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This groundbreaking study explores science fiction's complex relationship with colonialism and imperialism. In the first full-length study of the subject, John Rieder argues that the history and ideology of colonialism are crucial components of science fiction's displaced references to history and its engagement in ideological production. With original scholarship and theoretical sophistication, he offers new and innovative readings of both acknowledged classics and rediscovered gems. Rider proposes that the basic texture of much science fiction—in particular its vacillation between fantasies of discovery and visions of disaster—is established by the profound ambivalence that pervades colonial accounts of the exotic “other.” Includes discussion of works by Edwin A. Abbott, Edward Bellamy, Edgar Rice Burroughs, John W. Campbell, George Tomkyns Chesney, Arthur Conan Doyle, H. Rider Haggard, Edmond Hamilton, W. H. Hudson, Richard Jefferies, Henry Kuttner, Alun Llewellyn, Jack London, A. Merritt, Catherine L. Moore, William Morris, Garrett P. Serviss, Mary Shelley, Olaf Stapledon, and H. G. Wells.
Using close readings and thematic studies of contemporary science fiction and postcolonial theory, ranging from discussions of Japanese and Canadian science fiction to a deconstruction of race and (post)colonialism in World of Warcraft, This book is the first comprehensive study of the complex and developing relationship between the two areas.
"Reverse colonization narratives are stories like H. G. Wells's War of the Worlds (where technologically superior Martians invade and colonize England) that ask Western audiences to imagine what it's like to be the colonized rather than the colonizers. In this book, David M. Higgins argues that although some reverse colonization stories are thoughtful and provocative (because they ask us to think critically about what empire feels like from the receiving end), reverse colonization fantasy has also led to the prevalence of a very dangerous kind of science fictional thinking in our current political culture. Everyone, now (including anti-feminists, white supremacists, and far-right reactionaries) likes to imagine themselves as the Rebel Alliance fighting against the Empire (or Neo trying to escape the Matrix, or Katniss Everdeen waging war against the Capitol). Reverse colonization fantasy, in other words, has a dangerous tendency to enable white men (and other subjects of privilege) to appropriate a sense of victimhood for their own social and political advantage"--
Though science fiction is often thought of as a Western phenomenon, the genre has long had a foothold in countries as diverse as India and Mexico. These fourteen critical essays examine both the role of science fiction in the third world and the role of the third world in science fiction. Topics covered include science fiction in Bengal, the genre's portrayal of Native Americans, Mexican cyberpunk fiction, and the undercurrents of colonialism and Empire in traditional science fiction. The intersections of science fiction theory and postcolonial theory are explored, as well as science fiction's contesting of imperialism and how the third world uses the genre to recreate itself. Instructors considering this book for use in a course may request an examination copy here.
So Long Been Dreaming: Postcolonial Science Fiction & Fantasy is an anthology of original new stories by leading African, Asian, South Asian and Aboriginal authors, as well as North American and British writers of color. Stories of imagined futures abound in Western writing. Writer and editor Nalo Hopkinson notes that the science fiction/fantasy genre “speaks so much about the experience of being alienated but contains so little writing by alienated people themselves.” It’s an oversight that Hopkinson and Mehan aim to correct with this anthology. The book depicts imagined futures from the perspectives of writers associated with what might loosely be termed the “third world.” It includes stories that are bold, imaginative, edgy; stories that are centered in the worlds of the “developing” nations; stories that dare to dream what we might develop into. The wealth of postcolonial literature has included many who have written insightfully about their pasts and presents. With So Long Been Dreaming they creatively address their futures. Contributors include: Opal Palmer Adisa, Tobias Buckell, Wayde Compton, Hiromi Goto, Andrea Hairston, Tamai Kobayashi, Karin Lowachee, devorah major, Carole McDonnell, Nnedi Okorafor-Mbachu, Eden Robinson, Nisi Shawl, Vandana Singh, Sheree Renee Thomas and Greg Van Eekhout. Nalo Hopkinson is the internationally-acclaimed author of Brown Girl in the Ring, Skin Folk, and Salt Roads. Her books have been nominated for the Hugo, Nebula, Tiptree, and Philip K. Dick Awards; Skin Folk won a World Fantasy Award and the Sunburst Award. Born in Jamaica, Nalo moved to Canada when she was sixteen. She lives in Toronto. Uppinder Mehan is a scholar of science fiction and postcolonial literature. A South Asian Canadian, he currently lives in Boston and teaches at Emerson College.
The five stories in 'Science Fiction in Colonial India, 1835-1905' speculate about utopian and dystopian futures. They represent the earliest Indian science fiction, imagining futures ranging from an end-of-the-world deluge to violent revolution to feminist utopia.
"Science Fiction in Colonial India, 1835–1905" shows, for the first time, how science fiction writing developed in India years before the writings of Jules Verne and H. G. Wells. The five stories presented in this collection, in their cultural and political contexts, help form a new picture of English language writing in India and a new understanding of the connections among science fiction, modernity and empire. [NP] Speculative fiction developed early in India in part because the intrinsic dysfunction and violence of colonialism encouraged writers there to project alternative futures, whether utopian or dystopic. The stories in "Science Fiction in Colonial India, 1835–1905," created by Indian and British writers, responded to the intellectual ferment and political instabilities of colonial India. They add an important dimension to our understanding of Victorian empire, science fiction and speculative fictional narratives. They provide new examples of the imperial and the anti-imperial imaginations at work.
The first science fiction course in the American academy was held in the early 1950s. In the sixty years since, science fiction has become a recognized and established literary genre with a significant and growing body of scholarship. The Cambridge History of Science Fiction is a landmark volume as the first authoritative history of the genre. Over forty contributors with diverse and complementary specialties present a history of science fiction across national and genre boundaries, and trace its intellectual and creative roots in the philosophical and fantastic narratives of the ancient past. Science fiction as a literary genre is the central focus of the volume, but fundamental to its story is its non-literary cultural manifestations and influence. Coverage thus includes transmedia manifestations as an integral part of the genre's history, including not only short stories and novels, but also film, art, architecture, music, comics, and interactive media.
This book focuses on the science fictional dimensions of Rushdie's later novels, Fury, The Ground Beneath Her Feet, Shalimar the Clown and Luka and the Fire of Life, and Rushdie's first unpublished novel, The Antagonist, to show how the author's oeuvre moves towards a more consistent engagement with science fiction as a generic form and an ideological investment. The author demonstrates how Rushdie recreates personal and national histories in a science fictional setting and mode, and contends that the failure of his first novel Grimus may have led Rushdie away from SF for some time, although he returns to it with a much firmer conviction and a much stronger voice in his later novels, showing his commitment to this imaginative form which he describes in Fury as providing "the best popular vehicle ever devised for the novel of ideas and metaphysics."The science fictional mode is the most appropriate vehicle for expressing these thematic and ideological concerns and the organizing feature of Rushdie's oeuvre. The author rereads the later novels in light of recent critical engagement with SF as a vehicle for reimagining national histories and as a potentially subversive tool for social and political engagement in a fictional realm.
Drawn from the Science Fiction Research Association conference held in Lawrence, Kansas, in 2008, the essays in this volume address intersections among the reading, writing, and teaching of science fiction. Part 1 studies the teaching of SF, placing analytical and pedagogical research next to each other to reveal how SF can be both an object of study as well as a teaching tool for other disciplines. Part 2 examines SF as a genre of mediation between the sciences and the humanities, using close readings and analyses of the literary-scientific nexus. Part 3 examines SF in the media, using specific television programs, graphic novels, and films as examples of how SF successfully transcends the medium of transmission. Finally, Part 4 features close readings of SF texts by women, including Joanna Russ, Ursula K. Le Guin, and Octavia E. Butler.