The Moon as an Object of Exploration in the Perception of Russian Science Fiction

Purpose: to trace how the representative Russian science fiction texts reflect the process of the exploration of the Earths satellite, both in scientific/technical and socio-philosophical aspects. Methods: comparative-historical, mythopoetic, socio-historical, hermeneutical, structural analysis. Results: Konstantin Tsiolkovsky, the outstanding rocket scientist and pioneer of the astronautic theory, in his story On the Moon conjectured in detail the impression of an observer on its surface. The Soviet science fiction writer Alexander Belyaev developed Tsiolkovskys hypotheses in the story The Star KETs in which the Moon becomes accessible due to the construction of a space station in Earths orbit, named after the scientist: Star K(onstantin) E(duardovich) Ts(iolkovsky). In the Soviet Union, which was actively engaged in the research of the Moon, the interest in it was so great that it was reflected even in childrens literature. Simultaneously with the deployment of the Soviet lunar program, a fairy-tale novel by Nikolai Nosov Dunno on the Moon appeared. The novel shows the atmosphere of rivalry between the USSR and the United States in the exploration of the Moon. The science fiction vector is unfolded in the picaresque genre. In Victor Pelevins novel Omon Ra the question is raised not only of the research prospects of lunar landings, but also of the spiritual price of scientific search which implies the active participation of the state: is a free intellectual and technical search possible for astrophysicists, engineers, and cosmonauts under the pressure of acute political necessities?

Entre la ciencia ficción y la ciencia de la historia: El corazón de la serpiente.

This article deals with the science fiction novel The Heart of the Serpent, by the Soviet Ivan Efremov, and shows what we identify as an ideological vindication of the Marxist theory of history or historical materialism; and the influence that said ideological content has on the conception of science fiction that Efremov adopts and, in a meta novel exercise, he exposes in his mentioned work is studied. For this, some characteristics of Soviet science fiction in general, and the particularities of Efremov's work will be exposed. In the same way, he realizes the essential aspects of Marxist theory of history, a theoretical aspect on which Efremov bases the difference of science fiction produced in the "capitalist world", and his fiction of the future world and the extraterrestrial contact that It must be based on scientific aspects, since history as a science that manages to delineate aspects of the future society.

Not-for-children reading: markers of adult sci-fi in Sergei lukyanenko’s writings

New forms of science fiction had emerged in several post-Soviet countries in years 1990–2000. New science fiction inherits and transforms traditions and conventions of Soviet “science fiction” (nauchnaya fantastica). The emergence of market relations in the “field of literature” provoked an identity crisis, also initiating various attempts to redefine the boundaries between science fiction and previously closely related discourses, including children’s literature. This article, using several works by S. Lukyanenko as an example, examines how this rhetorical strategy has been implemented within science fiction texts. At the level of motifs and themes, references to sexuality and violence (especially in child-adult relations), tabooed in children’s literature, play a significant part in categorizing Lukyanenko’s novels as adult literature. In the system of typical of SF generic conventions this presents the depicted world as the harsh reality, thus creating a realistic effect. Markers of the second type point to historical dimensions of the fictional world, and this technique invokes conventions of “serious” (i.e. adult) speculative fiction. Also the references to iconic science fiction texts show that the novels are intended for adults and not for children. In conclusion the article raises the issue of children’s literature as being a specific construct and being the neglected Other within science fiction.

Журналы фантастики и приключений «Уральский следопыт» и «Искатель» как источники по истории советской интеллигенции

The article examines the source value of the Soviet popular magazines “Ural Pathfinder” and “Seeker”. First of all, the author considers the social and moral-political conditions in which these magazines were created. It is emphasized that both publications appeared at about the same time, at the turn of the 1950s and 1960s, at the beginning of the so-called “Golden age” of Soviet science fiction, when a galaxy of young and active science fiction writers entered the arena of literary life. The appearance of magazines was a response to the request of Soviet readers, first of all, the intelligentsia, who needed new publications of science fiction and adventure themes. The content of these publications was also analyzed. There were differences between the magazines. The “Ural Pathfinder” was not only a literary and artistic publication, but also a popular scientific, historical, geographical, and local history publication. “Seeker” was a literary supplement to “Around the world”. Also, over time, by the 1980s, magazines acquired different ideological colors in the eyes of the Soviet intelligentsia, which, however, did not affect their popularity. At the end, the research results are summarized. In relation to the history of the intelligentsia, the source potential of magazines is limited by a number of factors. Among them, censorship restrictions and ideological divisions among the Soviet intelligentsia occupy an important place. However, the analyzed publications can serve as sources on the following aspects: the history of the Soviet press, primarily popular publications; the development of regional journalism; coverage of local history and environmental issues, issues of youth education (based on the materials of the “Ural Pathfinder”); the composition of the authors of fantasy and adventure works, their plot component.

Da Zona enquanto espaço pregnante

The present article results from research around the concept of Zone in what refers to a boundary, symbolic and urban space that activates multiple networks of meaning according to its use in social history, literature, cinema, urbanism and theory of art. Secondly, the text deals with the stalker as a character who traces the paths of the Zone. The article analyzes its emergence in Soviet science fiction, in modern cinema, and its unfolding in theoretical discussions, relating both to cyberspace and to a number of contemporary pedestrian practices. Key-Words: cyberspace; misery belt; science fiction; urbanism.