From the Earth to the Moon direct in ninety-seven hours and twenty minutes, and a trip round it.

Mode of access: Internet.

Doctor Jones' picnic /

Wright American fiction,

Marriage /

Currey, L.W. Science fiction,

Panik : Roman /

Publisher's advertisements on final 8 p.

The mystery,

Reprint of the ed. published by Grosset & Dunlap, New York.

The Tuck

Thesis (Master's)--University of Washington, 2016-06

Beastiarium

Thesis (Master's)--University of Washington, 2016-06

Thinking Local About Self-Driving Cars: a Local Framework for Autonomous Vehicle Development in the United States

Thesis (Master's)--University of Washington, 2016-06

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.

Wonder Down Under: Australian sci-fi 1948-52

Moral guardians, industry protectionists and concerned citizens (each with their own political agendas) had, or many years, lobbied various Ministers of Customs to regulate the offensive material which flooded the local market-the war effectively opened a protectionist climate in which the local publishing industry nourished (Johnson-Woods Pulp Friction). Though westerns dominated at first, science fiction (i.e., futuristic stories, alternative histories, space exploration, time-travel past and future ) soon followed. Within the decaying and yellowed pages, contemporary readers have a glimpse into the culture of the 1950s and, amusing though some of the predictions are, the cultural and social critic gains some understanding of the anxieties and desires of post-World War II Australia.

Navigating the past, envisioning the future : Octavia Butler's heroines

In this thesis, I examined three novels by African American science fiction novelist Octavia Butler: Kindred (1979), Parable of the Sower (1994), Parable of the Talents (1998) and Dawn (1987). I analyzed Butler's belief that society has become too firmly attached to old customs and belief systems, initiating destructive, self-defeating cycles in our history. She looks to African American females to take up leadership roles and exact radical change to ensure society's continued survival as well as progress, acceptance and autonomy within our communities. I also established Butler's significant contributions to the African American literary canon as she examines the history of African Americans and speculates on their necessary roles of shaping the future of society.

Spaces of Order: An African Poetics of Space

“Spaces of Order” argues that the African novel should be studied as a revolutionary form characterized by aesthetic innovations that are not comprehensible in terms of the novel’s European archive of forms. It does this by mapping an African spatial order that undermines the spatial problematic at the formal and ideological core of the novel—the split between a private, subjective interior, and an abstract, impersonal outside. The project opens with an examination of spatial fragmentation as figured in the “endless forest” of Amos Tutuola’s The Palmwine Drinkard (1952). The second chapter studies Chinua Achebe’s Things Fall Apart (1958) as a fictional world built around a peculiar category of space, the “evil forest,” which constitutes an African principle of order and modality of power. Chapter three returns to Tutuola via Ben Okri’s The Famished Road (1991) and shows how the dispersal of fragmentary spaces of exclusion and terror within the colonial African city helps us conceive of political imaginaries outside the nation and other forms of liberal political communities. The fourth chapter shows Nnedi Okorafor—in her 2014 science-fiction novel Lagoon—rewriting Things Fall Apart as an alien-encounter narrative in which Africa is center-stage of a planetary, multi-species drama. Spaces of Order is a study of the African novel as a new logic of world making altogether.

"En las cavernas" (1912), de Emilia Pardo Bazán, con un breve panorama de la paleoficción literaria española

Los descubrimientos paleontológicos realizados en el siglo XIX propiciaron el auge de un tipo de narraciones en que se trataba de reconstruir el modo de vida de los antepasados de la edad paleolítica. Este género también se cultivó en España. Emilia Pardo Bazán publicó en 1912 En las cavernas, que es una recreación hipotética, mediante la ficción, del origen del hombre y de su civilización desde un punto de vista ambiguo en lo referido a los supuestos beneficios de esa civilización, mediante la narración de las peripecias amorosas de una pareja paleolítica contrariada por su medio social. A esta importante obra de Pardo Bazán siguieron cuentos de escritores como Antonio de Hoyos y Vinent o José María Pemán, cuyas historias se pueden considerar también parábolas fantásticas sobre nuestros orígenes culturales. En cambio, novelas como El Rey de los Trogloditas (1925), de Jesús Carballo, perseguían conferir cierto realismo a sus fábulas de la cultura, sin olvidar su dimensión aventurera ni su significado alegórico. Posteriormente, la Guerra Civil de 1936 influyó en un nuevo planteamiento de la paleoficción española en la posguerra, a la que seguirá un período casi vacío para el género hasta la llegada de la novela prehistórica comercial.

La fictohistoria o historiografía imaginaria en las literaturas románicas desde el siglo XIX: ensayo de tipología y panorama de un género formal insospechado (II)

El doble aspecto documental y artístico de la escritura de la historia ha quedado prácticamente oculto por la insistencia en el carácter científico de la disciplina y su expulsión subsiguiente del canon literario desde el siglo XIX. El cultivo de la historiografía ficticia o imaginaria (fictohistoria) surgió entonces como un modo de salvar la literariedad de la historia, en su calidad de género formal, mediante el uso del discurso historiográfico como procedimiento retórico para conseguir un efecto de historicidad en textos que son, no obstante, claramente ficticios, y que tienen a menudo un carácter satírico o admonitorio. Esto no está reñido con el hecho de que la mayoría manifieste en primer lugar una reflexión sobre el devenir de la humanidad, es decir, sobre la Historia. Los ejemplos de este género son relativamente abundantes y se pueden clasificar en varias categorías temáticas. Esta segunda parte del estudio se centra en la historia prospectiva.