though I couldn't find a way to notate them in the transcript. We recorded the interview and then kept talking about life, the universe and everything for more than an hour over tea and lemon tart. When it was time to go, Andrea offered to walk me to the railway station, and as we left, to our shared delight, it began to rain for the first time in many weeks. She lent me an umbrella, but preferred to walk in the rain. An enduring image from that day is the petite author skipping down the street, greeting her neighbours in unselfconscious ecstasy at the breaking of the drought.

India's most prominent names in literature; equally appropriated and applauded by staunch critics and connoisseurs. Apart from being an author, he has worked as a journalist and as a faculty member in his native city of Mumbai. Apart from his fiction, nonfiction, poems and memoir, he has written books for children and has put together some very well-received anthologies. Jerry Pinto's works have won him a plethora of accolades. His first novel, Em and the Big Hoom (2012) was awarded India's highest honour from the Academy of Letters, the Sahitya Akademi, for a novel in English; the Windham-Campbell Prize supervised by the Beinecke Library, Yale, USA; the Hindu 'Lit for Life' Award, and the Crossword Award for fiction. Helen: the Life and Times of a Bollywood H-Bomb (2006) won the National Award for the Best Book on Cinema. His translations from Marathi of Mallika Amar Sheikh's autobiography I Want to Destroy Myself was shortlisted for the Crossword Award for Fiction. Furthermore, his graphic novel in collaboration with Garima Gupta was shortlisted for the Crossword Award for Children's Fiction. His translation of the Dalit writer Baburao Bagul's When I Hid My Caste won the Fiction Prize at the Bangalore Literary Festival in 2018 and his novel Murder in Mahim (2017) won the Valley of Words Prize, and was shortlisted for the Crossword Award for Fiction and the Mumbai Academy of the Moving Image Prize. But there was a time when he feared rejection. In this interview Jerry Pinto touches on various issues, revealing the story of how he became a writer, a career option which wasn't 1 This interview was conducted via e-mail by the students of the course Contemporary Indian English Fiction of BITS-Pilani (Hyderabad Campus

In early 2019, I was delighted to be invited to do a question and answer session with my friend and colleague Elleke Boehmer about her new book The Shouting in the Dark and Other Southern Writing, recently published by University of Western Australia Press. The conversation took place in the congenial common room in the Napier Building in the English Department at Adelaide University, South Australia. What follows is an edited transcript of the discussion, including the introduction by Dr Meg Samuelson of Adelaide University, and the audience questions towards the end.

Star Wars is a science fiction saga that for over thirty years has captivated fans and viewers all over the world. The saga reproduces the desires of the current society, decade by decade, and also produces new forms of representation regarding female characters. Although we know names like Princess Leia and Padmé, both had their narratives crossed by negative stereotypes about female representations. As it is a science fiction genre, we still notice a mostly male presence, despite new appearances of heroines. However, it was with the release of The force awakens (Foster, 2015), that the franchise reignited the engagement and interest of the public, besides attracting the eyes of a new generation. In this way, more female characters were cast for the new trilogy, such as the new protagonist being a woman. In the same year, a literary adaptation was launched in the publishing market, bringing the story to the field of letters and providing new dialogues between the characters.  Accor...

"Kaisa Kortekallio's book develops an innovative blend of posthumanism, narrative theory, and enactivist philosophy. Kortekallio's prose foregrounds choreographic metaphors, and that's no coincidence: the moves contained in her readings of "mutant narratives" offer unique affective training for reimagining the human in times of ecological crisis" Marco Caracciolo, Associate Professor of English & Literary Theory, Ghent University "What are eco-narratives for? Mutant Narratives develops the best case we have for literature's power to attune readers' minds and bodies to the unsettling realities of the Anthropocene. Interweaving virtuoso close readings and bold theorizing, its argument that the experience of literature trains us for posthuman life is as brilliant as it is urgent."

is a South Australian author who has published more than 50 books and well over 100 short stories for adults, young adults and children. Most of his work is science fiction or fantasy, and he has created several series, including Twinmaker (3 volumes) and The Books of the Change (10 volumes). He often co-authors with writers such as Garth Nix and Shane Dix. Sean is a multiple recipient of both the Ditmar and Aurealis Awards for science fiction and has appeared on the New York Times Bestseller list. I got to know Sean when he joined the staff of the English and Creative Writing department at Flinders University in 2019. I was intrigued to hear about Impossible Music (2019), a novel about a young musician who suddenly loses his hearing, and I read it with great enjoyment as soon as I could get my hands on it. When I heard him say in a public conversation that he read Jane Austen for inspiration when writing a realist novel (a new genre for him) I approached him and suggested we talk. I hurriedly read a very small fraction of his other output-the first novels in the Twinmaker and Change series, and Magic Dirt, a book of short storiesin preparation, and we met in his office in December 2019. GD: The first thing that I wanted to ask is how hard is it to create a new world? Is it easier to use the same world over and over again, or harder, because you have to deepen it and make it more and more detailed? Or is it harder to use the 'real' world? Williams-2-Dooley World-building, Dangerous Magic and Jane Austen: A Conversation with Sean Williams. Gillian Dooley.

Öyküsü'nde 1 bask›n›n hem totaliter (bütüncül) hem de bask›ya direnen do¤as›n› betimlemek için belirgin postmodern stratejiler kullanm›flt›r. Atwood'un eseri kad›nlar›n kendi kiflisel bilinçleri için uyand›¤›, ataerkil sosyal düzen ile bafla ç›kmaya çal›flt›¤› ve kendi aralar›ndaki iliflkileri biçimlendirdi¤i hayali bir ülkeyi ele almaktad›r. Di¤er bir deyiflle, Atwood kendi ütopyas›n› göz önüne sermifltir. Bu, feminist bir söylem olarak, onun (kad›n›n)-topyas›d›r. Bir bak›ma, Atwood'un kita-b›nda kurdu¤u düzen, Foucault'nun tan›mlad›¤› gibi, uzam› iliflkisel, heterojen ve ucu aç›k olarak yeniden kavramsallaflt›ran bir heterotopyad›r. 2 Ütopya ve distopya (karfl› utopia) ile k›yasland›¤›nda, heteropik romanlar göz ard› edilmifl konular› veya mükemmel bir flekilde düzenlenmifl bir toplumun hicivsel tersten okunmas›n› ifllerler. Kad›nlar›n bak›fl aç›lar›ndan tarif edilen feminist heterotopik metinler, kad›nlar için ideal olan ve ayr›ca s›n›fland›r›lm›fl, ›rkç› ve kültürel ötekiye yer vermeyen toplumlar› ça¤r›flt›rmaktad›rlar. Bu yaz›nlar, "ütopya ve distopyay›…farkl› iki kutuptan ziyade etkileflimli yar›m küreler olarak birlefltirerek ve melezlefltirerek" 4 okuyucular›n› beslemektedirler. Bu da, Mohr'a göre, bu yaz›nlar›n "s›n›rlar› afl›lm›fl, yeni boflluklar› ve karfl›l›kl› iliflkileri olan alternatif bir dünya" yaratmak için "ütopya ve distopya-n›n kurulu olan çift mant›¤›n›" elefltirdi¤i, baltalad›¤› ve s›n›rlar›n› bozdu¤u anlam›na gelmektedir. 5 Da-m›zl›k K›z›n Öyküsü'nde, heterotopik roman biçiminde, Atwood birbirleriyle z›tl›k içerisinde olan cinsiyetçi bak›fl aç›lar›n› ve yaklafl›mlar›n› tek bir çat› alt›na toplayabilmek için ütopya ve distopya aras›ndaki fark-l›l›¤› çözümlendirmifltir. Bu çal›flman›n amac› da Dam›zl›k K›z›n Öyküsü adl› roman› heterotopik bir roman olarak incelemektir.

Risk has taken over the world as the major way of conceptualizing the future as bleak, if one follows Ulrich Beck's claim in World at Risk (2007). However, there is also a distinctly utopian strand in American risk discourse, one that has, from the outset, been linked to feminist perspectives. Indeed, when risk entered American culture in the 19 th century, immediately women's rights philosophy began to draw on futures shaped by risk, establishing self-ownership and agency in a context that denied such freedom to women and non-white men. This article explores connections between risk, futurity, agency, and selfhood as expressed in feminist thought, drawing a line between Margaret Fuller's political essay Woman in the Nineteenth Century (1845), Joanna Russ's science fiction novel The Female Man (1975), and Mary Daly's radical feminist manifesto Quintessence: Realizing the Archaic Future (1998). The aim is not to develop a narrative of development but to see how risk has become useful in shaping distinctly feminist visions of the future. More specifically, I would like to see how risk-taking has enabled feminist social dreaming. It is precisely this groundedness in risk that allows feminist utopian visions to remain productive in popular culture beyond feminist discourse. When, for example, the movie Alien (1979, dir. Ridley Scott) introduced a female protagonist to a science fiction/ horror action plot, it drew on feminist utopian narrative patterns grounded in risk and risk-taking. Feminist utopian visions as well as their continuations in popular culture thus bring out the subversive potential of risk for feminist theory and practice.

From its initial elaborations in the 1980s to the more systematic critical attention of the early 2000s and still echoing in the present, the concept of the critical dystopia 1 has emerged and been explored in relation to a shift in the structural elements noticeable in dystopian narratives-more specifically of (but not limited to) the literary type-thus providing a useful framework to work through specific issues related to poststructuralist trends and reading positions in a context of escalating social, economic, and environmental pressures. Although the term dystopia was coined in the eighteenth century, 2 its usage became widespread after the publication of the classical dystopian novels by Yevgeny Zamyatin (We, 1924), Aldous Huxley (Brave New World, 1932), Katherine Burdekin (Swastika Night, 1937), and George Orwell (Nineteen Eighty-Four, 1949), which accompanied the gradual dwindling of the utopian ideals of modernity and progress resulting from the harshly violent and authoritarian political events (at times, reaching peaks of genocidal dictatorships and totalitarian states), the devastating wars, and the environmental disasters which punctuated the last century. After the utopian resurgence of the human rights, anti-racist, feminist, and ecological activism of the 1960s and 1970s, and following the logic of worldwide hegemonic neoliberal capitalist and increasingly transnational tendencies that have characterized the decades since then, economic, social, and ecological crises have erupted at an alarming

Utopia and dystopia can be seen to exist within each other. What is a desirable future for one might put someone else in an uncomfortable or conflicted position. Speculative design serves as a tool to let people experience situations through different perspectives of criticality. This paper argues to use speculative methodologies to design for Ustopia. We consider different perspectives from Margaret Atwood's novels "The Handmaid's Tale" and "The Testaments", and use these to define different critical perspectives that speculative design and speculative designers could take to pave the way to Ustopia. We present pastiche scenarios to illustrate how the perspectives could be applied to a transition that impacts all of us: the introduction of the COVID-19 vaccines. We use these pastiche scenarios and related work from the field of speculative design as examples to illustrate how the different perspectives might be integrated into one speculative experience. We propose that Ustopia can be used to harness and encompass such complexity. CCS CONCEPTS • Human-centered computing → HCI theory, concepts and models.

As Sci-Fi novel  The Three-Body Problem presents yet another exciting version of how individual effort can save a world threatened with extinction--a favorite theme today in the Arts.
In this essay I show how Cixlin (the author) instead reveals, through the “hidden soul” in his text, that our technological world is determined solely by the will-to-power, now working through the fundamental NATURAL principle of self-preservation. I also demonstrate how his total omission of an equally fundamental SPIRITUAL principle from the novel—that of willing self-sacrifice for the sake of another—reinforces the likelihood  of our collective doom.

Netflix is releasing a TV series based on the book at the end of March.

From Antiquity to Modernity, the topic of the Amazons questioned the relationships between men and women, triggering a series of anthropological, social and cultural issues. In the wake of the second-wave feminism of the '60, resonating with the Women's Liberation Movement, several authors revisited this topos: Monique Wittig, Les Guérillères (1969),

No âmbito da filosofia feminista francesa as discussões a respeito da mulher, do feminino e da feminilidade passam a compor o cenário intelectual nos anos sessenta, momento no qual a filosofia passava igualmente por processos de ruptura e novas problemáticas. Advindas das discussões promovidas, especialmente pelo estruturalismo, o campo filosófico vivencia nova ruptura com os movimentos feministas e o surgimento de novas concepções filosóficas. Nesse contexto salienta-se o feminismo da diferença apresentado pela filósofa, psicanalista, escritora e feminista belga Luce Irigaray. O presente artigo busca inicialmente traçar o projeto de sua filosofia feminista, o qual se encontra alicerçado na ausência da diferença sexual, pois afirma a inexistência do sujeito feminino enquanto feminino, salientando a existência de uma única lógica, a falocêntrica. O discurso do conhecimento é, entendido com um discurso sexuado, tema da conferência Le Sujet de la Science est-il sexué (1985), a partir d...

Canadian literature written in English is now of age. Or so it would seem from the fact that this is the second of two volumes of the prestigious series Cambridge Companions to have been devoted to it in a fairly short time. First came The Cambridge Companion to Canadian ...

A number of scholars have attempted to outline both a field of “cyborgology” and a set of dominant concerns and tropes concerning the phenomena of accelerating human-machine hybrids. This article argues that, in contrast to popular conceptions of cyborgs as extreme, posthuman monsters, the cyborg concept can be usefully applied to mundane technologies such as automobiles, and that the proliferation of these “mundane cyborgs” is an important consideration in theorizing the cyborg. The essay offers some definitions and typologies of cyborgs, and applies these to the notion that automobiles are exoskeletons with cyborgian consequences.

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12ème colloque international et interdisciplinaire de Stella Incognita « Quand la science-fiction change le monde... » co-organisé avec le collectif Esprit Futur (en partenariat avec les laboratoires LESA, LERMA, CIELAM, CGGG, PSYCLE, et de l'institut InCIAM d'Aix-Marseille Université). Il déroulera du 10 au 12 avril 2024 à Aix-Marseille Université.

La thématique du colloque s'articule autour de l'utopie et de la dystopie dans la science-fiction en abordant les trois axes suivants :
1.    Menaces et dystopie : au-delà des récits de peur ?
2.    Les récits utopiques sont-ils encore possibles ?
3.    Incidence des fictions utopiques et dystopiques ?

Ce colloque a pour objectif de mettre en évidence des approches pluridisciplinaires autour de la science-fiction. Des contributions issues des disciplines des arts, de la littérature, de la psychologie, de l’astrophysique, de la sociologie, de l’histoire ou encore de la philosophie seront acceptées, mais toutes les sciences resteront les bienvenues pour échanger autour des récits de l’avenir et leur effet sur les pensées et les idéologies utopiques et dystopiques de la science-fiction.

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12 th Stella Incognita international and interdisciplinary symposium "when science fiction changes the world..." co-organised with the collective ‘Esprit Futur’ (in partnership laboratories: LESA, LERMA, CIELAM, CGGG, PSYCLE laboratories, and the InCIAM institute of Aix-Marseille University). It will take place from 10 to 12 April 2024 at Aix-Marseille University.

The theme of the colloquium is utopia and dystopia in science fiction, and will focus on the following three topics:
1.    Threats and dystopias: beyond tales of fear?
2.    Are utopian narratives still possible?
3.    The impact of utopian and dystopian fiction?

The aim of the symposium is to highlight multidisciplinary approaches to science fiction.
Contributions from the disciplines of the arts, literature, psychology, astrophysics, sociology,
history and philosophy will be accepted. Furthermore, all disciplines are welcome to discuss narratives of the future and their effect on the utopian and dystopian thoughts and ideologies of science fiction.

The realm of science fiction serves as a captivating tapestry, weaving together speculative narratives that extend beyond the bounds of conventional reality. Within this expansive genre, three thematic strands emerge as critical foci: Posthumanism, Alternate Realities, and Cyberculture. This exploration aims to unravel the nuanced layers embedded within these themes, offering a critical lens through which to examine the implications for contemporary society, ethical considerations, and the trajectory of human existence.

Introduction: Feminism and Fertility ALTHOUGH MYTHOLOGICAL FIGURES such as the Amazonian female warrior might encourage us to think that feminism is as old as mythology, 1 feminism as a political stance through which the personal came to be perceived as political and which highlighted patriarchal structures and ideology as systematically making the female of the human species seem inferior to the male, is a relatively recent phenomenon. Despite some important 19th century works, we can claim that feminism as a political and critical movement came into its own after WWII. Literary feminism brings together a range of approaches to textual analysis. These include the critique of patriarchal language and tropes, addressing the historical disappearance of women writers, the authorial voice of women, and the increasing presence of women in the canon and in genres formally dominated by male writers. Some of these approaches, such as Marxist Feminism, have privileged the realist novel as a locus of analysis and have delved into the relationship between literature and life, perceiving representation of women, attitudes towards women, and the language of the text as reflective of socially constructed gender-biased attitudes between the sexes at various historical moments. 2 The sub-genre of feminist science fiction with an emphasis on fertility explores the roles of women and men by examining social constructions and the enforcement of gender roles with particular refer

This master's thesis is carried out as a part of the education at the University of Agder and is therefore approved as a part of this education. However, this does not imply that the University answers for the methods that are used or the conclusions that are drawn.

The word power is often used to imply the ability to control. We are told that power is ‘held’ by certain people and that others are powerless. But what if this is, in a way, a lie? Or perhaps, if we wish to be kinder, a kind of theatrical performance.

Catarina (UFSC), where he coordinates the research project Poéticas do Texto, and the extension project Texto e Performance. He teaches literature and drama and holds a PhD in Literature and Cultural Studies from UFSC (2015). His main interests are performance, poetry, poetics of resistance, theater and drama studies, and literature as an educational tool/technology.

This dissertation analyzes the representation of the erotic and sexuality in works of Mexican and Brazilian fiction in the twentieth century. I examine how the erotic motif influences the construction of gender and sexuality. Erotic representations apart from the surface function of displaying what is aesthetically pleasing also have the possibility to transform or, at a minimum, disturb gender norms. By analyzing gender, my objective is to show how fluid gender identities are, and how the erotic motif can also have political implications by surfacing feminist and activist ideologies. Most importantly, however, by closely analyzing how the erotic has been mobilized in political terms, I am able to observe how radical authors have become in rewriting the female body and erotic desires. Some of the texts under analysis are Gabriela Cravo e Canela by Jorge Amado, Entre Villa y una mujer desnuda by Sabina Berman, Eu Tu Eles directed by Andrucha Waddington, among others. Chapter 1: Rethinking Foundations and Expanding the Boundaries: Theorizing Eroticism, Sex, Gender, Sexuality and the Body Not only is erotic desire and sensuous feeling removed from the dominant philosophical tradition with which Kant is associated-and (by extension) from aesthetic pleasure-but sexuality, sexual desire, and the body are all proposed as a threat to rational, civilized society. Eroticism, because it is linked to the emotions (from sexual arousal to fear and anger), has the power to agitate the mind, the soul, and to disrupt order.

Em um mundo chamado Gethen, os gethenianos são pessoas andróginas que só definem um sexo e se tornam sexualmente ativas durante um período do mês, o kemmer, podendo ter cada vez um sexo diferente, ou não. Esta diferente realidade aparece no romance de ficção científica “A Mão Esquerda da Escuridão”, da aclamada autora Ursula K. Le Guin, e põe em questão a percepção hegemônica ocidental sobre sexualidade e identidade de gênero. A falta de identidade de gênero muda toda a estrutura daquela sociedade. Entretanto, em nossa sociedade ocidental, identidades sexuais e de gênero estão profundamente enraizadas na materialidade da vida das pessoas, em seu acesso aos direitos humanos e nas construções sociais, como a família. Neste sentido, eu pergunto: é possível pensar em uma sociedade sem identidades de sexo e gênero? A transformação social pode ser pensada além da “identidade”? A partir de uma revisão bibliográfica, o objetivo deste trabalho é problematizar diferentes construções teóricas sobre sexualidade e identidade de gênero e rever outras imaginações possíveis sobre este tópico. Engajando com a obra de Le Guin e usando autoras de diferentes linhas teóricas, pretendo questionar o problema da identidade e da representação a partir das ideias de sexualidade e identidade de gênero. Busco rever as construções epistemológicas e ontológicas da subjetividade ocidental como um passo para imaginar uma outra epistemologia que possa abraçar todas as formas de ser e de existir neste mundo, bem como refletir a construção de um outro mundo possível além da binariedade de gênero.

This study is an exploration of critical dystopia within a postmodern context. Literary and historical viewpoints associate dystopia with the failed utopia of twentieth-century totalitarianism manifested in regimes of extreme coercion, inequality, and slavery. Raffaella Baccolini and Tom Moylan, of whose perspective this study makes use, theorize that critical dystopia provides a potential for change through rejecting the traditional dystopian ending marked by the subjugation of the individual. Problematizing critical dystopia further, the study proposes that the critical orientation of this sub-genre originates mainly from the “local narrative” of a subject whose agency generates from his position in the “threshold” between those in and under control, combined with the “counter-conducts” he uses to acquire knowledge, memory, and awakened consciousness. As a full agent, the subject resists the “utopian” “metanarrative” of an oppressive system/structure and offers possibilities of me...