Monsters are disruptive characters, who cross boundaries and blend categories. They come in various kinds: Non-human monsters, such as Dracula, created-by-human monsters like Frankenstein, human monsters like Hitler, and more-than-human monsters such as the X-men. These monsters can either be dangerous or helpful to humanity. Dangerous monsters appear as infectious, viral forces, while helpful monsters are inoculative forces for positive change. In either case, they penetrate the borders set up between normatively separate categories. Critics and authors have long realized the connection between heroes and monsters, often portraying them as necessary to one another, as two sides of a single coin. However, this analogy is lacking, because it does not allow for the possibility that a single character can display varying degrees of both heroism and monstrosity. Mario Yerro and Bruna Husky present such characteristics in Yeti and Lágrimas en la lluvia, as evidenced by their physical appearance, their relations to scapegoats, the porosity of species and other boundaries, and the decisions they make in regards to the Other.

Close textual analysis of the four extant film versions of Invasion of the Body Snatchers reveals that each film modifies the original story such that it reflects changing societal attitudes toward physicians and the medical profession, as well as depictions of military and government in the science fiction genre. The changing depictions of characters and events in these films respond to changes in medical history, social history, and the science fiction genre across five decades. Each film reflects the contemporary anxieties of its time and the perceived ability of physicians to relieve those anxieties. Doctors are important semantic elements of the science fiction genre, and their position within the syntax of a film helps to determine its meaning. By focusing on the physician character, this study finds that in addition to being a metaphor for threats such as Communism, Invasion of the Body Snatchers also reflects concerns about disease and other medical threats.

I aim to move the viewer through a system that consists of science fiction, of world building, with themes of nature, technology, and a subtle allusion to comic book aesthetics. Removing customary sci-fi and comic book narrative in favor of concept, self-awareness, and open-ended exploration, the outcome creates a complex setting. The report herein documents the various methods used to create this multifaceted installation space, which was the focus of my selected project.

I det här examensarbetet analyseras två skönlitterära barnböcker med syftet att undersöka hur skönlitteratur kan skapa förutsättningar för att utveckla ett historiemedvetande hos elever på mellanstadiet. Frågeställningarna är snarlika syftet och ämnar finna svar på vilka förutsättningar de två utvalda böckerna har att utveckla historiemedvetande, samt hur böckerna kan användas i en undervisningskontext för att uppnå detsamma. De två böcker som analyseras är den historiska romanen Sorkspolingen och science fiction-romanen Uttagningen. Böckerna analyseras med hjälp av Carina Renanders (2007) analysmodell Inomvetenskaplig och utomvetenskaplig historieskrivning. Modellen beskriver hur litterära grepp i olika kombinationer kan leda till att mottagarens historiemedvetande utvecklas. Resultatet av textanalyserna visar att böckerna har potential att utveckla historiemedvetandet hos läsaren, samt vilka litterära grepp i böckerna som kan bidra till detta. Då Sorkspolingen delvis saknar framtidskoppling och Uttagningen behöver kompletteras med en tydligare dåtidsanknytning, har undervisningsförslag med koppling till läroplanen Lgr11 getts, som visar hur tidsperspektiven kan förstärkas och kompenseras. Resultatet bekräftar också teorier om historiska romaner i undervisningen, men visar även att en skönlitterär framtidsskildring kan ha lika goda förutsättningar att utveckla historiemedvetande. Genren science fiction är tidigare outforskad i sammanhanget att utveckla historiemedvetande, men vårt resultat visar att även denna genre kan användas inom historieämnet. Vi tror att den kan flytta historieundervisningens fokus från att endast gälla dåtid och nutid, till att även inkludera och förstärka framtidsperspektivet.

The Prologue Past is a collection of four essays and one novella which explore the past in different fashions. Memory, and the ability to reflect and find meaning in our experiences, is an important cornerstone of engaging the past. Memories are a true anomaly of how our inner-consciousness operates. With each day, the past facilitates a special part of our memory bank which we seldom have any control of. While the abilities of people to recall times, events, places, and experiences differ largely in capacity, we all undoubtedly share universal traits in the manner in which we hold onto our memories. I'm personally fascinated by the notion of unreliable memory or the inability to recall a past event in a concrete moment in time. I'm equally intrigued by what's tied to our most vivid recollections of the past, involving adrenaline and emotion. My exploration of memory-and how it's ascertained and utilized-is based on certain moments in my life presented in these personal stories, which range from childhood endeavors to adult conquests, seemingly linked together through particular themes of fear, loss, and hope.

Detta arbete undersöker hur musikens klangfärg inom science fictionmedier kan påverka känslor som mystik och ensamhet. De valda klangfärgerna för denna undersökning består av akustisk och elektronisk instrumentering. Tidigare forskninginom ämnet har undersökt påverkan av elektronisk och akustisk klangfärg, men sällan jämfört dessa sida vid sida. Inför den kvantitativa studien komponerades flertalet stycken med både akustisk och elektronisk klangfärg, varav två av kompositionerna användes till artefakten med hjälp av en enkät. Resultaten i denna studie strider mot tidigare resultat, då tidigare forskning indikerat på en preferens för elektronisk klang. Denna studie visade att en akustisk klang föredrogs framför en elektronisk klang i första kompositionen, däremot kan detta bero på videon som musiken sonifierades med, att videon består av egna förväntningar som musiken måste anpassas till. Forskningen kan dock inte generaliseras på grund av studiens småskaliga deltagarantal. Resultaten kan även ha påverkats på grund av hur videoklippen blev ljudlagda. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>

Excerpt: The ways in which language and linguistics figure in women’s science fiction reference communication both within human societies and among humans and other societies.

Excerpt: Laadan is a language that was designed to express women’s perceptions.

Excerpt: Suzette Haden Elgin is an American author who has published numerous science fiction novels, short stories, and poems.

We live in a world where not only humans but also any object around us is believed to have agency. A shifting relationship exists between everything, specifically between humans and technology. However, the relationship between humans and technology has become much more complicated in the world of Neuromancer. Technology is projected to have much more agency than humans in the future, going as far as affecting the subjective consciousness and identity of the characters in the novel. This research paper seeks to prove whether the agency of technology has overwritten that of humans in the world of Neuromancer.