Feminist science fiction

Hvilken betydning har sårbarhet i Judith Butlers arbeider? Og hvordan kan vi forstå begrepets utvikling gjennom forfatterskapet? Det er en vanlig oppfatning blant Butlers lesere at det skjedde en dreining i forfatterskapet på midten av 2000-tallet, som henger sammen med utviklingen av sårbarhetsbegrepet. Fra å være sentral i den såkalte språklige vendingen på 1990-tallet, tar Butlers tenkning en eksplisitt etisk-politisk vending, som ikke bare er tematisk, men også til dels teoretisk: fra en dekonstruksjonistisk-inspirert teori om subjektdannelse og problematisering av kjønns- og seksualitetsnormer til en teoretisk undersøkelse av sårbarhet som vilkår for levelig liv og etisk-politisk handling. Som vi skal se, er denne dreiningen langt fra et brudd. Begrepet om sårbarhet ligger implisitt allerede i Butlers tidlige performativitetstenkning, i form av en implisitt etisk refleksjon over det skjøre livet. Så når vi spør om sårbarhetsbegrepets betydning innenfor Butlers teoretiske rammeverk, spør vi samtidig om hvilken betydning sårbarhetsbegrepet har for utviklingen av Butlers tenkning i sin helhet.

Sylvia Plath and Margaret Atwood each have novels that are currently being brought to the big and little screens. A film-version of Plath’s novel, The Bell Jar, is expected in 2018, while Hulu will be releasing their The Handmaid’s Tale at the end of this month. This thesis explores the relevance of the two novels in relation to the need for sustained feminist activism. The Bell Jar, first published in England under Plath’s pseudonym, Victoria Lucas, remains as Plath’s only novel among pages and pages of her poetry. Since Plath ended her own life before the novel was published in the U.S., many readers did not experience the novel until after her death when her family published the novel with Plath’s name on the cover. Plath’s novel provides readers an insight into the life of Esther Greenwood, a proto-feminist lonely in her quests to find what feminist theorist Helene Cixous calls an “elsewhere” away from patriarchal entrapment; that is, a space to explore her desire for advanced e...

Feminist utopianism is a speculative and transformative genre that aims to challenge the established patriarchal utopian tradition and the dominant discourses surrounding gender issues. To this end, feminist utopian literature has served as a crucial instrument for both male and female authors who advocate for the importance of achieving gender equality in society. Furthermore, at its heart, utopian writing relies on the act of dreaming as the fundamental component for envisioning and building the future, thereby increasing awareness and participating in a cognitive process called defamiliarization. In addition, the inclusion of women's alternative perspectives has had a significant impact on the overall understanding of gender roles. This article, therefore, aims to provide an overview of the characteristics of a feminist utopian novel and a critique of the dominant masculine perspective in society in order to bring about the essential social transformation needed to create the desired and yet unrealized needs.

Dans la poésie et dans la traduction de la poésie, la syntaxe et la forme sont porteuses d’une signification. Dans cet article, l’autrice compare le genre grammatical et le nombre en français et en slovène, et présente différentes stratégies et choix de traduction. La réflexion sur la préservation du sym- bolisme du genre grammatical est déjà présente dans les premières réflexi- ons sur la traduction dans les langues slaves, et de nombreux débats sur le sujet témoignent que la question du genre dans la langue reste d’actualité. En analysant les poèmes d’Andrée Chedid, la traductrice constate que le narrateur n’a pas de genre prédéterminé et que le nombre de poèmes où le genre est exprimé est faible. Lors de la traduction, il est donc important de trouver des stratégies qui permettent la neutralité du genre et l’ouverture à l’interprétation. L’autrice présente diverses stratégies de traduction qui permettent d’éviter le choix entre les genres féminin et masculin. Parmi ces stratégies, on peut citer l’emploi de la métonymie, le changement de temps, de nombre et de catégorie grammaticale. Le choix de ces stratégies dépend de l’approche de la traductrice et de l’interprétation qu’elle fait du poème. En conclusion, l’autrice souligne que toute traduction est un acte subversif : le choix des stratégies de traduction pour construire du sens dépend ainsi de l’individu qui traduit, mais aussi de celui ou celle qui lira ces poèmes dans leurs traductions.

This research explores the ethical and moral dilemmas in Mary Doria Russell's The Sparrow. These dilemmas go up when human beings experience non-human entities, particularly by using the lens of posthumanism thought. This study investigates how Russell's depiction of cross spices exchange, basically between humans and the alien species on the planet Rakhat. These problems become traditional human-centric notions of agency, morality, and identity. By using the lens of Post humanist, this research explores the novel's portrayal of alien cultures, environments, and technologies. It also highlights how they challenge long-held human assumptions of exceptionalism. Russell's text put them in front of everyone to show the issues like non-human agency, ecological interconnectedness, and biopolitical power dynamics that disrupt simplistic moral things based only on human experiences. The heart of the analysis is the novel's depiction of the dissolution of species, which raises key questions about the nature of identity and the ethical responsibilities humans have towards non-human others. By deep checking the complex relationships between human characters and the alien species, The Sparrow challenges the reader to reconsider notions of autonomy, relational ethics, and empathy in a deeply interconnected universe. In conclusion, this research offers the analyses of The Sparrow under the lens of posthumanism theory, science fiction literature, and environmental humanities by rendering a thoughtful examination of the trajectory between human and non-human entities and the moral challenges they present.

Socialism, World War II, consequences of war, discrimination. Contemporary German literature is significantly tied to the Second World War and its consequences; a war for which many Germans initially showed great enthusiasm. They considered it "pure Aryan nationalism," but once the war ended, they called it a great historical mistake. The subject of the Second World War has been one of the most important pillars of contemporary literature for many years: some prominent writers were eyewitnesses to the war, its devastations, and the massacre of many people around the world. Among these writers is Uwe Timm, whose Am Beispiel meines Bruders (2003) challenged the life of his family, who were directly affected by the Second World War and its consequences. Using a frank and at the same time satirical language, the book depicts the destructive effect of the war on family relationships as a devastating phenomenon. Karl-Heinz, Uwe Timm's brother, is the protagonist of the novel, while the story of his parents and his sister is also intertwined with his fate. Even though Uwe was three years old when his brother died, leaving only a vague image in his mind, Uwe tried to create his work by using the photos and letters that his brother sent his family sometimes from the battlefield and sometimes in a secluded corner. Based on the image of a German family's vision of the Second World War, the present article aims to answer the question of what effect the war had on the Tim's family relationships and how this phenomenon led to discrimination between children by parents.

This study offers a transversal reading of Donna Haraway’s work by articulating two key figures—the cyborg and the mud-being—in relation to archetypal images of the feminine and material practices involving clay. Developed within the context of my thesis as a male ceramist, the research
navigates the intersections between art, ceramics, algorithms, and architecture, using clay as both a symbolic and embodied site of inquiry.
Drawing on A Cyborg Manifesto (1985) and When Species Meet (2008), I explore how Haraway shifts from a critique of dualisms and technological hybridity to an ethics of relationality grounded in the earthly. My practice mirrors this trajectory, combining insect-inspired algorithms and clay as active agents in processes of creation.
The article also revisits symbolic feminist discourses from the 1970s, particularly the figure of the Great Mother, examining how Haraway reinterprets such archetypes through notions of posthumanist ethics and response-ability. In doing so, it seeks to identify a fertile middle ground between mythology and technoscience, where clay and code coexist as part of an ethics of mixture.

The history of feminism and gender studies is fraught with constant struggles to find applicable definitions for sex, gender, and sexuality, and understand their relationships and differences. This paper attempts to go through various theories in this regard, tracing their variations and evolutions through time, with a particular focus on gender elimination and discrimination. Some important issues explored in this research include experimentation with language, scientific investigations, and sociological research in the hope of defining and combating gender. Moreover, some manifestation of gender-neutrality patterns in literary works throughout ages and among nations have been represented in various degrees. The survey at hand, drawing on Foucault and Butler's theories on power and gender performativity, asserts the relative independence of sex, sexuality, and gender from each other as well as the nonessential role of them in the game of discrimination, relegating this role instead to power relations and personal perceptions. Literature, with its vast imaginative capacities and persuasive force, has been introduced as the site where all these intellectual endeavors of various fields about gender have converged, creating metaphors for a possible discrimination-free world, and effecting inevitable changes in the perceptions of their readers.

Par sa nature même, la science-fiction est un terrain parfait pour aborder toutes les questions autour du sexe, de la sexualité et des relations sexuelles. A travers des oeuvres littéraires, cinématographiques, graphiques et plastiques, contemporaines ou nées au cours du XXe siècle, la science-fiction reflète notre société en cours de transformation, expérimente avec nos désirs, questionne nos préjugés.
Nous vivons aujourd'hui une époque où les idées d'une masculinité forte et conquérante trouvent de nombreux adeptes, jusqu'à influencer les décisions politiques, et où renaissent les batailles féministes d'antan. C'est aussi une période où les mouvements LGBTQ+ se sentent de plus en plus en danger, tout en voyant augmenter le nombre de personnes qui assument ouvertement leur véritable identité de genre et de sexualité.
Ce volume vous propose un voyage dans des mondes imaginaires, aux rôles binaires ou aux sexualités plurielles et multiformes, à la découverte de facettes variées des sexualités et des relations sexuelles. Les études universitaires y sont suivies par un entretien collectif et des extraits littéraires de Joëlle Wintrebert, Christophe Siébert, Audrey Pleynet et Saul Pandelakis.

Natalia Chumarova et Samuel Minne sont membres de l'association Stella Incognita, dont la mission est l'étude universitaire de la science-fiction sous toutes ses formes.

Creative-Critical article in three parts, consisting of an unconnected proof version of chapter 9, 'After "the Curtain Rose": Virginia Woolf and the End of Patriarchy', from Brian Aldiss's Zillion Year Spree [which is a book that never existed; Aldiss wrote Billion Year Spree, co-wrote Trillion Year Spree, and joked about a Zillion Year Spree]. There is an outer narrative in which 'I' explain how I cam to purchase this proof in 2020 from a small second-hand bookshop just off Red Lion Square in central London, as part of an assortment of chapters, essays, letters, diary entries, short stories and poems, accompanied by a written editorial commentary. Finally, there is an excerpt from this editorial commentary which analyses the chapter and suggests that these papers collectively comprise the first draft of an anthology. The selected texts appear to have been collected from a variety of different timelines by an editor living in a post-scarcity society in 6427.

Article type: Research Article This paper aims to analyze the personality of the main character of the novel Pedar-e aan Digari (Father of the Other One) by Parinoush Saniee, using the Neo-Freudian psychoanalytic theory of Karen Horney, especially her theory of Neurotic needs and personality types. Horney emphasized on the significance of the role of culture, environment and family on the development of personality. Analytic reading of those literary works that found their narrative on the basis of representing people's healthy/unhealthy personality development, through narrating the childhood and youth events, can and may be of interest to interdisciplinary scholars. Horney has introduced three trends that arise from different needs which are; a) movement towards others, b) movement against others, and c) movement away from others and lead to three personalities, or character styles (i.e., compliant, aggressive, and detached). Integrating qualitative deductive content analysis, data and multiple examples in the text, which reveal how the main character of the novel responds to his neurotic needs in his childhood, have been gathered and, then, analyzed. Furthermore, how he chooses the trend of moving away from others and becomes a detached person in his adulthood has also been addressed.

By briefly addressing moments/themes in 1970s feminist utopias that anticipate the full-blooded critical dystopias of the 1990s, the paper discusses the critical imaginaries of Marge Piercy’s 1991 feminist cyberpunk novel He, She and It (1991), and Octavia E. Butler’s 1990s Parable series: Parable of the Sower and Parable of the Talents. Butler is a champion of the critical “afrofuturist” dystopia; she brilliantly intertwines the critical strands of class, gender and race by reflecting on ways of resistance and alternative
social models to corporate neofeudalism and neoslavery, and depicts them as practiced by an African-American girl. Piercy offers a similarly multifaceted reflection on class, gender and anthropo-andro-centrism in her narrative, where a woman and a cyborg fight the all-powerful corporation, and join an anticorporate alliance that spans diverse social strata.

The effeets of lnstructlon and supervlslon 1n' chefferst Adaptatlon of Flandersr rnteractlon Analysis .ld, Ir .r System (referred to as CAFIAS throughout the remai-nder of this study) upon the teaching behavior of physlcal education student teachers were investigated. The subjects were all students enrolleci ln th'e School of Health, Physlcal Edutation and Recreation at Ithaca Co11ege, Ithaea, New York. The subjects were observed durlng their student teaching asslgn- ments in the tg75 spring semester. Vldeo tapes of an entlre class were made of eaeh subiect whlch were coded by Dr. Victor H. Manclni and the lnvestlgator. Each subject in the treatment group received 10 hours of lnstruction, supervlslon, and feedbaek 1n CAFIAS, whlle each subject 1n the control group recelved no lnstructlon 1n CAFIAS.

Pri analizi moških in ženskih literarnih likov sem uporabila 10 različnih pravljic; 5 pravljic je ljudskega izvora, 5 pravljic pa je delo sodobnih slovenskih avtorjev -pravljičarjev. V pravljicah, ki sem jih izbrala, nastopajo v večini človeški liki, nekaj malega pa je tudi živalskih. Z analizo pravljic sem ugotovila, da so v ljudskih pravljicah predstavljeni tipično patriarhalni vzorci družbe, ki se odražajo skozi neenotno spolno vlogo med moškimi in ženskami. Moški so tipizirani v pogumne, odločne, samostojne in preudarne junake, ki s svojo iznajdljivostjo in modrostjo premagujejo ovire na poti do cilja. Največkrat so v vlogi mogočnih kraljev, veselih pastirčkov, siromašnih sinov in dečkov z dobrim srcem. V stranskih vlogah pa v teh pravljicah nastopata dva različna tipa ženskih likov. Na eni strani so pasivne, tihe, neodločne, ponižne, a lepe kraljične, najmlajše hčere, ki s pomočjo glavnega moškega likajunaka dosežejo svoj srečni konec. Na drugi strani pa so hudobne mačehe, zlobne čarovnice, zvite zaročenke, pohlepne matere, ki glavnim junakom le otežujejo njihova potovanja do cilja ter so na koncu vedno kaznovane za svoja slaba dejanja. V ljudskih pravljicah je tudi nekaj glavnih ženskih likov, vendar so ti prav tako zrcalo takratne patriarhalne družbe. Gre za delavne gospodinje ter uboge, ponižne in skromne pastorke, ki potrpežljivo čakajo in brez lastnih pričakovanj in s pomočjo drugih dobrih likov dosežejo svoj srečen konec. Ugotovila sem tudi, da so v sodobnih pravljicah literarni liki spolno nezaznamovani ter da se prej tipizirane spolne vloge moških in ženskih likov ljudskih pravljic v sodobnih začnejo mešati in spreminjati. Velikokrat ženske prevzemajo moške vloge, moški pa ženske. Tudi ženske so v sodobnih pravljicah pogumne in iznajdljive junakinje, moški pa velikokrat prestrašeni in ranljivi. Njihovi odnosi niso več patriarhalni, temveč demokratični. Vse to pomeni, da si sodobne pravljice zelo prizadevajo izpodriniti stare stereotipne vzorce o moških in ženskih spolnih vlogah, ki so še dandanes prisotni med nami, a jih z demokratično ureditvijo družbe želimo odpraviti. Prav tako lahko povzamemo, da so pravljice odraz družbe, eden izmed glavnih medijev, ki otrokom posredujejo družbene norme, miselnost, vrednote in stališča. Ključne besede: družbene spolne vloge, spolna stereotipnost v pravljicah, moški in ženski literarni liki slovenskih pravljic.

This paper examines Climate Fiction (Cli-Fi) as a distinct literary movement responding to environmental crisis in the 21st century. Through analysis of key texts including Robinson's "The Ministry for the Future" and Atwood's MaddAddam trilogy, the study reveals how authors develop new narrative strategies to engage readers with climate issues. The research identifies three emerging patterns: the evolution of apocalyptic narratives toward solution-focused storytelling, the integration of scientific data with emotional storytelling, and the development of new temporal frameworks to represent climate change. Drawing on theoretical work from ecocriticism and the environmental humanities, the paper demonstrates how Cli-Fi moves beyond mere awareness-raising to shape public discourse and imagine possible futures.

The subject of the current article is Foucault's analysis of the ontology of the novel. This research provides an interdisciplinary reading indicating that the ontology of the novel is based on the deconstruction of home’s concept: novel characters, unlike the heroic characters of Greek mythology and the Bible, constantly depart from home to discover the unknown realm of existence or a new dimension of humanity. There is a direct relationship between this transcendental homelessness and the novel's ontology. The results of the current research have shown that the conceptualization of home has yielded specific outcomes: 1. The novel has replaced similarity-based ethics with difference-based ethics. 2. Home is not a fixed and unchanging concept, but rather a construct. 3. The novel's adventure is a journey from the known to the unknown realms. 4. The novel is not in pursuit of utopia but rather maps out heterotopias as realms of diversity and abundance. The clear implication of this research is that the difference between the novel and the epic is not merely a genre difference but rather an ontological difference

American pulp magazines of the 1930s often maintained reader letter departments, some of which extended to multiple pages per issue. These departments not only served to voice reader preferences but also to debate more esoteric concerns. In this study, I first examine attitudes towards American pulp audiences in the thirties through a survey of contemporaneous scholarship, trade journals, memoirs, and private correspondence bearing upon the perceptions of critics, editors, and authors. The second part offers an analysis of the letter department in the influential sf pulp Astounding from 1930 to 1939. Attention is given to how readers, sometimes in conjunction with editors, articulate positions concerning the 'proper' balance of scientific and imaginative content. Employing Patrick Parrinder's paradigmatic model from 'Science Fiction: Metaphor, Myth or Prophecy?', I read this division as an engagement between propheticpositivist and mythic-relativist modes of scientific representation. I further argue that this developmental thread demonstrates reader attraction to this mythic dimension almost from the inception of the sf pulps.

The aim of this thesis is to explore the transgressive role of cyborg as a posthuman subject in feminist cyberpunk fiction in destabilizing the socially constructed binarisms concerning humanness and gender stereotypes in Mary Shelley’s Frankenstein and Marge Piercy’s Body of Glass. With the fall of Humanism, the taken-for-granted assumptions of Enlightenment mindset have begun to be unsettled by posthumanists. The problematization of what it means to be human set the ground for elucidating the artificiality of phallogocentric categories and thereby transgressing the borders of conventional dichotomies. In “A Manifesto for Cyborgs”, Haraway challenges binary oppositions and advocates a new fusion of identity. Her cyborg theory not only facilitates a territory for the discussion of humanness, it provides a new space for feminists to articulate possibilities of liberatory identity formations and escaping the heteronormative stereotypes of the patriarchal discourse as well. Regarded as...

At the start of 2086, tech-conglomerate Delphi Corp. slips into an alternate reality where an ancient war between Reptilians & Greys threatens to destroy Earth. The firm’s supercomputer software is malfunctioning and when business tycoon & CEO Ellis Bartram realizes their blunder people around the country are already dead. The battle brewing on the other side pits Reptilians named Yhemlen – and Greys – against each other for survival. As the economic crisis worsens, a classified project arises in Washington, D.C. to fix the automated failures and put an end to the radioactive outbreak Delphi Corp. caused. Scientists delve into the Cloud source code using a Neural-Link, though what they discover is an alternate timeline on prehistoric Earth that forever alters their vision of the past. Once humans enter the fray, they are forced to solve an ancient mystery before their world is devoured.

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As the war in Ukraine reminds us, nations still send thousands of young people to die in pointless and avoidable wars, actions that are generally seen as noble sacrifices. By contrast, old people contemplating cutting their lives slightly shorter in the cause of international and inter-generational justice are regarded as needing counseling.

The article analyzes the decision of the Senate of the Faculty of Arts (Ljubljana) concerning the “gender sensitive use of language.” It concludes that the decision, while failing to fight discrimination against women, subverts the abstract universalism of revolutionary bourgeois law and promotes identity mechanisms that reproduce contemporary capitalism.

Literarni zgodovinar Reto Sorg je v intervjuju o reaktualizaciji švicarskega pisatelja Roberta Walserja odnos med tem fascinantnim avtorjem z začetka 20. stoletja in njegovim prijateljem Carlom Seeligom primerjal s slavnim prijateljstvom Franza Ka e in Maxa Broda: Seeligovo pozicijo bi lahko primerjali z vlogo, ki jo je za Franza Ka o odigral Max Brod. Seelig je Broda poznal in ga je malce posnemal. Druga stran medalje je seveda ta, da so Seeligu očitali, da je zlorabil Walserja za lastni uspeh. Sam je bil namreč drugorazreden, če ne celo tretjerazreden avtor, o katerem se sicer zagotovo ne bi govorilo.¹ Sorgova izvedenska previdnost pri uporabi pridevnikov »drugorazreden« in »tretjerazreden« se mi je zdela izredno zabavna, saj implicira neko jasno razliko v kvaliteti literarnih avtorjev, ki jih z njima označujemo. Vprašal sem se, koga iz zgodovine slovenske literature bi sploh lahko šteli med tretjerazredne avtorje. Ugotovil sem, da se mi ob takšnem razmišljanju trga srce, saj so se mi praktično vsi potencialni nosilci tega nehvaležnega naziva, sploh tisti iz 19. stoletja, v zadnjih letih zelo prikupili in se mi zdijo neskončno bolj zanimivi kot marsikateri prvokategornik slovenske literature. Pa vseeno, prvi morebitni tretjerazrednež, ki mi je prišel na pamet sredi tega boja s samim sabo, je pisatelj, ki je ustvarjal v drugi polovici 19. stoletja in ki sem ga prvič spoznal, ko sem bral, kako se nad njim zgražajo nekateri njegovi najbolj očitno neprvorazredni sodobniki, češ da je literarno neroden in robat. Gre za Josipa Podmilšaka oziroma Andrejčkovega Jožeta. V svojem kratkem življenju -jetično je ugasnil na sveti večer leta 1874, malo preden bi dočakal 30 let -se je poskusil v poeziji, pisal podučne spise, prevajal iz nemščine in češčine in sproduciral tudi nekaj povesti, med katerimi je najbolj znana »Žalost in veselje« (1870). Argumentacijo za uvrstitev Podmilšaka med tretjerazredne avtorje odpiram s takšnole lestvico slovenskih pripovednikov: (1) Josip Jurčič, (2) Anton Koder, (3) Andrejčkov Jože. Josip Jurčič je nesporna zvezda slovenske literature 19. stoletja. Znan je kot avtor prvega slovenskega romana in eden izmed pionirjev male slovenske realistične tradicije. Anton Koder velja za njegovega epigona. Preden mu je nekaj bolj nežnih besed namenil Miran Hladnik, so ga literarni zgodovinarji v najboljšem primeru ignorirali, v najslabšem pa dojemali kot netalentiranega povzpetnika. Nimam posebnega interesa, da bi se spustil v estetsko primerjavo literarnih opusov Andrejčkovega Jožeta in Antona Kodra, takšnih poskusov v slovenski literarni vedi tudi ne poznam, poudaril pa bi, da je Koder Podmilšaka na več mestih v svoji korespondenci grdo poniževal. Ko je napadal druge literate, je to precej 1 Intervju Tanje Petrič z Retom Sorgom v Delovih Književnih listih, 5. 3. 2012.

Z besedo utopija se velikokrat srečujemo v vsakdanjem življenju in kot pravi Slovar slovenskega knjižnega jezika, se v vsakdanji rabi beseda utopija uporablja kot načrt, zamisel česa sploh, ki v stvarnosti ni mogoč. Vendar pa je sicer sam pomen te besede mnogo bolj povezan s filozofskimi, religioznimi, družbenimi in v zadnjih nekaj stoletjih predvsem političnimi vprašanji, oz. kot slovar tolmači primarni del te besede zamisel idealne družbene ureditve ali družbene ureditve v prihodnosti, ki v stvarnosti ni uresničljiv. Skratka utopija je beseda ki v naši zavesti sproža različne implikacije, različne občutke, nas navdaja z upanjem in razočaranjem, čeprav njen zgodovinski trenutek šele prihaja. Od Platona dalje utopija dobi drug pomen in drugačno perspektivo, pravzaprav ravno obratno, utopičnost se obrne iz preteklosti v prihodnost. Kaj pravzaprav to pomeni, kakšna je konsekvenca tega obrata? Če hočemo razumeti ta obrat, potem je najbolje, če se še malo pomudimo pri sami besedi utopos, ki v svojem korenu vsebuje topos-kraj. Kolikor gre za kraj človeka in njegove zgodovine, potem bi lahko rekli, da ta beseda izraža sam položaj človeka v stvarstvu, ki ni določljiv. Človek je, če tako vzamemo, premaknjen. Premaknjen v tem smislu, da sploh nima fiksnega mesta v naravi in to določa njegovo zgodovinsko pozicijo, kakor jo je, recimo, definiral Kant: eno je, kaj narava naredi iz človeka, drugo kaj človek naredi iz sebe. In tu se zdaj odpre dimenzija prihodnosti oz. zgodovine nasploh. Dejansko je Platonova misel tu neka velika zareza. O utopiji kot zasnutku prihodnosti lahko govorimo strogo vzeto šele od Platona naprej. Sama Platonova zgodovinska pozicija v filozofiji je ta, da se je soočil s temeljno preobrazbo grške družbe. Opazoval neke vrste razkroj, krizo te družbe, kjer so tradicionalne aristokratske vrednote izgubljale veljavo in se je uveljavljala neka splošna izobrazba in miselnost,, ki je po njegovem prepričanju vodila v propad. Tisto, kar je hotel s svojo filozofijo doseči je, da bi na ravni filozofske misli same dosegel veličino tradicije in v zvezi s tem je oblikoval svoj filozofski opus na ta način, da je omogočil pogled v prihodnost. Platonova filozofija je pravzaprav prva, ki odpre dimenzijo prihodnosti in sicer prav na podlagi znamenitega nauka o idejah. V tem smislu so posebej

This is Chapter 4 of my 2021 book, 'Toxic Masculinity'. It examines one of the dominant types of masculinity now apparent, globally, namely 'progressive masculinity'. This masculinity, previously heavily subordinated, now exists increasingly in opposition to toxic/hegemonic masculinity. For more on toxic/hegemonic masculinity, see Chapter 3.

This article compares the 1980 film adaptation of Brave New World to the 2013-2017 TV series Orphan Black regarding the treatment of women and their bodies. Each text depicts a dystopian civilization where technology shapes society and identity. The article examines the representation of women and their position in the society. Brave New World (1980) portrays women as sexualized, powerless objects; since human reproduction is mechanical in this story, technology subjugates women. However, Orphan Black (2013-17) shows powerful female protagonists who use technology to fight patriarchal oppression. Through this parallel analysis, the paper highlights women's empowerment and resistance to patriarchal authority, arguing that women can use science and technology to overthrow repressive structures. These two texts show that technology can oppress and liberate, emphasising the importance of varied and powerful women in literature and media.

Feminizem, umetnost, literatura skozi perspektive preteklosti, sedanjosti in bodočnosti: Kam naprej od nelagodja?

»Ali je edini odgovor feminizma na fašizem, rasizem, neokolonializem, permanentno vojno, neoliberalno minimizacijo človeških virov in neusmiljeno izkoriščanje tistih, ki so zavrženi kot presežek, kar so največkrat ženske, levi feminizem?« je pred več kot desetletjem uvodoma vprašal zbornik Jugoslovanski feminizmi.

(Iz uvodnika, Katja Kobolt)

This article analyses an anti-essentialist SF novel, focusing on the extent to which anti-foundationalism enables a more accurate as well as a more productive representation of postmodernity. My argument stresses the ways in which Pat Cadigan's novel Synners, mostly because of its remarkable narrative form, challenges some of the most dangerous norms and normativity of American thought and culture. I argue, that, in order to understand this complex novel correctly, we must approach technoscience and transnational capitalism as separate, interacting discourses and material practices. The representations of technoscience, in the novel, are definitely not 'figures' for late capitalism: they are representations of a discourse which interacts with capitalism in the fictional world as in the real world. Contrary to what has been suggested by a number of critics writing about Foucault, use of this notion of discourse does not preclude use of notions of agency. As the queer theorists who have drawn on Foucault's work show, agency can be theorized in terms compatible with the notions of discourses, material practices and technologies. My discussion of Synners thus focuses on questions of agency, showing how Cadigan uses a deconstruction of Judeo-Christian religious tropes to argue for a responsible, and knowledgable, 'incurably informed' approach to technology.

that country devastated by more high explosives than were used against the Axis in World War 2 and by chemical warfare (the most believable count of Vietnamese civilians killed is around two million), and clamped down on any dissent going beyond the peace plank-hence the Le Guin story "New Atlantis" and Dick's novels A Scanner Darkly and Radio Free Albemuth discussed in Part 1 of this essay. Analogous, only cruder, repression was going on in the Soviet bloc after the 1968 invasion overthrowing the reformists in Czechoslovakia (and had similar, if more heavily coded, echoes in the SF of the Strugatskys). The arms race, huge military procurements, and proxy wars or armed interventions did not at all abate, witness the 1973 US-organized overthrow of the Allende government in Chile, the ongoing clashes in Africa, then in the late 70s the clerical revolution in Iran and the Left revolution in Afghanistan, followed by the alliance of the USA and fundamentalist "islamists" against it and the Soviet intervention with its symmetrical mini-Vietnam. After the defeat of the 60s' movements and all independent Leftism, the US governing classes were on a steady counteroffensive to regain the terrain lost through the Keynesian compromise with labour and the decolonization in the global South, which had culminated in the peace movement and the Vietnamese liberation struggle. The rise of Reaganism and Thatcherism was an abrupt shift to the Right, going on ever since. From communists to liberals, the Left was in a material and moral disarray, which (strangely enough) became terminal after the collapse of USSR in 1989, and savage despoiling of the Welfare State went on full swing. Intellectuals adjusted, at best concluding with Foucault, Deleuze, and Derrida there was nothing outside epistemic power, infinite rhizomes, and micro-differe/ ances, at worst denouncing any systematic understanding in favour of "weak" thought. The only politics they deigned to notice was micro-politics of, say, gay rights or "textual politics" (emblematically, in Delany's important Triton a "gravity war" between planets is pooh-poohed in order to concentrate on choice of lifestyles and genders). 1 Even the feminist movement, within which by far the best modern SF satires (such as Joanna Russ's splendid agitprop novel The Female Man, in which one of the strands presents an actual gender war) and open-ended utopias (such as Le Guin's unsurpassed The Dispossessed) had been written in the 1960-75 period, was split and then contained along those lines. The main instrument in the systematic climb to power of the Right in metropolitan capitalism without a human face was the strengthening of the State's repressive, i.e., armed, functions at the expense of its welfare functions, and at the cost of hundreds of billions of dollars going from taxes to armament corporations (see Mesnard). This was centered in the USA, that had become a permanent Warfare State which led a global reorientation of technology and economics toward armaments (cf. Hirsch and Roth 126-28 and passim). As the strategic keystone in the ongoing "commodification of everything" (Wallerstein 90) and in sustaining profit accumulation, spiralling State

Préambule Lorsque j'étais jeune adulte nomade aux Etats-Unis (2005-2009), je me promenais toujours avec un sac qui contenait de petites pierres semi-précieuses : de l'améthyste (pour tempérer les addictions), de la pyrite (pour la bonne fortune), du cuivre (pour sentir les forces telluriques), de l'obsidienne (pour garder en mémoire le chemin des peuples autochtones), de la citrine (pour la lucidité), et de l'hématite (pour l'ancrage). Ces pierres me soutenaient dans mon exploration du continent nord-américain, car je les avais associées à des forces philosophiques et physiologiques. Elles m'invitaient à m'enraciner dans la terre et dans l'histoire. Dans mon sac, elles côtoyaient du tabac (pour offrir aux esprits des lieux), un carnet et un stylo (pour tenter de ne pas tout oublier), un collier ou un bracelet tissé que l'on m'avait offert (pour me souvenir que partout, l'amitié était possible) et un livre : Oh, The Places You'll Go, de Dr Seuss. Une édition en petit format à la couverture rigide et violette comme les jacinthes des bois. Le poids de ce livre dans mon sac me rappelait ses premières lignes : « Congratulations! Today is your day. You're off to great places, you're off and away... 1 » (4). Au colloque Héritages d'Ursula Le Guin, qui s'est tenu à l'Institut du Monde Anglophone de la Sorbonne Nouvelle, en juin 2019, il m'a semblé que nous étions de ces petits êtres auxquels s'adresse Dr. Seuss, disposés à découvrir d'immenses mondes imaginés. A l'ère de l'Anthropocène, nous commençons à accepter que les grands voyages, les arpentages de mondes nouveaux, doivent s'envisager par l'imagination bien plus que par l'avion. L'opportunité qui m'est donnée d'écrire dans ce numéro d'Epistémocritique est une précieuse occasion d'évoquer la place qu'occupe désormais l'oeuvre d'Ursula K. Le Guin dans mon sac à dos de ressources écoféministes. Les horizons que Le Guin aide à imaginer y ont remplacé l'améthyste et l'obsidienne de mes jeunes années. Ainsi que le suggère ardemment Isabelle Stengers dans ce numéro, il nous faut désormais cultiver l'étendue et la souplesse de nos imaginations pour 1 « Félicitations! Aujourd'hui c'est ton jour. Tu pars pour de grandes destinations, tu décolles et t'en vas... » (ma traduction) « transformer des possibles qui rodaient dans les interstices de [notre] propre époque en ressources pour faire exister autre chose » (« Penser en mode SF »). Pour savoir où puiser cette inspiration transformatrice, il nous faut maintenir le dialogue avec ces êtres de fiction, et ces livres qui les contiennent, comme avec des forces « avec lesquelles nous apprenons constamment à penser, à sentir, à agir dans des mondes animés », ainsi que le souligne Thierry Drumm, également dans ce numéro (« Raconter d'autres histoires avec Ursula K. Le Guin »). En ce sens, les bibliographies et chronologies indicatives des productions littéraires et théoriques écoféministes mises en annexe de la traduction française de Dreaming the Dark 2 par la philosophe en écologie politique Émilie Hache font d'elle une aiguilleuse du ciel écoféministe. Son répertoire d'autrices, de chercheuses et de récits écoféministes réunit les héroïnes de chair et de fiction, et dessine des constellations qui nous indique des directions possibles, nous invite à reprendre nos boussoles, et à déployer nos imaginations, sans prendre l'avion. C'est ainsi que j'ai pris connaissance de l'existence de la nouvelle « Sur », d'Ursula Le Guin, et c'est ainsi que ses protagonistes sont devenues mes camarades. C'est par là que « Sur » est devenue pour moi un exemple tutélaire d'une exploration écoféministe du monde.

Containing the recording, references, and link to full transcript of the public lecture "Futures, Imagined: Disability, Eugenics and Science Fiction".

Abstract: Egalitarian visions of the future typically portray harmoniously diverse societies, where divisions along racist, economic, and religious lines have been overcome. Such futures are (typically) also curiously free of disabled people. It remains a widespread assumption that a better future will be one in which disability (understood as an error or failure in individual bodies) has been eliminated.
Yet this assumption aligns with eugenics; itself an exercise in science fiction which aimed to manifest a vision of a purer, stronger, white supremacist future by eliminating supposed-inferior and defective strands of the human species. Does eugenics still limit our individual and collective
imagination? And if “all [social]organizing is science fiction” (Imarisha, 2015), how are our movements for social justice in the here and now affected by the distant futures we imagine?

The European dream of Weltliteratur, especially that focused on a single novel describing the world and expressing universal human values, has largely fallen out of favor. Franco Moretti (2000), for one, has influentially demonstrated the tight fit between the ambitions for the novel and Western cultural imperialism. Feminist critics such as Robin Truth Goodman (2004) take the argument a step farther, asserting that the individualist values of the imperial north obscure important strains of feminist engagement with the public sphere in the literature of the Global South. How authentically global can the privatized values of the first world novel be if it excludes those who hold up half the sky, they ask. Rather than contributing to the globalization of a narrow conception of the world novel, then, we can follow Mariano Siskind (2010) and take up the question of the novelization of the global. That is, while seeking out a multinational archive, we can examine the visions of the world articulated in explicitly feminist fiction. In so doing, we can discover what prospects they envision for geopolitical futures in the context of postimperial environmental crisis. One of the primary forms that second-and third-wave feminist writers have used to imagine the world is the demodystopia. This genre is explicitly concerned with prospects for the human species as a collectivity. More specifically, as coined by Anton Kuijsten (1999) and elaborated by Andreu Domingo (2008), the neologism demodystopia refers to works that concern themselves with the deleterious effects of demographic trends. Commonly, demodystopian fictions bemoan an apparent expansion of the species beyond the carrying capacity of the planet as a whole. They typically project

This article approaches science fiction using the strategically powerful perspectives of Trauma Studies and the posthuman in conjunction with Foucault's notion of biopower, paying special attention to the deep investment of these discourses in notions of embodiment and agency. In order to do so, I will consider Octavia Butler's 1984 short story "Bloodchild" (Hugo and Nebula Awards) and James Tiptree, Jr. (Alice Sheldon)'s 1973 novella "The Girl Who Was Plugged In" (Hugo Award). Both stories explore dystopian futures-in their focus on coercive extraterrestrials and life on an inhospitable planet, on the one hand, and on oppressive consumer culture and corporate technoscience, on the other-and point back to our posthuman present through metaphoric characters that illustrate and invite comment upon the articulation of power and the construction of the embodied posthuman. The main issue at play in the two stories, I will contend, is the identification of biopower with the traumatic appropriation of the human body and the articulation of posthuman forms of resistance to it.

fait appel à des travaux de recherche en didactique des sciences et de la technologie pour « raconter » les questions relatives à la diversité sexuelle, de genre et de corps sexués, dans le cadre de l'enseignement au secondaire. Il s'appuie, entre autres, sur des écrits portant sur la réfutation et sur le changement conceptuel. Pour sa part, Maude B. Fortier prend ses crayons pour « illustrer » et faire vivre ce récit sous la forme d'une bande-dessinée. Origines du projet Le projet de livre a pris naissance dans le cadre de la recherche doctorale de Guillaume traitant de cette question : comment des enseignant•es de science et de technologie du secondaire pourraient-ils s'approprier l'intégration de la diversité sexuelle, de genre et de corps sexués dans leur pratique? Alors qu'il préparait le travail collaboratif avec des enseignant•es participant à sa recherche, la nécessité de produire des ressources didactiques visuelles s'est fait sentir à cause du manque flagrant de matériel approprié. C'est à cette étape que Maude s'est jointe au projet pour créer des schémas anatomiques plus inclusifs. Ceux-ci ont permis d'alimenter les réflexions des différents acteur•trices de la recherche. Puis, afin de valoriser ce matériel didactique, nous avons Didactique des sciences De quelques réflexions sur la didactique : entretien avec Pierre Chastenay  Votre courriel BD sur l'anatomie sexuée inclusive, inspirée par la didactique des sciences | Acfas https://www.acfas.ca/publications/magazine/2024/03/bande-dessinee-anatomie-sexe-inclusivite-dida... 1 sur 6 2024-03-24, 8:52 a.m. BD sur l'anatomie sexuée inclusive, inspirée par la didactique des sciences | Acfas

is a leading science and technology studies thinker and theorist on feminism, technology, media, and the body. Her seminal essay "The Cyborg Manifesto" (1985) is often found on requiredreading lists in most anthropology and cultural studies graduate programs across the nation. Stylistically, much of the film is captured by director Fabrizio Terranova as one continuous shot of Haraway talking to the camera, sitting comfortably in her neatly cluttered home, laughing, smiling, occasionally swearing, and with her hands passionately animated (Figure 1). Haraway's personality and thinking are seductive and inspirational. Her monologue captures her loves: her animals, her friends, her lovers, her biological family, her inspirations, her feminism, her home, the inanimate objects she has collected from various cultures throughout her life-all of which, and more, she considers kin and members of her extended family. The camera often dwells at the end of her many stories to catch the corners of Haraway's mouth curl upward and her eyes brighten and enlarge as she enjoys the memories and the act of sharing them. This sense of intimacy that the film cultivates, of the viewer being allowed into Haraway's personal space, listening to her recount stories from her life adventures and her methodological approach to doing anthropology, makes the viewer feel like they are entering into a personal conversation with Haraway, albeit one-sided, transported into her beautiful home located in the luscious woodlands of Santa Cruz, California. The film opens with a story from Haraway's childhood about teeth, braces, and orthodontics. This opening story blends seamlessly into talking about biological anthropology and then a question about how orthodontists first came to know what is a "correct bite." The story then connects to the

The article examines The Man Who Fell to Earth by Nicholas Roeg and Under the Skin by Jonathan Glazer, comparing them with each other and their respective literary originals (hypotexts), in order to establish how aliens and humans are represented in these films and how these representations reflect their respective ideologies. The authors argue that while Roeg’s film, in common with its original, uses the story of Newton to criticise corporate capitalism, Glazer’s film plays down the political aspect of the film, concerning industrial farming and exploitation of the underclass by the political elites, pertaining to neoliberalism, to focus on the problems of identity.

The aim of this study is to examine the subversive element of science fiction as a
literary genre. Even though this area of literature established itself as a rather
androcentric type of writing, mainly authored by male writers, the genre itself renders
itself suitable for reimagining alternative realities. This paper focuses on woman
writers who created invaluable works that are termed feminist utopia or feminist
science fiction. Charlotte Perkins Gilman is a pioneer with her all-woman utopian
society in her 1915 novel Herland. One of her followers in this genre is James Tiptree,
Jr., who became a household name in the science fiction world, and who in her turn,
creates alternate worlds in her fiction, such as “Houston, Houston, Do You Read?”
where gender constructs are questioned and re-envisioned. Both Gilman’s and
Tiptree’s fiction present different realities that are free from a dichotomous and sexist
culture which pervades a patriarchal world. This gender duality gives way to a
hierarchical order and all of its devastating results for civilization and the female sex.
Both writers discussed in this paper created worlds where gender duality is nonexistent, and hence, free of all its consequences.