From catastrophic cyberpunk to futuristic space opera, science fiction texts remain perennial favourites with readers. Science fiction extends scientific principles in a fictional sense to form the plot while catering to society’s ever changing scientific interests. Early sci-fi employed slow-paced storylines and wishfully extrapolated every technological breakthrough. However, more recent texts have a stronger foundation in scientific theory, and serve as a critical mirror to the advances of humanity. Despite the constant revolution of the sci-fi genre, good science fiction is and always will be characterised by scientific principles, creative fiction and analytical social commentary.
Most quality sci-fi texts incorporate a degree of imaginative yet realistic scientific principles. These principles - figments of the authors' imaginations - are the novels' underlying-scientific theories that are realistic in terms of extrapolation. Science is important to sci-fi because it provides explanations behind the concepts that drive the story. Robert Forward’s “Saturn Rukh” is strengthened by biological concepts which explain the anatomy of a gigantic bird-like creature – the Rukh. While sci-fi writing must be innovative, future predictions must also be believable so that readers will relate to characters. A fine illustration of plausibility is Michael Crichton’s novel ‘Timeline’ which thoroughly and realistically explains the physics behind time travel. However, in Robert Zemeckis’s film ‘Back to the Future’ realism is forfeited when Dr Brown announces, ‘We require one point twenty jiggowatts of power.’ While both stories involve time travel, one is more credible than the other. The scientific basis of sci-fi texts is important for ...
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...larming level and environmental groups cause chaos within the community. Here, the author projects a dystopian outlook regarding climate change which incites readers to consider the fate of the natural environment. Good sci-fi provokes us to consider social implications of futuristic allegories. Therefore, social commentary is an essential component of good science fiction.
Inventive yet believable scientific phenomena, imaginative fictional extensions of reality and questioning of technological developments breathe new life into science fiction. Despite the relentless change of society’s contemporary scientific interests, good science fiction is forever characterised by scientific principles, creative fiction and analytical social commentary. A popular, modern genre, science fiction has intrigued many through its insightful imagination and analytical allegories.
In literature there are over 20 different genres of reading, and each of them contains many similarities and differences. Science fiction, arguably one of the most popular genre’s, is also one of the hardest to understand, however there are certain elements/characteristics that can easily determine if a book is or is not science fiction. The characteristics that make up science fiction are, advancements in technology and the application of advanced technology. In books such as The Veldt and Fahrenheit 451 both technological advancements and there application play a crucial role on determining that these books fall into the science fiction genre.
Darko Suvin defines science fiction as "a literary genre whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device" (Suvin 7-8) is a fictional "novum . . . a totalizing phenomenon or relationship" (Suvin 64), "locus and/or dramatis personae . . . radically or at least significantly" alternative to the author's empirical environment "simultaneously perceived as not impossible within the cognitive (cosmological and anthropological) norms of the author's epoch" (Suvin viii). Unlike fantasy, science fiction is set in a realistic world, but one strange, alien. Only there are limits to how alien another world, another culture, can be, and it is the interface between those two realms that can give science fiction its power, by making us look back at ourselves from its skewed perspective.
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
The Hounds of Tindalos is a short science fiction story containing many and varied elements that have been long associated with the genre of science fiction. This essay will identify these elements, examining their placement within this short text and also the interchange of these elements with the characteristics of other genres, more specifically, horror. Belknap Long, the author, was clearly intent of incorporating the elements of horror within the genre of science fiction and this amalgamation of these two genres was a popular combination employed by future horror and SF writers. Perhaps the inclusion of horror within the SF genre is a comment in itself about perceptions of SF held by writers, the elements of horror being a cautionary warning to those in the science world.
Perhaps most of what is considered “science fiction” today do not deserve such a prestigious title. Rather, they should fall under the genre of space adventure, or one of the many fantasy genres. This is what Philip K. Dick argues in an essay titled My Definition of Science Fiction. He regards stories that simply take place in the future—typically in space—cannot automatically be considered science fiction even if they involve advanced technologies beyond our current understanding of the universe. Dick wrote his definition in 1981, and his claims do align with many of his written stories; We Can Remember It for You Wholesale is one such story. First published in 1966, it is universally considered science fiction and effectively serves as an example for what science fiction should be.
The Best Science Fiction of the Twentieth Century. Ed. Orson Scott Card. New York: The Berkley Publishing Group, 2001. 212-217.
Westerns and science fiction are two genres employed by popular culture that are, in that order, chronologically consecutive in history in terms of their popularity. When analyzed, they show themselves to be also extremely similar to one another, both thematically and structurally. Yet the shift in desirability from the dominant trend of western works to those of science fiction did occur, and I would argue is still occurring today. The reason for that shift in spite of the many similarities of the two genres, along with the factor of the added differences over time, may therefore be a convenient tool in revealing where exactly the ideologies of these respective generations diverge.
Kornbluth, C. M. "The Failure of the Science Fiction Novel As Social Criticism." The Science Fiction Novel: Imagination and Social Criticism. (1969): 64-101.
Science fiction is a genre that has evolved significantly over time, but has still kept its identity and essence of advanced technology and applied sciences alive. Over the years, a genre being read only by a minority is now the choice of billions. Visualizing and correlating various science fiction tales, such as “The Man Who Evolved” and “An Express of the Future”, brings out innumerable resemblances and variances between publications of this genre between the years. Published in different centuries, these tales, when compared, enable us to observe the change that has gone through in this genre, along with the constants that have remained with the genus since its start. Even though these stories have orientations of technology and themes that are poles apart in concept, the central theme that conceptualizes these narratives is that the future in store for mankind is common for both these stories, along with some similar literary elements.
D’Ammassa, Don. “Anthony Burgess: Overview.” St. James Guide to Science Fiction Writers, 4th ed. Ed. Jay P. Pederson. St. James Press, 1996
“Science fiction is the branch of literature that deals with the effects of change on people in the real world as it can be projected into the past, the future, or to distant places. It often concerns itself with scientific or technological change, and it usually involves matters whose importance is greater than the individual or the community; often civilization or the race itself is in danger"(James E. Gunn). James E. Gunn’s definition from Anders’ list is strongest because it incorporates time travel, slavery, and change, as seen in the novel, Kindred, by Octavia E. Butler. It accentuates the significance of the issues that happened in the past in view of race, it ties into the things that most creators consider to be excessively unthinkable,
For many people nowadays science fiction or Sci-Fi as the media miscall it means movies. It means Star Wars and E.T. For others it signifies television shows or radio series, constantly broadcast in people’s homes perpetuating this common misconception. What many do not realize however is that science fiction as a genre of literature is an ancient art, one which is in mass q...
Rose, Lois and Stephen. "The Shattered Ring: Science Fiction and the Quest for meaning." Contemporary Literary Criticism. Ed. Carolyn Riley. Detroit, MI: Gale Research Company, 1969. Vol. 3, 226-227.
Science Fiction Studies , Vol. 33, No. 1, Technoculture and Science Fiction (Mar., 2006), pp. 89-108
It makes the learning process easier, less time consuming, and often more interesting. Although people in academia fear that integrating science fiction in course curriculum might degrade students’ learning habit, it is also true that science fiction fascinates students and encourages them to research more about the topic. This eventually broadens the students’ horizon of knowledge, which is the sole purpose of learning. While it is true that usage of science fiction may not always be the best choice for teachers as it requires time to find relevant materials, but, if made the right selection, students would very likely understand complex scientific theories in short time with little explanation. Therefore, science fiction narratives should be included in the course curriculum as it is beneficial to both teachers and students in the learning-teaching