The Good, the Bad, and the No Place
In the summer of 2012, millions of people flooded movie theaters and sat
riveted as the latest Batman movie trilogy came to an end, and as the first installment
of the film version of Katniss EverdeenÕs story played out. The Dark Knight Rises
and The Hunger Games are only two of the many movies that premiered that summer,
but they are part of incredibly popular franchises, especially among teens and young
adults. These films stayed true to their sources, accurately portraying the bleak worlds
of BatmanÕs Gotham City and KatnissÕ Panem. With the popularity explosion of The
Hunger Games trilogy and the continuing longevity of Batman as a vigilante both in
graphic novels and on the movie screen, the magnetism between these dystopian
worlds and their audience is incredibly strong, but why? What makes the
unwelcoming landscapes in not only these series, but in the dystopian genre as a
whole, so appealing? …

This paper investigates the connection between counterfactuality and stereotypicality in direct speech representation. In Monika Fludernik’s theory of schematic language representation, quotations typify rather than reproduce, and typicality coincides with stereotypical expressivity in the form discourse particles, among other features. By distinguishing hypothetical speech proper from the more general concept of typifying direct speech, we can see that in fiction hypothetical speech is not always stereotypically expressive. In conversational storytelling, discourse markers serve the functions of source-tracking, emplotment, and expressing the quoter’s emotions and evaluation. I discuss reasons why fiction differs from conversational storytelling in this respect. Fludernik’s treatment of discourse markers or `typicality markers’ in direct speech representation is here complemented with Bakhtinian notions of dual expressiveness, speech genres, and the responsive quality of utterances. The arguments presented are illustrated by passages from the fiction of Carol Shields, Peter Bichsel, and Junot Díaz.

Conceptualizing identity as performance in young adult dystopian literature

Praca „magisterska” poświęcona dystopii w literaturze dla młodzieży


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The importance of Arkadii and Boris Strugatskii in Soviet science fiction has been thoroughly examined. A less-explored question concerns how they have continued to inspire post-Soviet authors who muse on an environment that differs drastically from the one that gave rise to their works. Sofya Khagi explores how prominent contemporary writers—Garros-Evdokimov (Aleksandr Garros and Aleksei Evdokimov), Dmitrii Bykov, and Viktor Pelevin—examine the Strugatskiis to dramatize their own darker visions of modernization, progress, and morality. They continue the tradition of science fiction as social critique—in this case, a critique of society after the collapse of socialist ideology with its modernizing projects of historical progress, technological development, and social improvement. According to their parables a contrario to the Strugatskiis, the dreams of modernity embodied by the classics of Soviet fantastika have been shattered but not replaced by a viable alternative social scenario. As they converse with their predecessors, contemporary writers examine stagnation, not just in post-Soviet Russia, but in global, postmodern, commodified reality.


Publication Date: 7 May 2013 | ISBN-10: 113703517X | ISBN-13: 978-1137035172

„Does twenty-first century fiction offer the reader identifiably new fictional styles, themes, characteristics or tropes? What theoretical ideas best describe the uncertain world we appear now to be living in? What are the most interesting and significant novels of the twenty-first century and what do they tell us about the contemporary times we live in? These are the key questions engaged with in this new critical volume of essays on 21st century fiction. The chapters explore the work of writers as diverse as Salman Rushdie, David Peace, Ali Smith, Margaret Atwood, Iain Banks, China Miéville, Trezza Azzopardi, John Burnside and Hilary Mantel in depth and at length, developing fresh critical approaches to work that is genuinely of our time. Throughout this unique collection the aim is to identify what is distinctive and innovative about the individual novels and about 21st century fiction in general.”

Twenty-First Century Fiction: What Happens Now: Siân Adiseshiah, Rupert Hildyard: Books.

Interesujące teksty o dystopiach:

13. ‚You just know when the world is about to break apart’: Utopia, Dystopia, and New Global Uncertainties in Sarah Hall’s The Carhullan Army; Iain Robinson
14. Finding the Right Kind of Attention: Dystopia and Transcendence in John Burnside’s Glister; Florian Niedlich
Introduction: Glister, Romantic Thought and the Religious Turn
Dystopia and Transcendence

JSTOR: Slavic Review, Vol. 72, No. 2 (SUMMER 2013), pp. 219-223.

Introduction: From Nauchnaia Fantastika to Post-Soviet Dystopia

Sibelan Forrester and Yvonne Howell
Slavic Review
Vol. 72, No. 2 (SUMMER 2013), pp. 219-223
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How Nauchnaia Fantastika Was Made: The Debates about the Genre of Science Fiction from NEP to High Stalinism

Matthias Schwartz

za pomocą JSTOR: Slavic Review, Vol. 72, No. 2 (SUMMER 2013), pp. 224-246.


Based on a detailed analysis of published and unpublished sources, Matthias Schwartz reconstructs the making of Soviet science fiction in the cultural context of Soviet literary politics. Beginning in the 1920s, nauchnaia fantastika (scientific fantasy) became one of the most popular forms of light fiction, though literary critics and activists tended to dismiss it because of its origins in popular adventure, its ties to the so-called Pinkerton literature, and its ambiguous relationship to scientific inventions and social progress. Schwartz’s analysis shows that even during high Stalinism, socialist realism’s norms were far from being firmly established, but in the case of nauchnaia fantastika had to be constantly negotiated and reconstituted as fragile compromises involving different interest groups (literary politicians, writers, publishers, readers). A cultural history of Soviet science fiction also contributes to a better understanding of what people actually wanted to read and sheds new light on the question of how popular literature adapts to political changes and social destabilizations.

See on Scoop.itscience fiction, education

… I have been thinking wouldn’t it be great if some science fiction writers or really good ‘economics’ communicators could take up the challenge of writing short stories about the near future focused on jobs and industries.
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See on Scoop.itscience fiction, rhetoric and ideology

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