<p>This Master´s thesis examines the conceptual ideas of science fiction and science fiction fandom produced in the Swedish fanzine Science Fiction Forum (1960-) between the years 1960 and 1980. Science Fiction Forum was and still is a fanzine published by Skandinavisk Förening för Science Fiction (Scandinavian Science Fiction Club). Both the club and the fanzine are a part of the phenomenon called fandom.</p><p>A fandom is a collective of people called fans who form a community by sharing a special interest in a special object. The fanzine is one of the many material products produced by fans within a certain fandom. Science Fiction Forum and Skandinavisk Förening för Science Fiction were founded in 1959 and are a part of swedish science fiction fandom, where the object of fandom is literary science fiction..</p><p>The primary focus of this thesis is the meta discussion on science fiction and science fiction fandom in Science Fiction Forum. The examination is organized around five different questions; what were the conceptual ideas of science fiction in the fanzine, how was the genre defined by the writers of the fanzine, what were the conceptual ideas of fandom, how did the writers of the fanzine view the status of the genre outside fandom and how did the writers of the fanzine answer the critics of the genre.</p><p>The analysis shows that the discussion on science fiction and fandom in Science Fiction Forum functioned as a way to interpretate and produce meaning to the reading of science fiction and fan identity. The result is supported by other research on fandom, which shows that there is an ongoing discussion between fans within fandom about the reading and understanding of the object of fandom. It is a constant discussion were different interpretations of the object of fandom are revalued and renegotiated.</p>

Thesis (M.A.)--Memorial University of Newfoundland, 2005. / Bibliography: leaves 93-102.

This Master´s thesis examines the conceptual ideas of science fiction and science fiction fandom produced in the Swedish fanzine Science Fiction Forum (1960-) between the years 1960 and 1980. Science Fiction Forum was and still is a fanzine published by Skandinavisk Förening för Science Fiction (Scandinavian Science Fiction Club). Both the club and the fanzine are a part of the phenomenon called fandom. A fandom is a collective of people called fans who form a community by sharing a special interest in a special object. The fanzine is one of the many material products produced by fans within a certain fandom. Science Fiction Forum and Skandinavisk Förening för Science Fiction were founded in 1959 and are a part of swedish science fiction fandom, where the object of fandom is literary science fiction.. The primary focus of this thesis is the meta discussion on science fiction and science fiction fandom in Science Fiction Forum. The examination is organized around five different questions; what were the conceptual ideas of science fiction in the fanzine, how was the genre defined by the writers of the fanzine, what were the conceptual ideas of fandom, how did the writers of the fanzine view the status of the genre outside fandom and how did the writers of the fanzine answer the critics of the genre. The analysis shows that the discussion on science fiction and fandom in Science Fiction Forum functioned as a way to interpretate and produce meaning to the reading of science fiction and fan identity. The result is supported by other research on fandom, which shows that there is an ongoing discussion between fans within fandom about the reading and understanding of the object of fandom. It is a constant discussion were different interpretations of the object of fandom are revalued and renegotiated.

Cultural policy theory operates on a division between producers and the public. Dualisms, such as producer/consumer – or, in more nuanced circles, the triadic relationship of consumer/producer/owner – have had a structuring effect on the way in which we envision cultural policy theories. At its core, the producer/consumer dualism implies subjectivities – that is to say that it defines positions in relationships between socio-political actors/actresses. At the governmental level, such clear-cut subject positions are perceptible beyond theories, entering into the actual practice of policy-making to the point where certain policies structure the notion of the public (or consumers), and the producers and/or owners. Copyright law, for instance, represents a good example of such an ideational construct. As a form of cultural policy, copyright law seeks to define the rights of producers with regards to their productions. Consequently, this thesis aims at exploring the forms of agency that develop and challenge both the practice and theoretical constructs of cultural policy. Two aspects command us to question anew these boundaries, one based on contemporary social and technical transformations (the rise of the digital age), and one based on cultural practice (in this case, those of fans and fandoms).Borrowing from theories of cultural studies and Foucauldian approaches to discourse analysis, this thesis explored the emerging discourses surrounding fans and their use of copyrighted material via the internet. Putting emphasis on three fandoms that have had marked histories of fan activism and fan production via the use of copyrighted material – Star Trek, Firefly, and Harry Potter – this paper investigated fans’ use of copyrighted material in developing fan cultures and as a vehicle for their discursive practices. These cases illustrate how fans have challenged the established repertoires of subjects in cultural policy (making and theory), and how their form of agency represents an interesting case of resistance to the rise of the cultural industries conception of cultural policy.

Cultural policy theory operates on a division between producers and the public. Dualisms, such as producer/consumer – or, in more nuanced circles, the triadic relationship of consumer/producer/owner – have had a structuring effect on the way in which we envision cultural policy theories. At its core, the producer/consumer dualism implies subjectivities – that is to say that it defines positions in relationships between socio-political actors/actresses. At the governmental level, such clear-cut subject positions are perceptible beyond theories, entering into the actual practice of policy-making to the point where certain policies structure the notion of the public (or consumers), and the producers and/or owners. Copyright law, for instance, represents a good example of such an ideational construct. As a form of cultural policy, copyright law seeks to define the rights of producers with regards to their productions. Consequently, this thesis aims at exploring the forms of agency that develop and challenge both the practice and theoretical constructs of cultural policy. Two aspects command us to question anew these boundaries, one based on contemporary social and technical transformations (the rise of the digital age), and one based on cultural practice (in this case, those of fans and fandoms).Borrowing from theories of cultural studies and Foucauldian approaches to discourse analysis, this thesis explored the emerging discourses surrounding fans and their use of copyrighted material via the internet. Putting emphasis on three fandoms that have had marked histories of fan activism and fan production via the use of copyrighted material – Star Trek, Firefly, and Harry Potter – this paper investigated fans’ use of copyrighted material in developing fan cultures and as a vehicle for their discursive practices. These cases illustrate how fans have challenged the established repertoires of subjects in cultural policy (making and theory), and how their form of agency represents an interesting case of resistance to the rise of the cultural industries conception of cultural policy.

This thesis studies to simulate the axial flow fans by using the CFD software. Designing two geometries types of axial flow fans which had different twist angles and the same contour¡]70¡Ñ70¡Ñ15 mm¡^with the Joukowski airfoil; then, defining the boundaries shapes identical with the experimental instrument. In the part of numerical calculation, varying the rotation speed ¡]rpm¡^,volume flow rate¡]CFM¡^and seven types of turbulence models to simulate the flow fields and evaluate the axial flow fans performance curves. Utilizing the comparison of the experimental and simulate results to provide the appropriate turbulent models to periodic the performance curve precisely.

Thesis--Cornell University, 2001. / Includes bibliographical references.

Thesis (M.A.)--University of Alabama at Birmingham, 2009. / Title from PDF title page (viewed Jan. 25, 2010). Includes bibliographical references (p. 125-129).

Thesis (Ph. D.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 300-307). Available also in a digital version from Dissertation Abstracts.

Thesis (M.A.)--York University, 2007. Graduate Programme in Communication and Culture. / Typescript. Includes bibliographical references. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR38797