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social class struggles of 19th century europe
short note about Herbert George wells
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A revolutionary of his time, H.G. Wells influenced centuries to come with his science-fiction literature. Wells was born September 21st, 1866, in Bromley, England, during the third stage of The Victorian Era. It was a period of self-doubt and a lack of nationalism for the British, but also a time of discovery and advancement in the scientific world (Masterworks).The early twentieth century was a critical time in London’s history for political and scientific development. Many spirited debates were ignited during this time that altered the natural order of things. An innovator of his time, H.G. Wells was influenced by his socialist political views, the London of his prime, and the controversy between creationism and evolution, as evident in his science fiction novel The War of the Worlds.
In the 19th century, Britain was a great European Power and London was transformed into the wealthy center of the Empire (“Martians and Marxism..”). Britain and its leaders saw their overall power as evidence of their “superiority” to the colonies they ruled. Wells criticizes their lavish spending and overindulgence in material goods (“Martians and Marxism..”). While the elite were celebrating and living in luxury, the poor in London were living in the slums and dying of starvation. Wells’ impoverished background served as the basis for his adoption of socialist ideals later in life. Wells believed that class barriers should be removed, creating an equal opportunity for people of any social standing to pursue their interests and a distinguished career (H.G. Wells). Once a member of the radical Fabian Society, where he sought to change the social structure, Wells conceptualized a world where one should work for status and dispose of inherited prest...
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... 2003. Web. 10 Mar. 2014.
Guthke, Karl S., and Helen Atkins. The Last Frontier Imagining Other Worlds, from the Copernican Revolution to Modern Science Fiction. Ithaca: Cornell UP, 1990. Print.
“H.G. Wells.” 2014. The Biography Channel website. Mar 14 2014.
“Martians and Marxism: A Socialist Critique of H G Wells' The War of the Worlds.” N.p., n.d. Web. 10 Mar. 2014.
"Masterworks of British Literature." Masterworks of British Literature. N.p., n.d. Web. 16 Mar. 2014.
"SFE: The Science Fiction Encyclopedia." Themes : Social Darwinism : SFE : Science Fiction Encyclopedia. N.p., n.d. Web. 11 Mar. 2014.
Wells, H. G. The War of the Worlds. New York: ; Distributed by Random House, 1960. Print.
Wells, H. G., and Glenn Yeffeth. The War of the Worlds: Fresh Perspectives on the H.G. Wells Classic. Dallas, TX: BenBella, 2005. Print.
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...
Suvin, Darko. Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre . New Haven : Yale University Press, 1979.
Divine, Robert A. "America and The World, 1921-1945." In The American story: combined volume. 5th ed. Boston: Pearson, 2013. 887-889.
Mhatre, Lee. "Unaccustomed Earth." Confrontation 102/103 (2008): 202-205. Academic Search Premier. Web. 17 Apr. 2014.
Robert would not see his family’s hometown of Worcester again until he was seventeen in 1899. Much of his life was spent as an ill child (Spangenburg, 10), and he was an average student with an aversion to mathematics. Illness kept him out of school entirely in that autumn of 1899, and by this time Robert had only completed his freshman year of high school. Although he was unable to spend a lot of time within institutional walls, the young Goddard was not without a strong yearning to learn--at least to learn science. Much of the time he spent sick at home sick was consumed reading the Scientific American, or books from the library both science and science fiction novels—-especially H.G. Wells’ War of the Worlds, a novel he would re-examine often in later years (Burrows, 32).
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.
Flory, Harriette, and Samuel Jenike. A World History: The Modern World. Volume 2. White Plains, NY: Longman, 1992. 42.
... An American History of the World. 4th ed. of the book. W.W. Norton, 2012, 671. 2.)
In conclusion, both Mary Shelley’s “Frankenstein” and Ridley Scott’s “Blade Runner” are cautionary tales despite being written in different time periods. The central themes of scientific progression, science vs. religion and marginalization is explored within both texts, tied by various techniques to represent each text as a product of its time shaped by contextual values. Moderation within humanity is necessary to limit mankind’s transgression of knowledge and technological advances.
Science fiction is a genre, which depicts what life would be like in a world with major scientific and technological developments. When it comes to science fiction, the exploration of future technology is a major element. Many stories and films focus on space, robots, aliens, a mad scientist, and/or artificial intelligence. “The universal themes found in science fiction—themes of freedom and responsibility, power, love, individuality and community, good versus evil, technology run amok, and more—present ample opportunity to explore complex issues and compelling controversies at length and in depth in ways that not only engage the intellect, but involve the emotions and expand the imagination.” The story “Flowers for Algernon,” by Daniel Keyes, is an example of science fiction that examines the impact of artificial intelligence. “The End of the Whole Mess,” by Steven King, is an example of science fiction that focuses on the fall of a mad scientist. The film “Gravity” is an example of a science fiction movie that explores the use of major technological advancement within space. In this paper I will assess the major themes portrayed in “Flowers for Algernon,“ “The End of the Whole Mess,” and the film, “Gravity.” Additionally, I will examine how these models of science fiction teach a major lesson about the imperfections of future scientific and technological advancements on society.
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.
In the early 1900’s technology began to boom. Many tales of science fantasy were created. The imagination of many was stirred violently as America and the U.S.S.R. were neck and neck in the “Space Race�. Magical tales of aliens and Martians were shaped by the twisted and horrifically minds of authors such as Isaac Asimov. Many remember the comical almost, ridiculous movies of the early nineteen fifties. At that time though, many believed them to be real and were frightened beyond normal convention. Many authors in this era began to evolve, much how the earlier ancient writers evolved themselves.
Donald Wilson, head of BBC Serial Dramas, had shown interest in science fiction since march 1962, when he charged two members of the BBC Survey Group, Donald Bull and Alice Frick, ...
Science Fiction is a genre of speculative fiction that has evolved. This genre is used as a form of escape from the current living conditions, as it often reflects the current mindset of a society. Now, in contemporary culture the amount of utopian literature has decreased whereas dystopias proliferate. Many Science Fiction works depict different worlds set in some unforeseen future, where some form of humanity is lost. This paper will argue that Science Fiction is the best way for us to see our future and better reach utopia. First, I will define Science Fiction, and its role in our society. Then, I will compare the earlier works of the genre to the current rise in dystopian entertainment, and how it is based on society’s current issues.
Science Fiction Studies , Vol. 33, No. 1, Technoculture and Science Fiction (Mar., 2006), pp. 89-108