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In some of our texts, various "hauntings"—both supernatural and psychological—will lead us to explore issues of personal identity, perception, and knowledge. In others, we'll examine the horror lurking beneath the surface of the "normal" and the everyday—in our social institutions, cultural assumptions, and national myths. Students will be encouraged to develop their own theories on the nature and function s of the art of terror. The only prerequisite is a willingness to read, think, and apply critical intelligence to what is often unsaid, unseen, and threatening.
Studies in Literary Genres, Science Fiction. This course is intended as a serious investigation of a broad and widely-defined field of wr. While the heart of sf creativity has always resided in the short story or the novella, this course will focus narrowly on the more demanding form of the science fiction novel. Each novel imagines a particular vision of the world in full and literate detail. Each novel represents a significant departure from contemporary literary forms in its style, language, and content.
And each novel presents a glimpse of a possible future, extrapolated from the present time. Campbell, Box , Crawfordsville, IN "campbelt wabash. ENGL 71M. This course seeks to acquaint students with the majors forms and ideas of contemporary science fiction, so that by the end of the term they understand how to read and evaluate this new and exciting form of literature.
TEXT: Warrick et al. Frisch, Dept. Wells; emphasis on reading protocols and the rhetoric of sf with a hasty review of how various schools of literary criticism have defined the genre from our Golden Age into the new millennium. Paideia II. Speculative Fiction. Course rotates within Paideia II; it has been taught at least 3 times during the past 6 years.
It is a team-taught, interdisciplinary course. We had a physicist, a religion professor, and an English professor team teach, with joint lectures and 3 sections of discussion groups. Scholl and David Faldet, Dept. Contemporary Science Fiction. An advanced study of speculative fiction from through the present, focusing especially on the Cyberpunk movement of the s and '90s. Locust St. In addition to the sf elements themselves, we will examine how this genre, as with any good literature, provides an opportunity to explore the human condition.
History and Theory of sf. This course is designed to try to figure out the "rules" that distinguish sf from mainstream and fantasy literature, and then to ask whether those "rules" have any relevance or utility in a contemporary writing scene characterized by postmodern and slipstream approaches. Since sf has clearly evolved through stages, with each stage suggesting a different set of concerns and priorities, the "theory" of sf almost inevitably turns out to be "theories," each theory tied to a particular historical period.
So, we'll also look at sf over a range of time, paying particular attention to the formative years starting in , when pulp sf codified the genre. Since diversity is perhaps sf's most salient characteristic, our reading for the course will consist of short stories—lots of them. Robert Silverberg. Guided Correspondence English Differs in content from classroom course so that both may be taken for credit. May be taken by e-mail. Brief historical survey beginning with Mary Shelley's Frankenstein , a Gothic precursor, and following with H. Wells, one of the "fathers" of the genre, and moving, then, into a look at the genre as it has existed over the past 60 years.
This course is primarily guided by theme, not time, for ideas, not sequence, are at the heart of science fiction. For more information, contact "credit-programs uiowa. This is a topics course, new each time in themes and readings. It analyzes a book each week, mostly novels, and films each term. The aim is to appreciate the sf genre as an important form of political theory in fiction and film.
The assignments include writing politically oriented stories of alien encounters, alternate histories, micro-macro ties, single changes, fantasy styles, time travels, utopias, and dystopias. Students also write sf poems, myths, and film outlines. Nelson, Dept. Introduction to Political Thought and Action. Films for the course often include Blade Runner and Seminar: Cultural Studies—Cyborg Culture. This seminar examines the theoretical and cultural currency of the cyborg cybernetic organism as a symbolic condensation of the promises and perils of postmodernist identity.
If, as Michel Foucault argues in The Order of Things , "man"—that psycho-physical paradigm instantiated in the nineteenth-century human sciences philology, biology, political economy —is "an invention This vast mutative transition finds potent expression throughout the theoretical and aesthetic cultures of postmodernity, and this seminar will, therefore, employ an interdisciplinary focus upon texts derived from diverse media in order to descry the psycho-social horizons of cyborgization.
Our purpose will be two-fold: 1. Ballard, and William S. Burroughs; art works by Alan Rath, H. Giger, and Survival Research Laboratories; music by John Cage, Front , and Sonic Youth; comics by Howard Chaikin and Katsuhiro Otomo; as well as advertisements, music videos, CD-Rom games, virtual reality hardware and software, and various artifacts of material culture. EN A survey of the development of science fiction as a modern genre approximately present.
Students will read and discuss the novels and short stories assigned from the list of texts. Science Fiction Hall of Fame, vol. Nicholas, English Dept. Honors Composition 2. Analyses of short stories, mostly from The Norton Book of Science Fiction , organized around broad topics like, "what is sf?
Explores the historical contexts, themes, narrative strategies, and shifting generic conventions of 20th-century British science fiction. A proposed, 2-week, intercession course for this May. Special Topics: Science Fiction. Goal of this course: In English , we will not only learn about science fiction and how to "read" it, we will also learn strategies for reading and writing about literature. I will teach a short story, tentatively slated to be Weinbaum's "A Martian Odyssey.
Introduction to Fiction. A genre course using representative texts of different genres, including science-fiction. In the past I taught Gibson's Neuromancer ; for next semester I have dropped it due, alas, to poor student response in favor of Tepper's Grass. I will also teach a short story, tentatively slated to be Weinbaum's "A Martian Odyssey.
Science Fiction; English Studies in a Genre.
The subjects for discussion in the Institutes alternate each year between the stories in the four volumes of James Gunn's The Road to Science Fiction and a list of some two-dozen novels. In discussion will focus on the novels. The purpose of the Institute is to provide students with an understanding of contemporary and future science fiction through a study of how sf got to be the way it is. This summer, so as not to compete with other summer English courses, almost all scheduled for the morning hours, Institute sessions will begin at p.
If the size of the class permits, sessions will be held in the English Department conference room in Wescoe Hall; classes will meet on both Saturday, July 20 and Sunday, July The Institute offers three hours of graduate or undergraduate credit. Housing and meals, if desired, can be arranged separately. Information on housing and a form to indicate interest in the Institute or the Workshop can be obtained by writing the undersigned. The reading for the course should be completed before the course begins.
The grade in the course is based on a paper due four weeks after the course ends. The paper can be an ambitious essay about several novels by an author or on novels by several authors discussing the same theme, a lesson plan, or a science-fiction short story. Permission to enroll in the course may be obtained from the undersigned. He also will have available, before the course begins, a schedule of the order in which the novels will be discussed. Because texts often are difficult to find, the Center has arranged with the Oread Book Store, Kansas Union, Lawrence, KS , to supply books by mail; write for a price list.
Science fiction depicts scientific innovations and discoveries and their impact on individuals, society, and the sentient universe. Students will explore science fiction through reading and discussing selected novels, short stories, and articles. Science Fiction and Utopian Literature. This course surveys the literature of science fiction and utopian thought in both historical and contemporary forms, with an emphasis on those texts that have both defined and challenged traditional ways of looking at the genre. We will be especially concerned about the boundaries of science fiction, as we study authors who have 1.
We will used various approaches to the genre, including Darko Suvin's concept of "cognitive estrangement," the "archetypal utopian city" of Jorge Luis Borges, and the experimentalism of the British "new wave. English or graduate or English undergraduate. Close readings of novels that argue with each other in the cycle running from Erewhon to Island. Political Theory and Utopia. The objective of this course is to explore and analyze the elements of political theory through an examination of selected literary and experimental utopian societies. Readings and discussions focus upon the history and character of utopian thought and practice, particularly as it relates to such questions as the nature of politics, the ideal form of government, the proper limits of social authority, the meaning of equality and such problems as alienation, conflict, political participation, political stability and change.
Eng Speculative Fiction: Parables for our Times. Speculative fiction is a rather wide-ranging genre that includes not only science fiction in the strictest sense of the term, but also a variety of fictional narratives that are not necessarily science-based e. The common denominator in our readings is their speculation about possibilities, which may be political, psychological, ecological, or even mythological. Quite often, these emphases combine and overlap. The best speculative fiction—no matter how "alien"—encourages us to think not only about what we can do but who we are and who we could be.
In this course, we will become acquainted with the development of speculative fiction as a distinct literary genre. We will read, discuss, and write about texts that give us the opportunity to explore that development and the genre's prevalent themes. We will approach the readings not merely as entertainment although they are certainly that but as literature. Thus, we will discuss the literary conventions and techniques the authors employ to tell their highly imaginative stories. In addition, we will consider speculative fiction's impact on popular visual media, particularly film, and its relation to our cultural consciousness.
Cherry Hall, Western Kentucky Univ. Bowling Green, KY , Introduction to Literature. Introductory study of fiction, poetry, and drama demonstrating techniques by which literature reflects human experience. English, Western Kentucky Univ. Experience dragons, gallant knights, lordly ladies, ogres, vampires, sociopaths. Readings from the spectrum of fantasy literature from the epic to science fiction.
Entry obtained with the help of J. A course in the origin and development of science fiction as a literary and cinematic genre, with a focus on the opportunity for social criticism that sf affords. It includes a survey of the history of science fiction, its distinguishing traits, and its variations from "mainstream" fiction. Students will be provided a set of critical methodologies for reading, interpreting, and evaluating sf and will practice these methodologies through close reading, discussion, and writing on a number of sf stories and novels. The works to be discussed in this course will focus on these four areas: 1.
The World Treasury of Science Fiction. English V Science Fiction and Fantasy Literature. The values discussed and the issues raised by this study—such as individual freedom vs. A course in the study of a literary genre divided into two parts. In the first part, we look at a couple of "pure" examples of two distinct narrative genres, science fiction and fantasy. Trying to discover what is unique to each genre, we will examine the nature of their narrative worlds, the codes governing their discursive strategies, and the ways in which readers make sense of them.
In the second part we will turn to a narrative form, science fantasy, which combines features from each of the genres.
Elia Peattie, an Uncommon Woman
We will try to identify the generic features of this hybridized form and take a look at a number of science-fantasy types. In so doing, perhaps we can account for the growing popularity of this particular narrative form. This course approaches science fiction as a genre of literary narrative which explores the shapes of tomorrow through extrapolation from existing technologies or speculation about imaginary technologies.
Sf particularly concerns itself with the impact that technological change has upon the human condition and human institutions. The genre will be treated as literature and at the same time discussed in the larger contexts of its scientific, social, and ideational backgrounds and implications. The course is designed to enable students to develop their capacity for reading sf as one of the most authentic forms of literature in a technotronic society and to cultivate thoughtful attitudes toward the emerging realities of the future: the viability of liberal and humanistic values, the direction and dynamics of change, the role of science and technology, the position of humanity in technotronic cultures.
By the end of the term, the student will also have developed an overview of the history of sf and its relation to other forms of prose literature. HU B. Issues in Western Culture. In The Dispossessed Le Guin explores dimensions of capitalism and socialism as they relate to the personal experience of a scientist. His questions and concerns about both structures anticipate our own—but by setting the novel on another world Le Guin allows us to study those issues free of the biases that may cloud our relationships to them here on earth. Introduces the concept of genre through the study of science fiction and fantasy.
Among the topics of study are theories of genre, genre markers, the history of the chosen genres, theoretical perspectives on the particular genres, and typical themes, characters, situations. Willan, 25 Pleasant St. AFAM African-American Political Autobiography. This course examines the connections between autobiography, political philosophy, utopian thought and politics in African-American autobiographies.
Selected African-American autobiographies will be analyzed to determine the criticisms authors launched against their societies, the social and political alternatives suggested, and the agencies they suggested be mobilized to institute change. Topics in Writing—Writing Science Fiction. The purpose of this course is to familiarize students with the different skills and techniques needed for successful writing in the field of science fiction.
Flynn, English Dept. Other Worlds. A critical introduction to recent and classic works of fantasy, science fiction, and other forms of "speculative fabulation. Charles St. Literature by Women: Science Fiction. We will watch the film Making Mr. Right in class, and invite Severna Park to read on campus. We will ask if the history of science fiction by women is the same as that for male writers, and if women had or have a special tradition within the genre. We will use feminist theory to look at aspects of the science, psychology, and literary strategies of these works.
And we will examine how the writers' differing and changing standpoints on the political isssues of feminism, sexuality, and colonizing are represented in their fictions. Class will be almost entirely discussion, with student reports on the writers and student panels on the feminist readings. In the light of feminist theory and popular culture studies, this course examines works by women from the seventeenth century Margaret Cavendish's Blazing World to the present Ursula K.
We will look at some short stories from early sf pulp magazines, and at works by cult writers like Marion Zimmer Bradley. These are some of the questions we will ask: Is there a women's tradition of science fiction? What is the relation between feminist utopias and sf by women?
Are you sure?
What problems do women writers have with the genre, especially with masculinized science, the convention of woman as alien, and the tradition of the male narrator? What debates on women's issues get worked out in science fiction? Why do women writers choose a popular culture form? What is the relation between fan culture and women readers and writers? Focusing on discussion, this course will ask students to participate through frequent reports and panels. Requirements include a one-page book review of a recent novel not read in class which everyone will send to SFRA Review for possible publication , and a series of 1-page proposal abstract, 8-page oral paper, and 15 to page essay, as well as oral reports, panels, and participation.
The last time I taught this course, I worked with Melissa Sites and Carale Breakstone, graduate students in our program, to set up a free symposium on sf by women, featuring talks by Robin Roberts, Carol Kolmerten, Joan Gordon, and me, and readings by Severna Park and Carol Emshwiller; the symposium was incorporated into the course through preparatory readings of the speakers' works, attendance instead of one week's class, and a potluck for the speakers.
Surveying a range of classic and contemporary texts in the genre of science fiction, this course will explore the relation between the politics of world making and the technologies of literary representation. Special attention will be accorded to questions of gender, race, class, sexuality, and nation as these affect the construction of fictional worlds. Amherst College, Amherst, MA EN CO2. This course explores the impact of new information technology on literature in three crucial areas: 1 Cyberpunk, a relatively new form of science fiction that offers visions of the near future, emphasizing changes in social relations, cultural boundaries, business, and political economy produced by computerization and worldwide network communication; 2 Cyberspace, the ongoing development of virtual environments for education, work, play, and crime; 3 Hypertext, the linked webs of electronic documents that may eventually replace all printed documents, and are already challenging our notions of what reading means.
The center of this course is the point of tension between the sense that cyberpunk is a marginal, resistant phenomenon and the sense that cyberpunk articulates something central to what the world now is or is becoming. Crucial questions for the course include what it means to "be" postmodern, as opposed to being able to talk about the postmodern, and whether virtual realities are fundamentally different from "reality," and change what "reality" means.
Another feature of the course, one which attempts to address in a practical way the difference between being postmodern and merely talking about it, is the creation of a class website as a virtual space for the course work. At present this website is accessible only through Bentley College's intranet, though it may be open to the general Internet in the coming year. The class web consists of basic course materials and projects carried out collaboratively by the students.
Workshop: Building the Time-Machine. In this course we will explore the prospect of building a time-machine from developing a concept to working drawings and a model. The results of the course will be proposed as an exhibit to the Science Museum of Boston. Shattuck and Taylor; various books and articles on speculative physics. Telephone Literary Types: Science Fiction.
The history and development of science fiction is explored from Frankenstein to the present day. WP Writing sf. An introductory creative writing course. Students begin by reading and discussing published stories and writing short exercises focussed on character, dialogue, setting, point of view, and style. The class jointly creates a "shared world" and each writes a short piece set in that world.
All writing is photocopied and workshopped in class. By the end of the semester students have produced either a substantial story or the opening chapters of a projected novel. TEXT: Dozois, ed. A more advanced course, WP —Writing Genre Fiction, gives interested students an opportunity to continue their work. Williams, Div. LI A. Utopia and Anti-Utopia. Since the literary utopia was invented by Thomas More in the 16th century, it has been a medium for philosophers, dreamers, political scientists, and satirists.
In this course, we will explore both the positive eutopia and the negative dystopia or antiutopia as well as some of the intentional communities based on utopian ideals. An exploring of imagination in tales based on traditional lore and wisdom, and in stories premised upon scientific knowledge. Warrick et al, eds. Approaches to Literature: Science Fiction. Looking at scientific concepts as metaphor, the course explores some central science-fiction issues: definitions of "otherness" and the bounderies of "self. Modern Science Fiction.
This course tracks the evolution of science fiction from the fifties to the present. Writing Science Fiction. This course begins with a series of lectures about the process of writing fiction and the particular challenges offered by science fiction. In the course of the lectures, students read stories from the Norton anthology and Dozois's current Year's Best sf. Under the instructor's guidance, the students write at least two short science-fiction stories or one novella or the beginning of a novel, if they seem to have talent in that direction. The last half of the semester is given over to roundtable workshop discussion of the students' work.
This course traces the development of various science fiction themes, conventions, and approaches from early man-versus-machine tales to alien encounters. We will examine how the genre is a time capsule of the relationships of humans and technology, humans and nature, humans and the stars in all their promise and dangers.
From Frankenstein through H. Wells, through short fiction of the "golden age" s and '50s , to the visions of contemporary writers. An introduction to classic works of science fiction. Science Fiction Hall of Fame, Vol.
Science Fiction: Worlds Made Cunningly. The last two dec-ades have witnessed the acceptance—at times reluctant—of science fiction as a legitimate genre of mainstream literature, akin to medieval allegory and romance. Twentieth-century American sf, in particular, has made an impressive popular as well as academic impact upon culture and its literary establishment. We will attempt to define and explore the history and significance of "scientific romances," "scientifiction," and, more recently, "sf" as reflected in the best representative 20th-century authors: British, European, and American.
Our purpose will be to develop a critical and analytical reading and understanding of various works by identifying and evaluating important and often recurrent themes and concerns. These include consideration of the implications of continued research and discoveries in the hard and soft sciences and technology upon religious, social, philosophical, and cultural values as these are extrapolated by sf authors in their fictions. Morin, Dept. Fantasy and Folklore. Fantasy is discussed as a genre and mode; various theories of fantasy are explored.
Science fiction, variously emphasized, has included works by Bradbury, Clarke. Folklore-and more specifically, the folk-tale—is a significant concentration. Investigated are the scholarship, criticism and history relevant to folk narrative study works by Aarne, Degh, Luthi, Propp, Thompson, Zipes ; the application of such study to the investigation of ethnic types; the relationship of folk-tales —and especially motifs—to fantasy, myth and science fiction; the comparison of the oral to the literary tale; the revisionist text.
Themes : Utopias : SFE : Science Fiction Encyclopedia
Such topics as "the trickster," "the master-maid" vs. For advanced undergraduates, primarily English majors. CORE C Cultural History: Mars, This course studies the nature, methods, and uses of cultural history by examining in some detail a single example: how scientific and literary images of Mars during the past century have mirrored and expressed cultural ideas and values. The End of the World. Graduate program. LITR In this course, we will examine science fiction as a vehicle for philosophic and technical inquiry. Religion Topics: Religion and Fantasy.
The study of fantastic literature raises important philosophical problems, such as, what is the reality status of the fantastic?
No place else: explorations in utopian and dystopian fiction
The presence of religious themes in much "secular" fantasy and science fiction, and also of fantastic elements in biblical and other religious literature, raises further questions: Is religion inherently fantastic? Is fantasy inherently "religious"? What are the theological implications of the fantastic? Course objectives: to introduce you to a diverse range of sf literature, to use sf to analyze evolving concepts of our culture, to teach a critical method of reading popular literature, to increase an imaginative response to technology and society, to demonstrate the place of popular literature in ideology, and to have a little fun.
Objectives: 1. Pleasant, MI BCA Film Directors. One of a series of courses under the same number focusing on directors and producers. This course examines the development of the horror film from its beginnings in the silent era to Critical study is given to cultural trends, analysis of technique, and development of the student viewer's critical skills. One of a series of courses under the same number focusing on various film genres. Examines the historical development of the horror film since Texts same as for the preceding course.
A genre study of the themes, techniques, and historical development of fantasy in film. The class views a selection of fantasy-based titles from various genres such as comedy, horror, animation, and action-adventure, as well as studying classic and contemporary techniques in special effects cinematography. Films include titles from Melies to present-day commercial theatricals. Film Genre Study: Science Fiction. Subtitled "Cautionary Tales of the Industrial Age," this course pairs sf films with required readings of several sf novels.
Students discuss how science and scientists are depicted in both media and how the themes and lessons of the respective films and novels apply to the present day. Film Genre Studies: Science Fiction. With the concurrent rise of industrialism and mass culture, modern audiences have been both fearful of and fascinated with the impact of science and technology on the individual and community.
As the most popular and influential of the mass media—due to its unparalleled ability to visually depict what previously could only be described in print or imagined in the mind's eye—film even from its infancy has helped shape our perceptions about the role of the scientist and technocrat in forming our society.
This course will examine how these perceptions were created and sustained in literature and the cinema by examining various key works of popular fiction and film which have been of particular historical, cultural, and esthetic importance in terms of perpetuating certain stereotypical images of scientists and their works. Films which illustrate the development of these stereotypes will be shown and discussed in class, along with an exploration of some of the original novels on which these films were based, including: Atwood, The Handmaid's Tale ; Burgess, A Clockwork Orange ; Dick, Do Androids Dream of Electric Sheep?
English acquaints students with popular, modern literature of science fiction. History and definitions of science fiction are given, but the emphasis is on short stories, novels, and films—their questions and criticisms of society, the world, and human existence. LBS E. Science and Utopia. By examining utopian fiction and nonfiction drawn from the past three and a half centuries, this course will study science's influence upon the utopian imagination and, vice versa, the utopian imagination's influence upon the development of science and technology.
Spanning from the English Renaissance to the American Bicentennial, these writers raise political, philosophical, moral, literary, economic, and scientific questions that, variously, support and challenge their societies' and their scientists' images of themselves. That is, in this course we will look at writers who love science, those who hate it, and those who bring to their works a more complex mixture of attitudes towards science.
Some of the specific questions we will study include: What is a utopia? Or, more usefully, what issues and ideas does the utopian imagination explore and how are they explored? How has the utopian imagination responded to the challengings of traditional beliefs by modern science's new questions and answers? What conflicts have developed between the utopian imagination and the scientific worldview?
On the other hand, what opportunities for the utopian imagination has that worldview opened up? What deep fears about science has the utopian imagination exposed?. What hopes about science has it launched? HU The Literature of J. This course re-examines the major works of J. Tolkien in light of his own theories of fantasy faerie and in view of the works which most influenced him in his writing so as to provide students with a clear idea of his process of sub-creation and a greater appreciation for the magnitude of his accomplishment.
The Mode of the Fantastic. A graduate course which will explore the theoretical and textual basis of the fantastic. An undergraduate course exploring the range, variety, and depth of the fantastic from classical to contemporary literature and film. History Utopian Communities in Nineteenth-Century America.
This course examined the European genesis and implementation in the United States of two major community movements, the Fourierists and the Icarians, which were derived from utopian writings. It also included the intersection of Robert Owen, the Owenites, and the evolution of end-of-century membership into Edward Bellamy's Looking Backward clubs. The course began with an investigation of the cultural settings that advanced these systems during this era.
It reviewed the leaders' backgrounds, the underlying rationale for promoting these social alternatives, the publications and means used to circulate communitarian ideology, and the membership. An Audio Visual on "Utopia" helped to introduce the topic. Early lectures presented a survey of American Communities utilizing time line charts. The two required texts were Carl J. This course is designed to give students an overview of major themes in science fiction and of the genre's historical development in the 20th century with emphasis particularly on US science fiction.
Mirrorshades , Atwood, The Handmaid's Tale. English sec. An elective course for upperclasspersons. There are no prerequisites.
- Utopian Fiction?
- No Place Else: Explorations in Utopian and Dystopian Fiction?
- Young people and social change : new perspectives.
- Secondary Bibliographies.
- No Place Else: Explorations in Utopian and Dystopian Fiction.
We will examine both the history and the diversity of science fiction prose by reading some of the best examples written since the beginning of the nineteenth century. Generally, we will approach each primary text in three ways: through a consideration of its backgrounds scientific, mythic, and so forth , through specific questions the text raises moral questions, questions of plausibility, and so forth , and through the traditional discipline of criticism what is science fiction? Women and Literature.
Study of writing by women in order to explore the concerns of women writers, recurrent themes in their works, and feminist approaches to literature. Rosen, Dept. Writing with Technology.
This class is computer-intensive, training students to publish on the World Wide Web and to build text-based virtual reality spaces. The course looks ahead to a time when information will be stored in virtual space, as Gibson's novels foresee. Paul, MN Literature and Humanity. A course in science fiction with environmental theses. It was developed in conjunction with a series of courses on Humanity and the Environment, which included courses in ecology, biodiversity, and the economics of the environment, science fiction on environmental issues, and a group tour to Florida for nine days to study ecosystems there.
Lit Author: Short Course: Le Guin. This five-week course will study science fiction, fantasy, and essays by Ursula K. Le Guin. English Literature 1 Survey. English Literature 2 Survey. Humn Contemporary Literature. Upper-division humanities course; covers mostly 20th century, mostly American literature, all genres. Norman, Holmes Rd. Eng L. Literary Studies: Science Fiction.
Offered on a rotating basis; the topic for L was at least once utopias. I have taught the sf course at least 12 times since My course attempts to do two things: to offer some sense of the history of the genre I always begin with Frankenstein and The Time Machine and to feature as many of the women writers as possible, if only because we are a women's college.
I have also given a lot of attention to the situation of sf in popular culture, with videos and other media. Rotates with Science Fiction, Fantasy, and Mystery. Instructor and syllabus vary. The following is from the last time I taught the course. Arline rated it really liked it Dec 15, Steve rated it really liked it Jan 14, Gart rated it liked it Jun 26, Tanja Rejsen i litteraturen rated it really liked it Sep 19, Keith marked it as to-read Jul 12, Megan is currently reading it Sep 03, Lucy Clark added it Nov 04, Fanny added it Nov 21, Gabrielle Schuffert marked it as to-read Jan 23, Holly marked it as to-read Feb 16, Clayborn marked it as to-read Aug 07, Azor Ahai added it Aug 17, Stephan Peters marked it as to-read Mar 26, John Adkins marked it as to-read Apr 16, Rada Bogdan marked it as to-read Aug 13, Chase marked it as to-read Oct 28, Alan marked it as to-read Nov 12, Ronald Clarke marked it as to-read Nov 23, Stephen Sipila marked it as to-read Dec 16, Anna Haynes marked it as to-read Jan 22, Nikolai Pynev marked it as to-read Feb 13, Kristjan Torr added it Mar 11, Cambria marked it as to-read Mar 11, Misanthropist marked it as to-read Mar 12, Rick Davis marked it as to-read May 26, Christopher Waugh marked it as to-read May 26, Shiloh added it Jun 11, Bethany Nelson marked it as to-read Aug 24, Benjamin marked it as to-read Jan 26, Frostajax added it Feb 25, Francis Aqvilaignis marked it as to-read Mar 09, There are no discussion topics on this book yet.
Richard Jefferies 's After London is even more extreme in its nostalgia for barbarism. This romantic pastoralism extended into twentieth-century UK scientific romance in the works of J Leslie Mitchell and S Fowler Wright , both of whom glorified a life of noble savagery in opposition to the idea of utopia as a city, and a similar suspicion continues to infect modern UK sf. Nineteenth-century US writers, by contrast, tended to see their emergent nation as the true homeland of progress — a presumption brought to full flower in Edward Bellamy 's Looking Backward , which provoked a great many imitations and replies in kind, including Alvarado M Fuller 's A.
Most of the dissenting voices objected to Bellamy's socialism on political grounds, although Ignatius Donnelly 's pioneering Dystopia Caesar's Column argued that technological society's historical momentum was towards greater inequality and social injustice, and the most famous of the UK replies, William Morris 's News from Nowhere , objected to the prospect of humanity living in idleness while machines supplied its needs.
Nevertheless, Bellamy's book became the archetype of a whole school of mechanized utopias; further technology-glorifying novels in its wake included The Crystal Button by Chauncey Thomas and Limanora by Godfrey Sweven. But scepticism was further renewed too. Anatole France 's Sur la pierre blanche ; trans as The White Stone pays homage to Wells, but has a citizen of a future utopian state declare that peace and plenty are insufficient to ensure happiness, which is a problem of an entirely different kind.
E M Forster , in "The Machine Stops" November Oxford and Cambridge Review , objected much more fiercely, asserting that Wellsian dreams were sterile and would lead to stagnation of the human mind. Alexandr Moszkowski 's Die Inselt der Weisheit ; trans as The Isles of Wisdom set out to show that all utopian schemes are absurd, and that real people could not live in them. Hugo Gernsback was a confirmed euchronian and an enthusiastic propagandist for technological progress.
His Pulp magazines lent what aid they could, practically and imaginatively, to the cause. By the time Amazing Stories was founded in , however, there had been a considerable loss of faith in utopian thought, and dystopian images of the future were becoming commonplace. Aldous Huxley 's Brave New World , a scathing satirical attack on scientific utopianism as expressed in J B S Haldane 's Daedalus , tipped the balance decisively in favour of anxiety about how the technologies of the future might be used.
Despite Gernsback's inspiration and intention, Genre SF has never been strongly utopian. The early sf pulps abounded with adventure stories set in pseudo-utopian futures where poverty and injustice were nowhere in evidence but, when sf writers like David H Keller turned their attention to serious speculation about the future, unease was manifest. Where utopian states were manifest in pulp sf, as in The Sunken World Summer Amazing Stories Quarterly ; by Stanton Coblentz , they were often small enclaves facing imminent destruction. This was the fate of utopian dreams outside the sf establishment, too: after World War One they were mostly relegated to the status of the Isles of the Blessed, as pleasant impossibilities.