scholarly journals Krytycznie o gatunku – Lema i Dukaja poglądy na fantastykę naukową

Author(s):  
Piotr Przytuła

In the essay Science fiction: a hopeless case - with exceptions, Stanisław Lem spoke negatively about science fiction (but also about its authors and fans), proving its secondary nature and entanglement in market laws, pointing out the lack of reliable criticism from outside the fandom and flattering the tastes of recipients who only seek entertainment in literature. The author of Solaris included science fiction in the “lower kingdom” of literature, contrasting it with mainstream (“upper kingdom”). Thus, he symbolically strengthened the division into the fantastic “ghetto” and mainstream literature.Jacek Dukaj also spoke about science fiction in a slightly less categorical tone. In the essay Krajobraz po zwycięstwie, czyli polska fantastyka AD 2006 [Landscape after victory, or Polish fantasy AD 2006], the author of Ice noticed similar problems that Lem had seen in the past (lack of external criticism, lack of ambition, stagnation and reluctance of SF writers to go beyond plot and language patterns, flattering fashions and treating science fiction prose only as entertainment literature); however, unlike Lem, he seemed to be interested in the fate of his environment and proposed specific solutions that could raise the rank of science fiction. 


Język Polski ◽  
2021 ◽  
Vol 101 (1) ◽  
pp. 70-83
Author(s):  
Izabela Domaciuk-Czarny

The article discusses intertextual onymy in selected grotesque texts written by Stanisław Lem. The study focuses on the stories from the two collections: Cyberiada (The Cyberiad) and Dzienniki gwiazdowe (The Star Diaries). Intertextuality is the author’s play with different styles, conventions and genres. Therefore, the study involves the analysis of the intertextual function of proper names in the texts. In science fiction grotesque, proper names which are elements of the fantastic, fabulous as well as the ludic and grotesque cur-rent in literary onomastics, artificial onyms that are deformed and asemantic, only occasionally perform such a function (for instance Palibaba – Ali Baba). It is crucial, therefore, to analyze the propria in the con-text of the selected fragments while focusing on the style, poetics, and the meaning of the entire work.



2018 ◽  
Vol 14 (1) ◽  
pp. 110-121
Author(s):  
Mateusz Chaberski

Summary In recent science-fiction literature, we can witness a proliferation of new counterfactual narratives which take the 17th century as their point of departure. Unlike steampunk narratives, however, their aim is not to criticise the socio-political effects caused by contemporary technological development. Such authors as Neal Stephenson or Ian Tregillis, among others, are interested in revisiting the model of development in Western societies, routing around the logic of progress. Moreover, they demonstrate that modernity is but an effect of manifold contingent and indeterminate encounters of humans and nonhumans and their distinct temporalities. Even the slightest modification of their ways of being could have changed Western societies and cultures. Thus, they necessitate a rather non-anthropocentric model of counterfactuality which is not tantamount to the traditional alternative histories which depart from official narratives of the past. By drawing on contemporary multispecies ethnography, I put forward a new understanding of counter-factuality which aims to reveal multiple entangled human and nonhuman stories already embedded in the seemingly unified history of the West. In this context, the concept of “polyphonic assemblage” (Lowenhaupt-Tsing) is employed to conceptualize the contingent and open-ended encounters of human and nonhuman historical actors which cut across different discourses and practices. I analyse Stephenson’s The Baroque Cycle to show the entangled stories of humans and nonhumans in 17th century sciences, hardly present in traditional historiographies. In particular, Stephenson’s depiction of quicksilver and coffeehouse as nonhuman historical actors is scrutinized to show their vital role in the production of knowledge at the dawn of modernity.



Author(s):  
Nassima Kaid

Many writers have shown their preoccupation with and interest in the representation of the fantastic body over the past centuries. The figure of the vampire, werewolves, and zombies keep coming back in those works although today’s monsters are humanized. In Contemporary Young Adult fantasy, readers are presented with characters that usually adapt to the real world. The fantastic body does no more refer to psychosexual dysfunction but generates mainly from socioeconomic and cultural malaise (Badley, 17-18). In other words, the fantastic becomes a virtual reality that symbolizes the changing ‘self’ within the postmodern era though contemporary literature has transcended the actual environment as it copes with technological advancement. Unlike other fantasy fiction, Meyer has focused on traditional fantastic creatures originating in folklores and myths; they are an integral part of the fantastic as they cross lines between natural and supernatural elements. The present paper aims at addressing the representation of body transformations into vampires and werewolves in Stephenie Meyer’s The Twilight Saga. It will evaluate body metamorphosis into vampires and werewolves discovering new dimensions of one’s own identity and personality. It will further demonstrate how Meyer has succeeded in creating her own monsters without untying some of the mythical substratum.



Author(s):  
Shawn Malley

Well-known in popular culture for tomb-raiding and mummy-wrangling, the archaeologist is also a rich though often unacknowledged figure for constructing ‘strange new worlds’ from ‘strange old worlds’ in science fiction. But more than a well-spring for scenarios, SF’s archaeological imaginary is also a hermeneutic tool for excavating the ideological motivations of digging up the past buried in the future. A cultural study of an array of popular though critically neglected North American SF film and television texts–spanning the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future treats archaeology as a trope for exploring the popular archaeological imagination and the uses to which it is being put by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to contemporary geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS.



Author(s):  
Doug Davis

Where convention categorizes southern literature as especially preoccupied with the past, Doug Davis reads O’Connor’s stories as science fiction, highlighting the surprising extent of her engagement with futurism. From time travelers to space cadets to cyborgs, O’Connor’s stories are filled with images and characters that appear in popular science fiction. Davis argues that for O’Connor, the vocabulary of science fiction provides a way to both explore and critique the promises and effects of technological progress in the context of Cold War America.



Arts ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 32 ◽  
Author(s):  
Martin de la Iglesia

Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.



2018 ◽  
Vol 1 (1-2) ◽  
pp. 224-242 ◽  
Author(s):  
Kyle P. Whyte

Portrayals of the Anthropocene period are often dystopian or post-apocalyptic narratives of climate crises that will leave humans in horrific science-fiction scenarios. Such narratives can erase certain populations, such as Indigenous peoples, who approach climate change having already been through transformations of their societies induced by colonial violence. This essay discusses how some Indigenous perspectives on climate change can situate the present time as already dystopian. Instead of dread of an impending crisis, Indigenous approaches to climate change are motivated through dialogic narratives with descendants and ancestors. In some cases, these narratives are like science fiction in which Indigenous peoples work to empower their own protagonists to address contemporary challenges. Yet within literature on climate change and the Anthropocene, Indigenous peoples often get placed in historical categories designed by nonIndigenous persons, such as the Holocene. In some cases, these categories serve as the backdrop for allies' narratives that privilege themselves as the protagonists who will save Indigenous peoples from colonial violence and the climate crisis. I speculate that this tendency among allies could possibly be related to their sometimes denying that they are living in times their ancestors would have likely fantasized about. I will show how this denial threatens allies' capacities to build coalitions with Indigenous peoples. Inuit culture is based on the ice, the snow and the cold…. It is the speed and intensity in which change has occurred and continues to occur that is a big factor why we are having trouble with adapting to certain situations. Climate change is yet another rapid assault on our way of life. It cannot be separated from the first waves of changes and assaults at the very core of the human spirit that have come our way. Just as we are recognizing and understanding the first waves of change … our environment and climate now gets threatened. Sheila Watt-Cloutier, interviewed by the Ottawa Citizen. (Robb, 2015) In North America many Indigenous traditions tell us that reality is more than just facts and figures collected so that humankind might widely use resources. Rather, to know “it”—reality—requires respect for the relationships and relatives that constitute the complex web of life. I call this Indigenous realism, and it entails that we, members of humankind, accept our inalienable responsibilities as members of the planet's complex life system, as well as our inalienable rights. ( Wildcat, 2009 , xi) Within Māori ontological and cosmological paradigms it is impossible to conceive of the present and the future as separate and distinct from the past, for the past is constitutive of the present and, as such, is inherently reconstituted within the future. (Stewart-Harawira, 2005, 42) In fact, incorporating time travel, alternate realities, parallel universes and multiverses, and alternative histories is a hallmark of Native storytelling tradition, while viewing time as pasts, presents, and futures that flow together like currents in a navigable stream is central to Native epistemologies. ( Dillon, 2016a , 345)



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