Contradictions and institutional convergences: Genre as method

My purpose here is to put forward a conception of genre as a way to conduct Futures Studies. To demonstrate the method, I present some examples of contemporary political and corporate discourses and contextualise them in broader institutional and historical settings. I elaborate the method further by giving examples of ‘genre chaining’ and ‘genre hybridity’ (Fairclough 1992 2000) to show how past, present, and future change can be viewed through the lens of genre.

Disabilities, justice and the new eugenics of gene therapy

Eugenics is a difficult matter for discussion because, even as a term, it has fallen into disrepute. Yet a eugenic mindset pervades the discourses of reproduction and genetics in the West. I utilise the futures scenario of gene therapy to explore conceptually how the intersecting trajectories of science and religion make a new eugenics possible. The problematic of an inherent elitism within these sources, combined with a quest for power, leads me to renew the call for an adequate moral space within which to explore the requirements of social justice.

Anxious futures: Magpie2 and 'new generationalism' in Australian youth-specific theatre

The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre, for, by, and about young people outside the school context. Instead, 'new generation' approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural 'generationalism', particularly in larger arts organization as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a 'new generation' approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.

The Relative Frequency of the Synthetic End Composite Futures in the Newspaper Quest-France and some Observations on Distribution

Figures on the relative frequency of synthetic and composite future forms in Ouest-France are presented and compared with those of earlier studies on the passé simple and passé composé. The synthetic future is found to be dominant. Possible formal explanations for distribution are found to be inconclusive. Distribution across different text-types is found to be more promising, since contrastive functions of the two forms can be identified in texts where they co-occur. The composite future typically reports new proposals or plans as current news, while the synthetic future outlines details that will be realised at the time of implementation. Both functions are important in dailies, but current news is more often expressed in the present tense at the expense of the composite future.

Futures dreaming outside and on the margins of the western world

In this article, we challenge the hegemony of western science fiction, arguing that western science fiction is particular even as it claims universality. Its view remains based on ideas of the future as forward time. In contrast, in non-western science fiction the future is seen outside linear terms: as cyclical or spiral, or in terms of ancestors. In addition, western science fiction has focused on the good society as created by technological progress, while non-western science fiction and futures thinking has focused on the fantastic, on the spiritual, on the realization of eupsychia-the perfect self. However, most theorists assert that the non-west has no science fiction, ignoring Asian and Chinese science fiction history, and western science fiction continues to 'other' the non-west as well as those on the margins of the west (African-American woman, for example). Nonetheless, while most western science fiction remains trapped in binary opposites-alien/non-alien; masculine/feminine; insider/outsider-writers from the west's margins are creating texts that contradict tradition and modernity, seeking new ways to transcend difference. Given that the imagination of the future creates the reality of tomorrow, creating new science fictions is not just an issue of textual critique but of opening up possibilities for all our futures.