Novi broj časopisa Science Fiction Studies posvećen je kineskom SF-u, koji je, kako kaže uvodničar, tamo popularan još od početka 20. stoljeća ali u posljednje vrijeme dobiva novi zamah. Specifičnosti spram zapadnog SF-a: veća zainteresiranost za teme slobode i opstanak specifičnog kineskog kulturnog identiteta.
ulomak uvoda u temat:
Since the student demonstrations in Tiananmen Square in 1989, radical changes have taken place in China's political and ideological landscape. Initially the demonstrations only strengthened the position of government hardliners, but within two years the government began to shift its focus from ideological control to economic growth, promoting China's place in the global economic system in accordance with the policies of Deng Xiaoping. This also contributed to the revival of Chinese sf, which has developed steadily in the past two decades, although it has not been without its challenges. In 2000, for instance, J.K. Rowling's Harry Potter series (1997-2007) sparked a reading craze in China that stimulated the growth of fantasy but reduced sf sales.
It is worth asking why fantasy and science fiction are evaluated so differently in China. When one recalls the rich fantasy elements in Chinese classical fiction, it is clear that fantasy and science fiction each have a very different relationship to traditional Chinese culture. It is more accurate to say that the Harry Potter novels reawakened China's deeply-rooted taste for fantasy than that it brought something new to Chinese readers. Does the relationship between fantasy and science fiction mirror the competition between Chinese and Western culture?
Recently, however, Chinese sf has increased in popularity. Science-fiction writers and texts have begun to enjoy an unprecedented level of recognition by Chinese readers, including bestsellers such as Liu Cixin's complex apocalyptic space opera, San Ti [The Three Body Trilogy, 2007-2011] and Han Song's Huo Xing Zhao Yao Mei Guo [Red Star Over America, 2012] and Hong Se Hai Yang [Red Ocean, 2004], both of which are filled with satirical political critique. Other leading sf writers include Wang Jinkang and He Xi. Several mainstream writers have also published sf novels.12 In addition, more and more new writers are contributing to the ongoing vitality of the field. When I attended the recent (2012) WorldCon in Chicago, I was accompanied by three young writers all born after 1980. They are the generation that will take Chinese sf into what promises to be a prosperous future.
What makes Chinese sf unique? In the wake of these historical frustrations and reforms, it is becoming possible to identify some of the features that are unique to Chinese science fiction. In my judgment, its most significant characteristic is the frequent exploration of themes of liberation and release from old cultural, political, and institutional systems. Another significant element is to be found in the reactions of Chinese writers to Western science and culture in their pursuit of themes of liberation. This raises a series of key questions: what is science? is science specifically Western or is it a universal human pursuit? how can writers integrate scientific and local cultural traditions into new and vital forms? These are compelling questions for Chinese authors-and for Chinese readers as well. A third key element in Chinese sf is its concern for the future of China and of Chinese culture, which is among the oldest surviving human cultures. Can it be revived in the postmodern scientific age? Finally, we might argue that, whereas Western sf is focused on the opportunities and losses of technoscientific development, Chinese sf, although it examines similar ideas, is more focused on anxieties about cultural decline and the potential for revitalization.
SPECIAL ISSUE ON CHINESE SCIENCE FICTION (Edited by Yan Wu and Veronica Hollinger)
Nathaniel Isaacson
Science Fiction for the Nation: Tales of the Moon Colony and the Birth of Modern Chinese Fiction
Abstract.
This article argues that Chinese sf emerged as a product of two
converging factors during the turn of the twentieth century: first, the
crisis of epistemology brought about by China’s semi-colonial
subjugation to European powers and second, the imperialist imagination
of global exchanges and conquest that led to the emergence of the genre
in the West and its translation into Chinese via Japan. This paper
draws upon critical analysis of the connections between sf, empire, and
Orientalist discourse developed by Istvan Csicsery-Ronay, Jr.,
Patricia Kerslake, and John Rieder in the context of Chinese sf as a
means of exploring Chinese articulations of these concerns. Through a
close reading of Huangjiang Diaosou’s Tales of the Moon Colony
(1904-1905), this paper explores the anxieties associated with
utopianism, nationalism, and Occidentalism that reveal themselves in
early Chinese sf.
Shaoling Ma
“A Tale of New Mr. Braggadocio”: Narrative Subjectivity and Brain Electricity in Late Qing Science Fiction
Abstract.
This article examines the relation between self and society in Xu
Nianci’s “Xin faluoxiansheng tan” [A Tale of New Mr. Braggadocio, 1905].
It argues that the short story’s experiment with first-person
subjectivity and the narrator’s invention of brain electricity
collapses the disjuncture between individual self and society, as well
as the divide between labor and capital that lies at the heart of
Marx’s insight into the social relations of production. Specifically,
brain electricity reimagines the distinction between humans and
machines and reevaluates the means and relations of production; in
doing so, it provides a study of political economy rare in late Qing
Chinese fiction.
Lisa Raphals
Alterity and Alien Contact in Lao She’s Martian Dystopia, Cat Country
Abstract. This article considers several contexts for the treatment of the themes of alterity and alien contact in Lao She’s Maocheng ji
[Cat Country], a work that straddles cultures and raises important
questions for scholars of both science fiction and Chinese literature.
It examines how Cat Country fits— or does not—into the history
of science fiction and also into the development of twentieth-century
Chinese literature. Finally, it compares the treatment of alien contact
and alterity in Maocheng ji and Stanley G. Weinbaum’s “A Martian Odyssey.”
Mingwei Song
Variations on Utopia in Contemporary Chinese Science Fiction
Abstract.
This essay focuses on the variations of utopian narrative in
contemporary Chinese sf, with a view toward appreciating the genre’s
historical development since the late Qing. Through analyzing the
writings of three writers, Han Song, Wang Jinkang, and Liu Cixin, this
essay examines three themes that characterize China’s current new wave
of science fiction: China’s rise, the myth of development, and
posthumanity. Deeply entangled with the politics of a changing China,
science fiction today both strengthens and complicates the utopian
vision of a new and powerful China: it mingles nationalism with
utopianism/dystopianism, sharpens social criticism with an acute
awareness of China’s potential for further reform, and wraps political
consciousness in scientific discourse about the powers of technology
and the technologies of power.
Jia Liyuan
Gloomy China: China’s Image in Han Song’s Science Fiction
Abstract.
This paper focuses on the work of Han Song, an important contemporary
Chinese sf writer. His dark and difficult stories brim with violence
and bloodshed and frequently leave readers puzzled as to his
intentions, yet many critics have defended the value of his work. My
analysis focuses on the reasons for the persistence of such dark images
of China in his writing. Han Song’s work exceeds Lu Xun’s critique of
national character and makes him an inheritor of the enlightenment
spirit of the May 4th Movement (1915-1921). At the same time, the
impact of Buddhism imbues his work with a nihilism that inevitably
dilutes the power of his critique. Paradoxical feelings of detachment
from and attachment to reality find voice in his sf writing, which
ought to be viewed as the practice of dharma as well as a critique of
reality. In other words, his “Gloomy China” should be seen not only as a
national allegory in Fredric Jameson’s sense of the term, but also as a
universal exploration of the meaning of existence.
Qian Jiang
Translation and the Development of Science Fiction in Twentieth-Century China
Abstract. This
paper examines the role of translation in the evolution of science
fiction as a literary genre in twentieth-century China. I focus my
discussion on how translation became the impetus for the birth of sf in
the late Qing period and on the impact of translations upon original
fictions at different phases in the development of Chinese sf. I
demonstrate the very significant position of sf translation in the
history of Chinese sf literature in the twentieth century as a dynamic
influence on the growth of the genre in China.
Wei Yang
Voyage into an Unknown Future: A Genre Analysis of Chinese SF Film in the New Millennium
Abstract.
This article studies sf film as a new genre in Chinese cinema. While
borrowing widely from its Hollywood counterparts—costumes, sets, plot,
characterization, visual effects, and so forth—Chinese sf films seldom
demonstrate the kind of science-based vision or exploration that mark
many ambitious sf films in the West. In part due to the genre’s
Hollywood monopoly, Chinese sf films tend to hark back to pre-existing
local cinematic conventions and are intermixed with other genres as
diverse as fantasy, ghost and horror stories, romances, and
martial-arts films. The development of sf cinema in China is further
complicated by the current postmodern tendency toward hybridity and
intertextuality, which disrupts the genre’s typical development by
subjecting it to imitation and parody. Examining the thematic concerns
and iconography of Chinese sf film, this article argues that the
dominant intergeneric elements in Chinese sf cinema reveal its status
as a subordinate genre in which sf semantics are coopted into syntactic
relationships with other genres. In this sense, Chinese sf films are
better understood as “sf-themed” films.
Yan Wu
“Great Wall Planet”: Introducing Chinese Science Fiction
Translated by Wang Pengfei, with Ryan Nichols
1. Why Chinese science fiction? In the
past few years, the science fiction of other lands has begun to attract
the attention of Anglo-American scholars from a variety of critical
perspectives, including “imagined communities,” “third-world
literature,” Orientalism, and post-colonialism. On the whole, however,
this attention has amounted to little more than a vague glance at a
distant world. It is difficult to cross the divide between different
cultures. Sometimes it can take longer to bridge the gap between
cultures than to explore outer space. It is no wonder that, in the
1980s, when Brian Aldiss came to China he found himself on an alien
“Great Wall Planet,” amazed by everything he experienced there (Aldiss
3-5).
Why publish a special issue on Chinese science fiction at this time? If a special issue on China appears in The Wall Street Journal, The Financial Times, or Business Week,
no one doubts its significance because the Chinese economy is one of
the most robust in the world. China’s GDP has surpassed Japan’s and is
catching up with that of the US. China has become the largest
manufacturer in the world and a major influence in setting market
prices for both natural resources and commodities. History suggests that
economic growth should be followed by cultural development. When
Japan’s economy grew rapidly, for instance, Japanese culture flourished
in the global market. Will China become the next Japan, and should its
sf industry be prepared for the prospect?
In 2007, I hosted a Sino-US Science
Fiction Summit at Beijing Normal University whose guests included David
Brin and Elizabeth Anne Hull from the Science Fiction Writers of
America, in conversation with famous Chinese authors and scriptwriters
including Xing He, Yang Peng, Zhang Zhilu, and Liao Ye. Our American
guests observed striking similarities between contemporary China and
the United States of the 1930s and 1940s, the period of American sf’s
“Golden Age.” Economic growth and technological development encourage
individuals to pursue their ambitions. Is this the beginning of China’s
Golden Age and is it possible that sf’s center of gravity will shift
from west to east? Should the Western sf community be looking to the
“other world” of China and preparing for a new future?
Let’s return to Brian Aldiss and his
first visit to China, that “alien” world whose social systems, cultural
traditions, and interactions with modernity are so unlike those of
other nations. Like all good alien planets, Aldiss’s China has a direct
bearing on his own Anglo-American planet, as a stimulus to the
creative imagination. Members of the western sf community, including
Aldiss, Frederik Pohl, Betty Hull, and the late Charles Brown and
Forrest J. Ackerman, have come to China to explore its science fiction
through encounters with Chinese authors and fans, their writing, their
communities, and their markets. This is significant. What Voltaire
wrote 200 years ago is still relevant: China offers space for the
imagination.1
2. What’s in the China House? In my view,
Chinese sf has much to offer the Western imagination. In the first
place, there is a particular richness to it, involved as it is with the
pursuit of emancipation, the resistance to oppressive systems, and the
influence of foreign cultures. The development of sf in China
demonstrates how a literary idea—rather than a genre—from foreign
nations can take root in unexpected places and in unexpected ways. As
several of the essays in this special issue discuss, the first sf
stories and novels by Chinese authors were published in the very early
years of the twentieth century, when China’s last feudal dynasty was on
the verge of collapse. During this period, many leading intellectuals
supported the introduction of new technologies and foreign culture,
including Western sf, as a way to transform the nation. Critical
studies of late Qing sf works have contributed to our understanding of
sf’s development in China and have also given rise to ongoing debates
about origins and influences. One of the generally accepted hypotheses
is that the development of Chinese sf in the late Qing era was a
cultural response to social change. Chinese sf works of that period,
deeply influenced by Western and Japanese science fiction, were
nevertheless distinctively Chinese.2 While some borrowed
technology and plots from foreign works, the writing style and the
psychology of characters were Chinese. These sf works of the late Qing
era mirrored the dreams of the Chinese people after their encounters
with modern technology, and these stories and novels represent Chinese
culture’s first impressions not only of the West but also of the world
as a whole. As some of the essays here discuss in detail, technology in
late Qing sf aided in everything from constructing a Confucian
republic, defeating enemies with soaring aircraft, and literally
separating the body from the soul.
The increasing openness to non-Chinese
ideas and technologies and the growing antagonism toward the feudal
system eventually led to the collapse of that system in the late Qing
period. From 1912 to 1949, the new Republic of China attempted to
establish a capitalist mode of production and a democratic politics,
but the result was ongoing warfare, including chaotic conflicts among
warlords, combat against Japanese invasions, and, finally, the civil war
between the Communist Party and the Kuomintang. Typical of this
period, many philosophies both joined together and competed against
each another, debating the differing values of ancient Chinese
civilization and Western science and democracy and arguing about
classic capitalist theory and about Marxism and Leninism. Until
recently, it was generally assumed that very little science fiction was
written during the years of the Republic. Recent research has
established, however, that a great many sf works were published during
this period on a variety of themes, and significant discoveries
continue to be made.3 Well-known sf works such as Lao She’s Maocheng ji [Cat Country, 1932] and Gu Junzheng’s Zai Bei Ji Di Xia [Underneath the Arctic Pole, 1940] suggest the range of these works, from socio-dystopia to techno-utopia.4
The People’s Republic was founded in
1949, after the Chinese Communist Party’s victory in mainland China.
Marxism and Maoism were its guiding principles, and a Sino-Soviet
strategic partnership was soon formed. Chinese sf became guided by
Marxism. According to Soviet theory, science fiction should follow at
least two rules: 1) it should describe the imaginative processes of the
scientific mind through which technoscientific development can be
achieved, and 2) it should describe the future of the communist
society, free from class struggle and committed to the reconciliation
of humanity and nature.5 As might be expected, it was
difficult for Chinese writers to meet these two requirements: they had
no idea what real scientists were thinking, nor did they know how to
portray narrative drama without complex interpersonal relationships.
In this context, although the “Campaign
of Marching towards Science and Technology” espoused in the middle of
the 1950s promoted both science fiction and popular science, between
1949 and 1966 Chinese sf tended to be limited to short stories aimed at
young readers. Only a few sf works for adults were published in this
period. During the Cultural Revolution itself, access to fiction was
heavily restricted.6 To appreciate how writers overcame this
suppression of the imagination, we can look to the Chinese sf
published during this period. Does the idealism reflected in Chinese sf
originate in a Marxist conception of history? According to Marxism,
human society evolves from a lower to higher order, from slave to
feudal society, from capitalist to socialist society and, finally, to
communist society. But for the Chinese people, the idea of social
development is closely linked to Confucian ethics, Taoist mysticism, and
Buddhist reincarnation. Traditional Chinese values cannot easily be
wrapped in Marxism and Leninism and so the only sf published under
Mao’s PRC tended to be written for children.7
Deng Xiaoping came to power after Mao’s
death in 1978 and a new and more open era began. With the resurrection
of the government’s interest in science and technology, science fiction
also enjoyed a revival. It was hoped that it could aid in breaking
through outdated scientific, cultural, and political traditions. During
this period, sf invited reflection on the decisions of the Communist
Party and the consequences of its unscientific policies. As Chinese
science fiction was gaining momentum, a large number of Western sf
novels in translation were also becoming available, including works by
Arthur C. Clarke, Isaac Asimov, and Ray Bradbury. Chinese readers,
however, have exhibited only selective interest in Western sf. When I
attended the premiere of George Lucas’s Star Wars (1977) during China’s first “American Movie Week” in 1985—which included showings of Robert Benton’s Kramer vs. Kramer (1979), Michael Apted’s Coal Miner’s Daughter (1980), and Mark Rydell’s On Golden Pond
(1981)—Lucas’s film was heavily criticized by audience members as no
more than a “children’s game.” For Chinese audiences accustomed to
sophisticated historical adventures such as Shui Hu Zhuan [Outlaws of the Marsh] and San Guo Yan Yi [The Romance of Three Kingdoms], Star Wars was simplistic and unappealing.8
But just as Chinese sf was marching
toward prosperity, sf writing began to be criticized for being
pseudoscientific and anti-communist. A case in point is Qi Yi De Hua Shi Dan [A
Strange Fossil Egg, 1978], an illustrated picture book based on Ye
Yonglie’s short story “Shi Jie Zui Gao Feng Shang De Qi Ji” [Miracle on
the Peak of the World’s Highest Mountain], depicting dinosaurs
returning to life. A paleontologist accused this story of deviating from
scientific fact, of being anti-science in its espousal of
pseudoscience. Pseudoscience is a term with very specific political
connotations in China. Because Marxism is believed to be the only
correct science, pseudoscience is considered to be both anti-Marxist
and anti-communist.9 During the period after 1978, sf came
in for increasing criticism, which caused sharp declines in publishing.
Once again Chinese sf was stopped in its tracks.
Since the student demonstrations in
Tiananmen Square in 1989, radical changes have taken place in China’s
political and ideological landscape. Initially the demonstrations only
strengthened the position of government hardliners, but within two
years the government began to shift its focus from ideological control
to economic growth, promoting China’s place in the global economic
system in accordance with the policies of Deng Xiaoping.10
This also contributed to the revival of Chinese sf, which has developed
steadily in the past two decades, although it has not been without its
challenges. In 2000, for instance, J.K. Rowling’s Harry Potter series (1997-2007) sparked a reading craze in China that stimulated the growth of fantasy but reduced sf sales.
It is worth asking why fantasy and
science fiction are evaluated so differently in China. When one recalls
the rich fantasy elements in Chinese classical fiction, it is clear
that fantasy and science fiction each have a very different
relationship to traditional Chinese culture. It is more accurate to say
that the Harry Potter novels reawakened China’s deeply-rooted taste for
fantasy than that it brought something new to Chinese readers.11 Does the relationship between fantasy and science fiction mirror the competition between Chinese and Western culture?
Recently, however, Chinese sf has
increased in popularity. Science-fiction writers and texts have begun
to enjoy an unprecedented level of recognition by Chinese readers,
including bestsellers such as Liu Cixin’s complex apocalyptic space
opera, San Ti [The Three Body Trilogy, 2007-2011] and Han Song’s Huo Xing Zhao Yao Mei Guo [Red Star Over America, 2012] and Hong Se Hai Yang [Red
Ocean, 2004], both of which are filled with satirical political
critique. Other leading sf writers include Wang Jinkang and He Xi.
Several mainstream writers have also published sf novels.12
In addition, more and more new writers are contributing to the ongoing
vitality of the field. When I attended the recent (2012) WorldCon in
Chicago, I was accompanied by three young writers all born after 1980.
They are the generation that will take Chinese sf into what promises to
be a prosperous future.
What makes Chinese sf unique? In the wake
of these historical frustrations and reforms, it is becoming possible
to identify some of the features that are unique to Chinese science
fiction. In my judgment, its most significant characteristic is the
frequent exploration of themes of liberation and release from old
cultural, political, and institutional systems. Another significant
element is to be found in the reactions of Chinese writers to Western
science and culture in their pursuit of themes of liberation. This
raises a series of key questions: what is science? is science
specifically Western or is it a universal human pursuit? how can
writers integrate scientific and local cultural traditions into new and
vital forms? These are compelling questions for Chinese authors—and
for Chinese readers as well. A third key element in Chinese sf is its
concern for the future of China and of Chinese culture, which is among
the oldest surviving human cultures. Can it be revived in the
postmodern scientific age? Finally, we might argue that, whereas
Western sf is focused on the opportunities and losses of
technoscientific development, Chinese sf, although it examines similar
ideas, is more focused on anxieties about cultural decline and the
potential for revitalization.
One outcome of the increasing
popularity of sf in China has been the development of the field of sf
studies. While Chinese scholarship on Chinese sf sometimes contradicts
that of the West, there are many instances where it also borrows from
Western scholarship. Chinese sf studies have been written from a wide
variety of perspectives, many of which give serious consideration to the
role of sf in society. Some of the most influential include Liang
Qichao’s dictum about “Saving the Country by Fiction”13; the “Function of Science Popularization” espoused by Lu Xun in the 1900s14; Zheng Wenguang’s proposal in the 1950s about “Getting Ahead of Science”15; Ye Yonglie’s “Restriction of Three Elements” in the 1970s16; the “Scientific Attitude to Life” propounded by Tong Enzheng17; Wei Yahua and Jin Tao’s theories about “Science Fiction’s Critical Function in Society” in the 1980s18;
and the values of “Entertainment and Self-Expression” espoused by a
new generation of sf writers represented by Xing He and other “new age”
and “post-new-age” authors.19 In my own work, I have proposed that sf be considered a literature that is “Shouting on the Edge.”20
More work in comparative studies is needed in order to ascertain the
extent to which these critical models have parallels in Western
academic sf theory and criticism. Perhaps, after all, the most valuable
outcome of this special issue is the realization of the many
interrelationships between Chinese and Western sf studies.
While preparing this special issue, I
reviewed many studies of Chinese sf in both Chinese and English
publications. Although comparatively little has been published in this
area, certain studies deserve special attention. One very valuable
essay from the 1980s is Rudolf G. Wagner’s “Lobbying Literature: The
Archaeology and Present Functions of Science Fiction in China” (1985).
Wagner provides a detailed account of the development of Chinese sf
(mainly of the PRC period), analyzing the structure of sf works in the
context of Chinese society. In my view, the most important Chinese sf
study of the 1980s is Ye Yonglie’s Lun Ke Xue Wen Yi [On
Science Literature], which approaches science fiction as literature
about science. Although his study was influenced by the Soviet theory
of science popularization, it played an important role in exploring
Chinese science fiction.21 Tobe! Daishinteikouku-Kindai Chugoku No Gensou Kagaku
[Soaring: The Qing Empire: Imaginary Science in Modern China, 1988] by
Japanese scholar Takeda Masaya is a significant study of the
intersections among science fiction, science popularization, and modern
painting; it discusses the modernity of Chinese sf in the context of
photographs and illustrations in late Qing magazines. David Der-wei
Wang’s Fin-de-Siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911
(1997) is one of the most valuable studies published in the 1990s.
Focusing on Chinese sf of the late Qing era, it offers a detailed
account of the relationship between science fiction and modern Chinese
literature, arguing that science fiction was one of the many forms of
cultural expression that perished with China’s “suppression of
modernity” after the May Fourth Movement. The result was the
establishment of realism as the only acceptable mode of writing. While
Wang’s study does not include analysis of the many sf works of this
period discovered only after its publication, it remains a valuable
resource for sf studies in China.
At the beginning of the twenty-first
century, we are seeing the publication of more studies in both Chinese
and English, although it is difficult to tell which of them will prove
to be of lasting worth. My own recent study, Ke Huan Wen Xue Lun Gang
[Essentials of Science Fiction, 2011], is a study of Chinese science
fiction in a global context and an attempt to demonstrate what Chinese
sf and world sf have in common.
About this issue. I hope that this
special issue will attract the attention of the global sf community to
Chinese sf and promote the study of Chinese sf by English-speaking
scholars. We have aimed here to provide a thorough overview of science
fiction in China today, including its history and its future potential.
Han Song and Liu Cixin, two of China’s most acclaimed sf
writers—worthy successors to such famous literary figures as Liang
Qichao and Lu Xun—discuss not only their own careers but also the
growing Chinese sf community. In spite of significant differences in
their writing, both are equally representative of today’s Chinese sf
writers and the diverse work that they are producing. I am very pleased
to include their unique insights here.
Next Nathaniel Isaacson and Shaoling Ma provide detailed studies of China’s two earliest sf works, Yue Qiu Zhi Min Di Xiao Shuo [Tales
of the Moon Colony,1904-05] and “Xin Fa Luo Xian Sheng Tan” [A Tale of
New Mr. Braggadocio,1905]. While Isaacson adopts a theoretical
perspective consistent with Western criticism, Ma has placed more
emphasis on the origins and development of Chinese classical fiction.
Lisa Raphals also focuses on an early work, Lao She’s Maocheng ji
[Cat Country, 1932], published during the period of the Republic of
China. Lao She was one of the few mainstream figures in China writing
sf at this time, although he never admitted it and even criticized it
in writing. Whether an sf work will be remembered does not depend,
however, on the author’s attitude. After years of neglect and negative
critique by both author and reading public, Maocheng ji was republished in Japan in the 1970s as one of the world’s classics of science fiction.
Following these essays on early Chinese
sf, Mingwei Song and Jia Liyuan offer in-depth studies of New China
science fiction. Although their essays cover the period between the
early 1990s and the present, they also look back to the late Qing era
and to the period of the Republic of China (ROC). Song Mingwei, a
literary theorist based in the US and very familiar with the
development of sf in China, introduces and analyzes in detail the work
of China’s most influential contemporary sf writers. Jia Liyuan is a
writer and literary critic, and potentially a very influential author
in his own right (publishing sf under the pen name Fei Dao). He offers a
close reading of the science fiction of Han Song, interpreting it in
the context of the difficulties and opportunities facing Chinese sf
writers at the present moment.
The penultimate essay here is a
historical study of translation as an important influence on the
development of Chinese sf. Qian Jiang’s essay is based on her doctoral
research and provides detailed information about the significance of
foreign sf in translation in China. The issue concludes with Wei Yang’s
analysis of the unique cross-genre character of contemporary Chinese sf
film, and how it both parallels and differs from classic Hollywood sf
blockbusters.
It is a great pity that we were not
able to include a study of sf during Mao’s period. Without such an
essay, our original intention to provide a panoramic view of Chinese
sf’s history and current state has not quite been realized. It is also
important to note that science fiction written during the years of the
Republic of China is still being rediscovered and some of the research
findings in current studies might well be outdated soon. I think that
the study of Chinese science fiction, both in China and
internationally, is just beginning and is poised to take off.
As guest co-editor of this special
issue, I sincerely thank the authors and translators without whose
interest and support this project would not have been possible. I am
also grateful to those who submitted proposals but whose work we were
unable to include. I would like to express my gratitude to my co-editor,
Veronica Hollinger, for her insights and careful work. We have been
acquainted for many years, but this is the first time we have had the
opportunity to work together. Thanks also to SFS’s co-editors
for their enthusiastic support of this project, to expert scholars
including Guangyi Li and Mingwei Song for their helpful suggestions, to
Wang Pengfei for translating my work and Ryan Nichols for polishing
it, and to Andy Sawyer for his help in finding research materials.
I may not agree with all of the
arguments made here, but this is only to the good. All I have done as
editor is to correct occasional factual errors. I know that it is only
by listening to these differences of opinion that we can make steady
progress in the study of science fiction. There are inevitable gaps in a
project such as this one. Perhaps we have placed too much emphasis on
subjects that are less interesting to Western readers, while not
providing enough information about topics of more concern. I think,
however, that readers will find the story of science fiction in China
both unexpected and gripping, and I look forward to feedback and
critical responses.
Every nation with a distinctive culture
and history is like an alien planet, and visitors can stand on this
planet and look up at its sky. What will visitors from the West
discover in the unfamiliar sky of Planet China?
ACKNOWLEDGMENTS
The co-editors of this special issue would also like to thank Janice Bogstad, Amy Kit-Sze Chan, Jonathan Clements, Jiayan Mi, and Carlos Rojas for their help and advice as outside readers. Their expertise made an invaluable contribution to this project. Jonathan Clements was especially generous with his time, and interested readers will want to consult his substantial entry on “China,” co-authored with Wu Dingbo, in the online Encyclopedia of Science Fiction.
NOTES
1. Many of Voltaire’s works praise China, especiallyhis Essay on the Manners of Nations (1756), in which he considers not only political governance, legal systems, economic controls, and population development, but also morality, philosophy, and scientific development.
2. See the studies by Chien Chun, Chen Hongguang, and Wu, Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction], especially 4-11.
3. The study of late Qing-era sf commenced only in the 1980s. Studies of the sf of the ROC period are still at a preliminary stage and many texts still await detailed analysis. For more information, see Chen Hongguang, especially 32-117.
4. See Wu, Ke Huan Wen Xue Lun Gang,13-14.
5. For an analysis of Soviet science-fiction theory, see Lue Pu Luo Fu (B. Liupulov).
6. I remember how, as a child during the Cultural Revolution, I would break the paper strips that sealed the windows and sneak into the locked public library. The piles of old books were covered in dust. According to the Red Guards, these books were mere propaganda espousing feudalism, capitalism, and revisionism, and they deserved to be burned. Among that so-called “poisonous grass,” however, I discovered Jules Verne’s amazing novel, Vingte mille lieues sous les mers [Twenty Thousand Leagues Under the Sea, 1870], and many sf works by Soviet and Chinese writers. The fabulous futures in these books took me to worlds very different from the insane and cruel reality of the Cultural Revolution’s “Class Struggle.”
7. For a related study of these issues, see Zhang Zi et al.
8. These are ancient classical stories of the early Ming dynasty (14th century CE) that deal with themes of war and political power struggles, and with Chinese-oriented treatments of both interpersonal and national relationships. They remain very popular among Chinese readers.
9. The Chinese continue to be apprehensive about accusations of pseudoscience, which are regularly made by the media against what they see as misleading the people.
10. The Chinese Communist Party underwent significant changes, but they did not occur immediately after the 1989 student demonstrations. These changes began only in 1992, the year that Deng Xiaoping, then leader of China, gave a series of talks in South China advocating economic reforms. Deng emphasized in these talks that all political disputes should be put aside and priority given to economic development.
11. The Chinese fantasy tradition is well represented by Xi You Ji [Journey to the West], written during the middle period of the Ming Dynasty (16th century CE) and Liao Zai Zhi Yi [Strange Tales from a Chinese Studio] written during the Qing Dynasty (17th century CE). Journey to the West tells the story of a group of Buddhists, including a monkey, a pig, a horse, and a monk, who go on a pilgrimage to find Buddhist scriptures. During their journey, they encounter monsters of various kinds. Strange Tales from a Chinese Studio, a collection of thrilling and fantastic short stories, describes loves between humans and non-humans and explores the workings of karma in Chinese culture. See the translations by Wu Cheng’en and and by Pu Songling.
12. Mainstream writers who have written science fiction include Hong Ying, Bi Shu Min, and Zhu Su Jin. Although their work differs in many ways from conventional sf and has not always been welcomed by fans, it has its own popular appeal and demonstrates increasing awareness of the genre among mainstream writers. See the titles by Hong Ying, Bi Shu Min, and Zhu Su Jin in my Works Cited.
13. After the failure of constitutional reform driven by the government, leading intellectual Liang Qichao advocated reform from the bottom up. In 1902, he founded the magazine Xin Xiao Shuo [New Fiction] to promote new theories of literature and communication. Science fiction was one of the magazine’s key interests. Liang not only translated French sf by Verne and Camille Flammarion, but he also wrote the novel Xin Zhong Guo Wei Lai Ji [The Future of New China, 1902], which is set in a future society.
14. Lu Xun is the founder of modern Chinese literature. In his youth, he was active in translating and introducing science fiction to the nation. In 1903, for example, he translated Verne’s De la Terre à la Lune [From the Earth to the Moon, 1865] and included a well-known preface in which he espoused sf for its potential to spread Western science and to guide the Chinese people forward.
15. Zheng Wenguang, an important sf writer of the PRC from the 1950s to the 1980s, published Cong Di Qiu Dao Huo Xing [From Earth to Mars] in 1954. In 1956, he published the essay “Always Leading Science,” his proposal for a science-fiction theory heavily influenced by Soviet theory. See Zheng Wenguang 158-62.
16. Ye Yonglie was China’s most famous sf writer in the 1970s and 1980s; his works sold well nationwide. In Lun Ke Xue Wen Yi [On Science Literature], he theorized sf as a literary genre that combined science, fantasy, and fiction, three elements closely related to each other. See his Lun Ke Xue Wen Yi [On Scientific Literary Works], 81-109.
17. See Tong Enzheng 110.
18. Commencing in the mid-1980s, Chinese sf writers began to be more openly critical of their society. Writers such as Wei Yahua, Jin Tao, Zheng Wenguang, and Ye Yonglie argued that sf should not only be about science but should focus equally on society and politics. It was time to throw off the influence of the leftist state. See Ye Yonglie (2000), Chen Jie, and Wu Yan, Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction] in my Works Cited.
19. The new generation that emerged in the 1990s, represented by Xing He, Yang Peng, Su Xuejun, Ling Chen, Pan Haitian, and Liu Wenyang, believed that sf’s role was neither to popularize science nor to convey truth. It should remain completely independent, focusing on entertainment and individual self-expression.
20. In my Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction], I approach sf from the perspective of power and authority. I emphasize that the study of Chinese sf—and this is probably true of all “third-world” sf studies—must face the reality that sf writers and readers are marginal figures in a post-industrial and technological era. I argue that sf’s legitimacy is a result of its very marginality.
21. See Ye Yonglie, Lun Ke Xue Wen Yi, especially 81-109.
WORKS CITED
Aldiss, Brian. “The Flight to the Great Wall Planet.” World SF Newsletter 2 (April 1984): 3-5.
Bi Shu Min. Hua Guan Bing Du [Corolla Virus]. Changsha: Hunan Literature and Art Press. 2012.
Chen Hongguang. The Pattern of Imagined Science: The Embodiment of Science Categorization in the Science Fiction of the Late Qing Dynasty. MA Dissertation, Beijing Normal University, Beijing, 2012.
Chen Jie. Qin Li Zhong Guo Ke Huan-Zheng Wenguang Ping Zhuan [Experiencing Chinese Science Fiction: A Critical Biography of Zheng Wenguang]. Fuzhou: Fujian Junior and Children’s Press, 2006.
Chien Chun Lin. A Study of Late Qing Science Fiction (1904-1911). MA Dissertation, National Chung Cheng University, Taiwan, 2003.
Hong Ying. Nui Zi You Xing [Far Goes the Girl]. Beijing: Culture and Art Press, 2006.
Liang Qichao. Xin Zhong Guo Wei Lai Ji [The Future of New China]. 1902. Nanning: Guangxi Normal UP, 2008.
Lu Xun. Yue Jie Lv Xing Bian Yan [Preface to From the Earth to the Moon]. 1903. Xian Dai Zhong Guo Ke Huan Wen Xue Zhu Chao [The Mainstream of Modern Chinese Science Fiction]. Ed. Wang Quangen. Chongqing: Chongqing Publishing House, 2011. 3-5.
Lue Pu Luo Fu (B. Liupulov). Ji Shu De Zui Xin Cheng Jiu Yu Su Lian Ke Xue Huan Xiang Du Wu [The Latest Technological Achievements and Soviet Science Fiction]. Beijing: Science and Technology Press, 1959.
Luo Guanzhong. San Guo Yan Yi [Romance of the Three Kingdoms]. Trans. C.H. Brewitt-Taylor. Boston: Tuttle, 2002.
Masaya Takeda. Tobe! Daishinteikouku-Kindai Chugoku No Gensou Kagaku [Soaring: The Qing Empire: Imaginary Science in Modern China]. 1988. Chinese trans. Ren Jun Hua. Taiwan: Yuanliu, 2008.
Pu Songling. Strange Tales from a Chinese Studio [Liao Zai Zhi Yi]. Ed. and trans. John Minford. London: Penguin, 2006.
Shi Nai'an and Luo Guanzhong. Shui Hu Zhuan [Outlaws of the Marsh]. Trans. Sidney Shapiro. Beijing: Foreign Languages Press, 1980.
Tong Enzheng.“A Discussion about My View of Science Literature.” Ren Min Wen Xue [People’s Literature Journal] 6 (June 1979): 110.
Wagner,Rudolf G. “Lobbying Literature: The Archaeology and Present Functions of Science Fiction in China.” After Mao: Chinese Literature and Society, 1978-1981. Ed.Jeffrey C. Kinkley. Cambridge, MA: Harvard U Asia Center, 1985. 17-62.
Wang, David Der-wei. Fin-de-Siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. Stanford, CA: Stanford UP, 1997.
Wu Cheng’en. Journey to the West [Xi You Ji]. Trans. W.J.F. Jenner. Beijing: Foreign Languages Press, 1982-1990.
Wu Yan. Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction] Chongqing: Chongqing Publishing, 2011.
─────. Ke Huan Ying Gai Zhe Yang Du [How to Read Science Fiction]. Nanning: Jie Li Publishing, 2012.
Ye Yonglie. Lun Ke Xue Wen Yi [On Science Literature]. Beijing: Science Popularization Press, 1980.
─────. Qi Yi De Hua Shi Dan [A Strange Fossil Egg]. Adapted by Gu Kehai. Illustrated by Zheng You Xuan. Tian Jin: Tian Jin People’s Art Publishing House, 1978 .
─────. Shi Shi Fei Fei Hui Gu Niang [The Rights and Wrongs of Cinderella]. Fuzhou: Fujian People’s Publishing House, 2000.
Zhang Zi, Hu Jun, and Feng Zhen. “Xin Zhong Guo Shi Qi Nian Ke Huan Xiao Shuo Zhong De Xian Dai Xing”[The Modernity of Science Fiction in the First Seventeen Years of the People’s Republic of China]. Xian Dai Xing Yu Zhong Guo Ke Huan Wen Xue [Modernity and Chinese Science Fiction]. Fuzhou: Fujian Children’s Publishing, 2006. 75-118.
Zheng Wenguang. Wang Wang Zou Zai Ke Xue Fa Ming De Qian Mian [Always Leading Science: How to Write and Edit Popular Science Works]. Beijing: Science Popularization Press, 1958.
Zhu Su Jin. Ji Dian Xing Zuo [Sacrifice Constellation]. Nanjing: Jiangsu Literature and Art Press,1996.
The co-editors of this special issue would also like to thank Janice Bogstad, Amy Kit-Sze Chan, Jonathan Clements, Jiayan Mi, and Carlos Rojas for their help and advice as outside readers. Their expertise made an invaluable contribution to this project. Jonathan Clements was especially generous with his time, and interested readers will want to consult his substantial entry on “China,” co-authored with Wu Dingbo, in the online Encyclopedia of Science Fiction.
NOTES
1. Many of Voltaire’s works praise China, especiallyhis Essay on the Manners of Nations (1756), in which he considers not only political governance, legal systems, economic controls, and population development, but also morality, philosophy, and scientific development.
2. See the studies by Chien Chun, Chen Hongguang, and Wu, Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction], especially 4-11.
3. The study of late Qing-era sf commenced only in the 1980s. Studies of the sf of the ROC period are still at a preliminary stage and many texts still await detailed analysis. For more information, see Chen Hongguang, especially 32-117.
4. See Wu, Ke Huan Wen Xue Lun Gang,13-14.
5. For an analysis of Soviet science-fiction theory, see Lue Pu Luo Fu (B. Liupulov).
6. I remember how, as a child during the Cultural Revolution, I would break the paper strips that sealed the windows and sneak into the locked public library. The piles of old books were covered in dust. According to the Red Guards, these books were mere propaganda espousing feudalism, capitalism, and revisionism, and they deserved to be burned. Among that so-called “poisonous grass,” however, I discovered Jules Verne’s amazing novel, Vingte mille lieues sous les mers [Twenty Thousand Leagues Under the Sea, 1870], and many sf works by Soviet and Chinese writers. The fabulous futures in these books took me to worlds very different from the insane and cruel reality of the Cultural Revolution’s “Class Struggle.”
7. For a related study of these issues, see Zhang Zi et al.
8. These are ancient classical stories of the early Ming dynasty (14th century CE) that deal with themes of war and political power struggles, and with Chinese-oriented treatments of both interpersonal and national relationships. They remain very popular among Chinese readers.
9. The Chinese continue to be apprehensive about accusations of pseudoscience, which are regularly made by the media against what they see as misleading the people.
10. The Chinese Communist Party underwent significant changes, but they did not occur immediately after the 1989 student demonstrations. These changes began only in 1992, the year that Deng Xiaoping, then leader of China, gave a series of talks in South China advocating economic reforms. Deng emphasized in these talks that all political disputes should be put aside and priority given to economic development.
11. The Chinese fantasy tradition is well represented by Xi You Ji [Journey to the West], written during the middle period of the Ming Dynasty (16th century CE) and Liao Zai Zhi Yi [Strange Tales from a Chinese Studio] written during the Qing Dynasty (17th century CE). Journey to the West tells the story of a group of Buddhists, including a monkey, a pig, a horse, and a monk, who go on a pilgrimage to find Buddhist scriptures. During their journey, they encounter monsters of various kinds. Strange Tales from a Chinese Studio, a collection of thrilling and fantastic short stories, describes loves between humans and non-humans and explores the workings of karma in Chinese culture. See the translations by Wu Cheng’en and and by Pu Songling.
12. Mainstream writers who have written science fiction include Hong Ying, Bi Shu Min, and Zhu Su Jin. Although their work differs in many ways from conventional sf and has not always been welcomed by fans, it has its own popular appeal and demonstrates increasing awareness of the genre among mainstream writers. See the titles by Hong Ying, Bi Shu Min, and Zhu Su Jin in my Works Cited.
13. After the failure of constitutional reform driven by the government, leading intellectual Liang Qichao advocated reform from the bottom up. In 1902, he founded the magazine Xin Xiao Shuo [New Fiction] to promote new theories of literature and communication. Science fiction was one of the magazine’s key interests. Liang not only translated French sf by Verne and Camille Flammarion, but he also wrote the novel Xin Zhong Guo Wei Lai Ji [The Future of New China, 1902], which is set in a future society.
14. Lu Xun is the founder of modern Chinese literature. In his youth, he was active in translating and introducing science fiction to the nation. In 1903, for example, he translated Verne’s De la Terre à la Lune [From the Earth to the Moon, 1865] and included a well-known preface in which he espoused sf for its potential to spread Western science and to guide the Chinese people forward.
15. Zheng Wenguang, an important sf writer of the PRC from the 1950s to the 1980s, published Cong Di Qiu Dao Huo Xing [From Earth to Mars] in 1954. In 1956, he published the essay “Always Leading Science,” his proposal for a science-fiction theory heavily influenced by Soviet theory. See Zheng Wenguang 158-62.
16. Ye Yonglie was China’s most famous sf writer in the 1970s and 1980s; his works sold well nationwide. In Lun Ke Xue Wen Yi [On Science Literature], he theorized sf as a literary genre that combined science, fantasy, and fiction, three elements closely related to each other. See his Lun Ke Xue Wen Yi [On Scientific Literary Works], 81-109.
17. See Tong Enzheng 110.
18. Commencing in the mid-1980s, Chinese sf writers began to be more openly critical of their society. Writers such as Wei Yahua, Jin Tao, Zheng Wenguang, and Ye Yonglie argued that sf should not only be about science but should focus equally on society and politics. It was time to throw off the influence of the leftist state. See Ye Yonglie (2000), Chen Jie, and Wu Yan, Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction] in my Works Cited.
19. The new generation that emerged in the 1990s, represented by Xing He, Yang Peng, Su Xuejun, Ling Chen, Pan Haitian, and Liu Wenyang, believed that sf’s role was neither to popularize science nor to convey truth. It should remain completely independent, focusing on entertainment and individual self-expression.
20. In my Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction], I approach sf from the perspective of power and authority. I emphasize that the study of Chinese sf—and this is probably true of all “third-world” sf studies—must face the reality that sf writers and readers are marginal figures in a post-industrial and technological era. I argue that sf’s legitimacy is a result of its very marginality.
21. See Ye Yonglie, Lun Ke Xue Wen Yi, especially 81-109.
WORKS CITED
Aldiss, Brian. “The Flight to the Great Wall Planet.” World SF Newsletter 2 (April 1984): 3-5.
Bi Shu Min. Hua Guan Bing Du [Corolla Virus]. Changsha: Hunan Literature and Art Press. 2012.
Chen Hongguang. The Pattern of Imagined Science: The Embodiment of Science Categorization in the Science Fiction of the Late Qing Dynasty. MA Dissertation, Beijing Normal University, Beijing, 2012.
Chen Jie. Qin Li Zhong Guo Ke Huan-Zheng Wenguang Ping Zhuan [Experiencing Chinese Science Fiction: A Critical Biography of Zheng Wenguang]. Fuzhou: Fujian Junior and Children’s Press, 2006.
Chien Chun Lin. A Study of Late Qing Science Fiction (1904-1911). MA Dissertation, National Chung Cheng University, Taiwan, 2003.
Hong Ying. Nui Zi You Xing [Far Goes the Girl]. Beijing: Culture and Art Press, 2006.
Liang Qichao. Xin Zhong Guo Wei Lai Ji [The Future of New China]. 1902. Nanning: Guangxi Normal UP, 2008.
Lu Xun. Yue Jie Lv Xing Bian Yan [Preface to From the Earth to the Moon]. 1903. Xian Dai Zhong Guo Ke Huan Wen Xue Zhu Chao [The Mainstream of Modern Chinese Science Fiction]. Ed. Wang Quangen. Chongqing: Chongqing Publishing House, 2011. 3-5.
Lue Pu Luo Fu (B. Liupulov). Ji Shu De Zui Xin Cheng Jiu Yu Su Lian Ke Xue Huan Xiang Du Wu [The Latest Technological Achievements and Soviet Science Fiction]. Beijing: Science and Technology Press, 1959.
Luo Guanzhong. San Guo Yan Yi [Romance of the Three Kingdoms]. Trans. C.H. Brewitt-Taylor. Boston: Tuttle, 2002.
Masaya Takeda. Tobe! Daishinteikouku-Kindai Chugoku No Gensou Kagaku [Soaring: The Qing Empire: Imaginary Science in Modern China]. 1988. Chinese trans. Ren Jun Hua. Taiwan: Yuanliu, 2008.
Pu Songling. Strange Tales from a Chinese Studio [Liao Zai Zhi Yi]. Ed. and trans. John Minford. London: Penguin, 2006.
Shi Nai'an and Luo Guanzhong. Shui Hu Zhuan [Outlaws of the Marsh]. Trans. Sidney Shapiro. Beijing: Foreign Languages Press, 1980.
Tong Enzheng.“A Discussion about My View of Science Literature.” Ren Min Wen Xue [People’s Literature Journal] 6 (June 1979): 110.
Wagner,Rudolf G. “Lobbying Literature: The Archaeology and Present Functions of Science Fiction in China.” After Mao: Chinese Literature and Society, 1978-1981. Ed.Jeffrey C. Kinkley. Cambridge, MA: Harvard U Asia Center, 1985. 17-62.
Wang, David Der-wei. Fin-de-Siècle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. Stanford, CA: Stanford UP, 1997.
Wu Cheng’en. Journey to the West [Xi You Ji]. Trans. W.J.F. Jenner. Beijing: Foreign Languages Press, 1982-1990.
Wu Yan. Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction] Chongqing: Chongqing Publishing, 2011.
─────. Ke Huan Ying Gai Zhe Yang Du [How to Read Science Fiction]. Nanning: Jie Li Publishing, 2012.
Ye Yonglie. Lun Ke Xue Wen Yi [On Science Literature]. Beijing: Science Popularization Press, 1980.
─────. Qi Yi De Hua Shi Dan [A Strange Fossil Egg]. Adapted by Gu Kehai. Illustrated by Zheng You Xuan. Tian Jin: Tian Jin People’s Art Publishing House, 1978 .
─────. Shi Shi Fei Fei Hui Gu Niang [The Rights and Wrongs of Cinderella]. Fuzhou: Fujian People’s Publishing House, 2000.
Zhang Zi, Hu Jun, and Feng Zhen. “Xin Zhong Guo Shi Qi Nian Ke Huan Xiao Shuo Zhong De Xian Dai Xing”[The Modernity of Science Fiction in the First Seventeen Years of the People’s Republic of China]. Xian Dai Xing Yu Zhong Guo Ke Huan Wen Xue [Modernity and Chinese Science Fiction]. Fuzhou: Fujian Children’s Publishing, 2006. 75-118.
Zheng Wenguang. Wang Wang Zou Zai Ke Xue Fa Ming De Qian Mian [Always Leading Science: How to Write and Edit Popular Science Works]. Beijing: Science Popularization Press, 1958.
Zhu Su Jin. Ji Dian Xing Zuo [Sacrifice Constellation]. Nanjing: Jiangsu Literature and Art Press,1996.
This appendix lists milestones in the
history of science fiction in mainland China, including the major
historical events that influenced its development.
1901
Jules Verne’s Deux ans de vacances [A Two Years’ Vacation], translated and annotated with critical commentary by Liang Qichao, is published in Chun Jiang Feng Yue Bao [Spring River Wind Monthly].
Jules Verne’s Deux ans de vacances [A Two Years’ Vacation], translated and annotated with critical commentary by Liang Qichao, is published in Chun Jiang Feng Yue Bao [Spring River Wind Monthly].
1902
Liang Qichao launches Xin Xiao Shuo [New Fiction], a magazine promoting many types of new writing including “philosophical science fiction.” He publishes the first chapter of his futuristic novel Xin Zhong Guo Wei Lai Ji [The Future of New China] in its first issue.
Liang Qichao launches Xin Xiao Shuo [New Fiction], a magazine promoting many types of new writing including “philosophical science fiction.” He publishes the first chapter of his futuristic novel Xin Zhong Guo Wei Lai Ji [The Future of New China] in its first issue.
1903
Lu Xun translates and publishes Jules Verne’s Yue Jie Lv Xing [From the Earth to the Moon], which includes his preface, Yue Jie Lv Xing Bian Yan [Preface to Yue Jie Lv Xing]. This is the most significant critical work to appear in the early years of Chinese science fiction.
Lu Xun translates and publishes Jules Verne’s Yue Jie Lv Xing [From the Earth to the Moon], which includes his preface, Yue Jie Lv Xing Bian Yan [Preface to Yue Jie Lv Xing]. This is the most significant critical work to appear in the early years of Chinese science fiction.
1904
Huang Jiang Diao Suo publishes Yue Qiu Zhi Min Di [Tales of the Moon Colony] in the magazine Xiu Xiang Xiao Shuo [Illustrated Fiction].
Huang Jiang Diao Suo publishes Yue Qiu Zhi Min Di [Tales of the Moon Colony] in the magazine Xiu Xiang Xiao Shuo [Illustrated Fiction].
1905
Dong Hai Jue Wo (pseudonym of Xu Nianci)’s Xin Fa Luo Xian Sheng Tan [A Tale of New Mr. Braggadocio] is published by Xiao Shuo Lin [Forest of Fiction] Press.
Wu Jianren publishes the first eleven chapters of Xin Shi Tou Ji [New Story of the Stone] in the newspaper Nan Fang [South]. The completed novel is published in 1908 by Gai Liang Xiao Shuo [Reform Fiction] Press.
Dong Hai Jue Wo (pseudonym of Xu Nianci)’s Xin Fa Luo Xian Sheng Tan [A Tale of New Mr. Braggadocio] is published by Xiao Shuo Lin [Forest of Fiction] Press.
Wu Jianren publishes the first eleven chapters of Xin Shi Tou Ji [New Story of the Stone] in the newspaper Nan Fang [South]. The completed novel is published in 1908 by Gai Liang Xiao Shuo [Reform Fiction] Press.
1908
Bi He Guan Zhu Ren’s Xin Ji Yuan [New Era] is published by Xiao Shuo Lin Press.
Bi He Guan Zhu Ren’s Xin Ji Yuan [New Era] is published by Xiao Shuo Lin Press.
1910
Lu Shi’e’s Xin Zhong Guo [New China] is published by Gai Liang Xiao Shuo Press.
Lu Shi’e’s Xin Zhong Guo [New China] is published by Gai Liang Xiao Shuo Press.
1911
This year sees the collapse of the Qing Dynasty and the founding of the Republic of China. During the late Qing Dynasty, more than 20 genre works are published, each exhibiting a different literary style.
This year sees the collapse of the Qing Dynasty and the founding of the Republic of China. During the late Qing Dynasty, more than 20 genre works are published, each exhibiting a different literary style.
1932
Lao She publishes the first chapters of Mao Cheng Ji [Cat Country] in Xian Dai [Modern] Magazine. It is the first “soft” sf dystopia in Chinese science fiction.
Lao She publishes the first chapters of Mao Cheng Ji [Cat Country] in Xian Dai [Modern] Magazine. It is the first “soft” sf dystopia in Chinese science fiction.
1937
The Sino-Japanese War begins.
The Sino-Japanese War begins.
1940
Gu Junzheng’s edited anthology Zai Bei Ji Di Xia [Underneath the North Pole] is published by Wen Hua Sheng Huo [Culture Life] Press. It includes three “hard” sf stories.
Gu Junzheng’s edited anthology Zai Bei Ji Di Xia [Underneath the North Pole] is published by Wen Hua Sheng Huo [Culture Life] Press. It includes three “hard” sf stories.
1945
The Sino-Japanese War ends.
The Sino-Japanese War ends.
1949
The People’s Republic of China is founded on 1 October.
The term “science fiction” begins to be replaced by the term “science fantasy fiction” in accordance with Soviet usage.
The People’s Republic of China is founded on 1 October.
The term “science fiction” begins to be replaced by the term “science fantasy fiction” in accordance with Soviet usage.
1950
Zhang Ran’s Meng You Tai Yang Xi [Travel the Solar System in a Dream] is published by Tian Jin Zhi Shi Shu Dian [Knowledge Press of Tianjin].
Zhang Ran’s Meng You Tai Yang Xi [Travel the Solar System in a Dream] is published by Tian Jin Zhi Shi Shu Dian [Knowledge Press of Tianjin].
1954
Zheng Wenguang publishes Cong Di Qiu Dao Huo Xing [From the Earth to Mars] in Zhong Guo Shao Nian Bao [China Junior Newspaper].
Zheng Wenguang publishes Cong Di Qiu Dao Huo Xing [From the Earth to Mars] in Zhong Guo Shao Nian Bao [China Junior Newspaper].
1956
The Chinese Communist Party calls for a “March to Science.”
Chi Shuchang’s anthology, San Hao You Yong Xuan Shou De Mi Mi [The Secret of Swimmer No. 3], is published by Zhong Guo Shao Nian Er Tong [China Children and Junior] Publishing House.
The Chinese Communist Party calls for a “March to Science.”
Chi Shuchang’s anthology, San Hao You Yong Xuan Shou De Mi Mi [The Secret of Swimmer No. 3], is published by Zhong Guo Shao Nian Er Tong [China Children and Junior] Publishing House.
1958
Zheng Wenguang publishes the first two chapters of Gong Chan Zhu Yi Chang Xiang Qu [Fantasia of Communism] in Zhong Guo Qing Nian [China Youth] Monthly. This is China’s first Communist-influenced utopian science fiction.
The first film with sf elements, Shi San Ling Shui Ku Chang Xiang Qu [Fantasia of Shi San Ling Reservoir] is completed by Beijing Qing Nian Dian Ying Zhi Pian Chang [Beijing Youth Movie Factory].
Zheng Wenguang publishes the first two chapters of Gong Chan Zhu Yi Chang Xiang Qu [Fantasia of Communism] in Zhong Guo Qing Nian [China Youth] Monthly. This is China’s first Communist-influenced utopian science fiction.
The first film with sf elements, Shi San Ling Shui Ku Chang Xiang Qu [Fantasia of Shi San Ling Reservoir] is completed by Beijing Qing Nian Dian Ying Zhi Pian Chang [Beijing Youth Movie Factory].
1960
Tong Enzheng’s novellette “Gu Xia Mi Wu” [Mists of Old Gorges] is published by Shao Nian Er Tong [Children and Junior] Publishing House of Shanghai.
Tong Enzheng’s novellette “Gu Xia Mi Wu” [Mists of Old Gorges] is published by Shao Nian Er Tong [Children and Junior] Publishing House of Shanghai.
1962
A selection of sf stories, Bu Ke De Qi Yu [The Adventure of Bu Ke], is published by Shao Nian Er Tong Publishing House of Shanghai.
A selection of sf stories, Bu Ke De Qi Yu [The Adventure of Bu Ke], is published by Shao Nian Er Tong Publishing House of Shanghai.
1963
Wang Guozhong’s anthology, Hei Long Hao Shi Zong [The Lost Ship Black Dragon], is published by Shao Nian Er Tong Publishing House of Shanghai.
Wang Guozhong’s anthology, Hei Long Hao Shi Zong [The Lost Ship Black Dragon], is published by Shao Nian Er Tong Publishing House of Shanghai.
1966
The Cultural Revolution begins.
The Cultural Revolution begins.
1976
Shao Nian Ke Xue [Junior Science] publishes Ye Yong Lie’s Shi You Dan Bai [Petrolia Protein], labeling it “science fiction” rather than “science fantasy fiction” in order to avoid the negative “bourgeois” connotations of the term “fantasy.” This is the only sf published during the Cultural Revolution.
Mao dies in October and the Cultural Revolution comes to an end.
Shao Nian Ke Xue [Junior Science] publishes Ye Yong Lie’s Shi You Dan Bai [Petrolia Protein], labeling it “science fiction” rather than “science fantasy fiction” in order to avoid the negative “bourgeois” connotations of the term “fantasy.” This is the only sf published during the Cultural Revolution.
Mao dies in October and the Cultural Revolution comes to an end.
1978
Ye Yong Lie’s Xiao Ling Tong Man You Wei Lai [Xiao Ling Tong’s Journey to the Future] is published by Shao Nian Er Tong [Children and Junior] Publishing House of Shanghai.
Tong Enzheng’s Shan Hu Dao Shang De Si Guang [Death Ray on a Coral Island] is published in the journal, Ren Min Wen Xue [People’s Literature].
Deng Xiaoping begins his term as PRC leader and announces China’s new “Open Door Policy.”
Ye Yong Lie’s Xiao Ling Tong Man You Wei Lai [Xiao Ling Tong’s Journey to the Future] is published by Shao Nian Er Tong [Children and Junior] Publishing House of Shanghai.
Tong Enzheng’s Shan Hu Dao Shang De Si Guang [Death Ray on a Coral Island] is published in the journal, Ren Min Wen Xue [People’s Literature].
Deng Xiaoping begins his term as PRC leader and announces China’s new “Open Door Policy.”
1979
Tong Enzheng’s novelette Shan Hu Dao Shang De Si Guang [Death Ray on a Coral Island] wins the readers’ choice National Story Award. This is the first time an sf work wins a mainstream literature award.
Sichuan Science and Technology Association establishes Ke Xue Wen Yi [Science Literature] magazine, which publishes science fiction, science-oriented fairy tales, and short stories related to science.
Zheng Wenguang publishes his novel, Fei Xiang Ren Ma Zhuo [Flying to Saggitarius], with Ren Min Wen Xue [People’s Literature] Publishing House in May.
Zhong Guo Qing Nian Bao [China Youth Newspaper] begins a new column, “Ke Pu Xiao Yi” [Brief Notes on Popular Science Works], publishing critical articles about both popular science and science fiction.
The China Popular Science Writers’ Association is founded. Most sf authors join its Science Literature Branch. The Association later changes its name to the China Science Writers’ Association.
Tong Enzheng’s novelette Shan Hu Dao Shang De Si Guang [Death Ray on a Coral Island] wins the readers’ choice National Story Award. This is the first time an sf work wins a mainstream literature award.
Sichuan Science and Technology Association establishes Ke Xue Wen Yi [Science Literature] magazine, which publishes science fiction, science-oriented fairy tales, and short stories related to science.
Zheng Wenguang publishes his novel, Fei Xiang Ren Ma Zhuo [Flying to Saggitarius], with Ren Min Wen Xue [People’s Literature] Publishing House in May.
Zhong Guo Qing Nian Bao [China Youth Newspaper] begins a new column, “Ke Pu Xiao Yi” [Brief Notes on Popular Science Works], publishing critical articles about both popular science and science fiction.
The China Popular Science Writers’ Association is founded. Most sf authors join its Science Literature Branch. The Association later changes its name to the China Science Writers’ Association.
1980
The first full-length sf film, Shan Hu Dao Shang De Si Guang [Death Ray on a Coral Island], based on the novelette by Tong Enzheng, is released but does not do well at the box office.
Jin Tao publishes the novelette “Yue Guang Dao” [Moonlight Island] in the first issue of Ke Xue Shi Dai [Science Times] journal. It evinces strong anxiety that the Cultural Revolution might be revived sometime in the future. Political science fiction begins.
The first full-length sf film, Shan Hu Dao Shang De Si Guang [Death Ray on a Coral Island], based on the novelette by Tong Enzheng, is released but does not do well at the box office.
Jin Tao publishes the novelette “Yue Guang Dao” [Moonlight Island] in the first issue of Ke Xue Shi Dai [Science Times] journal. It evinces strong anxiety that the Cultural Revolution might be revived sometime in the future. Political science fiction begins.
1981
Wei Yahua’s story “Wen Rou Zhi Xiang De Meng” [Conjugal Happiness in the Arms of Morpheus] is published in Beijing Wen Xue [Beijing Literature] monthly.
Wei Yahua’s story “Wen Rou Zhi Xiang De Meng” [Conjugal Happiness in the Arms of Morpheus] is published in Beijing Wen Xue [Beijing Literature] monthly.
1983
Government-run newspapers such as Ren Min Ri Bao [People’s Daily] accuse the genre of science fiction of “spiritual pollution” and further publication is discouraged. Most authors either move to other genres or cease writing altogether.
Government-run newspapers such as Ren Min Ri Bao [People’s Daily] accuse the genre of science fiction of “spiritual pollution” and further publication is discouraged. Most authors either move to other genres or cease writing altogether.
1985
The magazines Ke Xue Wen Yi [Science Literature] and Zhi Hui Shu [Tree of Wisdom] jointly launch China’s first award for science fiction, the Yin He [Galaxy] award.
The magazines Ke Xue Wen Yi [Science Literature] and Zhi Hui Shu [Tree of Wisdom] jointly launch China’s first award for science fiction, the Yin He [Galaxy] award.
1988
Pi Li Bei Bei [Electronic Boy Bei Bei], the first sf film for children, is well received.
Pi Li Bei Bei [Electronic Boy Bei Bei], the first sf film for children, is well received.
1989
On 4 June, the incident at Tiananmen Square takes place.
On 4 June, the incident at Tiananmen Square takes place.
1991
Science Literature Magazine changes its name to Ke Huan Shi Jie [Science Fiction World].
Beijing Normal University launches the first undergraduate course in science fiction.
The World Science Fiction Association’s annual conference is held in Chengdu, Sichuan Province.
Mainland author Han Song’s short story “Yu Zhou Mu Bei” [Tombstone of the Universe] wins the Worldwide Chinese Science Fiction Award in Taiwan.
Science Literature Magazine changes its name to Ke Huan Shi Jie [Science Fiction World].
Beijing Normal University launches the first undergraduate course in science fiction.
The World Science Fiction Association’s annual conference is held in Chengdu, Sichuan Province.
Mainland author Han Song’s short story “Yu Zhou Mu Bei” [Tombstone of the Universe] wins the Worldwide Chinese Science Fiction Award in Taiwan.
1995
Wang Jinkang’s short story “Sheng Ming Zhi Ge” [Song of Life] is published in Science Fiction World.
Wang Jinkang’s short story “Sheng Ming Zhi Ge” [Song of Life] is published in Science Fiction World.
1996
Xing He’s “Jue Dou Zai Wang Luo” [Fight a Duel on the Internet], the first Chinese cyberpunk story, is published in Science Fiction World. A new generation of Chinese sf authors makes its appearance.
Xing He’s “Jue Dou Zai Wang Luo” [Fight a Duel on the Internet], the first Chinese cyberpunk story, is published in Science Fiction World. A new generation of Chinese sf authors makes its appearance.
1997
The Beijing International Science Fiction Conference is held in both Beijing and Chengdu, Sichuan Province.
The Beijing International Science Fiction Conference is held in both Beijing and Chengdu, Sichuan Province.
1999
The National College Entrance Examination uses a science column from Science Fiction World as its writing test. Science Fiction World’s circulation rises sharply.
The National College Entrance Examination uses a science column from Science Fiction World as its writing test. Science Fiction World’s circulation rises sharply.
2003
Beijing Normal University launches a Master’s Program in Science Fiction Studies.
Beijing Normal University launches a Master’s Program in Science Fiction Studies.
2004
The National Social Science Foundation awards a grant to science-fiction studies for the first time. More than a dozen critical studies have resulted from this support.
Qian Lifang’s sf novel about Chinese history, Tian Yi [The Will of Heaven], is published by Sichuan Ke Ji [Sichuan Science and Technology] Publishing House.
The National Social Science Foundation awards a grant to science-fiction studies for the first time. More than a dozen critical studies have resulted from this support.
Qian Lifang’s sf novel about Chinese history, Tian Yi [The Will of Heaven], is published by Sichuan Ke Ji [Sichuan Science and Technology] Publishing House.
2006
San Ti [The Three Body Problem], the first book in Liu Cixin’s San Ti Trilogy [The Three Body Trilogy] is published by Chongqing Publishing House.
San Ti [The Three Body Problem], the first book in Liu Cixin’s San Ti Trilogy [The Three Body Trilogy] is published by Chongqing Publishing House.
2009
The World Chinese Science Fiction Writers’ Association is founded.
The World Chinese Science Fiction Writers’ Association is founded.
2010
The World Chinese Science Fiction Writers’ Association launches the Xing Yun [Nebula] award.
The World Chinese Science Fiction Writers’ Association launches the Xing Yun [Nebula] award.
2011
Yan Wu’s Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction] is published by Chongqing Publishing House.
The first Chinese-language “Panorama of Short Science Fiction Films” is launched at the Xing Yun [Nebula] Awards ceremony. It showcases seven and half hours of short films shot over the previous two years.
Yan Wu’s Ke Huan Wen Xue Lun Gang [Essentials of Science Fiction] is published by Chongqing Publishing House.
The first Chinese-language “Panorama of Short Science Fiction Films” is launched at the Xing Yun [Nebula] Awards ceremony. It showcases seven and half hours of short films shot over the previous two years.
Recent Issues (Reviews subject to three-year blackout)
#118 = Volume 39, Part 2 = November 2012 (Special Issue on SF and Globalization)
- David Higgins. Introduction
- Symposium on Science Fiction and Globalization
- Roger Luckhurst. Laboratories for Global Space-Time: Science-Fictionality and the World’s Fairs, 1851-1939
- Sherryl Vint. Orange County: Global Networks in Tropic of Orange
- Diane Nelson. Pirates, Robbers, and Mayan Shamans: The Terrible and Fine Allure of the Spirits of Capital
- Jerome Winter. Epistemic Polyverses and the Subaltern: The Postcolonial World-System in Ian McDonald’s Evolution’s Shore and River of Gods
- Istvan Csicsery-Ronay, Jr. What Do We Mean When We Say “Global Science Fiction”? Reflections on a New Nexus
- Thomas M. Barrett. Heart of a Serpent? The Cold War Science Fiction of Murray Leinster
- Rob Latham: Introduction
- Brooks Landon. That Light at the End of the Tunnel: The Plurality of Singularity
- Neal Easterbrook. Singularities
- Rob Latham. From Outer to Inner Space: New Wave Science Fiction and the Singularity
- Stephen Dougherty. Embodiment and Technicity in Geoff Ryman’s Air
- Andrew Milner. Science Fiction and the Literary Field
- Theo Finigan. “Into the Memory Hole”: Totalitarianism and Mal d’Archive in Nineteen Eighty-Four and The Handmaid’s Tale
- Elissa Gurman. “The holy and the powerful light that shines through history”: Tradition and Technology in Marge Piercy’s He, She and It
- Charles Paulk. Post-National Cool: William Gibson’s Japan
- Kevin LaGrandeur. The Persistent Peril of the Artificial Slave
- Geraldine Lawless. Unknown Futures: Nineteenth-Century Science Fiction in Spain
Special Issues & Sections
#100: Special Section on William Gibson's Pattern Recognition
#102: Afrofuturism (Edited by Mark Bould and Rone Shavers)
#103: Latin American SF
#105: Animals and Science Fiction (Edited by Sherryl Vint) (Full text)
#109: Science Fiction and Sexuality (Edited by Rob Latham)
#113: Slipstream (Edited by Rob Latham)
#118: Science Fiction and Globalization (Edited by David Higgins and Rob Latham)
#119: Chinese Science Fiction (Edited by Yan Wu and Veroinica Hollinger)
Science Fiction Studies
FULL TEXTS OF SOLD-OUT BACK ISSUES
CUMULATIVE INDEX, BY AUTHOR, OF ARTICLES APPEARING IN SCIENCE FICTION STUDIES
In the first entry, 12 #37.337 = Volume 12, whole number 37, page 337.
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A ABBOT, Carl. Homesteading on the Extraterrestrial Frontier #96, 32:2 [July 2005].240-264.
--------. Rocky Mountain Refuge: Constructing "Colorado" in Science Fiction. #117, 39:2 [July 2012]. 221-242.
ABBOTT, Stacey. Final Frontiers: Computer-Generated Imagery and the Science Fiction Film. #98, 33:1 [March 2006]
ABRAHM, Paul A. and Stuart Kenter. Tik-Tok and the Three Laws of Robotics #14, 5:2 [March 1975].67-80. (Full Text)
ABRASH, Merritt. Through Logic to Apocalypse: Science-Fiction Scenarios of Nuclear Deterrence Breakdown. #39, 13:3 [November 1977].129-38.
ADAMOVIC, Ivan. Czech SF in the Last Forty Years. #50, 17:1 [March 1990].50-59.
ALDISS, Brian W. Dick's Maledictory Web: About and Around Martian Time-Slip #5, 2:1 [March 1975].42-47. (Full Text) --------. Kepler's Error: The Polar Bear Theory of Pluripresence #68 23:1 (March 1996). (Full text.)
--------. Metaphysical Realism. #114, 38.2 [July 2011]. 225-231.
ALESSIO, Dominic. Introduction to The Great Romance. #61, 20:3 [November 1993].305. (Full Text) ALKON, Paul. Samuel Madden's Memoirs of the Twentieth Century. #36, 12:2 [July 1985].184-201.
ALPERS, Hans Joachim. Loincloth, Double Ax, and Magic: "Heroic Fantasy" and Related Genres. #14, 5:1 [March 1978].19-32. (Full Text)
ALTERMAN, Peter S. The Surreal Translations of Samuel R. Delany #11, 4:1 [March 1977].25-34.
------. Aliens in Golding's The Inheritors. #14, 5:1 [March 1978].3-10. (Full Text)
AL'TOV, Genrikh. Levels of Narrative Ideas: Colors on the SF Palette. #15, 5:2. [July 1978].157-63. (Full Text)
ANGENOT, Marc. The Absent Paradigm: An Introduction to the Semiotics of Science Fiction.#17, 6:1 [March 1979].9-19.
------. The Emergence of the Anti-Utopian Genre in France: Souvestre, Giraudeau, Robida, et al. #36, 12:2 [July 1985].129-35.
------. Jules Verne and French Literary Criticism. #1, 1:1 [Spring 1973].33-37.(Full Text)
------. Jules Verne and French Literary Criticism II. #8, 3:1 [March 1976].46-49. (Full Text)
------. Science Fiction in France before Verne. #14, 5:1 [March 1978].58-66. (Full Text)
------ & Darko Suvin. Not Only but Also: Reflections on Cognition and Ideology in Science Fiction and SF Criticism.#18, 6:2 [July 1979].168-79. (Full Text)
------. A Response to Professor Fekete's "Five Theses." #46, 15:3 [November 1988].324-33.
ANNAS, Pamela J. New Worlds, New Words: Androgyny in Feminist Science Fiction. #15, 5:2 [July 1978].143-56. (Full Text)
ANNINSKI, L.A. On Lem's The High Castle. #40, 13:3 [November 1986].345-51.
ATTEBERY, Brian. Super Men. #74, 25:1 [March 1998].61-76.
------. Teaching Fantastic Literature #70, 23:3 [November 1996].406-10. (Full Text)
------. Aboriginality in Science Fiction. #97, 32:3 [November 2005].
AYRES, Susan. The "Straight Mind" in Russ's The Female Man. #65, 22:1 [March 1995].22-34. (Full Text)
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BAGGESEN, Soren. Utopian and Dystopian Pessimism:
Le Guin's The Word for World is Forest and Tiptree's "We
Who Stole the Dream." #41, 14:1 [March 1987].34-43.
BAINBRIDGE, William Sims & Murray Dalziel. The
Shape of Science Fiction as Perceived by the Fans. #15, 5:2 [July
1978].165-71. (Full
Text)BALCERZAN, Edward. Language and Ethics in Solaris. #6, 2:2 [July 1975].152-56. (Full Text)
BANERJEE, Anindita. Electricity: Science Fiction and Modernity in Early Twentieth-Century Russia #89, 30:1 [March 2003].49-71.
BARBOUR, Douglas.Wholeness and Balance in the Hainish Novels of Ursula K. Le Guin. #3, 1:3 [Spring 1974].164-73. (Full Text)
------. Wholeness and Balance: an Addendum. #7, 2:3 [November 1975].248-49. (Full Text)
BARNOUW, Dagmar Science Fiction as a Model for Probabilistic Worlds: Stanislaw Lem's Fantastic Empiricism #18, 6: 2 [July 1979].153-63.(Full Text)
BARR, Marleen. "The Females do the Fathering": James Tiptree's Male Matriarchs and Adult Human Gametes. #38, 13:1 [March 1986].42-49.
BARRETT, Thomas M. Heart of a Serpent? The Cold War Science Fiction of Murray Leinster. #177, 39:2 [July 2012]. 195-220.
BARRICELLI, Jean-Pierre. Afterward: The Morigny Conference. #45, 15:2. [July 1988]
BARTTER, Martha. Nuclear Holocaust as Urban Renewal. #39, 13:2 [July 1986].148-58.
------. The (Science-Fiction) Reader and the Quantum Paradigm: Problems in Delany's Stars in My Pocket Like Grains of Sand. #52, 17:3 [November 1990].325-40.
BATTIS, Jes. Delany’s Queer Markets: Nevèrÿon and the Texture of Capital. #109, 36:3 [November 2009]. 478-89.
BAUDRILLARD, Jean. Ballard's Crash. #55, 18:3 [November 1991].313-20.(Full Text)
------. Simulacra and Science Fiction. #55, 18:3 [November 1991].309-13.(Full Text)
BEAUMONT, Matthew. "Red Sphinx: Mechanics of the Uncanny in The Time Machine." #99, 33:2 [July 2006]. 209-229.
BELL, Andrea. Desde Júpiter: Chile's Earliest Science-Fiction Novel. #66, 22:2 [July 1995].187-97. (Full Text)
------, and Moisés Hassón. Prelude to the Golden Age: Chilean Science Fiction 1900-1959. #75, 25:2 [July 1998].285-99.
BELLAMY, Edward. How I Came to Write Looking Backward. #12, 4:2 [July 1977].194-95. (Full Text)
BENFORD, Gregory. Time and Timescape. #60, 20:2 [July 1993].184-90.
------. Verne to Varley: Hard SF Evolves. #95, 32:1 [March 2005].163-71. (Full text)
BENNETT, Maurice J. Edgar Allan Poe and the Tradition of Lunar Speculation. #30, 10:2 [July 1983].137-147.
BEN-YEHUDA, Nachman. Sociological Reflections on the History of SF in Israel. #38, 13:1 [March 1986].64-78.
BENGELS, Barbara. The Pleasures and Perils of Teaching Science Fiction. #70, 23:3 [November 1996].428-31. (Full Text)
BERGER, Albert I. Nuclear Energy: Science Fiction's Metaphor of Power #18, 6:2 [July 1989].121-28 (Full Text)
------. Science-Fiction Critiques of the American Space Program, 1945-1958. #15, 5:2 [July 1978].99-109. (Full Text)
------. SF Fans in Socio-Economic Perspective: Factors in the Social Consciousness of a Genre. #13, 4:3 [November 1977].232-46
------. Theories of History and Social Order in Astounding Science Fiction. 1934-55. #44, 15:1 [March 1988].12-35.
------. Towards a Science of the Nuclear Mind: Science-Fiction Origins of Dianetics. #48, 16:2 [July 1989].123-44.
------. The Triumph of Prophecy: Science Fiction and Nuclear Power in the Post-Hiroshima Period #9, 3:2 [July 1976].143-50 (Full Text)
------. Love, Death, and the Atomic Bomb: Sexuality and Community in Science Fiction, 1935-55. #25, 8:2 [July 1981].280-96.
BERNARDI, Daniel. Star Trek in the 1960s. Liberal-Humanism and the Production of Race. #72, 24:2 [July 1997].209-25.
BERNATCHEZ, Josh. Monstrosity, Suffering, Subjectivity, and Sympathetic Community in Frankenstein and “The Structure of Torture.” #108, 36:2 [July 2009]. 205-16.
BERTONNEAU, Thomas F. Sacrifice and Sainthood: Walter M. Miller, Jr.’s Short Fiction #106, 35:3 [November 2008]. 404-429
BICKMAN, Martin. Le Guin's The Left Hand of Darkness: Form and Content #11, 4:1 [March 1977].42-47.
BIERMAN, Judah. Ambiguity in Utopia: The Dispossessed. #7, 2: 3 [November 1975].249-57. (Full Text)
BISHOP, Rebecca. “Several Exceptional Forms of Primates”: Simian Cinema. #105 35:2 [July 2008]. 238-50. (Full Text.)
BITTNER, James W. Persuading Us to Rejoice and Teaching Us How to Praise: Le Guin's Orsinian Tales. #16, 5:3 [November 1978].215-42. (Full Text)
BLAIR, Karin. Sex and Star Trek. #31, 10:3 [November 1983].292-97.
BLEILER, Everett F. Johann Valentin Andreae, Fantasist and Utopist #104, 35:1 [March 2008]
BOOKER, M. Keith. Woman on the Edge of a Genre: The Feminist Dystopias of Marge Piercy. #64, 21:3 [November 1994].337-50. (Full Text)
BORGMEIER, Raimund. Objectives and Methods in the Analysis of SF: The Case of Science-Fiction Studies. #52, 17:3 [November 1990].383-391.
BOSS, Judith E. The Season of Becoming: Ann Maxwell's Change. #35, 12:1 [March 1985].51-65.
BOLLINGER, Laurel. Symbiogenesis, Selfhood, and Science Fiction. #110, 37:1 {Match 2010]. 34-53.
BOLTON, Christopher. Editorial Introduction: The Borders of Japanese Science Fiction. #88, 29:3 [November 2002].321-22. (Full Text)
BOULD, Mark. Come Alive by Saying No: An Introduction to Black Power SF #102, 34:2 [July 2007]
-----, The Ships Landed Long Ago: Afrofuturism and Black SF #102, 34:2 [July 2007] (Full text)
-----, What Kind of Monster Are You? Situating the Boom. #91, 30:3 [November 1993].394-416.
------, and Sherryl VINT. Learning from the Little Engines That Couldn’t: Transported by Gernsback, Wells, and Latour. #98, 33:1 [March 2006]
BOZZETTO, Roger. Dick in France: A Love Story. #45, 15:2 [July 1988].131-40.
------. Intercultural Interplay: SF in France and the US (As Viewed from the French Shore). #50, 17:1 [March 1990].1-24.
------. Kepler's Somnium; or, Science Fiction's Missing Link. #52, 17:3 [November 1990].370-82.
------. Moreau's Tragi-Farcical Island. #59, 20:1 [March 1993].34-44.
------ & Arthur B. Evans. The Surrealistic Science Fiction of Serge Brussolo. #73, 24:3 [November 1997].430-44.
BRANHAM, Robert. Stapledon's "Agnostic Mysticism." #28, 9:3 [November 1982].249-56.
------. Origin Stories: Feminist Science Fiction and C.L. Moore's "Shambleau." #73, 24:3 [November 1997].369-86.
BRIANS, Paul. Nuclear War in SF. 1945-59. #34, 11:3 [November 1984]. 253-63.
BRIDGSTOCK, Martin. A Psychological Approach to "Hard" SF. #29, 10:1 [March 1983].50-57.
BRIGG, Peter. Analogies of Scale in Macroscope. #6, 2:2 [July 1975].119-30.(Full Text)
BRODERICK, Mick. Surviving Armageddon: Beyond the Imagination of Disaster. #61, 20:3 [November 1993].362-82.(Full Text)
BROWN, J. Andrew Edmundo Paz Soldán and his Precursors: Borges, Dick, and the SF Canon. #103 33:4 [November 2007]. 473-83.
BUKATMAN, Scott. Postcards from the Posthuman Solar System. #55, 18:3 [November 1991].343-57.(Full Text)
BUKEAVITCH, Neal. "Are We Adopting the Right Measures to Cope?": Ecocrisis in John Brunner’s Stand on Zanzibar." #86, 29:1 [March 2002].53-70.
BURGESS, Helen J. "Road of Giant": Nostalgia and the Ruins of the Superhighway in Kim Stanley Robinson's Three Californias Trilogy." #99, 33:2 [July 2006]. 275-290.
BUTCHER, William. Hidden Treasures: The Manuscripts of Twenty Thousand Leagues. #95, 32:1 [March 2005].43-60. (Full text)
BUTLER, Andrew M. Thirteen Ways of Looking at the British Boom #91, 30:3 [November 2003].374-93.
------. LSD, Lying Ink, and Lies, Inc. #96, 32:2 [July 2005].265-80.
BYERS, Thomas B. Commodity Futures: Corporate State and Personal Style in Three Recent SF Movies. #43, 14:3 [November 1987].326-39.
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CADORA, Karen, Feminist Cyberpunk. #67,
22:3 [November 1995].357-72. CAMPBELL, James. Kill the Bugger: Ender’s Game and the Question of Heteronormativity. #109, 36:3 {November 2009]. 490-507. CANARY, Robert H. Utopian and Fantastic Dualities in Robert Graves' Watch the North Wind Rise. #4, 1:4 [November 1974].248-55. (Full Text) CAPEK, Karel. The Author of the Robots Defends Himself. #68, 23:1 [March 1996].143-44. CARTER, Cassie. The Metacolonization of Dick's The Man in the High Castle: Mimicry, Parasitism, and Americanism in the PSA. #67, 22:3 [November 1995].333-42. CASILLO, Robert. Olaf Stapledon and John Ruskin. #28, 9:3 [November 1982].306-21. CHATELAINE, Daniele. See SLUSSER. CHARLES, Alec. War without End?: Utopia, the Family, and the Post-9/11 World in Russell T. Davies’s Doctor Who. #106, 35:3 [November 2008]. 430-449. |
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CHEVRIER, Yves. Blade Runner; or, The Sociology of Anticipation. #32, 11:1 [March 1984].50-60.
CHEYNE, Ria. Created Languages in Science Fiction. #106, 35:3 [November 2008]. 386-403.
CHRISTIANSON, Gale H. Kepler's Somnium: Science Fiction and the Renaissance Scientist. #8, 3:1 [March 1976].79-90. (Full Text
CHRISTENSEN, John M. New Atlantis Revisited: Science and the Victorian Tale of the Future. #16, 5:3 [November 1978].243-49. (Full Text)
CLARK, John. "Small, Vulnerable ETs": The Green Children of Woolpit. #99, 33:2 [July 2006]. 251-274.
CLARKE, I.F. Before and After The Battle of Dorking. #71, 24:1 [March 1997].33-46.(Full Text)
------. Future-War Fiction: The First Main Phase. 1871-1900. #73, 24:3 [November 1997].387-412.
COATES, Paul. Chris Marker and the Cinema as Time Machine. #43, 14:3 [November 1987].307-15.
COGELL, Elizabeth Cummins. The Middle-Landscape Myth in SF. #15, 5:2 [July 1978].134-42.(Full Text)
COLAS-CHARPENTIER, Hélene. Four Québécois Utopias. 1963-1972. #61, 20:3 [November 1993].383. (Full Text)
COLOMBO, John Robert. Science Fiction in Bulgaria. #24, 8:2 [July 1981].187-90.
COLLINS, Samuel Gerald. Sail On! Sail On!: Anthropology, Science Fiction, and the Enticing Future #90, 30:2 [July 2003].180-98.
-------. Scientifically Valid and Artistically True: Chad Oliver, Anthropology, and Anthropological SF. 31:2 #93 [2003] 243-63.
CONNOR, James A. Strategies for Hyperreal Travelers. #59, 20:1 [March 1993].69-79.
CRANNY-FRANCIS, ANNE. Sexuality and Sex-Role Stereotyping in Star Trek. #37, 12:3 [November 1985].274-84.
------. Different Identities, Different Voices: Possibilities and Pleasures in Some of Jean Lorrah's Star Trek Novels. #72, 24:2 [July 1997].245-55.
CROMPHOUT, Francis. From Estrangement to Commitment: Italo Calvino's Cosmicomics and T Zero. #48, 16:2 [July 1989].161-83.
CROSSLEY, Robert. Censorship, Disguise, and Transfiguration: The Making and Revising of Stapledon's Sirius. #59, 20:1 [March 1993].1-14.
------. Politics and the Artist: The Aesthetic of Darkness and the Light. #28, 9:3 [November 1982].294-305.
------. Mars and the Paranormal. #106, 35:3 [November 2008]. 466-484.
CSICSERY-RONAY, Istvan, Jr. Antimancer: Cybernetics and Art in Gibson's Count Zero. #65, 22:1 [March 1995].63-86. (Full Text)
------. Editorial Introduction (to the British Boom Issue). #91, 30:3 [November 2003].353-54.(Full Text)
------. Editorial Introduction (to the Stanislaw Lem Issue). #40, 13:3 [November 1986].231-241. (Full Text)
------. Introduction: Postmodernism's SF/SF's Postmodernism #55, 18,3 [November 1991] (Full Text)
------. On the Grotesque in Science Fiction. #86, 29:1 [March 2002].71-99.
------. Science Fiction and Empire #90, 30:2 [July 2003].231-45.
------. We're Not in Kansas Anymore #71, 24:1 [March 1997].93-108 (Full Text)
------. The Seven Beauties of Science Fiction #70, 23:3 [November 1996].385-88. (Full Text)
------. The Book is the Alien: On Certain and Uncertain Readings of Lem's Solaris. #35, 12:1 [March 1985].6-21.
------. The SF of Theory: Baudrillard and Haraway. #55, 18:3 [November 1991].387-404.(Full Text)
------. Towards the Last Fairy Tale: On the Fairy-Tale Paradigm in the Strugatskys' SF, 1963-72. #38, 13:1 [March 1993].1-41.
------. Science Fiction and the Thaw. #94, 31:3 [November 2004].337-44.
------. SF/Porn: The Case for The Gas. #109, 36:3 [November 2009]. 441-60.
CUMMINS, Elizabeth. The Land-Lady's Homebirth: Revisiting Ursula K. Le Guin's Worlds. #51, 17:2 [July 2002].153-66.
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DALZIEL, Murray. See BAINBRIDGE, William Sims.
DAVIDSON, Cynthia. Riviera's Golem, Haraway's Cyborg: Reading Neuromancer as Baudrillard's Simulation of Crisis. #69, 23:2 [July 1996].188-98.
DAVIS, Mike. War Moore's Freedom Ride. #115, 38:3 [November 2011]. 385-391.
DAVIS, Robert Murray. The Frontiers of Genre: Science Fiction Westerns. #35, 12:1 [March 1985].33-41.
DEAN, John. The Uses of Wilderness in American Science Fiction. #26, 9:1 [March 1982].68-81.
DE FREN, Allison. Technofetishism and the Uncanny Desires of A.S.F.R. (alt.sex.fetish.robots). #109, 36: 3 [November 2009].404-40.
DEL RIO, Elena. The Remaking of La Jetée’s Time-Travel Narrative: Twelve Monkeys and the Rhetoric of Absolute Visibility. #85, 28:3 [November 1993].383-98.
DELANY, Samuel R. Reflections on Historical Models of Modern English Language SF. #21, 7:2 [July 1980].135-49.
------. Some Reflections on SF Criticism. #25, 8:3 [November 1981].233-39.
DEPAOLO, Charles. Wells, Golding, and Auel: Representing the Neanderthal. #82, 27:3 [November 2000].418-38. (Full Text)
DE ZWAAN, Victoria. Rethinking the Slipstream: Kathy Acker Reads Neuromancer. #73, 24:3 [November 1997].459-70.
DICK, Philip K. Foreword to The Preserving Machine. #5, 2:1 [March 1975]. (Full Text)
DILLON, Sarah. "It's a Question of Words, Therefore:" Becoming-Animal in Michel Faber's Under the Skin. #113, 38:1 [March 2011]. 134-154.
DI TOMMASO, Lorenzo. Gnosticism and Dualism in the Early Fiction of Philip K. Dick .#83, 28:1 [March 2001].
------. History and Historical Effect in Frank Herbert's Dune. #58, 19:3 [November 1992].311.(Full Text)
------. Redemption in Philip K. Dick's The Man in the High Castle. #77, 26:1 [March 1999].91-119. (Full Text)
DOMINGO, Pablo Santoro. Science Fiction in Spain: A Sociological Perspective. #99, 33:2 [July 2006]. 313-331.
DONAWERTH, Jane. Lilith Lorraine: Feminist Socialist Writer in the Pulps. #51, 17:2 [July 1990].252-258.
DOUGHERTY, Stephen. Embodiment and Technicity in Geoff Ryman's Air. #112, 39:1 [March 2012]. 40-59.
DOWLING, David H. The Atomic Scientist: Machine or Moralist? #39, 13:2 [July 1986].139-47.
DURHAM, Scott. P.K. Dick: From the Death of the Subject to a Theology of Late Capitalism. #45, 15:2 [July 1988].173-86.
DZIUBINSKYJ, Aaron. The Birth of Science Fiction in Spanish America #89, 30:1 [March 2003].21-32.
-------. Eduardo Urzaiz’s Eugenia: Eugenics, Gender, and Dystopian Society in Twenty Third-Century Mexico.#103 34:3 [November 2007]. 463-72.
| E |
|
EASTERBROOK, Neil. Alternate Presents: The Ambivalent
Historicism of Pattern Recognition. #100, 33:3 [November 2006]. 483-504. ------. The Arc of Our Destruction: Reversal and Erasure in Cyberpunk. #58, 19:3 [November 1992].378. (Full Text) ------. Singularities. #116, 39:1 [March 2012]. 15-27. EISENSTEIN, Alex. ------. The Time Machine and the End of Man. #9, 3:2 [July 1976].161-65. EIZYKMAN, Boris. Chance and Science Fiction: SF as Stochastic Fiction. #29, 10:1 [March 1983].24-34. .-----. On Science Fiction. #6, 2:2 [July 1975].164-66. (Full Text) ------. Temporality in Science-Fiction Narrative. #35, 12:1 [March 1985].66-87. |
 |
|
-----. Mediality and Mourning in Stanislaw Lem’s Solaris and His Master’s Voice #86, 29:1 [March 2002].34-52.
ENTEEN, Jillana. “On the Receiving End of the Colonization”: Nalo Hopkinson’s ’Nansi Web #102, 34:2 [July 2007]
EVANS, Arthur B. The Fantastic Science Fiction of Maurice Renard. #64, 21:3 [November 1994].380-96.(Full Text)
------. Gustave Le Rouge, Pioneer of Early French Science Fiction #86, 29:1 [March 2001].1-14.
------. The Illustrators of Jules Verne's Voyages Extraordinaries. #75, 25:2 [July 1998].240-70.
------. Jules Verne's English Translations. #95, 32:1 [March 2005].80-104. (Full text)
------. Literary Intertexts in Jules Verne's Voyages Extraordinaires. #69, 23:2 [July 1996].171-87.
------. The "New" Jules Verne. #65, 22:1 [March 1995].35-46.(Full Text)
------. Optograms and Fiction: Photo in a Dead Man's Eye. #61, 20:3 [November 1993].341-61. (Full Text)
------. The Origins of Science Fiction Criticism: From Kepler to Wells. #78, 26:2 [July 1999].163-86.(Full Text)
------. Science Fiction vs. Scientific Fiction in France: From Jules Verne to J.-H. Rosny Aîné. #44, 15:1 [March 1988].1-11.
------. Science Fiction in France: A Brief History #49, 16:3 [November 1989].254-276.
------.The Verne School in France: Paul d’Ivoi’s Voyages Excentriques. #108, 36:2 [July 2009]. 217-234.(Full text.)
------. Editorial Introduction. (to the Jules Verne Centenary Issue). #95, 32:1 [March 2005].1-4.
------. See BOZZETTO.
CUMULATIVE INDEX OF BOOKS REVIEWED IN SCIENCE FICTION STUDIES
In the first entry, 12 #36.209 = Volume 12, whole number 36, page 209.
A
B
C
D E
F
G
H
I
J
K
L
M
N
O
P
R
S
T
U
V
W
Y
Z
A ABBOTT, Carl. Frontiers Past and Future: Science Fiction and the American West. #104, 35:1 [March 2008]. 105-109.
ABRET, Helga. & Lucian Boia. Das Jahrhundert der Marsianer. (Rottensteiner). #36, 12:2 [July 1985].209-20.
ADEY, Lionel. C.S. Lewis: Writer and Dreamer. (Flieger). #77, 26:1 [March 1999].140-42.
AGGELIS, Steven L., ed. Conversations with Ray Bradbury (Parrett). #98 33:1 [March 2006]. 188-91.
ALDISS, Brian W. Billion Year Spree. (Mullen). #2, 1:2 [Fall 1973].136-37.
------. The Detached Retina: Aspects of Science Fiction and Fantasy. (Hewitt), #68, 23:1 [March 1996]. 131-32.
------. Science Fiction Art: The Fantasies of SF. (Mullen), #8, 3:1 [March 1976].94.
------. This World and Nearer Ones: Essays Exploring the Familiar. (Fredericks). #31, 10:3 [November 1983].346-47.
------. The Twinkling of an Eye: Or, My Life as an Englishman (Collins) #81, 27:2 [July 2000].339-40.
------.
Galaxies Like Grains of Sand.
#15, 5:2 [July 1978] 192-96
------ & David Wingrove. Trillion
Year Spree: The History of Science Fiction (Hollinger). #44,
15:2 [March 1988].102-05.
------ & Harry Harrison, eds. Hell's Cartographers: Some Personal Histories of Science Fiction Writers (Mullen). #9, 3:2 [July 1976].208-09.
ALDISS, Margaret. The Work of Brian W. Aldiss: An Annotated Bibliography and Guide (Meyers). #59, 20:1 [March 1993].132-35.
ALDRIDGE, Alexandra. The Scientific World View in Dystopia (Wagar). #41, 14:1 [March 1987].99-104.
ALEXANDER, David. Star Trek Creator: The Authorized Biography of Gene Roddenberry. (Wolfe). #64, 21:3 [November 1994].432-37.
ALKON, Paul K. Origins of Futuristic Fiction (Evans). #47, 16:1 [March 1989].94-102.
------ & Harry Harrison, eds. Hell's Cartographers: Some Personal Histories of Science Fiction Writers (Mullen). #9, 3:2 [July 1976].208-09.
ALDISS, Margaret. The Work of Brian W. Aldiss: An Annotated Bibliography and Guide (Meyers). #59, 20:1 [March 1993].132-35.
ALDRIDGE, Alexandra. The Scientific World View in Dystopia (Wagar). #41, 14:1 [March 1987].99-104.
ALEXANDER, David. Star Trek Creator: The Authorized Biography of Gene Roddenberry. (Wolfe). #64, 21:3 [November 1994].432-37.
ALKON, Paul K. Origins of Futuristic Fiction (Evans). #47, 16:1 [March 1989].94-102.
------. Science
Fiction Before 1900 (Evans). #64, 21:3 [November 1994].418-20.
------. Winston Churchill's Imagination. (Ruddick). #103 [November 2007]. 489-92.
ALLARD, Yvon. Ecrits sur l'avenir (Angenot). #26, 9:1 [March 1982].102.
ALLARD, Yvon. Ecrits sur l'avenir (Angenot). #26, 9:1 [March 1982].102.
ALLEN, Glen Scott. Master Mechanics and Wicked Wizards: Images of the American Scientist as Hero and Villain from Colonial Times to the Present (Winter). #115, 38:3 [November 2011]. 519-524.
ALLEN, L. David. Asimov's Foundation Trilogy and Other Works (Elkins). #16, 5:3 [November 1978].299-301.
ALLEN, L. David. Asimov's Foundation Trilogy and Other Works (Elkins). #16, 5:3 [November 1978].299-301.
------. Herbert's
Dune and Other Works (Elkins). #16, 5:3 [November 1978].299.
ALPERS, Hans Joachim, ed. H.P. Lovecraft--der Port des Grauens (Rottensteiner). #36, 12:2 [July 1985].209-20.
------ & Harald Pusch, eds. Isaac Asimov--der Tausendjahresplaner (Rottensteiner). #36, 12:2 [July 1985].209-20.
------ & Thomas M. Loock. Lesebuch der deutschen Science Fiction 1984 (Rottensteiner). #36, 12:2 [July 1985].209-20.
------ & Werner Fuchs, Ronald M. Hahn, & Wolfgang Jeschke. Lexikon der Science Fiction Literatur. (Rottensteiner). #36, 12:2 [July 1985].209-20.
------. (ed.) Marion
Zimmer Bradley's "Darkover." (Rottensteiner). #36, 12:2
[July 1985].209-20.ALPERS, Hans Joachim, ed. H.P. Lovecraft--der Port des Grauens (Rottensteiner). #36, 12:2 [July 1985].209-20.
------ & Harald Pusch, eds. Isaac Asimov--der Tausendjahresplaner (Rottensteiner). #36, 12:2 [July 1985].209-20.
------ & Thomas M. Loock. Lesebuch der deutschen Science Fiction 1984 (Rottensteiner). #36, 12:2 [July 1985].209-20.
------ & Werner Fuchs, Ronald M. Hahn, & Wolfgang Jeschke. Lexikon der Science Fiction Literatur. (Rottensteiner). #36, 12:2 [July 1985].209-20.
------. & Werner Fuchs & Ronald M. Hahn. Reclams Science Fiction Führer (Rottensteiner). #36, 12:2 [July 1985].209-20.
AMELIO, Ralph J., ed. Hal in the Classroom: Science Fiction Film (Annas). #22, 7:2 [July 1985].323-29.
ANDERS, Lou, ed. Projections: Science Fiction in Literature and Film. (Sleight). #100 33:3 [November, 2006]. 523-26.
ANDRE-DRIUSSI, Michael. See Alice K. TURNER.
ANDRIANO, Joseph D. Immortal Monster: The Mythological Evolution of the Fantastic Beast in Modern Fiction and Film (Wolfe) #81, 27:2 [July 2000].315-17.
ANGELIER, François. Dictionnaire Jules Verne. (Evans). #100, 33:3 [November 2006]. 557-61.
ANGENOT, Marc. Le Roman populaire: Recherches en para-littérature (Suvin). #6, 2:2 [July 1975].199.
ANTCZAK, Janice. Science Fiction: The Mythos of a New Romance (Nodelman). #39, 13:2 [July 1986].216-18.
ANTON, Uwe. Philip K. Dick: Entropie und Hoffnung (Rottensteiner) #84, 28:2 [July 2001].284-90.
ARAMA, Horia. The Collector of Islands; The Happy Islands; An Island in Space (Kleiner). #73, 24:3 [November 1997].517-18.
ARBUR, Rosemarie. Leigh Brackett, Marion Zimmer Bradley, Anne McCaffrey: A Primary and Secondary Bibliography (Leith). #35, 12:1 [March 1985].103-04.
------. Marion Zimmer Bradley (Chapman). #40, 13:3 [November 1986].400-01.
ARMITT, Lucie. Theorising the Fantastic (Hollinger). #78, 26:2 [July 1999].339-40.
------, ed. Where No Man Has Gone Before: Women and Science Fiction (Hollinger). #58, 29:3 [November 1992].417-18.
ARMSTRONG, Tim. Modernity, Technology, and the Body: A Cultural Study (Satter) #82, 27:3 [November 2000].531-33.
APPLEBAUM, Noga. Representations of Technology in Science Fiction for Young People (Levy). #112, 37:3 [November 2010]. 493-494.
ARNOLD, Edwin A. Gullivar of Mars. Commemorative Edition. (Kupfer) #93, 31:2 [July 2004].301-302.
ASH, Brian. Faces of the Future: The Lessons of Science Fiction (Parrinder). #7, 2:3 [November 1975].293-94.
------, ed. The Visual Encyclopedia of Science Fiction (Mullen). #15, 5:2 [July 1978].186-88.
------. Who's Who in Science Fiction (Mullen). #11, 4:1 [March 1977].80-81.
ASHLEY, Mike. Gateways to Forever: The Story of the Science-Fiction Magazines from 1970-1980. (Huntington.) #105 35:2 [July 2008]. 308-12.
The Work of William F. Temple: An Annotated Bibliography and Guide. (Mullen). #66, 22:2 [July 1995].296.
------. The Time Machines: The Story of the Science-Fiction Pulp Magazines from the Beginning to 1950: The History of the Science-Fiction Magazine, Volume 1.(Westfahl). #89, 30:1 [March 2003].109-22.
------.Transformations: The Story of the Science-Fiction Magazines from 1950 to 1970. Vol. II of The History of the Science-Fiction Magazine (Latham). #98 33:1 [March 2006]. 174-75.
------, ed. Steampunk Prime: A Vintage Steampunk Reader (Nevins). #115, 38:3 [November 2011]. 513-518.
------ & Terry Jeeves. The Complete Index to Astounding/Analog (Philmus). #36, 12:2 [July 1985].225-26.
------. See also TYMN.
------. and Robert A.W. Lowndes. The Gernsback Days: A Study of the Evolution of Modern Science Fiction from 1911 to 1926. (Westfahl) #96, 32:2 [July 2005].340-342..
ASIMOV, Isaac. In Memory Yet Green: The Autobiography of Isaac Asimov, 1920-1954 (McCarthy). #18, 6:2 [July 1979].227.
------. I, Asimov (Wolfe). #63, 21:2 [July 1994].261-64.
ASMA, Stephen T. On Monsters: An Unnatural History of Our Worst Fears (Wilson). #112, 37:3 [November 2010].495-498.
Asterism: The Journal of Science Fiction, Fantasy and Space Music #6 (Hollinger). #72, 24:2 [July 1997].264-65.
ATKINS, Thomas R., ed. Science Fiction Films (Annas). #22, 7:3 [November 1980].323-29.
ATTEBERY, Brian. Strategies of Fantasy. (Mullen) #57, 19:2 [July 1992].270.
------. Teacher's Guide to the Norton Book of Science Fiction. (Wolfe). #63, 21:2 [July 1994].258-59.
------. Decoding Gender in Science Fiction. (Vint) #93, 31:2 [July 2004].291-94.
AUER, Carolin. See KRAUS, Elizabeth.
AUERBACH, Nina, and David J. Skal, eds. Bram Stoker: Dracula (Davison). #72, 24:2 [July 1997].356-59. Also (Latham) #77, 26:1 [March 1999].133-37.
AUGER, Emily E. Tech-Noir Films: A Theory of the Development of Popular Genres (Frelik). #116, 39:1 [March 2012]. 118-120.
L'Avant-scène du cinéma Nos. 231/32. (Straw). #22, 7:3 [November 1980].345.
B
BACCOLINI, Raffaella, and Tom MOYLAN (Murphy) Dark Horizons: Science Fiction and the Dystopian Imagination. (Murphy). #95 32:1 [March 2005]. 188-195.
BACON-SMITH, Camille. Science Fiction Culture. (Barr). #83, 28:2 [March 2001].124-25.
BADLEY, Linda. Film, Horror, and the Body Fantastic. (Nixon). #69, 23:2 [July 1996].292-95.
------. Writing Horror and the Body: The Fiction of Stephen King, Clive Barker, and Anne Rice. (Nixon). #73, 24:3 [November 1997].510-12.
BADMINGTON, Neil . Alien Chic: Posthumanism and the Other Within. (Hollinger). #97, 33:3 [November 2005]. 512-13.
BAEHR, Stephen Lessing. The Paradise Myth in Eighteenth-Century Russia: Utopian Patterns in Early Secular Russian Literature and Culture. (Howell). #59, 20:2 [March 1993].125-27.
BAIL, Paul. John Saul: A Critical Companion. (Westfahl). #71, 24:2 [March 1997].176-80.
BAILEY, J.O. Pilgrims Through Space and Time: Trends and Patterns in Scientific and Utopian Fiction. (Philmus). #1, 1:1 [Spring 1973].37-41.
BAINBRIDGE, William Sims. Dimensions of Science Fiction (Dwyer). #42, 14:2 [July 1987].278-79.
------. The Space Flight Revolution (Lem). #18, 6: [July 1979].221.
BALCZERZAK, Eva. Stanislaw Lem. (Swirski). #58, 19:3 [November 1992].411-16.
BALMER, Edwin. See WYLIE, Philip.
BALSAMO, Anne. Technologies of the Gendered Body: Reading Cyborg Women (Hollinger). #71, 24:2 [March 1997].124-32.
BALZAC, Honoré de. The Centenarian, or, The Two Beringhelds (Ruddick). #108, 36:2 [July 2009]. 350-52.
BANKS, Michael A. Understanding Science Fiction. (Hunter). #29, 10:1 [March 1983].113.
BARAD, Karen. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. (Vint.) #105, 35:2 [July 2008]. 313-19.
BARBOUR, Douglas. Worlds Out of Words: The SF Novels of Samuel R. Delany. (Wolfe), #26, 9:1 [March 1982].98-99.
BARETZ, Stan. Catalogue des âmes et cycles de la S.F. (Angenot). #21, 7:2 [July 1980].229.
BARMEYER, Eike, ed. Science Fiction: Theorie und Geschichte. (Gaar). #4, 1:4 [Fall 1974].285-87.
BARNES, Myra Edward. Linguistics and Language in Science Fiction-Fantasy. (Williamson). #7, 2:3 [November 1975].291-92.
BARR, Marleen S. Alien to Femininity: Speculative Fiction and Feminist Theory. (Stevens). #51, 17:2 [July 1990].280-82.
------. Feminist Fabulation: Space/Postmodern Fiction. (Hollinger). #60, 20:2 [July 1993].272-76.
------, ed. Future Females, The Next Generation: New Voices and Velocities in Feminist Science Fiction Criticism. (Freedman) #81, 27:2 [July 2000].278-89.
------. Genre Fission: A New Discourse Practice for Cultural Studies (Pearson) #85, 28:3 [November 2001].448-51.
------. Lost in Space: Probing Feminist Science Fiction and Beyond (Nixon), #64, 21:3 [November 1994].421-25.
------ & Ruth Salvaggio & Richard Law. Suzy McKee Charnas/Octavia Butler/Joan D. Vinge (Spencer). #43, 14:3 [November 1987].407-10.
------ & Nicholas D. Smith, eds. Women and Utopia: Critical Interpretations (Gubar). #38, 13:2 [March 1986].79-83.
BARR, Marlene [sic] S., ed. Future
Females: A Critical Anthology (Leith). #30, 10:2 [July 1983].247-50.
Barricelli,
Jean-Pierre. See George SLUSSER.
BARRON, Neil, ed. Anatomy of Wonder: A Critical Guide to Science Fiction. 5th ed.(Sleight). #99, 33:2 [July 2006]. 343-47.
BARRON, Neil, ed. Anatomy of Wonder: A Critical Guide to Science Fiction. 5th ed.(Sleight). #99, 33:2 [July 2006]. 343-47.
-------,
ed. Anatomy of
Wonder 4: A Critical Guide to Science Fiction. (Evans). #66,
22:2 [July 1995].285-88.
------ , ed. Anatomy of Wonder: Science Fiction (Mullen), #10, 3:3 [November 1976].294-95.
------, ed. Anatomy of Wonder; rev. ed. (Philmus), #27, 9:2 [July 1982].224-25.
------, ed. Fantasy and Horror: A Critical and Historical Guide to Literature, Illustration, Film, TV, Radio, and the Internet. (Latham) #85, 28:3 [November 2001].436-42.
------ , ed. Anatomy of Wonder: Science Fiction (Mullen), #10, 3:3 [November 1976].294-95.
------, ed. Anatomy of Wonder; rev. ed. (Philmus), #27, 9:2 [July 1982].224-25.
------, ed. Fantasy and Horror: A Critical and Historical Guide to Literature, Illustration, Film, TV, Radio, and the Internet. (Latham) #85, 28:3 [November 2001].436-42.
BARTKOWSKI, Frances. Feminist
Utopias (Barr). #52, 17:3 [November 1990].401-04.
BARTLE, Lisa R. See BURGESS.
BARTTER, Martha. The Way to Ground Zero: The Atomic Bomb in American Science Fiction. (McIntire). #53, 18:1 [March 1991].131-34.
BARTTER, Martha. The Way to Ground Zero: The Atomic Bomb in American Science Fiction. (McIntire). #53, 18:1 [March 1991].131-34.
------.
The Utopian Fantastic: Selected
Essays from the Twentieth International Conference on the Fantastic
in the Arts (Ostry)
#95 32:1
[March 2005]. 201-202.
BASSIOR, Jean-Noel.
Space Patrol: Missions of Daring
in the Name of Early Television (Bould). #98 33:1 [March
2006]. 175-77.
BATCHELOR, John. H.G. Wells (Huntington). #39, 13:2 [July 1986].200-06.
BATCHELOR, John. H.G. Wells (Huntington). #39, 13:2 [July 1986].200-06.
BATTAGLIA, Deborah, ed. E.T. Culture: Anthropology in Outerspaces (Nelson). #108, 36:2 [July 2009]. 363-66.
BATTENFELD, Robert L. See ROBERTSON.
BAUDRILLARD, Jean. Cool Memories II, 1987-1990 (Csicsery-Ronay). #71, 24:1 [March 1997]. 164-66.
BAUDRILLARD, Jean. Cool Memories II, 1987-1990 (Csicsery-Ronay). #71, 24:1 [March 1997]. 164-66.
------ , See Also WITWER,
Julia.
BAUM, L. Frank. The Master Key: An Electrical Tale founded on the Mysteries of Electricity and the optimism of its devotees. It was written for boys, but others may read it with introduction by David L. Greene and Douglas G. Greene. (Mullen) #4, 1:4 [Fall 1974].300-05.
BAUM, L. Frank. The Master Key: An Electrical Tale founded on the Mysteries of Electricity and the optimism of its devotees. It was written for boys, but others may read it with introduction by David L. Greene and Douglas G. Greene. (Mullen) #4, 1:4 [Fall 1974].300-05.
BAXTER, Jeanette. J.G. Ballard (Doug Davis). #113, 38:1 [March 2011]. 192-194.
BAXTER, John. The Inner Man: The Life of J.G. Ballard (Rossi). #116, 39:1 [March 2012]. 120-123.
BAXTER, John. The Inner Man: The Life of J.G. Ballard (Rossi). #116, 39:1 [March 2012]. 120-123.
------ . Science
Fiction in the Cinema (Ohlim) #4, 1:4 [Fall 1974].287-290;
(Annas).
#22, 7:3 [November 1980].323-29.
BEAR, Greg.
The Last War: A World
Set Free. (McCarthy) #87, 29:2 [July 2002].247-52.
BEAUCHAMP, Gorman. Jack London (Khouri). #41, 14:1 [March 1987].110-11.
BECKER, Allienne R. The Lost Worlds Romance: From Dawn to Dusk. (Mullen). #59, 20:2 [March 1993].117.
------ ed. Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts (Mullen). #72, 24: [July 1997].343-44.
BECKER, Muriel R. Clifford D. Simak: A Primary and Secondary Bibliography (Wolfe). #24, 8:2 [July 1981].224-26.
BEHRENDS, Steve. Clark Ashton Smith (Mullen). #55, 18:3 [November 1991].455-56.
BEHRENDT, Stephen C., ed. Approaches to Teaching Shelley's Frankenstein. (Hollinger). #55, 18:3 [November 1991].450-51.
BELFORD, Barbara. Bram Stoker: A Biography of the Author of Dracula. (Davison). #71, 24:1 [March 1997].171-72.
BELL, Andrea L. and Yolanda Molina-Gavilán, eds.
BEAUCHAMP, Gorman. Jack London (Khouri). #41, 14:1 [March 1987].110-11.
BECKER, Allienne R. The Lost Worlds Romance: From Dawn to Dusk. (Mullen). #59, 20:2 [March 1993].117.
------ ed. Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts (Mullen). #72, 24: [July 1997].343-44.
BECKER, Muriel R. Clifford D. Simak: A Primary and Secondary Bibliography (Wolfe). #24, 8:2 [July 1981].224-26.
BEHRENDS, Steve. Clark Ashton Smith (Mullen). #55, 18:3 [November 1991].455-56.
BEHRENDT, Stephen C., ed. Approaches to Teaching Shelley's Frankenstein. (Hollinger). #55, 18:3 [November 1991].450-51.
BELFORD, Barbara. Bram Stoker: A Biography of the Author of Dracula. (Davison). #71, 24:1 [March 1997].171-72.
BELL, Andrea L. and Yolanda Molina-Gavilán, eds.
BELL, John ed. The Far North and
Beyond: An Index to Canadian Science Fiction and Fantasy in English
Language Genre Magazines and Other Selected Periodicals of the Pulp
Era, 1896-1955 (Barron). #79, 26:3 [November 1999].497-98.
------, & Lesley Choyce, eds. Visions from the Edge: An Anthology of Atlantic Canadian Science Fiction and Fantasy (Ketterer). #35, 12:1 [March 1985].91-96.
------, & Lesley Choyce, eds. Visions from the Edge: An Anthology of Atlantic Canadian Science Fiction and Fantasy (Ketterer). #35, 12:1 [March 1985].91-96.
BELLIN, Joshua David.
Framing Monsters: Fantasy Film
and Social Alienation.(Frich) #98 33:1 [March 2006] 177-80.
BENDIXEN, Alfred. See SPOFFORD.
BENFORD, Gregory. Deep Time: How Humanity Communicates Across Millennia.(Freedman)#80, 27:1 [March 2000].174-75.
BENJAMIN, Marina, ed. A Question of Identity: Women, Science, and Literature. (Hollinger). #63, 21:2 [July 1994].232-37.
BENNETT, Betty T. Mary Wollstonecraft Shelley: An Introduction (Spencer). #79, 26:3 [November 1999].495-97.
BENSHOFF, Harry M. Monsters in the Closet: Homosexuality and the Horror Film. (Latham.) #74, 25:2 [March 1998].87-101.
BEN-TOV, Sharona. The Artificial Paradise: Science Fiction and American Reality (Ketterer). #69, 23:2 [July 1996].253-59.
BEN-YEHUDA, Nachman. Deviance and Moral Boundaries: Witchcraft, the Occult, Science Fiction, Deviant Sciences and Scientists (Galbreath). #41, 14:1 [March 1987].106-08.
BERES, Stanislaw. Rozmony ze Stanislawem Lemem (Swirski). #58, 19:3 [November 1992].411-16.
BERGER, Albert I. The Magic That Works (Mullen). #62, 21:1 [March 1994].103-12.
BERGER, Harold L. Science Fiction and the New Dark Age (Mullen). #11, 4: [March 1977].79-80.
BERGER, Monroe. Real and Imagined Worlds (Mullen) #13, 4:3 [November 1977].320.
BERGHAHN, Klaus K. & Hans Ulrich Seeber. Literarische Utopien von Morus bis zur Gegenwart (Rottensteiner). #36, 12:2 [July 1985].209-20.
------ & Reinhold Grimm, eds. Utopian Vision, Technological Innovation, and Poetic Imagination. (Dietz). #55, 18:3 [November 1991].447-48.
BERGONZI, Bernard. The Early H.G. Wells: A Study of the Scientific Romances (Hughes) #9, 3:2 [July 1976].165-74.
------. H.G. Wells: A Collection of Critical Essays (Hughes) #9, 3:2 [July 1976].165-74.
BERGSTROM, Janet. See PENLEY.
BERNARDI, Daniel Leonard. Star Trek and History: Race-ing Toward a White Future. (Consalvo) #76, 25:3 [November 1998].543-45.
BERNARDO, Susan M., and Graham J. Murphy. Ursula K. Le Guin: A Critical Companion (Ransom). #107, 36:1 [March 2009]. 144-53.
BERTHA, Csilla. See MORSE.
BESSIÈRE, Jean, ed. Modernités de Jules Verne (Berri). #49, 16:3 [November 1989].369-78.
BETANCOURT, John. See Roger FULTON.
BICKLEY, Gillian. Hong Kong Invaded! A ’97 Nightmare (Bleiler) #86, 29:1 [March 2002].111-12.
BILLINGS, Harold. M.P. Shiel: The Middle Years, 1897-1923 (Zieger). #114, 38:2 [July 2011]. 340-341.
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-------.
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------. See also TYMN.
CUTLIFFE, Stephen H., & Judith A. Mistichelli & Christine M. Roysdon. Technology and Values in American Civilization: A Guide to Information Sources (Angenot). #25, 8:3 [November 1981].342.
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