If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre (...) names, the validity of attempts to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (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.

This book explores contemporary existential science fiction media and their influence on society's conceptions of humanity. These media texts manifest abstract concepts in a genre that has historically focused on exploring new ideas and frontiers, creating powerful media that helps audiences contemplate their existence as human beings.

Despite the occasional upsurge of climate change scepticism amongst conservative politicians and journalists, there is a near-consensus amongst scientists that current levels of atmospheric greenhouse gas are sufficient to alter global weather patterns to possibly disastrous effect. Like the hole in the ozone layer as described by Bruno Latour, global warming is a ‘hybrid’ natural-social-discursive phenomenon. And science fiction seems to occupy a critical location within this nature/culture nexus. This paper takes as its subject matter what Daniel Bloom (...) dubs ‘cli-fi’. It seeks to describe how a genre defined in relation to science finds itself obliged to produce fictional responses to problems actually thrown up by contemporary scientific research. It argues against the view that ‘catastrophic’ SF is best understood as a variant of the kind of ‘apocalyptic’ fiction inspired by the Christian Book of Revelation, or Apokalypsis, on the grounds that this tends to downplay the historical novelty of SF as a genre defined primarily in relation to modern science and technology. And it examines the narrative strategies pursued in both print and audio-visual SF texts that deal with anthropogenic climate change. (shrink)

These range from merely good reads to really outstanding books. A raw ranking of them would be of little use to others, unless I explained why I gave them the ranks I did, and anyway I'd probably give different rankings by the time your read this. (When I know of an on-line review about a book which I agree with --- e.g., because I wrote it --- I've included a link; also some exceedingly short remarks about interesting cases.).

Resumen El lamento por el fin de la utopía que expresa la novela futurista, Cría terminal (2014), expone la crisis de un ideal ético: la pérdida de la posibilidad de un mundo mejor. Las bases del contrato moral implícitas en la amenaza de su disolución en un futuro cercano serán el objeto de indagación de este trabajo, que toma a la filosofía de Hans Jonas como principal referencia teórica. Se buscará, por consiguiente, precisar la relación entre la barbarización de la (...) cultura (con sus comportamientos y personajes modélicos) y los procesos económico-políticos tendientes a la dominación biotecnológica del medio humano. La perspectiva modalizadora de la acción y la intriga narrativas y su adecuación a un interés de tipo ético por establecer un modelo de vida óptimo para la sociedad, defraudado por la civilización técnica del futuro, serán motivo de análisis. Abstract The lament for the end of utopia which expresses the futuristic novel, Cría Terminal (2014), exposes the crisis of an ethical ideal: the loss of the possibility of a better world. The bases of the moral contract implicit in the threat of its dissolution in the near future will be the object of investigation of this work, which considers the philosophy of Hans Jonas as the main theoretical reference. Therefore, it will be sought to specify the relationship between the barbarization of culture (with its exemplary behaviors and characters) and the economic-political processes tending to the biotechnological domination of the human environment. The modalizing perspective of the narrative action and intrigue and its adaptation to an ethical interest in establishing an optimal life model for society, disappointed by the technical civilization of the future, will be the subject of analysis. (shrink)

The Philosophy of Science Fiction: Henri Bergson and the Fabulations of Philip K. Dick explores the deep affinity between two seemingly quite different thinkers, in their attempts to address the need for salvation in (and from) an era of accelerated mechanization, in which humans' capacity for destroying or subjugating the living has attained a planetary scale. The philosopher and the science fiction writer come together to meet the contradictory imperatives of a realist outlook-a task which, arguably, (...) philosophy and science fiction could only ever adequately undertake in collaboration. Their respective approaches meet in a focus on the ambiguous status of fictionalizing, or fabulation, as simultaneously one of mechanization's most devastating tools, and the possibility of its undoing. When they are read together, the complexities and paradoxes thrown up by this ambiguity, with which both Bergson and Dick struggle on their own, open up new ways to navigate ideas of mechanism and mysticism, immanence and transcendence, and the possibility and meaning of salvation. The result is at once an original reading of both thinkers, a new critical theory of the socio–cultural, political and ethical function of fictionalizing, and a case study in the strange affinity, at times the uncanny similarity, between philosophy and science fiction. (shrink)

In this paper, I consider the difficulty of distinguishing between science fiction and philosophy. The boundary between these genres is somewhat vague. There is a “neutral zone” separating the genres. But this neutral zone is often transgressed. One key distinction considered here is that between entertainment and edification. Another crucial element is found in the importance of the author’s apparent self-consciousness of these distinctions. Philosophy seeks to edify, and philosophers are often deliberately focused on thinking about the question (...) of the borders that distinguish genres. Science fiction is more interested in entertainment, and narrative authors tend to care less about policing the border. This distinction is a pragmatic one. And canonical authors often violate the boundary. I examine key authors to make this point, including Plato, Kant, and H.G. Wells. My discussion shows that these canonical authors wandered into the neutral zone in their own work, reminding us that the boundaries we draw around genres are arbitrary and subject to transgression. (shrink)

Over the last two decades, many philosophers have been increasingly inclined to consider science fiction films as philosophical exercises that center on the nature of human consciousness and existence. Albert Camus' philosophy of the absurd, however, has almost never been employed as a constructive perspective that can illumine unexplored aspects of these films. This is surprising, since science fiction films seem to be packed with visions and dialogues that echo the Sisyphean universe. Cosmos and Camus endeavors (...) to set foot on this uncharted terrain. Its first part aims to introduce the main components of Camus' absurdity in such a way that it can be easily applied to the analysis of the films later. Equipped with these Camusean essentials, it delves into an in-depth analysis of two first-encounter films (Contact and Arrival) and two AI films (A.I. and Her). These analyses yield more than an insightful reflection of the absurd contents in science-fiction film. Indeed, imaginative collisions with nonhumans seem to tell us a lot about the nature of the absurd in the human condition, as well as raising the question of whether absurdity is exclusively a human matter. Ultimately, the interpretation of the films illuminates the films themselves just as much as it illuminates, challenges, and expands Camus' concept of absurdity, thus contributing to our current understanding of what the absurd reality is and how we can either live with it or transcend it. (shrink)

A timely volume that uses science fiction as a springboard to meaningful philosophical discussions, especially at points of contact between science fiction and new scientific developments. Raises questions and examines timely themes concerning the nature of the mind, time travel, artificial intelligence, neural enhancement, free will, the nature of persons, transhumanism, virtual reality, and neuroethics Draws on a broad range of books, films and television series, including _The Matrix, Star Trek, Blade Runner, Frankenstein, Brave New World, (...) The Time Machine,_ and _Back to the Future_ Considers the classic philosophical puzzles that appeal to the general reader, while also exploring new topics of interest to the more seasoned academic. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must (...) concern “a fictional ‘novum’ validated by cognitive logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

What is it to be a woman? What is it to be a man? We start by laying out desiderata for an analysis of 'woman' and 'man': descriptively, it should link these gender categories to sex biology without reducing them to sex biology, and politically, it should help us explain and combat traditional sexism while also allowing us to make sense of the activist view that gendering should be consensual. Using a Putnam-style 'Twin Earth' example, we argue that none of (...) the existing analyses in the feminist literature succeeds in meeting all of our desiderata. Finally, we propose a positive account that we believe can satisfy all the desiderata outlined. According to our theory, the genders 'woman' and 'man' are individuated not by their contemporary connections to sex biology, but by their historical continuity with classes that were originally closely connected to sex biology. (shrink)

Animals and Science Fiction is the first edited collection to be published focusing on the intersection of animal studies and science fiction studies. It offers a broad range of theoretical approaches and primary source texts—including novels, short stories, poetry, film and TV, photography, erotica, video games, and urban planning documents—that explore the ways works of science fiction can transform how we see and interact with nonhuman others. With an eye toward more just multispecies futures, (...) it argues that speculative imaginaries can be pivotal in changing attitudes toward and understandings of nonhuman animals in our world today. Chapters appeal to those interested in biopolitics, posthumanism, new materialism, ecocriticism and the environmental humanities, ocean humanities, postcolonial studies, critical race studies, Indigenous studies, global sf studies, film studies, and food studies. Taken together, the collection works to showcase a diverse and growing field of scholarly inquiry into animals and science fiction. (shrink)

The Abolition of Man, C. S. Lewis's masterpiece in ethics and the philosophy of science,warns of the danger of combining modern moral skepticism with the technological pursuit of human desires. The end result is the final destruction of human nature. From Brave New World to Star Trek, from Steampunk to starships, science fiction film has considered from nearly every conceivable angle the same nexus of morality, technology, and humanity of which C. S. Lewis wrote. As a result, (...) class='Hi'>science fiction film has unintentionally given us stunning depictions of Lewis's terrifying vision of the future. In Science Fiction and the Abolition of Man: Finding C. S. Lewis in Sci-Fi Film and Television, scholars of religion, philosophy, literature, and film explore the connections between sci-fi film and the three parts of Lewis's book:how sci-fi portrays "Men Without Chests" incapable of responding properly to moral good, how it teaches the Tao or "The Way," and how it portrays "The Abolition of Man.". (shrink)

This is a comment on Peter Godfrey-Smith’s, “Models and Fictions in Science”. The comments explore problems he raises if we treat model systems as fictions in a naturalized and deflationary framework.

The boundaries of the ethical have traditionally coincided with the boundaries of humanity. This, however, is no longer the case. Scientific developments, such as genetic engineering, stem-cell research, cloning, the Human Genome Project, new paleontological evidence, and the rise of neuropsychology call into question the very notion of human being and thus require a new conceptual map for ethical judgment. The contours of this map may be seen to emerge in works of science fiction (SF), which not only (...) vividly dramatize the implications and consequences of new technologies and discoveries, but also exert a powerful influence on culture, creating a feedback loop of images and ideas. This essay focuses on three SF topoi: the human/animal evolutionary boundary; non-biological subjectivity (AI); and the human/alien interaction. It explores each of these topoi in a selection of SF texts, including novels by H. G. Wells, Olaf Stapledon, Stephen Baxter, William Gibson, Stanislaw Lem and others, showing how the boundaries of humanity are expanded and then exploded through the radical subversion of the tenets of liberal humanism. (shrink)

Science fiction is often used as a tool with which to think about actual science. While often this is depicted in terms of imaginary future potential, science fiction has also shown itself to be a poignant critique of existing science and a means of exploring our collective anxieties regarding the continued logic of current scientific development. This article explores the science fiction of organ transplantation, as mapped against scientific and medicolegal developments in (...) actual organ transplantation. Explored through the lens of Adorno’s work on cultural criticism, it is argued that science fiction serves as a tool with which we address (and critique) the ethical boundaries (and fears, often colonial in nature) of actual organ transplantation. Science fiction works such as Larry Niven’s Known Space Universe and Repo! The Genetic Opera are examined, demonstrating that in critiquing the science of organ transplantation, fictionists ultimately come to examine changing cultural understandings of selfhood and embodiment. (shrink)

Science fiction has often been at the forefront of popular renderings and exploration of various “subaltern” groups, including that of nonhuman animals. I argue that science fiction’s freedom from the boundaries of what is currently possible allows writers such as Mary Shelley, H. G. Wells, Philip K. Dick, Olaf Stapledon, Daniel Keyes, Octavia Butler, Cordwainer Smith, and H. Beam Piper to explore ethical possibilities regarding animals that are diverse from those of the context in which they (...) wrote. It is also notable that the earlier science fiction writers only critique majority views regarding animals, whereas their antecessors go so far as to suggest the empowerment of the “Other,” in this case, nonhuman animals. (shrink)

The ethics of human enhancement has been a hotly debated topic in the last 15 years. In this debate, some advocate examining science fiction stories to elucidate the ethical issues regarding the current phenomenon of human enhancement. Stories from science fiction seem well suited to analyze biomedical advances, providing some possible case studies. Of particular interest is the work of screenwriter Andrew Niccol (Gattaca, S1m0ne, In Time, and Good Kill), which often focuses on ethical questions raised (...) by the use of new technologies. Examining the movie In Time (2011), the aim of this paper is to show how science fiction can contribute to the ethical debate of human enhancement. In Time provides an interesting case study to explore what could be some of the consequences of radical life-extension technologies. In this paper, we will show how arguments regarding radical life-extension portrayed in this particular movie differ from what is found in the scientific literature. We will see how In Time gives flesh to arguments defending or rejecting radical life-extension. It articulates feelings of unease, alienation and boredom associated with this possibility. Finally, this article will conclude that science fiction movies in general, and In Time in particular, are a valuable resource for a broad and comprehensive debate about our coming future. (shrink)

Four instances of how science fiction contributes to the elucidation of novelty in the context of discovery are considered by extending existing discussions on temporal and use-novelty. In the first instance, science fiction takes an already well-known theory and produces its own re-interpretation; in the second instance, the scientific account is usually straightforward and whatever novelty that may occur would be more along the lines of how the science is deployed to extra-scientific matters; in the (...) third instance, science fiction takes an idea that appears impossible within the delimitations of reality and produces a universe where such a possibility becomes feasible; and in the fourth instance, science fiction extends from an idea already known at the time of the work’s production to simulate a possibility that could emerge should the extension be experimentally viable. However, the article will not end with a mere evaluation of these instances, but also proposes instances on how science fiction could contribute to new ways of experiencing, discerning, and working with scientific knowledge. (shrink)

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)

This book explores what science fiction can tell us about the human condition in a technological world, with the ethical dilemmas and consequences that this entails. This book is the result of the joint efforts of scholars and scientists from various disciplines. This interdisciplinary approach sets an example for those who, like us, have been busy assessing the ways in which fictional attempts to fathom the possibilities of science and technology speak to central concerns about what it (...) means to be human in a contemporary world of technology and which ethical dilemmas it brings along. One of the aims of this book is to demonstrate what can be achieved in approaching science fiction as a kind of imaginary laboratory for experimentation, where visions of human (or even post-human) life under various scientific, technological or natural conditions that differ from our own situation can be thought through and commented upon. Although a scholarly work, this book is also designed to be accessible to a general audience that has an interest in science fiction, as well as to a broader academic audience interested in ethical questions. (shrink)

The value scenario is a useful tool in the sheaf of methods within value sensitive design. When envisioning new technology, this tool supports the designer in speculatively considering relevant stakeholders, values expressed or rebuffed by an artifact’s design, and tensions that may exist between those values. This paper explores how science fiction stories can serve as value scenarios to supplement traditional historical methods, especially when informants are no longer accessible.

In this highly original book, Russell Blackford discusses the intersection of science fiction and humanity’s moral imagination. With the rise of science and technology in the 19th century, and our continually improving understanding of the cosmos, writers and thinkers soon began to imagine futures greatly different from the present. Science fiction was born out of the realization that future technoscientific advances could dramatically change the world. Along with the developments described in modern science (...) class='Hi'>fiction - space societies, conscious machines, and upgraded human bodies, to name but a few - come a new set of ethical challenges and new forms of ethics. Blackford identifies these issues and their reflection in science fiction. His fascinating book will appeal to anyone with an interest in philosophy or science fiction, or in how they interact. (shrink)

The notion of utopia in Quebec culture has been a formal and thematic constant since the origins of its literature and indeed French Canadian history. From the discovery and cartography of the so-called New World, as documented in the early colonial travel writings of the sixteenth and seventeenth centuries, to twenty-first-century science fiction, both reactionary and revolutionary texts have pervaded the ideological landscape of Quebec, markedly inspired by political and religious struggles.1 The texts that constitute this diverse (...) class='Hi'>science-fictional body of work often create a hybrid genre through a simultaneously utopian and uchronian—or alternate historical—approach. While appearing on the surface to be limited... (shrink)

Il y a une convergence obligée entre SF et féminisme. D'abord la SF a 'pour ancêtre l'utopie, et imagine donc des modèles de société autres, tout comme le féminisme est obligé de le faire; ensuite, la SF permet d'aborder les problèmes des femmes d'un point de vue créatif et non réactif comme la littérature normative; enfin la distance mythique retrouvée dans la SF permet aux auteures et lectrices d'accéder pleinement au registre héroïque, qui leur est souvent dénié par la littérature (...) normative.There is a necessary convergence between science fiction and feminism. On one hand, SF has utopia for an ancestor and therefore invents other societal models, as feminism itself must do. On the other hand, SF deals creatively with women's problems, not just reactively like mainstream literature does. And finally, due to the mythic perspective that permeates SF, writers and readers can fully participate in the heroic, which is often denied to by mainstream literature. (shrink)

In response to calls for a research and innovation system that is more open to public scrutiny, we have seen a growth of formal and informal public engagement activities in the past decades. Nevertheless, critiques of several persistent routines in public engagement continue to resurface, in particular the focus on expert knowledge, cognitive exchange, risk discourse, and understandings of public opinion as being static. In an attempt to break out of these routines, we experimented with an innovative engagement format that (...) employs situated speculative prototyping to support citizens in contextualizing and discussing developments regarding—in this case—nanotechnology. This format invites participants to imagine and critically reflect on technological futures through collaborative prototyping and story-writing. In this paper, we outline five reconstructed contextualization patterns in which participants engaged during the format’s exercises and use these to assess the value of the format in the current engagement landscape. We show that situated speculative prototyping has potential in the realm of informal public engagement initiatives, taking an explorative approach, but also warn of ‘the designer fallacy’ as a prominent pitfall of prototyping that could reproduce techno-scientific framings and obstruct critical reflection on technological directions and implications if not treated with caution. (shrink)

Many writers who have discussed the Singularity have treated it not only as the inevitable outcome of advancements in cybernetic technology, but also as natural consequence of broader patterns in the development of human knowledge, or of human history itself. In this paper I examine these claims in light of Karl Popper’s famous philosophical critique of historicism. I argue that, because the Singularity is regarded as both a product of human ingenuity and a reflection of the permanent limitations of our (...) rational capacities, speculation about its likelihood occupies an interesting border zone between what Popper referred to as “technological prediction” and what he lambasted as “prophecy.” I go on to examine representations of a post-singularity world in the novels of Iain M. Banks, as well as in Bruce Sterling’s short story “The Beautiful and the Sublime.” These narratives demonstrate how trying to imagine what human life might be like in the presence of intellectually superior AIs requires a more aggressively skeptical attitude toward the human capacity to understand our own history than even Popper was prepared to allow for. (shrink)

The Belgian author J.-H. Rosny aîné is a relative unknown. A contemporary of Jules Verne and H. G. Wells, he wrote a number of science fiction stories, as well as naturalistic ones, all in French. Despite being something of a celebrity in his day, he has received scant attention from the anglophone world—a smattering of translations and a couple of Ph.D. dissertations that "tend to dismiss Rosny's 'scientific' novels and disparage SF". With this new volume, Chatelain and Slusser (...) aim to set a foundation for, and secure an interest in, Rosny as a subject of study and to argue for his import in the history of sf. The work contains a lengthy introduction, copious notes, and a useful... (shrink)

Identification with all humanity is viewed as a critical construct that facilitates global solidarity. However, its origins have rarely been explored in previous literature, and no study has yet investigated the role of pop-culture in cultivating IWAH. To address this gap, this study initially focuses on science fiction, a specific pop-culture genre with worldwide audiences, and examines its effect on IWAH. It hypothesized a direct association between sci-fi engagement and IWAH from the narrative persuasion approach, and an indirect (...) association via abstract construal based on the cognitive-literary approach. Moreover, the moderating role of actively open-minded thinking in the direct and indirect association was also assessed. Results were obtained through a cross-sectional survey conducted in China and showed that sci-fi engagement was positively associated with IWAH; this association was also partially mediated by abstract construal. Interestingly, and inconsistent with our hypotheses, AOT positively moderated the indirect effect but negatively moderated the direct effect. Theoretical and practical implications for cultivating IWAH from the media and pop-cultural perspective were discussed. (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)

Although many scientists view cloning as a useful procedure for scientific research into early embryo development—one that cannot currently be used to produce multiple copies of humans—the popular literature has led some individuals to view it as sinister. To address the concerns of the public, various conceptions of cloning are distinguished and their basis in fact analyzed. The possible uses, benefits, and detriments of both embryo splitting and nuclear transplantation are explained. Once the nature and purposes of cloning are understood, (...) and the distinctive ethical dilemmas created by embryo splitting and nuclear transplantation are sorted out, these procedures should be clinically implemented to assist in vitro fertilization treatment for those who are infertile and to further other therapeutic and investigational efforts in medicine. (shrink)

This paper argues that narrative elements from the science fiction (SF) literary genre are used in the discourse of Nanoscience and Technology (NST) to bridge the gap between what is technically possible today and its inflated promises for the future. The argument is illustrated through a detailed discussion of two NST texts. The paper concludes by arguing that the use of SF narrative techniques poses serious problems to the development of a critical analysis of the ethical and social (...) implications of NST. (shrink)

Immortality is a subject which has long been explored and imagined by science fiction writers. In his intriguing new study, Stephen R.L.Clark argues that the genre of science fiction writing allows investigation of philosophical questions about immortality without the constraints of academic philosophy. He reveals how fantasy accounts of issues such as resurrection, disembodied survival, reincarnation and devices or drugs for preserving life can be used as an important resource for philosophical inquiry and examines how a (...) society of immortals might function through a reading of the vampire myth. _How to Live Forever_ is a compelling study which introduces students and professional philosophers to the possibilities of using science fiction in their work. It includes extensive suggestions for further reading, both fictional and philosophical, and examines the work of such major science fiction authors as _Arthur C. Clarke, Frank Herbert, Larry Niven, William Gibson_, and _Colin Wilson_. (shrink)

Advancements in science and technology have not only brought hope to humankind to produce disease-free offspring, but also offer possibilities to genetically enhance the next generation’s traits and capacities. Human genetic enhancement, however, raises complex ethical questions, such as to what extent should it be allowed? It has been a great challenge for humankind to develop robust ethical guidelines for human genetic enhancement that address both public concerns and needs. We believe that research about public concerns is necessary prior (...) to developing such guidelines, yet the issues have not been thoroughly investigated in many countries, including Malaysia. Since the novel often functions as a medium for the public to express their concerns, this paper explores ethical concerns about human genetic enhancement expressed in four Malay science fiction novels namely Klon, Leksikon Ledang, Transgenesis Bisikan Rimba and Transgenik Sifar. Religion has a strong influence on the worldview of the Malays therefore some concerns such as playing God are obviously religious. Association of the negative image of scientists as well as the private research companies with the research on human genetic enhancement reflects the authors’ concerns about the main motivations for conducting such research and the extent to which such research will benefit society. (shrink)