Titlebook: Science Fiction, Critical Frontiers; Karen Sayer (Lecturer in Literary Studies),John Mo Book 2000 Palgrave Macmillan, a division of Macmil

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The Death of the Author and the Power of Addiction in , and ilmed and distributed to an immense audience by mass-communication systems. The postmodern author faces the dilemma of trying to convey a message without being trite. As Roland Barthes states, ‘the writer can only imitate a gesture that is always anterior, never original. His only power is to mix wr

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In-Between Subjects: C. L. Moore’s ‘No Woman Born’ that hybrid which will be later called the ., the cybernetic organism that is partly human and partly machine.. Written when science fiction was still male territory, before women’s successful appropriation of the genre beginning in the late 1960s and early 1970s,. Moore’s short novella is extremel

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The Female State: Science Fiction Alternatives to the Patriarchy — Sheri Tepper’s , and Orson Scott g and ‘revised, destroyed, and transformed’ both the genre and the idea of utopia itself (Moylan, 1986, p. 30). The previous utopian tradition is described as engaging with the political and ideological, emphasising the process of ‘willed transformation’ necessary to produce an alternative community

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‘Dare to struggle, dare to win’: On Science Fiction, Totality and Agency in the 1990s capable of challenging this leaner and meaner order. However, as we explore these visions, we need to take care that they are part of a larger oppositional praxis, and not simply academic exercises, personal escapes, or programmatic capitulations.

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Contending Forces: Racial and Sexual Narratives in Samuel R. Delany’s ovel’s formal characteristics, this essay addresses contesting narratives of both race and sexuality in . and their associations with American racial politics and riots in African-American communities during the mid-1960s.

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