[pt] O presente trabalho encerra quatro textos autônomos e interdependentes, com o objetivo de pensar a Ficção Científica, notadamente o Sci-Fi lusitano. No Capítulo Um apresenta-se na forma de um ensaio autoetnográfico (VERSIANI, 2005) a hipótese que a origem da Ficção Científica está no Terremoto de Lisboa de 1755 e a partir do qual as borders e frontiers (OSTERHAMMEL, 2014) de gênero literário ficaram estabelecidas. No Capítulo Dois comenta-se sobre as três grandes narrativas (LYOTARD, 2009) teóricas que tentam tratar da Ficção Científica: a filosofia do futuro oriunda de Gilles Deleuze, a história das ideias proposta por escritores Sci-Fi e a de gênero ficcional ainda sem clara definição pela crítica. No Capítulo Três realiza-se treze estudos de caso do Sci-Fi lusitano: do neogótico de Álvaro do Carvalhal e Fialho de Almeida como precedente; dos marcos inaugurais da crônica Lisboa no anno 2000 (1906), de Mello de Mattos, e do conto A estranha morte do professor Antena (1915), de Mário de Sá-Carneiro; das ficções científicas alinhadas ao salazarismo; da Colecção Fantástico, da Editorial Rolim, 1983-1990; e da homônima coletânea de contos electro-punk Lisboa no ano 2000, publicado em 2012. No Quarto Finalle o pesquisador periférico pondera sobre a vida de laboratório (LATOUR, 2008) em relação ao Sci-Fi produzido no Centro (CONNELL, 2012) e em perspectiva comparada com Epistemologias do Sul (SANTOS, 2010). / [en] This work presents five autonomous and interdependent texts, with the purpose of thinking about Science Fiction, notably the Lusitanian Sci-Fi. Chapter Zero introduces, as an auto-ethnographic essay (VERSIANI, 2005), the hypothesis that the origin of Science Fiction came from the Lisbon s Earthquake of 1755 and from which the borders e frontiers (OSTERHAMMEL, 2014) of the literary gender were established. Chapter One analyses the three grand narratives (LYOTARD, 2009) of theory that attempt to explain Scientific Fiction: the philosophy of the future by Gilles Deleuze, the history of ideas proposed by Sci-Fi writers and the fictional genre still without a clear definition by the critics. Chapter Tw takes the readers on to the library of the gaseous planet of ScifiLusitânia, a workshop (PIGLIA, 2004) built upon the chronotopes notion (GUMBRECHT, 2010) for the purpose of drawing the literary formation (CANDIDO, 2000) of the Portuguese Science Fiction. Chapter Three brings forward, synchronously, brief case studies on Lusitanian Sci-Fi: of the chronicle Lisboa no anno 2000 (1906), by Mello de Mattos, and the short story A estranha morte do professor Antena (1915), by Mario de Sá-Carneiro; of scientific fictions aligned with Salazarism; of Colecção Fantástico, by Editorial Rolim, 1983-1990, and of the homonym collection of electro-punk short stories Lisboa no ano 2000, published in 2012. Quarto Finalle weighs methodological problems and regarding the Sci-Fi produced at the Center (CONNELL, 2012) in comparative perspective to Southern Epistemology (SANTOS, 2010).

Esta pesquisa contextualiza e analisa poéticas artísticas polêmicas e visionárias de alguns ciberartistas que vêm refletindo continuamente sobre o avanço da tecnologia nos campos da genética, robótica e telemática e de sua relação com o corpo e a consciência. Essas tecnologias são elementos fundamentais para a configuração de obras que questionam a própria condição biológica da espécie humana, vislumbrando uma possível relação de simbiose entre a tríade \"homem, máquina e biotecnologia\" que poderá resultar em uma nova espécie, pós-humana. Como produto poético, parte experimental desta tese - resultante da contextualização e análise -, o autor relata o desenvolvimento de um universo ficcional inspirado por essas obras e pelas reflexões de seus criadores, para o qual são apresentados múltiplos trabalhos artísticos em suporte papel e nas hipermídias. / This research contextualizes and analyzes the polemic and visionary artistic production of some cyberartists that have been constantly thinking over technological advances in the areas of genetics, robotics and telematics, and their relationship with the body and the conscience. These technologies are of central importance to the configuration of works that question the biological condition of the humankind and lay eyes on a possible symbiotic relation between man, machine and biotechnology, which might result in a new posthuman species. As outcome of the research the experimental part of this thesis the author narrates the development of a fictional universe inspired by those works and their creators\' considerations, and also presents several artistic works framed in paper and in hypermedia.

Diploma thesis "Media representation of Czech Sci-Fi Fandom in the Press in 2001-2006" deals with the ways in which science fiction fans are represented in Czech newspapers. For most people the media remain the most important source of information about the specific subculture of the fans. This thesis employs the qualitative analysis method to uncover the regularities of the fans' media representations. It concentrates on the portrayal of the fans' relationship with the primary texts, as well as relationships within the fan community and relationships with the wider society.

With increasing inequality in the world, having knowledge about the apparatuses maintaining unequal social structures is important. Utopian and dystopian science fiction films are a good source for analysis of social structures, due to their inherent interest in social critique and the role of semiotics in the spreading of ideology. This essay examines how ideology is presented and represented in the science fiction films Metropolis and Snowpiercer. Within a Marxist theoretical framework, the essay analyses the presence and actions of ideological state apparatuses in the films, with a secondary focus on how the ideology on display is presented to the viewer. The analysis of the films shows that several different ideological state apparatuses, such as school and politics, are represented in the films. The apparatuses are also shown to use a variety of pedagogic actions for teaching the dominant ideology of the respective film’s ruling class to the citizens of the films, such as lecturing, singing and communicating through clothing and architecture. The analysis also shows that while two different political ideologies are represented in the films, corporatism in Metropolis and neoliberalism in Snowpiercer, both ideologies serve the same purpose of maintaining the capitalist order of the films’ societies: the division of labour. The essay argues that the findings of the analysis motivate a Marxist approach to teaching, in order to actively work against inequality and provide all students with a well-rounded education, no matter what social class they belong to.

Hard Science-fiction shares a close relationship with the element of spectacle. This is especially apparent in Christopher Nolan’s Interstellar (2014), a film based in realistic science and emotional appeal. Nolan makes use of creating a team comprised of creative minds with different backgrounds. This includes theoretical physicist Kip Thorne, co-writer Jonathan Nolan, and composer Hans Zimmer. Together, the four develop a film that focuses on three main facets of science: time dilation, black holes, and dimensions. Incorporating these elements based in the historical world gives Interstellar its classification as hard science-fiction, a genre based more solidly in realistic science than classical science-fiction. Thorne serves as an executive producer and advisor to all matters scientific, Zimmer composes the score to accompany and intensify the moments of spectacle, and the Nolan brothers serve to create the plot behind Interstellar. The film’s spectacle can be seen throughout, notably in the “Miller’s Planet” and “Gargantua” scenes. Nolan also incorporates Welsh Poet Dylan Thomas’s “Do not go gentle into that good night” to exemplify the film’s theme of perseverance against increasing odds. It is through these elements that Interstellar serves itself as an exemplary film for showcasing the relationship between the nature of hard science-fiction and spectacle.

This study aims to discover how author’s neologisms in Douglas Adams’s science fiction novel The Hitchhiker’s Guide to the Galaxy were translated in its only existing official Japanese translation by Kazumi Yasuhara. It also tries to answer the question of whether the type of a neologism influenced the translator’s choices when translating it. The study uses a hundred neologisms from the novel, classifying them and their translation strategies using classification systems proposed by Peter Newmark in his 1988 work A Textbook of Translation.  It is concluded that the type of a neologism did indeed have an influence on which strategies the translator chose to use when translating it. Overall, the most common strategies proved to be couplet, i.e., a combination of several strategies, naturalisation, i.e., transliteration and adaptation to target language conventions, and through translation, i.e., literal translation of all components of a compound word or collocation.

Uppsatsen analyserar tre kinesiska science fiction-böcker: Hao Jingfangs Peking-den hopfällbara staden (2012), Chen Qiufans Waste Tide (2013) och Liu Cixins The Three-Body Problem (2008). Syftet med studien är att undersöka vilken typ av samhällskritik som finns i verken. Uppsatsen syfte har besvarats genom att tolka verken utifrån en litteratursociologisk textanalys i kombination med begrepp från klassteori och narratologi. Resultatet visar attPeking-den hopfällbara staden och Waste Tide ger uttryck för kritik mot social ojämlikhet irelation till klassamhället. I Waste Tide finns även kritik mot miljöförstöring i relation till teknologisk framväxt. I The Three-Body Problem finns det en humanistisk kritik mot hur människor fick lida under kulturrevolutionen i Kina.

No description available.

This study examined the translation of neologisms in the fan and official translations of the first book of the The Irregular at Magic High School light novel series. It aimed to examine whether the choices of translation strategies differed between the two as well as how the word type and choice of translation strategy affected the end result. Additionally, it compared the results to trends in manga fan translation. The study was performed by reading the first four chapters of the original novel and writing down each unique neologism as well as its corresponding translations. Then, each case was categorized by word type and translation strategy. The study found that both translations had similar distributions of translation strategies, though the fan translation contained more omissions and mistranslations. Furthermore, depending on the type of word, different strategies were employed. For example, neologisms of non-Japanese origin were often transferred to English whereas Japanese compound words were often literally translated. In contrast, Japanese abbreviations caused difficulty and required a wide array of strategies to translate. Lastly, the study found some similarities and some dissimilarities to manga translation.

<p>Bilder borttagna av upphovsrättsliga skäl.</p>