This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (shrink)

This book considers the significance of this confluence through an examination of myths in the writings of H. G. Wells, Arthur C. Clarke, Philip K. Dick and Frank Herbert. Presenting fresh insights into their works, the author brings to light the tendency of science fiction narratives to reaffirm spiritual myths.

The rise of transrealism in the second half of the twentieth century embellished the literary landscape in America with a new mode of expression that offered new understanding of time, space, identity, and social values and norms. This study situates the American novelist Kurt Vonnegut’s Player Piano within this literary context to map out the qualities that distinguish it as a transrealistic fiction. We argue that through innovative coalescence of fantasy and realism, this postmodern novel provides a satirical commentary (...) against the incongruities of the contemporary American society. To analyse the novel, we employ Rudy Rucker’s theorisations of the movement that delineates the transrealist manifesto as a union of realism, fantasy, and science-fiction. The findings reveal that through a satirical representation of the current advancements in technology and their inevitably negative impact on human life and society, the novel provides a dystopian picture of modern life in America. This apocalyptic sentiment is reinforced through a creative convergence of the surreal features of science-fiction, the tropes of naturalistic realism, and the elements of satire that together help to accentuate the deficiencies and ironies of the modern American society as well as the rampant misuse of technology by both individuals and authorities. (shrink)

Using selections from writers like Margaret Atwood, Octavia Butler, Marion Zimmer Bradley, Karen Joy Fowler, Ursula K. Le Guin, James Tiptree jr., and many others, this collection shows how the imagined worlds of science fiction create hold experiments for testing feminist hypotheses and for interpreting philosophical questions about humanity, gender, equality and more. Four main themes: Part 1, 'Human nature and reality', concentrates on whether there is an intrinsic difference between males and females. Part 2, 'Dystopias: the worst of (...) all possible worlds', portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Part 3, 'Separatist utopias: worlds of difference', assembles stories that scrutinize both the virtues and vices of separatism. In Part 4, 'Androgynous utopias: worlds of equality', the authors create worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. (shrink)

Vivian Sobchack _Screening Space: The American Science Fiction Film_ New Brunswick, New Jersey: Rutgers University Press, 1987 ISBN 0-8135-2492-X 345 pp.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Indian Science Fiction: Patterns, History and Hybridity by Suparno BanerjeeBarnita BagchiSuparno Banerjee. Indian Science Fiction: Patterns, History and Hybridity. Cardiff: University of Wales Press, 2020. xiii + 256 pp. E-book, ISBN 9781786836670.Suparno Banerjee’s monograph examines science fiction (henceforth SF) from India, a country that has a rich and fascinating tradition of SF. This is a book that will be of interest and value to scholars (...) and students in higher education of utopia, dystopia, and speculative fiction, and to readers across disciplines interested in SF as a mode. It is quite clear today that Darko Suvin’s canonical definition of SF as cognitive estrangement, an interplay between the familiar and the strange, and its emphasis on the novum that is created in SF, has been enriched with further attention to context, including postcolonial contexts. Whose familiarity in cognition are we speaking about, and what happens when contexts are not necessarily hegemonic Anglo-American or Western ones? Indeed, even in Western contexts, science is not a given, but an element that always has political, historical, and ideological overtones. The novum, too, as with the term utopia, is moored in the contexts of the text.Banerjee’s book is one among several excellent monographs on Indian SF that have been published in the 2020s: Sami Ahmad Khan’s Star Warriors of the Modern Raj: Materiality, Mythology and Technology of Indian Science Fiction (2021) and Upamanyu Pablo Mukherjee’s Final Frontiers: Science Fiction and Techno-Science in Non-Aligned India (2020) come to mind. Khan adopts a refreshing fan’s guide to Indian SF register in his monograph, discussing mythology, materiality, ideology, and technology, and he coins the abbreviation TransMIT to capture his approach. Mukherjee’s book examines how Indian SF syncs with or questions the technological and scientific paradigms of India under Nehru and the Non-Aligned Movement; arguing that Indian SF needs to be seen as semiperipheral, the book also applies concepts from energy humanities [End Page 586] to Indian SF in an arresting way. Suparno Banerjee’s monograph is a solidly grounded work in its clearly explained choice of corpus, and a methodology that elicits particularly generative insights in a number of areas, including the epistemological status of science in Indian SF, the importance of SF written in bhasha or non-English Indian languages, the interplay between past and future in Indian SF, analysis of how Indian SF imaginatively represents the Other, and attention to Indian women writers of SF.Banerjee offers a lucid and useful chronology of Indian SF in four historical periods: 1835–1905, 1905–47, 1947–95, and 1995–2019. The period from 1835 to 1905 offers the first specimens of Indian SF, primarily in the form of future histories that question colonialism, in the utopian mode, and adventure tales and stories with scientific and technological elements. The establishment of a British education system, starting in the 1820s, gave an impetus to the birth of Indian SF. Rokeya Sakhawat Hossain’s “Sultana’s Dream” was published in 1905, a year that heralds the second period lasting until Indian independence. In this period, SF starts appearing not just in the English, Bengali, and Hindi languages, as in the first period, but also in a number of other Indian languages, such as Assamese, Marathi, and Tamil. Children’s and youth magazines develop from the 1920s, spaces where science writing and SF both appear. Nationalist, anticolonial stances emerge, challenging western hegemony, in the 1940s. In the early post-Independence period, the nationalistic elements become even stronger, and SF interacts quite strongly with older forms of fantastic writing such as myths, fairytales, and ghost stories. This third period, Banerjee argues, is the golden age of bhasha SF. From the 1990s English-language SF again becomes very prominent in India and its diaspora, though SF in bhashas continues to flourish.Banerjee examines fiction not just from post-Independence India, but also from colonial British India, and diasporic Indian writing. SF written primarily in Bengali, English, Hindi, and Marathi is examined and, when possible, the book also brings into its ambit of analysis SF written in the languages Assamese, Tamil, Telugu, and Kannada. Reflexivity about the corpus of... (shrink)

Novels and short stories written since the last decades of the nineteenth century and employing discourses of technology have contributed to shaping the idea of the “posthuman condition” in the West to such a degree that some critics already feel entitled to announce the Age of the Posthuman. This essay interrogates some of the embarrassingly quixotic proposals of posthumanism, taking H. G. Wells's Time Machine, William Gibson's Neuromancer, and Margaret Atwood's Oryx and Crake as paradigmatic texts exploring patterns of mutation, (...) virtuality, and bioengineering. In their concern for the apocalyptic and their sometime depiction of the glorious moment of Herculean victory over classical “human” man, these novels articulate the Western self's undaunted desire for the perfect Other, implying critical and even ironic gestures that question the propagation of a “new” human condition or the idea of absolute boundaries of the human. (shrink)

This is an introduction to the thematic section on Science Fiction's Imagined Technologies, which includes three articles that were presented at the annual meeting of the American Academy of Religion (AAR) in San Diego, CA on November 24, 2019.

The dictionary tells us that metalinguistics is simply "the study of the interrelationship between language and other cultural behavioral phenomena."1 However, because most studies are in fact expressed in language, the study itself becomes a candidate for metalinguistic inquiry. In other words, language is not only capable of interrelationships with kinship systems or economic systems or rituals but it is capable of intrarelationships. . . . Language often becomes a subject in science fiction because science fiction writers realize (...) that they must account for the communication between characters from different planets or different epochs. Wells' Time Traveller, when he first encounters the effete and childlike Eloi, notices that they speak "a strange and very sweet and liquid tongue" which he never does come to understand. This failure of understanding is realistic and leads to some lovely pathos as the Time Traveller tries to apprehend a world solely by means of observation and exchanges of facial expression and gesture. Although language conveniently drops from consideration once it is established that there won't be any significant talking, that it is considered at all adds plausibility to this fantastic tale. · 1. American Heritage Dictionary, New College Edition, 1976. Eric S. Rabkin, professor of English and director of the Collegiate Institute for Values and Science at the University of Michigan, is the author of Narrative Suspense, The Fantastic in Literature, Arthur C. Clarke and the editor of Fantastic Worlds: Myths, Tales, and Stories. His previous contribution to Critical Inquiry, "Spatial Form and Plot," appeared in the Winter 1977 issue. See also: "The Shape of the Signifier" by Walter Benn Michaels in Vol. 27, No. 2. (shrink)

Depictions of children in British science fiction and horror films in the early 1960s introduced a new but dominant trope: the ‘extraordinary’ child. Extraordinary children, I suggest, are disturbing because they violate expected developmental norms, drawing on discourses from both the ‘psy’ sciences and early neuroscience. This post-war trope has been considered by film and literature scholars in the past five years, but this existing work tends to present the extraordinary child as an American phenomenon, and links these (...) depictions to adults’ psychoanalytical anxieties about parenthood and the family. This article, considering Village of the Damned (1960), Children of the Damned (1963), The Damned (1963), and Lord of the Flies (1963), will contend that the extraordinary child was British before it was American, and tapped as much into nuclear anxieties generated by the early Cold War as fears about the ‘permissive society’, especially given that many of these films preceded the peak of the ‘Swinging Sixties’ and were based on British science fiction of the 1950s. The ‘psy science’ that was dominant in these films was developmental psychology, not psychoanalysis. Moreover, adolescents as well as adults were key audiences for these films. Drawing on self-narrative essays written by English adolescents aged 14 to 16 between 1962 and 1966, I will demonstrate that this age group employed their own fears of nuclear war and their knowledge of psychological language to challenge adult authority, presenting a counter-narrative to adult conceptions of the abnormal and irresponsible ‘rising generation’. (shrink)

In patriarchy women are frequently perceived as “the other” and as such they are subject to discrimination and marginalization. The androcentric character of patriarchy inherently confines women to the fringes of society. Undeniably, this was the case in Western culture throughout most of the twentieth century, before the social transformation triggered by the feminist movement enabled women to access spheres previously unavailable to them. Feminist science fiction of the 1970s, like feminism, attempted to challenge the patriarchal status quo in (...) which gender-based discrimination against women was the norm. Thus, authors expressed, in a fictionalized form, the same issues that constituted the primary concerns of feminism in its second wave. As feminist science fiction is an imaginative genre, the critique of the abuses of the twentieth-century patriarchy is usually developed in defamiliarized, unreal settings. Consequently, current problems are recontextualized, a technique which is meant to give the reader a new perspective on certain aspects of life they might otherwise take for granted, such as the inadequacies of patriarchy and women’s marginality in society. Yet there are authors who consider the real world dystopian enough to be used as a setting for their novels. This is the case with Woman on theEdge of Time by Marge Piercy and The Female Man by Joanna Russ. Both texts split the narrative into a science fictional and a realistic strand so as to contrast the contemporary world with utopian and dystopian alternatives. Both texts are largely politicized as they expose and challenge the marginalized status of women in the American society of the 1970s. They explore the process of constructing marginalized identities, as well as the forms that marginalization takes in the society. Most importantly, they indicate the necessity of decisive steps being taken to improve the situation. (shrink)

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of (...) science fiction horror emerges. Central to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre. (shrink)

The present article is devoted to the issue of studying functioning of some elements of a strong position in a science fiction text. The elements of a framework, namely the title and the beginning, are analyzed on the basis of a short story by a famous American science fiction writer R. Bradbury. The stylistic analysis of the phenomena under consideration showed that elements of foregrounding have symbolic nature, set the interconnection between text fragments and provide an integral (...) idea of a fiction text. In Bradbury’s story the title that serves as a symbol represents a key image of the work. The short story features the beginning characterized by detail and accuracy of portraying the setting for the described events. The said is critical to the genre under consideration as it contributes to the creation of the effect of plausibility of the plot. The end of the story is an open one; at the same time, it contains some hints enabling the reader to interpret the text fully. The analysis of specific features of particular elements of a strong position functioning drives us to the conclusion that one of the main functions of the said means is to foreground important information for the reader that is necessary for correct interpretation of the author’s message. (shrink)

Too much contemporary bioethical discourse is weak on science, lazily citing and adopting science fiction scenarios rather than science facts in the framing of analyses and policies. We challenge bioethicists to take more seriously the role of providing informed insight into and oversight over contemporary science and its implications and applications. Bioethicists must work harder to understand the fast-changing truths and limits of basic science, and they must incorporate only appropriate and authentic science into (...) their discourse, just as they did in the past when addressing the quandaries of clinical medicine. The field of bioethics is not so old and entrenched that its future is assured. Bioethicists must make themselves useful to society in order to deserve and retain the public's trust. They can best do this by ensuring that decision making and public policy are grounded in facts, not fictions and fantasies. (shrink)

Five years ago, remarkable animal experiments on artificial womb technology (AWT) at Children’s Hospital of Philadelphia (CHOP) got us thinking about the ethical for premature babies. We recognized...

Preface By William Van O'Connor And Frederick J. Hoffman.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

In this article I present two theories of historical inquiry, which I characterize as conservative and pragmatic. I argue that these two views of history, John Dewey’s and Hans Georg Gadamer’s, provide an excluded middle between the extremes of positivism and relativism. They are pragmatic insofar as they accept the anti-foundationalist critique of positivism; they are conservative insofar as they refuse to reduce historical inquiry to mere discourse or narrative. Both focus on the situatedness of historical inquiry, paying special attention (...) to the culturally emergent conceptual schemes and prejudices of the historian, but they constrain historical inquiry by providing an improved understanding of the relationship between the problems which give rise to our inquiries and the tools which help resolve them. Dewey, in the key of naturalism, and Gadamer, in the key of phenomenology, provide conservative and pragmatic philosophies of historical inquiry, which refuse to pose as science, but do not fall into narrative fiction. Additionally, their approaches to historical inquiry share a concern for the practical application of the study of history. In this concern for application, both Dewey and Gadamer provide a theory of historical inquiry consonant with a conservative and pragmatic judicial theory, which rejects both the formalism of legal positivism and the model of unconstrained judicial radicalism. (shrink)

'...a remarkable book....Zuckert shows, subtly and persuasively, how the themes of American literature resonate with those of modern thought...Zuckert brings us to the point where philosophy and politics intersect. Few projects have such depth.'-AMERICAN POLITICAL SCIENCE REVIEW.

Historian James Gilbert argues that the dialogue between science and religion is an important dynamic in the creation of contemporary American culture. He traces the dialogue not only in the confines of the academic world but also in popular culture. The science‐religion dialogue reveals a basic tension between the material and the spiritual that helps define the core of the American psyche: fascination with material progress yet commitment to traditional religious beliefs. Gilbert's cultural narrative traces the (...) dialogue in a unique way because of the attention given to popular renditions of science and religion in evangelical films used by the military, in televised science programs, in science‐fiction literature, and at the Seattle World's Fair in 1962. Gilbert suggests that the discussion between science and religion is significant because it is part of the process of creating new cultural structures necessitated by social, scientific, and technological developments. The tensions between religiously informed commonsense science and professional science work to create new cultural forms in a democratic society. Religion and science in dialogue are part of the process of cultural creation. Dogmatism on the part of either scientists or religionists is countered by the democratic process itself. (shrink)

Medicine and Ethics in Black Women's Speculative Fiction engages the complex nexus of black women's health, the fraught history of medicine as it relates to black women, and the problems with the inconsistent application of medical ethics that should concern us all through the lens of black women's literary speculation.

James Gilbert has provided fascinating and valuable historical sketches of the interactions of science and religion in American culture in this century, especially those taking place between 1945 and 1962. Yet, taken together, it is unclear what conclusion is to be drawn from these interactions. Ambiguity about the variety of forms of the science‐and‐religion relationship and about the referent of the termreligion make the task of apprehending a coherent pattern among these sketches very difficult.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 125.1 (2004) 140-144 [Access article in PDF] C. J. Tuplin and T. E. Rihll, eds. Science and Mathematics in Ancient Greek Culture. Foreword by Lewis Wolpert. Oxford: Oxford University Press, 2002. xvi + 379 pp. 21 black-and white ills. 3 tables. Cloth, $80. It has become something of a truism to say that, whatever their ambitions for abstraction, scientists remain profoundly caught up (...) in the life of their culture. Yet, that is a truism only at a certain level. No one is surprised to hear that Euclid had to eat and drink just like everyone else and relied on royal patronage for the leisure to pursue his studies, but it may occasion surprise to learn that the shape of his number theory should owe something to the particular way in which his eye fell upon a multiplication table. That Galen was influenced by his teachers is not news; but that his commitment to a particular school of philosophy could cause him to see and not see certain things when he was conducting dissections—here is something of interest. The papers in this volume, which were first delivered at a conference in Liverpool in 1996, have it as their common task to show how ancient forms of life influenced the pursuit and acquisition of knowledge on the part of scientists like Euclid and Galen.Heading the collection is a study by Andrew Barker of some idiosyncratic features of Greek harmonic theory. Archytas, Aristotle, and Ptolemy each attempted to characterize the physical basis of the two opposite sound qualities, oxusand barus. As Aristotle himself observed, the terms are metaphors drawn from the tactile realm, and trouble arose because in that realm they are heterogeneous opposites, i.e., the proper opposites of "sharp" and "heavy" are "dull" and "light." Barker uncovers a corresponding uncertainty in the texts about whether these sound qualities should be analyzed as something more like weight or something more like sharpness. Thus, an excessive trust in the descriptive adequacy of ordinary language terms led these thinkers to frustration.Harry Hine's paper on earthquakes and vulcanology deals with ancient knowledge of two phenomena that elicited the attention of scientist and non-scientist alike. Like Barker, Hine draws our attention to a terminological deficiency: although there was a fairly elaborate vocabulary for seismoi, neither Greek nor Latin possessed a generic noun that could properly be translated as [End Page 140] "volcano." This deficiency seems to be correlated with the fact that earthquakes form a regular part of the meteorological curriculum, while volcanoes usually received independent treatment in works such as the Aetna. Particularly intriguing is Hine's suggestion that the opinion of locals, especially sailors, may have been the source of certain scientific theses about volcanoes, e.g., that Aetna's behavior was closely correlated with the weather.The difference between ancient astronomy as practiced and as it was popularly believed to operate is the subject of Alan Bowen's paper. His central question is, when did astronomers first set out to make predictions of eclipses? The surprising answer is that, despite popular beliefs to the contrary, such prediction was never practiced by astronomers in a serious way before Ptolemy. Along with scrutiny of the misunderstanding in Herodotus, Diodorus, and Pliny, the paper offers thorough analysis of the most well-documented "prediction," that of a lunar eclipse that took place the night before the battle of Pydna in 167 B.C.E., which was supposedly foreseen by the Roman (!) general C. Sulpicius Gallus. Bowen casts doubts upon the entire tradition, showing how adherence to an ideology of the well-rounded commander led the sources to inflate his achievement: while some reports have Gallus simply assuaging his troops' fears at the event, others have him explaining its causes or even foretelling it. Bowen's skepticism is well founded, and one must regard these supposed feats of eclipse-prediction as a kind of science fiction, prescient yet false all the same.R. Hanna's subject is the format and function of the parapegma calendar first devised by... (shrink)

In considering how to best deploy robotic systems in public and private sectors, we must consider what individuals will expect from the robots with which they interact. Public awareness of robotics—as both military machines and domestic helpers—emerges out of a braided stream composed of science fiction and popular science. These two genres influence news media, government and corporate spending, and public expectations. In the Euro-American West, both science fiction and popular science are ambivalent about the (...) military applications for robotics, and thus we can expect their readers to fear the dangers posed by advanced robotics while still eagerly anticipating the benefits to be accrued through them. The chief pop science authors in robotics and artificial intelligence have a decidedly apocalyptic bent and have thus been described as leaders in a social movement called "Apocalyptic AI." In one form or another, such authors look forward to a transcendent future in which machine life succeeds human life, thanks to the march of evolutionary progress. The apocalyptic promises of popular robotics presume that presently exponential growth in computing will continue indefinitely, producing a "Singularity." During the Singularity, technological progress will be so rapid that undreamt of changes will take place on earth, the most important of which will be the evolutionary succession of human beings by massively intelligent robots and the "uploading" of human consciousness into computer bodies. This supposedly inevitable transition into post-biological life looms across the entire scope of pop robotics and artificial intelligence, and it is from beneath that shadow that all popular books engage the military and the ethics of warfare. Creating a just future will require that we transcend the apocalyptic discourse of pop science and establish an ethical approach to researching and deploying robots, one that emphasizes human rather than robot welfare; doing so will require the collaboration of social scientists, humanists, and scientists. (shrink)

The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on (...) issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a Florentine clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into juxtaposition with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall), and cinema (Rohmer, Haneke, Tarantino), this volume enlarges our understanding of global postmodernism for the twenty-first century. (shrink)

In his [Africans are not Black: The Case for Conceptual Liberation], Kwesi Tsri relies extensively on myths and non-fictional narratives to dictate the origin of the racial disparagement of Afro-Americans and Africans from south of the Sahara. Owing to the synonymy between ‘black’ and ‘Africa’ as well as the derogatory symbolism in the former that fuels the latter, Tsri submits the need to disassociate Africans from the concept, ‘black.’ Upon a critical conversation with Tsri’s text however, Chimakonam discerns three flaws. (...) Granted, the objections are salient, I augment herein, one of Chimakonam’s critiques – the exclusion by Tsri, of nonfictional or scientific texts on the race discourse. Whereas I agree with Chimakonam that both the fictional and non-fictional accounts on race are pertinent for intellectual balance in Tsri’s disquisition, I further suggest that in most cases, non-fictional or scientific theories on race are undergirded by the prejudice initiated by mythical and/or fictional narratives. I substantiate my thesis, relying on Karl Popper’s evolutionary epistemology, with 21 st century science admission that human genetic diversity cannot be captured by scientific theories of race. Keywords: Africa, Blackness, Jonathan Chimakonam, Karl Popper, Kwesi Tsri. (shrink)

One reason why the continued popularity of the film Alien (1979) is philosophically interesting is that it bears out the aesthetic theories of seminal American horror-writer H.P. Lovecraft (1890-1937) about what makes good science-fiction horror. Lovecraft never directly offers a philosophy of science-fiction horror. However, at different points in his essays and letters, he address genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and (...) class='Hi'>science fiction. Taken together, a philosophy of science-fiction horror emerges. The chapter is an examination of the philosophy of science fiction horror of H.P. Lovecraft, illustrated using examples drawn from the film Alien. (shrink)

Matthew Lavine’s The First Atomic Age is intended as a corrective to what has by now become a familiar story of postwar US nuclear culture. The popular enthusiasm for and fear of all things nuclear, as described in such works as Paul Boyer’s By the Bomb’s Early Light , was not in fact a new development but rather a repeat of a phenomenon that first manifested half a century earlier. Working with newspapers, magazines, trade journals, advertisements, product labels, pulp fiction, (...) poetry, and scientific biography, Lavine unequivocally demonstrates the ubiquity of references to both X-rays and radiation in popular culture in the first half of the twentieth century. This, he argues, constitutes the “First Atomic Age”.Lavine divides the book into three long chapters according to how much the public might reasonably know about radiation and radioactivity. In the first period, the era of discovery, the lack of con .. (shrink)

This ambitious literary history traces the American novel from its emergence in the late eighteenth century to its diverse incarnations in the multi-ethnic, multi-media culture of the present day. In a set of original essays by renowned scholars from all over the world, the volume extends important critical debates and frames new ones. Offering new views of American classics, it also breaks new ground to show the role of popular genres - such as science fiction and mystery (...) novels - in the creation of the literary tradition. One of the original features of this book is the dialogue between the essays, highlighting cross-currents between authors and their works as well as across historical periods. While offering a narrative of the development of the genre, the History reflects the multiple methodologies that have informed readings of the American novel and will change the way scholars and readers think about American literary history. (shrink)

The Trump presidency has been remarkable in its attacks on many mainstream institutions. It has tapped populist sentiment that reflects little confidence in the key decision-making centers in American society. Higher education has not escaped this attack. Indeed, criticism of the academy has gone well beyond the debated policies of affirmative action and political correctness to the very status of expert knowledge itself, questioning what is legitimate knowledge. Claims of “false data” and “alternative facts” parade in the public arena (...) without the benefit of reasoned scholarship that might separate fact from fiction. Nowhere is this more obvious than in the attack on science, particularly scientific research focusing on environmental issues and climate change. Nonetheless, a small number of academicians—supposed arbiters of truth—advocate for Trump. How does one explain this apparent anomaly? Why would scholars support a president and populist movement that attack the very foundations of their professional life: knowledge and expertise? I have identified 103 such professors who offer their public support of Trump through blogs, essays, op-ed pieces, public lectures, tweets, YouTube videos, and even a couple of trade books. These are public intellectuals who intervene beyond the classroom and laboratory to promote a political agenda that is supportive of Trump. They are public advocates for Trump: academic Trumpists. Who are these individuals? Where do they teach? What do they teach? What kinds of connections external to the academy do they cultivate? How do they justify their support of Trump? This article offers some answers to these questions. It draws inspiration from Bourdieu’s field analysis of the politics of higher education and the sociology of conservative intellectuals. (shrink)

This book explores concepts of rationality drawn from philosophy and the social sciences, in relation to traditions of literary enquiry. The author surveys basic assumptions and questions in philosophical accounts of action, in decision theory, and in the theory of rational choice. He gives examples ranging from Icelandic sagas to Poe and Beckett, and examines some situations and actions drawn from American and European fiction in order to analyze issues raised by contemporary models of agency. Challenging poststructuralism's irrationalist images (...) of science, this innovative study crosses the boundary between literary and philosophical studies in a bold interdisciplinary spirit. (shrink)

At the time of its publication in 2016, Edward K. Chan's The Racial Horizon of Utopia entered a field that included relatively few full-length studies of race in speculative fiction or science fiction, and even fewer of race in utopian literature. Ground-breaking in that respect and offering a compelling examination of race within utopian novels of the 1970s through 1990s, Chan's book makes a vital contribution to the field of utopian studies.Chan notes a shift in focus in post-1970s utopian (...) fiction away from delineating the workings of an imagined utopian society and toward shaping what he refers to as "the Subject of Utopia". In conjunction with this, he identifies this period as characterized by "the... (shrink)

A threat to humanity portending the end of our species lurks in the cold recesses of space. Our only hope is an eleven-year-old boy. Celebrating the long-awaited release of the movie adaptation of Orson Scott Card’s novel about highly trained child geniuses fighting a race of invading aliens, this collection of original essays probes key philosophical questions raised in the narrative, including the ethics of child soldiers, politics on the internet, and the morality of war and genocide. Original essays dissect (...) the diverse philosophical questions raised in Card’s best-selling sci-fi classic, winner of the Nebula and Hugo Awards and which has been translated in 29 languages Publication coincides with planned release of major motion picture adaptation of _Ender’s Game_ starring Asa Butterfield and Harrison Ford Treats a wealth of core contemporary issues in morality and ethics, including child soldiers, the best kind of education and the use and misuse of global communications for political purposes A stand-out addition to the Blackwell Philosophy and Pop Culture series. (shrink)

The legendary biologist, provocateur, and bestselling author mounts a timely and passionate defense of science and clear thinking with this career-spanning collection of essays, including twenty pieces published in the United States for the first time. For decades, Richard Dawkins has been the world's most brilliant scientific communicator, consistently illuminating the wonders of nature and attacking faulty logic. Science in the Soul brings together forty-two essays, polemics, and paeans--all written with Dawkins's characteristic erudition, remorseless wit, and unjaded awe (...) of the natural world. Though it spans three decades, this book couldn't be more timely or more urgent. Elected officials have opened the floodgates to prejudices that have for half a century been unacceptable or at least undercover. In a passionate introduction, Dawkins calls on us to insist that reason take center stage and that gut feelings, even when they don't represent the stirred dark waters of xenophobia, misogyny, or other blind prejudice, should stay out of the voting booth. And in the essays themselves, newly annotated by the author, he investigates a number of issues, including the importance of empirical evidence, and decries bad science, religion in the schools, and climate-change deniers. Dawkins has equal ardor for "the sacred truth of nature" and renders here with typical virtuosity the glories and complexities of the natural world. Woven into an exploration of the vastness of geological time, for instance, is the peculiar history of the giant tortoises and the sea turtles--whose journeys between water and land tell us a deeper story about evolution. At this moment, when so many highly placed people still question the fact of evolution, Dawkins asks what Darwin would make of his own legacy--"a mixture of exhilaration and exasperation"--and celebrates science as possessing many of religion's virtues--"explanation, consolation, and uplift"--without its detriments of superstition and prejudice. In a world grown irrational and hostile to facts, Science in the Soul is an essential collection by an indispensable author. Advance praise for Science in the Soul "The illumination of Richard Dawkins's incisive thinking on the intellectual world extends far beyond biology. What a treat to see so clearly how matter and meaning fit together, from fiction to philosophy to molecular biology, in one unified vision!"--Daniel C. Dennett, author of From Bacteria to Bach and Back: The Evolution of Minds "I thank Thor and Zeus that in their infinite wisdom they chose to make the great wordsmith of our age a great rationalist, and vice versa."--Matt Ridley, author of The Evolution of Everything: How New Ideas Emerge "In this golden age of enlightened science writing, it is stunning that no scientist has won the Nobel Prize for Literature. It is time literature's highest award be granted to a scientist whose writings have changed not just science but society. No living scientist is more deserving of such recognition than Richard Dawkins.Science in the Soul is the perfect embodiment of Nobel-quality literature."--Michael Shermer, publisher of Skeptic magazine, columnist for Scientific American, and author of The Moral Arc: How Science Makes Us Better People "Science in the Soul is packed with Dr. Dawkins's philosophy, humor, anger, and quiet wisdom, leading the reader gently but firmly to inevitable conclusions that edify and educate."--James Randi, author of The Faith Healers. (shrink)

In terms of the distinction between relationalist and substantialist philosophies of science opened up by American pragmatist thinkers like Dewey and Bentley, Bentham’s social ontology is relationalist and anti-substantialist. When the ontology is combined with his emphasis on ordinary language as the basis of social reality, it is seen to have thematic connections to later developments in social science such as social constructionism, social phenomenology, ethnomethodology and, due to its intent to critically question-received fictions, to neo-Marxian and (...) other concerns about objectivation and reification. Also, by re-reading Bentham’s theory of fictions as a theory of vernacular language habits, it can be shown to have empirical relevance for the sociology of language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophies of Language in the Fictions of Jorge Luis BorgesPhilip SeargeantIIn his book The Language-Makers, Roy Harris writes that "a concept of language cannot stand isolated in an intellectual no-man's-land. It is inevitably part of some more intricate complex of views about how certain verbal activities stand in relation to other human activities, and hence, ultimately, about man's place in society and nature."1 It is one of the salient (...) features of human language that it is reflexive—that we use language to talk about language—and that this reflexivity is, in fact, a fundamental aspect of the way that language works.2 Human language is not solely a means of communication, it is also a subject for communication. It exists not simply as an entity used in everyday behavior but also as a concept; and given the fundamental role that language plays in life, it is a concept which becomes implicated in the beliefs and debates about wider human concerns. In other words, every conceptualization of language, be it a folk belief about correctness or a philosophical premise concerning truth conditions, is also in some way an implicit statement about human understanding of the world.Conceptualizations of language exist in many fields and are expressed by various means. They can be the explicit assertions of government policy; they can be practice-based guidelines which constitute an educational curriculum; or they can be ontological assumptions that provide the basis for scientific theorizing.3 In any area where language itself is the discursive focus of interest, a particular concept of language will be used, and will be expressed within that discourse. This is the case not only in areas related to social or scientific practice (language policy, [End Page 386] linguistic theory etc.), but also in fiction and literature of the imagination. In works of fiction in which language figures not merely as the medium of narration but also as a focus of that narration, a specific and historically contingent conceptualization of language will be used, and the nature of this conceptualization will, as Harris suggests, relate to wider beliefs about man's place in society and nature.There are many works of imaginative literature, particular in the genres of fantasy and science fiction, which include invented or alien languages. A general rationale for this is that works within such genres are creating new and speculative worlds, and by detailing the languages spoken in these worlds they are able to further the sense of verisimilitude. In cases where the rationale for the inclusion of such fictional languages is primarily for this particular instrumental reason, the nature of these languages may not play any wider role in the narrative, and one would not therefore suggest that linguistic concerns feature as a central theme of the narrative.It is likely, however, that cases of this sort will still reflect general contemporary beliefs about language and society, and that the reception of the narrative will also be guided by the sociolinguistic attitudes of its readership. For example, a review from the early 1970s of Anthony Burgess's A Clockwork Orange suggests that Nadsat, the fictional argot in which the narrative is told, is likely to have specific associations for the book's readership because of its linguistic complexion and, specifically, the prevalence of loanwords from the Russian:For the Anglo-American reader the Slavic words connote communist dictatorship.... The medium becomes the message in A Clockwork Orange with a vengeance, and the message is similar to that in other distopias that deal in visions of society in the future after it has become static, completely controlled, amoral, and heartless.4In this case, it is associations made between words from a particular language and the contemporary politics of the speech community most associated with that language, which create for this particular critic a significance that extends beyond the purely structural nature of the anti-language that Burgess has developed. For this critic, it is not merely the fact that Alex and his droogs have their own argot—a detail that adds texture to the imagined future in which the novel is set—but that the lexis... (shrink)

This paper begins with the proposition that Fredric Jameson's Archaeologies of the Future is the most important theoretical contribution to utopian and science-fiction studies since Darko Suvin's Metamorphoses of Science Fiction. It argues that Jameson's derivation of 'anti-anti-Utopianism' from Sartrean anti-anti-communism will provide 'the party of Utopia' with as good a slogan as it is likely to find in the foreseeable future. It takes issue with Jameson over two key issues: his overwhelming concentration on American science-fiction, (...) which seems strangely parochial in such a distinguished comparativist; and his understanding of Orwell's Nineteen Eighty-Four as an 'anti-Utopia' rather than a dystopia. The paper argues that, for Nineteen Eighty-Four, as for any other science-fiction novel, the key question is that identified by Jameson: not 'did it get the future right?', but rather 'did it sufficiently shock its own present as to force a meditation on the impossible?'. It concludes that Jameson fails to understand how this process works for dystopia as well as utopia, for barbarism as well as socialism. (shrink)

The idea of Greek influences on Hellenistic Judaism appears to be so deeply engrained within modern scholarship that nothing could upset this apple cart, at least as reflected in two recent books on various aspects of magic, astronomy, and medicine in Jewish sources from the Hellenistic and Roman periods. The usual frame of reference relies upon paradigms clearly outlined by Saul Lieberman and Martin Hengel, that Greek culture and science had penetrated Jewish thinking to such an extent, that even (...) Hebrew and Aramaic texts from Qumran or the Mishnah were eventually integrated into an undefined Hellenistic-Greek Jewish episteme. The present review article advocates an alternative Near Eastern context for Jew- ish writings in the period, one that did not reflect Hellenism in any form. (shrink)

As with many science fiction works, the Star Trek franchise uses allegory to address contemporary social issues. Taking a liberal humanistic stance, it addresses race and racism using aliens as allegorical stand-ins for humanity. However, the producers of the Star Trek franchise were inadvertently perpetuating the racism they were advocating against. Operating within the framework of normative Whiteness, the producers privilege the White American male as the average human being. The characters of other racial and cultural backgrounds try (...) to assimilate into the normative Whiteness defined by the producers or they are simply in the background to support the White lead characters. By drawing on previous work on the original series and The Next Generation, this article examines episodes from Deep Space Nine, Voyager, and Enterprise to determine how the Star Trek franchise reinscribes, or sometimes destabilizes, the mode of racial and cultural homogeneity assumed by the producers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Generational Timescapes and Biotic Kinship in Omar El Akkad's American WarMichael Boyden (bio)References to future generations and how they might be impacted by decisions in the present abound in climate change communication—from scholarship dealing with the energy transition and climate control, to international agreements, and to public debates in civil society generally. One oft-noted reason why generational views are so frequently invoked in such contexts is that they (...) serve to make tangible otherwise intractable problems so vast in proportion that they tend to confound conventional ways of allocating ethical responsibilities and considerability. Conjuring the ways in which our choices and actions affect the quality of life of concrete individuals to whom we are connected by means of kinship ties awakens the present generation's sense of obligation toward the future.As a number of scholars have noted, however, generational views might also hamper our ability to work toward the kind of sustained transformation of the global economy that is required to ensure that Earth remains inhabitable in the future. In philosophy, political science, and adjacent fields, critiques of generational discourse have revolved around the limitations of governing models of ethics, as in discussions of Derek Parfit's "repugnant conclusion" (388) and in efforts to find new models of distributive justice that depart from utilitarian and contractualist approaches.1 In turn, scholars working in the interdisciplinary frameworks of critical posthumanism and queer feminism have attempted to rethink notions of kinship in ways that consider the ethical value of the nonhuman world and identities not grounded in biological kinship.2In this article, I argue that climate change fiction has the potential to [End Page 11] dramatize the conflicting valences of generational discourse—in ways that less layered, nonfictional narratives often fail to do—and in doing so points up the possibility of conceiving of environmental ethics in a different, less kinship-based fashion. Using Omar El Akkad's American War (2017) as my tutor text, I will argue that this novel presents a potent critique of the kind of generational discourse prevalent in debates about global warming today.My analysis is meant to show how El Akkad's novel, which adopts a markedly transcultural perspective that questions Western exceptionalism, brings out the limitations of—and visualizes alternatives to—the generational schemes through which the consequences of anthropogenic climate change are rendered intelligible. At the same time, I suggest, the novel offers pathways toward conceiving an ecocentric ethical framework that does not reproduce the anthropocentric assumptions of generational discourse.Climate Change and Generational DiscourseI start by defining more closely what we mean when we talk about generations. Political scientist Jonathan White has usefully distinguished three strands of generational views that tend to blend into each other in recent debates on climate change but that deserve to be kept analytically separate. The first of these is the genealogical understanding of generations, which pertains to familial "relations between individuals in their specificity" (765). This genealogical conception of generations has been with us for a long time. It is present, for instance, in biblical texts and classical historiography, which invoke family bonds to justify a given social order. Genealogical views are equally present, however, in modern evolutionary thinking and in the ordinary understanding of the generations of a family. The second strand identified by White is the sociological understanding of generations, which refers to "social groups defined by an apparent unity of ideas and attributes, irrespective of personal ties" (765). Sociological generations convey differences between young and old, or progressive and backward-looking forces, in times of societal transformation. Scholars trace this sociological conception of generations back to the nineteenth century, when the forces of industrialism and nationalism [End Page 12] magnified experiential divergences among social groups. Finally, White considers philosophical generations, which refer to "a society at different moments of existence" (765). Here, we may think of postrevolutionary contexts, when the clock is figuratively turned to zero and a new understanding of the social order emerges. Contrary to genealogical and sociological schemes, such philosophical generations are not grounded in a specific empirical formation; rather, they constitute a conceptual formula for organizing the (long-term) future.What makes generational... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SENECA FALLS INHERITANCE: DISENTANGLING WOMEN, LEGISLATION AND VIOLENCE IN MONFREDO'S HISTORICAL CRIME FICTION Rosemary Erickson Johnsen National Coalition ofIndependent Scholars That men were not prevented by courts or clergy from mistreating their wives meant that, to society's institutions, women had no value. A man could be jailed, even hanged, for stealing another man's horse, but not even reproached for beating his wife. (Miriam Grace Monfredo, Through a Gold Eagle) (...) Miriam Grace Monfredo's feminist genre fiction, her "historymystery " series featuring nineteenth-century librarian Glynis Tryon, offers an opportunity to find a way ofreading literary texts that is not only feminist, but also Girardian. Girard's work provides two clear ways to construct feminist readings directly, without the mediation of overtly feminist theory. First ofthese is Girard's respect for the "quasi-theoretical" potential of literary texts, especially some of those which attend to apparently trivial matters. In Deceit, Desire and the Novel, Girard argues that (male) novelists offer insights unavailable elsewhere, including those scientific fields that claim to know more than everyone else. In its valuing of questions about snobbism, for example, Deceit, Desire and the Novel offers a woman-friendly model. The (male) novelist's question about snobbism is "too frivolous" for (men of) science, but Girard argues that "in his probe of snobbism the novelist is asking himself in his own way just what Rosemary Erickson Johnsen59 might be the hidden springs that make the social mechanism tick" (220). While I regret the fact that Girard's examples and language often ignore women, I believe his conviction that attention to matters socially coded as superficial and frivolous can produce great insight is one feminist critics can appreciate. The second Girardian tool feminists can rely upon is the method of reading texts of persecution described in The Scapegoat. Girard suggests how we might read texts ofpersecution written by naive persecutors in ways that identify with the persecuted and gather the information unintentionally supplied by the authors: "I call those persecutors naive who are still convinced that they are right and who are not so mistrustful as to cover up or censor the fundamental characteristics of their persecution. Such characteristics are either clearly apparent in the text and are directly revealing or they remain hidden and reveal indirectly" (8). Monfredo's crime novels, set in the mid-nineteenth century and focusing on such disenfranchised groups of citizens as women, slaves, Native Americans, and free African-Americans, depend for their verisimilitude on her ability to read historical sources and literary predecessors in just such a way. Accuracy requires that Monfredo's works be categorized as feminist historical crime novels, however awkward such a lengthy description may be. Her novels observe the principles not only of both genres—historical fiction and detective fiction—but also the political position offeminism, and they meet these multiple demands with considerable skill. Furthermore, resolution in crime fiction depends upon the law; working within that tradition, Monfredo is called upon to seek solutions within the system, to look for justice as the result ofa proper functioning ofthe legal and social systems. Information gathered, whether by the official representatives ofthe law or by amateurs, is turned over to the authorities. While her novels clearly respect that tradition, they also point out some limits to the judicial system's ability to contain violence. Girard's model ofits functioning, as described in Violence and the Sacred, depends upon an equality that whole segments of the society Monfredo is depicting do not in fact enjoy: "The judicial authority is beholden to no one. It is thus at the disposal ofeveryone" (23). Ifwomen cannot own property, enter into contracts or sit on juries, in what sense is the law at their disposal? Monfredo's exploration ofthis question takes its place alongside Girard's explanation of the legal system's proper functioning; ifhis theory reveals how it works when all are enfranchised, her fiction suggests some ofthe consequences that result from the existence of disenfranchised subjects. 60'Seneca Falls Inheritance' Our Seneca Falls Inheritance In her first book, Seneca Falls Inheritance (1992), Monfredo offers a theory for the reduction of violence against women: provide women with complete legal equality. The... (shrink)

The principal authors whose fiction is drawn upon in this fine book are James Fenimore Cooper, Nathaniel Hawthorne, Herman Melville, Mark Twain, Ernest Hemingway, and William Faulkner. This book, which is clear and straightforward in its presentations, is obviously useful for providing graphic illustrations for, and heightening interest in, political science courses. The openness of students to engaging stories is thereby put to salutary use by a political scientist who always has something instructive to say about the often-familiar fiction (...) that she discusses. (shrink)

This is the story of a seductive idea and its sobering consequences. The twentieth century brought a new cultural confidence in the social powers of invention – but also saw the advance of consumerism, world wars, globalisation and human-generated climate change. Techno-Fixers traces how passive optimism and active manipulations were linked to our growing trust in technological innovation. It pursues the evolving idea through engineering hubris, radical utopian movements, science fiction fanzines, policy-maker soundbites, corporate marketing, and consumer culture. It (...) explores how evangelists of technological fixes have proselytised their faith, and critically examines the examples and products of their followers. The new technological confidence mixed together beliefs that were simultaneously compelling and unsettling. As motor vehicles, electricity supplies and radio became part of modern life in the early decades of the century, it was hard to argue against the transformative effects and inevitability of such transitions. Like it or not, social consequences seemed to come inexorably with the Machine Age, the Space Age and the Information Age. This deterministic vision implied an ever more technological future with unavoidable social consequences. For many, innovative technologies promised appealing new lifestyles and powers. But for a narrower band of proponents – the first generation of technological fixers – wise engineering invention was touted as a guaranteed route to positive human benefits and societal progress. Socially-engaged engineers and designers argued that such improvements could be directed, hastened and amplified. These engineering adventurers argued that modern societies could be guided only by rational designers. They contended that adroit technological solutions could solve contemporary problems better than any traditional method, including economic initiatives, citizen education, political ideology, lifestyle changes, legal frameworks and moral guidance. Their seductive claims were tamed by more mainstream American enthusiasts, and eventually boiled down to the concept of the technological fix. Their shared confidence infused policy-makers, broadcasters and science popularisers. Trust in technological fixes shaped a new generation of managers and law-makers, engineers and educators, futurists and citizens – and continues to drive a new generation of techno-fixers today. This cultural wave, its promoters and detractors, have championed the promise and voiced concerns that we have inherited, still unresolved. This book tracks the hubristic influencers and weighs up the confidences and concerns associated with them: the dramatic potential for novel technologies to work alongside longer human traditions to meet our enduring ambitions – or to reshape society for the worse. (shrink)

This essay examines the persistent engagement with cosmopolitan inclusivity through the endorsement of indigenous sacredness in works of ethnographic fiction. I focus on Ursula K. Le Guin’s Always Coming Home, James Cameron’s Avatar, and Taiwanese writer Ming-yi Wu’s science fiction The Man with the Compound Eyes, three iconic environmental representations of indigenous knowledge. These texts illustrate how indigenous thinking has very often been transformed from place-bound, locally-embedded cultural traditions to an embodiment of Euro-American eco-spirituality that overturns both national (...) boundaries and the humannature divide at the turn of the twenty-first century. In settler environmental narratives, the insistence on the ethnographic mode strengthens the desire for authenticity and intimacy. (shrink)