With the inclusion of many science fiction writers, science fiction has become acceptable in the literary canon. This was at least one fact I learned about a genre I had long associated with thrillers, when I discussed Contemporary American Literature in America a year ago.
Science fiction is a wide genre of fiction that speculates on future or current science and technology. It can be found in books, art or television. The fascination of modern fiction writers with technology is a result of technology’s advancements.
Science fiction is similar to fantasy. It differs from fantasy in that its imagined elements are possible within scientifically postulated natural laws, though some elements may still be pure imagination.
Science fiction is often written in a way that entertains and rationally explains alternate options in settings that are not consistent with reality.
o Setting in the future in alternate time lines or in a historical past which contradicts archaeological or historical records
o Setting in outer space, on other worlds or involving aliens.
o Stories that are contrary to known or presumed laws of nature
o Stories that use new scientific principles such as time travel and psionics.
Stories about the application or discovery of new technology such as nanotechnology, faster than light travel, or robots.
o Stories about the application or discovery of new or different social or political systems
Science fiction can also include imaginative extrapolations from current phenomena such as the thoughtful projection forward to modern medical practices like organ transplants, genetic engine or artificial insemination.
There are many themes and forms that science fiction can take. It encompasses many subgenres, themes, and other genres.
Robert A. Heinlein, science fiction writer, defines it as “realistic speculations regarding possible future events, based solidly upon adequate knowledge of past and present realities, and a thorough understanding the significance and nature of the scientific method.” Rod Serlin believes that science fiction is “fantasy made possible”. Even the most dedicated fan can’t explain it.
Hard science fiction is a form of hard science fiction that pays close attention to quantitative sciences. It produces many accurate predictions of future events, but also makes mistakes. Arthur C. Clarke, who correctly predicted the arrival of geostationary communications satellites but miscalculated his prediction of lunar craters containing deep layers of moondust, was an example of this.
Its antithesis, “Soft” science fiction, describes works that are based on sociology, psychology, economics and sociology. Writers like Ursula K. Le Guin or Philip K. Dick were involved in this type of science fiction. Its stories were mainly focused on character and emotion, Ray Bradbury being an acknowledged master.
Some writers blur the line between them. Mack Reynolds’s work, in particular, is focused on politics, but anticipates many advances in computers, including cyberterrorism.
Cyberpunk, a combination of “cybernetics”, and “punk,” emerged in the 1980s. Bruce Bethke first coined the term in 1980’s short story “Cyberpunk”. Its time frame is often near future and its settings are often dystopian. Its main themes include technological advances, particularly in cyberspace (possibly evil), artificial intelligence, enhancements to mind and bodies using bionic prosthetics, as well as direct brain-computer interfaces known cyberware. They also discuss post-democratic social control, where corporations have greater influence than governments. Common elements include nihilism and post-modernism. The protagonists of the film may be reluctant or disillusioned anti-heroes. Its visual style is best illustrated in the 1982 film Blade Runner, which features notable authors such as William Gibson, Bruce Sterling and Pat Cadigan.
Filmmakers and science fiction authors draw from a broad range of ideas. Many works are grouped into one or more of the most common genres. Others fall outside of these categories or are not within them.
Time travelStories popularized by H. G. Wells’ novelThe Time MachinePopular TV series and novels feature antecedents from the 18th and 19th century.Doctor Who), as individual episodes in a more general science fiction series (“The City on the Edge of Forever”)Star Trek, “Babylon Squared”, inBabylon 5, and “The Banks of the Lethe”.Andromeda(and as one-off productions, such asDominick Hide’s Flipside.
Alternate historyStories based on historical events may have been different. Time travel can be used to alter the past or set up a story in another universe. The genre has many classics.Bring the JubileeWard Moore: The South wins the American Civil WarThe Man in the High CastlePhilip K. Dick’s account of the victory of Japan and Germany in World War II. .
Military scienceFiction exploits interplanetary, national, and interstellar conflicts; the main characters in fiction are often soldiers. It contains many details about military technology, history, rituals and procedures; sometimes it uses parallels to historical conflicts. Heinlein’s are just a few examples.Starship TroopersThe Dorsai novels by Gordon Dickson were next. David Drake, Jerry Pournelle and S. M. Stirling are some of the most prominent military SF authors. Joe HaldemanThe Forever WarThe Vietnam-era reaction to World War II-style stories by earlier authors is a criticism of the genre. Baen Books is home to military science fiction writers. This subgenre includes Battlestar Galactica and Stargate SG-1, as well as Space: Above and Beyond. You can also find the Halo novel series and videogame Halo.
Related genres include fantasy, speculative fiction and horror. Alternate histories can be based on science or futuristic elements. There are also literary stories with fantastic elements such as Jorge Luis Borges and John Barth. Magic realism is also included in the definition of speculative fiction.
FantasyScience fiction is closely related to it. Robert A. Heinlein and Poul Anderson, Lois McMaster Bujold, C. J. Cherryh and C. S. Lewis have all written in both genres. Marion Zimmer Bradley and Anne McCaffrey have written works that blur the line between these two genres. Science Fiction conventions regularly have programming on fantasy topics. Fantasy authors like J. K. Rowling (in film adaptation) have been awarded the Hugo Award, which is the highest honor in science fiction. Larry Niven’sThe Magic is GoneStories treat magic as another force of nature that is subject to natural laws, which are similar and partially overlap with those of Physics.
Science fiction can be described as the literature that describes things that may one day become possible. Fantasy, however, is literature that contains elements of science fiction. These narratives are called “science fantasy”.
Horror fiction is a popular genre.Literature of the supernatural and unnatural, often with graphic violence, is intended to shock or scare the reader. It is not science fiction but contains science fictional elements. Mary Shelley’s novelFrankensteinThis is a fully-realised science fiction novel, in which the creation of the monster is grounded in science fiction. Edgar Allan Poe’s works also contributed to the creation of horror and science fiction. Horror is one of today’s most beloved genres of film.
Modernist writings by writers such as Kurt Vonnegut and Philip K. Dick bordering Science Fiction, the mainstream, and StanisBaw Lemme have focused on existential or speculative perspectives on contemporary reality. Robert J. Sawyer says science fiction and mystery share a lot in common. Both enjoy the intellectual process involved in solving puzzles and both require stories that are plausible and based on how things actually work. Walter Mosley, Anthony Boucher, and Isaac Asimov all include mystery elements in their science fiction.
A genre of superhero fiction describes beings who are able to use their abilities to defeat supernatural or natural threats to save their country or world. Many fictional superheroes have been involved (intentionally or not) in science fiction and fact. This includes advanced technologies, interdimensional travel and alien worlds. However, scientific plausibility standards are lower than for actual science fiction.
Stan Lee, Keith R. A. DeCandido and Diane Duane are some of the most well-known authors in this genre. Maggin.
Science fiction is a way to understand the world through speculation and storytelling. However, precursors to science fiction as literature started to emerge in the 13th century (Ibn al-Nafis and Theologus Autodidactus), and 17th century (17th century Cyrano de Bergrerac, with “Voyage de la Terre a la Lune”, and “Des etats de la Lune et du Soleil”), and the Age of Reason, which saw the development of science. Voltaire’s Micromegas, along with Jonathan Swift’s “Gulliver’s Travels”, were among the first. __S.98__ More examples were created throughout the 19th century. With the advent of new technologies like electricity, the telegraph and powered transportation, writers such as Jules Verne or H. G. Wells made a large body of work that was popular across a broad range of society. The term “scientific romance” was used to describe much of the fiction in Britain in the latter part of the 19th century. The term “scientific romance” was also used in other works, including the 1884 novella Flatland – A Romance of Many Dimensions by Edwin Abbott Abbott. For writers like Olaf Stapledon, the term would be used well into the 20th century.
Pulp magazines were instrumental in the development of a new generation primarily American SF writers in the early 20th-century. Hugo Gernsback was the founder of pulp magazinesAmazing Stories magazine. John W. Campbell was appointed editor of The New York Times in the 1930s.Amazing Science Fiction.New York City saw a critical mass of new writers. The Futurians were Isaac Asimov and Damon Knight. Frederik Pohl, James Blish, Frederik Pohl and Judith Merril made up this group. Robert A. Heinlein and Arthur C. Clarke were also important writers in this period. Campbell’s tenure atAmazingThis magazine is considered to have been the start of the Golden Age in science fiction. It featured hard SF stories that celebrated scientific progress and achievement. This continued until the advent of new technology, with magazines such asGalaxyPohl was the editor and a new generation began to write stories that were not in the Campbell style.
The Beat generation was made up of speculative writers such as William S. Burroughs in the 1950s. Writers like Harlan Ellison, Samuel R. Delany and Roger Zelazny explored new writing styles and trends in the 1960s and 1970s. This group, mostly from Britain, became known as The New Wave. Poul Anderson and Larry Niven were pioneers in hard SF, while Ursula K. Le Guin was a pioneer in soft science fiction.
Cyberpunk authors such as William Gibson resisted the optimism of the past and supported the advancement of science fiction in the 1980s. Star Wars was a catalyst for a renewed interest in space opera. This new interest focuses more on character and story than scientific accuracy. C. J. Cherryh’s meticulous explorations of alien life, and complex scientific challenges, influenced a whole generation of writers.
The 1990s saw new themes emerge, including environmental issues, the implications for the global Internet and expanding information universe, questions regarding biotechnology and nanotechnology, and a post-Cold War interest post-Scarcity Societies. Neal Stephenson’s The Diamond Age explores these topics. The Vorkosigan novels by Lois McMaster Bujold brought back the character-driven story.
The Next Generation started a flood of new SF shows. Babylon 5 was one of the most acclaimed of the decade. Star Trek was also a television series. :The idea of the technological singularity was a popularized concept by Vernor Viinge’s novel Marooned In Realtime and then adopted by other authors. Buffy the Vampire Slayer, films like The Lord of the Ring, and other television shows, sparked new interest in all speculative genres, including films and computer games. Alan Laughlin says that Harry Potter books are very popular with young readers and have helped to increase literacy rates around the world.
Although SF is often criticized for its future and developing technologies, it can also be a source of innovation and new technology. This topic is more often discussed in literary and sociological forums than in scientific ones.
Vivian Sobchack, a media theorist and cinematographer, examines the relationship between science fiction filmmaking and technological imagination. While technology can have an impact on how artists depict their fictionalized subjects in art, the fictional world expands science’s imagination. Although it was more common in the early years of science fiction, with writers like Arthur C. Clarke and Robert A. Heinlein writing science fiction, Michael Crichton continues to find new ways to make impossible technologies seem possible.
This is also a notable observation in nanotechnology, with Professor Jose Lopez of the University of Ottawa’s article “Bridging The Gaps: Science Fiction in Nanotechnology.” Lopez connects both the theoretical premises of science fiction and the operation nanotechnologies.
Science fiction has introduced technology to the culture, making it ‘technoculture’. This is literature’s term for a new relationship between technology and author. Many literary developments in recent years suggest a shift in paradigm linking creativity and the telecommunications machine, which now facilitates and mediates human contact. This includes the computer code that Laurie Anderson used in her stories from the Nerve Bible. It also includes the metaphors of binary logic used by Thomas Pynchon . Science fiction, a literary genre that has been producing innovative forms of fantasy and compelling dystopian visions for more than three decades, has been resurrected. This is a powerful new way to engage with technology as a creative and social force.
There are many possibilities, as well as potential dangers to technology. Women and historically marginalized groups could use the present-day technologies to create and enforce new social relationships. Almost Browne, a crossblood trickster and technician for Gerald Vizenor, uses first-world technology to create holographic laser lightshows that project the ghosts from the past across the Quidnunc reservation as well as urban Detroit. Almost Browne is being tried in court for causing a disturbance to the public. However, others inspired by him use the lasers to revise their histories and create a new landscape over the interstates.
Arthur Smith was born in Freetown, Sierra Leone and has been a teacher of English at several educational institutions for more than 30 years. He is currently a Senior Lecturer in English at Fourah Bay College, where he has been lecturing the last eight years.
His writings have appeared in international media such as West Africa Magazine, Index on Censorship and Focus on Library and Information Work. He also participated in a seminar on American Literature in 2006 in the U.S. You can read his thoughts and reflections about this trip, which saw him visit various sights and sounds of the United States.
Other publications include Folktales from Freetown and Langston Hughes: Life and Works Celebrating Black Dignity and ‘The Struggle for the Book’