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The term "science fiction" has in itself a contradiction: if science is truth, and fiction is make-believe, how can the two come together? The authors, readers, and fans of science fiction have come together to create a set of informal rules for how to deal with this contradiction, allowing fictional science when it is realistic, rigorous, backed up by evidence (which I call empiricism), and free of any obvious bias (which I call objectivity). There are areas, though, where these rules break down. Some of these areas are tied to genre, centered on works that may or may not be science fiction or the larger umbrella genre of speculative fiction, including fantasy. But some of these areas seem not to have a clear cause, causing friction within the larger speculative fiction community. Studies of science and engineering, I argue, offer an explanation: realism, rigor, empiricism, and objectivity are frequently used to hold women and people of color to higher standards than other community members and epistemologically privilege white and male experiences. Women and people of color in science and engineering are told that their work is incorrect or unrealistic without basis; they are told that their work is insufficiently rigorous; they are told that their evidence is not as good as it is, or their work is attributed to someone else entirely; and they are told that they are not capable of being unbiased and producing unbiased work. I argue that these expectations have been translated into science fiction, potentially contributing to arguments and disputes that have caused significant conflict in the community. I look at novels that were nominated for a major speculative fiction award, the Hugo Award, between 2008 and 2012 to see how authors establish made-up facts in their texts. I then analyze online book reviews of those same texts to see if there are patterns in how readers respond to these speculations. Lastly, I look at statements by the authors themselves to document their experiences of both writing and how readers have interacted with them about the reception of their texts. I find that, much like in science and engineering, the rules about realism, rigor, empiricism, and objectivity are enforced differently against women and people of color, which potentially indicates that the cultural view of science has these inequitable norms embedded into it. / Doctor of Philosophy / The term "science fiction" has in itself a contradiction: if science is truth, and fiction is make-believe, how can the two come together? The authors, readers, and fans of science fiction have come together to create a set of informal rules for how to deal with this contradiction, allowing fictional science when it is realistic, rigorous, backed up by evidence (which I call empiricism), and free of any obvious bias (which I call objectivity). There are areas, though, where these rules break down. Some of these areas are tied to genre, centered on works that may or may not be science fiction or the larger umbrella genre of speculative fiction, including fantasy. But some of these areas seem not to have a clear cause, causing friction within the larger speculative fiction community. Studies of science and engineering, I argue, offer an explanation: realism, rigor, empiricism, and objectivity are frequently used to hold women and people of color to higher standards than other community members. Women and people of color in science and engineering are told that their work is incorrect or unrealistic without basis; they are told that their work is insufficiently rigorous; they are told that their evidence is not as good as it is, or their work is attributed to someone else entirely; and they are told that they are not capable of being unbiased and producing unbiased work. I argue that these expectations have been translated into science fiction, potentially contributing to arguments and disputes that have caused significant conflict in the community. I look at novels that were nominated for a major speculative fiction award, the Hugo Award, between 2008 and 2012 to see how authors establish made-up facts in their texts. I then analyze online book reviews of those same texts to see if there are patterns in how readers respond to these speculations. Lastly, I look at statements by the authors themselves to document their experiences of both writing and how readers have interacted with them about the reception of their texts. I find that, much like in science and engineering, the rules about realism, rigor, empiricism, and objectivity are enforced differently against women and people of color.

An ethical frame grounded in science fiction literature shaped the discourse on cloning following the announcement of Dolly-the-sheep's birth through nuclear transfer. Using methodologies drawn from the social shaping of technology (SST) and rhetoric of science, my analysis demonstrates how individuals and institutions, including the media, ethicists, policymakers, and legislators, appropriated and re-appropriated this ethical frame. In doing so, they employed science-fiction stories as rhetorical tropes, thereby providing the public with a frame for understanding the social issues involved with cloning. However, these institutions used science fiction as a way to simplify and present ethical arguments that silenced dissent rather than encouraged dialog. While ethics discourse can validly make use of literature in debates about technology, such a simplistic view of the literature misrepresents the themes the authors explored in their works and limits discussion. I conclude by offering a deeper analysis and reading of some of these stories, relying on the texts themselves rather than the myths that have evolved around these texts as my primary source material. Such a reading provides a valuable counter-narrative to the on-going debate, one that more adequately explains the effects of technology in a society. In short, this dissertation demonstrates that the reductionist interpretation of works from the science fiction genre had real effects on policy formulation. People utilized their literary-derived perceptions of cloning in political discussions about technology. Thus, policy discussions of the perceived effects of the technology developed much of their meaning and significance from fictional depictions of the technology. / Ph. D.

The main focus of this diploma thesis is picturing ethnicity and race of "non-humans" in first two series of science fiction series Star Trek: The Next Generation, Battlestar Galactica a Defiance. It is based on the postcolonialistic theory, which is dealing with the dominant relationship of the colonist over the colonized. This relationship was created between western civilization colonists and native inhabitants of newly discovered territories. In the case of science fiction, the "non- humans" are in the position of colonized and humans in the position of colonists. Some space is also given to the posthumanistic theory of a creature being based on combination of both biological and mechanical parts. The chosen series are examined through the method of quantitative content analysis. It has been shown, that humans in science fiction are the race, from which the picturing of all other "non-human" races is derived. Also, in most cases, humans are the race superior to other races, which is shown in various fashion. Values accepted by today's western society are presented as values of all human kind. From these values, the perception of "non-humans" and their societies is derived. Science fiction is also mirroring the problems western society had during its beginnings.

In this paper, I consider how Robert Heinlein's Starship Troopers (1959) and Orson Scott Card's Ender's Game (1985) allegorically treat U.S. Cold War fears of invasion by the Soviet Union. Given the texts' historical relationship to the Vietnam War and their use of very similar science fiction tropes (namely, invasion by communistic, insect-like aliens), I argue that Orson Scott Card reimagines the binary Cold War conflict, softening the rhetoric of Starship Troopers and allowing for a more qualified understanding of the relationship between the U.S.S.R. and the U.S. Through this analysis, I also consider how science fiction is a useful tool of cultural criticism in that it posits future worlds so as to reflect contemporary social concerns.

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Nous nous intéresserons dans cette étude au lien entre la décroissance — mouvement pluriforme qui tire ses racines de l’écologie radicale — et cinq romans de fantasy contemporains : The Lord of the Rings (J. R. R. Tolkien 1954-55), The Left Hand of Darkness (Ursula K. Le Guin 1969), His Dark Materials (Philip Pullman 1995-2000), Enchantment (Orson Scott Card 1999) et Harry Potter (J. K. Rowling 1997-2007). Nous nous concentrerons sur ce qui nous semble être l’essence de la décroissance, à savoir, d’une part, le refus de considérer la surenchère comme une solution aux problèmes ou l’accumulation comme seule forme de bonheur, et, d’autre part, la diminution volontaire comme moyen d’améliorer la condition humaine.Plus précisément, nous étudierons la diminution de pouvoir, d’autorité et de savoir. Nous nous intéresserons à la représentation de ces trois concepts au travers des procédés narratifs et stylistiques, ainsi que des différentes icônes et figures qui les incarnent, et nous étudierons la façon dont ils mettent en scène une tension constante entre croissance et décroissance. Dans cette optique, le rôle du narrateur et du lecteur dans la création du monde fantastique aura une importance particulière, car il est le cœur même de l’interaction fertile entre savoir et autorité, qui reflète l’accession du protagoniste au pouvoir. C’est la spécificité du traitement de ces concepts par les outils propres à la fantasy et à la science fiction que nous nous attacherons à mettre en lumière. / This study will focus on the relation between degrowth — a multifaceted movement which takes its roots in deep ecology — and five fantasy novels, The Lord of the Rings (J. R.R. Tolkien 1954-55), The Left Hand of Darkness (Ursula K. Le Guin 1969), His Dark Materials (Philip Pullman 1995-2000), Enchantment (Orson Scott Card 1999) et Harry Potter (J. K. Rowling 1997-2007). The focus will be on the essence of degrowth, viz., on the one hand, a denial of escalation as a solution and of hoarding as the only form of happiness,and on the other hand, a willing diminishing as a means to improve human condition. More specifically, it is the decrease in power, authority and knowledge that will be studied. The emphasis will be on the representation of these three notions through narrative and stylistic devices, as well as on the various icons and figures embodying them, in order to show the way they set up a constant tension between growth and degrowth. To that effect, the role of both narrator and reader in the creation of the fantastic world will be given due consideration, for it is at the very heart of the fruitful interaction between knowledge and authority, which reflects the protagonist’s rise to power. Thus, the specificity of the fantasy and science fiction approach to these notions will be highlighted.

Works of feminist utopian literature project longing for and predict political change while confronting current social inequities. Often, they effectively interrogate Western models of citizenship and the institutions which reify them, suggesting alternate models. Here, I define Western citizenship as determined by the maintenance of the nation-state through gendered social roles that restrict women to the private sphere and men to the public. This thesis asserts that feminist utopian literature, like politically conscious music, art, and other forms of feminist praxis, is a politically necessary component of feminist consciousness because it facilitates much-needed visions of a more equitable future for all citizens. Here, patriarchy, separatism, socialism, and radical democracy, as well as attendant difficulties in implementation and ramifications for women, will be considered through the following works: Charlotte Perkins Gilman’s Herland, Sally Miller Gearhart’s The Wanderground, Ursula K. LeGuin’s The Dispossessed, Octavia Butler’s Parable of the Sower, and Starhawk’s The Fifth Sacred Thing. The thesis also comments on some of the narrative devices and themes of works discussed, such as nonlinear structure, avoidance of closure, altered states of consciousness, and exile. Analysis of these works relies in part on a growing body of speculative fiction criticism while also considering feminist theories of difference and vision. The thesis concludes with recommendations for utilizing feminist utopian literature as a part of feminist pedagogy.

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The study aimed to develop a theory describing the nature of the relationship between industrial design and science fiction, based on the observation that science fiction caninspire industrial designers and enrich industrial design processes and products. The hypotheses were that: 1. The roles of industrial design and science fiction are based on parallel ideas. 2. Industrial design is suffused with, and sympathetic to, science fiction thinking. 3. There is a ‘cause and effect’ relationship between aspects of industrial design and science fiction. Science fiction cinema is a key ‘cause and effect’. 4. Science fiction cinema performs a key function in the roles of science fiction, and cinema can be employed to explore and discuss the roles of industrial design and science fiction. The study used a range of research methods. An extensive literature review critically compared and analysed the characteristics and roles of science fiction and industrial design. The analysis identified contrasting and common themes, ideas, processes, texts and subtexts between the two areas. The findings were further analysed using graphic analytical tools, to form models that described and structured the industrial design/science fiction relationship. Three case studies were used to further test the model: the work of industrial designer and visual futurist Syd Mead; science fiction author Bruce Sterling; and the industrial design and production design content of selected science fiction films. Analysis of an Internet discussion among industrial designers also illuminated the model. The findings from the analysis and the case studies supported the validity of the original hypotheses. The study identified as the key elements of an emerging theory the parallel ideas of innovation in industrial design and novum (the new thing) in science fiction; the cause and effect relationship found between the two disciplines; the parallel concepts of mediation and responsibility in industrial design, and anticipation and interrogation in science fiction. The theory was presented as a graphic model that demonstrated these elements. This study concludes that science fiction challenges the design profession to produce better design by requiring that social, political, and technological contexts in which products will exist are explicitly understood and addressed. This is mapped out in an emerging theory that outlines a complex, multi-layered relationship between industrialdesign and science fiction. In industrial design terms, this emerging theory could be considered a prototype.