Popular fiction have met with an abundance of criticism troughout history. Then around the twentieth century events had the libraries forced to reevaluate their identities. Fantasy, science fiction and horror are all examples of popular fiction. There-fore this thesis aims to show what position the genres holds at two swedish public libraries – library A and B. For this pupose the paper will focus on the genres availability towards the users. Availability has been reduced into four functions – acqusition, placement, display and exhibition. Furthermore the pa-per uses modifications of Elzingas traditionalistic, pragmatic and emancipa-torial strategies. This as a way to try to explain the reasons behind the current availability of the genres. The research questions are: How has library A and library B choosen to make fantasy, science fiction and horrorlitterature avai-lable in the library? What are the reasons behind the choosen form of availa-bility? Observations and qualitative interviews has been performed at respective lib-rary. The result concludes that horror was not broken out as its own genre. Ho-wever fantasy and science fiction was and where placed together. A lot of the librarians work seemded to stem from a desire to simplify for the user. In con-clusion the pragmatic strategy comes out as the dominent one. However all three strategies can be distinguished. The conclusion made is that the horrorgenre did not have a very good position in the libraries. Science fiction had a somewhat good position but much in adherence to fantasy which had a very good position.

Desde el surgimiento de la corriente New Wave, las narraciones del género de la ciencia ficción contenían un significado simbólico como una alegoría a nuestra condición como humanos. Las avanzadas construcciones tecnológicas, los seres no humanos y los mundos distópicos empezaron a cumplir un rol más profundo de lo que tradicionalmente fueron al ser meramente elementos visuales llamativos a ojos del espectador. Tanto en las obras literarias como en las películas del género, se desarrollan como subtextos una serie de denuncias al control de poderes, lucha de clases, violencia de género, xenofobia, por mencionar algunos. Conflictos humanos que han existido desde hace bastante tiempo y afecta en cómo nos relacionamos con nuestros semejantes. La presente investigación tiene como objetivo analizar esos cuestionamientos que hace la ciencia ficción en relación a lo humano, presentes en la serie de televisión de HBO Westworld, a través de los recursos del lenguaje audiovisual como el desarrollo de sus personajes, los conflictos de sus subtramas y sus espacios físicos. / Since the emergence of the New Wave phase, the narratives of the sci-fi genre contained symbolic significance as an allegory to our status as humans. Advanced technological constructions, non-humans and dystopian worlds began to play a deeper role than they traditionally were by being merely striking visual elements in the eyes of the viewer. In both literary works and films of the genre, a series of complaints of power control, class struggle, gender violence, xenophobia, to name a few are developed as subtexts. Human conflicts that have been around for quite some time and affect how we relate to our fellowmen. This research aims to analyze those questions that science fiction makes in relation to the human, presents in the HBO television series Westworld, through the resources of audiovisual language such as the development of its characters, conflicts of their subplots and physical spaces. / Trabajo de investigación

While acknowledging that Russ’s work is problematic in some regards, the aim of this thesis is to counter the criticism of Russ’s oeuvre as outdated and sometimes stuck in second-wave feminist positions, instead demonstrating how Russ’s use of sci-fi strategies such as cyborgism, possible-worlds theory, utopianism, and concretised metaphors in The Female Man and The Adventures of Alyx enables her to move beyond second-wave feminist positions and anticipate third-wave feminism in ways that are still relevant today.

In Frank Herbert’s Dune Saga, we find a transhumanist and Nietzschean argument about the evolution of humans achieved as a result of the triggering effect of the Butlerian Jihad against thinking machines. I claim that the metamorphoses of the selected characters reflect the central tenants of the transformation of Nietzsche’s overhuman, or transhumanism’s posthuman. By extending these metamorphoses to include the standpoint of a fictional counterpart such as Dune’s Kwisatz Haderach, this study claims that in Science Fiction we find a possible ground for conceptualizing difficult problems that deal with the future of humanity. This investigation into the need to overcome the human condition will be held in order to see what drives human enhancement, what triggers the need for change, and how this enhancement is realised. Moreover, I claim that the Dune Saga dramatizes a future scenario that furthers the discussion on what is human by questioning the boundary between human and nonhuman.

Las adaptaciones cinematográficas están caracterizadas por ser la transformación de un medio de comunicación a otro. Dentro de todos los géneros literarios que dieron el salto a la pantalla grande se encuentra la ciencia ficción. Dicho género, conocido por mezclar relatos fantásticos y conceptos filosóficos con tecnología y sociedades futuristas, ha sabido posicionarse como uno de los más importantes dentro de la cartelera mundial. Este género es importante para la investigación presentada, pues se busca entender las variables analizadas que el texto cinematográfico utiliza en la película y su contraparte literaria. Este trabajo tomó como ejemplos a I, Robot y Children Of Men, por ser ejemplos de procedimientos diferentes de adaptaciones que resultaron en películas importantes en la primera década del siglo XXI. La pregunta que se intentó responder es la siguiente: ¿Cómo realizar el análisis de contenido de un guion adaptado de una obra literaria de ciencia ficción? El modelo de investigación se caracterizó por leer ambos contenidos para poder desglosar las variables del producto adaptado en base a la teoría de Doc Comparato, Julie Sanders y Linda Seger. Tras la investigación realizada, se concluyó en que el análisis de contenido de un texto adaptado de ciencia ficción se logra entendiendo cuál es el procedimiento y tipo de adaptación que se desea lograr, manteniendo el tema central de la obra original. En base a este tema, la historia, los personajes y el estilo pueden ajustarse en base a la propuesta del director o guionista. / Film adaptations are known for being the transformation from one communication media to another. Among the literary genres that appeared on the big screen we find science fiction. This genre, known for mixing fantastic stories and philosophical concepts with technology and futuristic societies, has managed to position itself as one of the most important in worldwide box-office. This genre is important for the research presented, as it seeks to understand the analyzed elements that the cinematographic text uses in the film and its literary counterpart. This work took I, Robot and Children Of Men as case studies, since both movies are examples of different adaptation procedures that resulted in important films in the first decade of the 21st century. The question that was tried to answer is the following: How to carry out the content analysis of an adapted screenplay from a literary science fiction book? The research model was characterized by reading both contents to be able to break down the elements of the adaptation based on Doc Comparato, Julie Sanders and Linda Seeger’s theory. After the investigation, it was concluded that the content analysis of a science fiction adapted screenplay is achieved by understanding what is the procedure and type of adaptation to be achieved, maintaining the central theme of the original work. Based on this theme, the story, characters and style can be adjusted based on the director and screenwriter's proposal. / Tesis

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