2014-15 AM Speculative Fiction - Revision history

Anna Auguscik at 08:46, 15 January 2015

2015-01-15T08:46:36Z

← Older revision		Revision as of 10:46, 15 January 2015
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	===Session 9 Thu, 18 Dec===		===Session 9 Thu, 18 Dec===
	*~~Never Let Me Go as~~ Speculative Fiction		*Arts & Culture in Speculative Fiction

	===Session 10 Thu, 8 Jan===		===Session 10 Thu, 8 Jan===
	*Speculative Fiction ~~and Race/Gender~~		*Characters and Narration in Speculative Fiction

	===Session 11 Thu, 15 Jan===		===Session 11 Thu, 15 Jan===
	*Speculative Fiction ~~vs.~~ Science ~~Fiction~~		*Never Let Me Go as Speculative Fiction: Science and Ethics

	===Session 12 Thu, 22 Jan===		===Session 12 Thu, 22 Jan===
	*Speculative Fiction in the ~~Marketplace~~		*Never Let Me Go as Speculative Fiction: Identity and the Human

	===Session 13 Thu, 29 Jan===		===Session 13 Thu, 29 Jan===
			*Discussing Genres
	*evaluation		*evaluation

Anna Auguscik at 11:14, 6 November 2014

2014-11-06T11:14:58Z

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	*Margaret Atwood's Oryx and Crake (with Janine Rogers)		*Margaret Atwood's Oryx and Crake (with Janine Rogers)

	Workshop on Teaching Literature & Science with Janine Rogers: Mon, 17 Nov (9-14h) ~~and~~ Tue, 18 Nov (16-20h)		Workshop on Teaching Literature & Science with Janine Rogers: Mon, 17 Nov (9-14h) or Tue, 18 Nov (16-20h)

	===Session 5 Wed, 19 Nov===		===Session 5 Wed, 19 Nov===

Anna Auguscik at 20:27, 4 November 2014

2014-11-04T20:27:12Z

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	*Introduction		*Introduction
	*Why speculative fiction?		*Why speculative fiction?
			*[http://www.theguardian.com/books/2011/feb/02/science-fiction-literary-canon Damien G. Walter, "Is speculative fiction poised to break into the literary canon?", Guardian.com (2 Feb 2011)]

	===Session 2 Thu, 30 Oct===		===Session 2 Thu, 30 Oct===
	*Genre and Speculative Fiction		*Genre and Speculative Fiction
			*[ftp://192-0-238-70.cpe.teksavvy.com/Strangis%20640MB%20External%20Drive/Gino%20All/Audio%20Books/Audio%20Special%20Interest/How%20to%20write%20Novels%20and%20Screenplays/Writing%20SF%20-%2001%20on%20the%20writing%20of%20speculative%20ficiton.pdf Robert A. Heinlein. "On the Writing of Speculative Fiction." (1947)]
			*[http://wiki.angl-am.uni-oldenburg.de/index.php/2014-15_AM_Speculative_Fiction#Quotes Speculative Fiction Quotes]

	===Session 3 Thu, 6 Nov===		===Session 3 Thu, 6 Nov===
	*Margaret Atwood's Oryx and Crake: narration and characterization		*Margaret Atwood's Oryx and Crake: narration and characterization
			*prepare: character constellation chart; narration; focalisation, cf. [[Narratology]]

	===Session 4 Thu, 13 Nov===		===Session 4 Thu, 13 Nov===
	*Margaret Atwood's Oryx and Crake (with Janine Rogers)		*Margaret Atwood's Oryx and Crake (with Janine Rogers)

			Workshop on Teaching Literature & Science with Janine Rogers: Mon, 17 Nov (9-14h) and Tue, 18 Nov (16-20h)

	===Session 5 Wed, 19 Nov===		===Session 5 Wed, 19 Nov===

Anna Auguscik at 20:02, 24 October 2014

2014-10-24T20:02:41Z

← Older revision		Revision as of 22:02, 24 October 2014
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	===Bibliography===		===Bibliography===
	*Robert A. Heinlein. "On the Writing of Speculative Fiction." [1947] ''Of Worlds Beyond. The Science of Science Fiction Writing.'' Ed. Lloyd Arthur Eshbach. London: Dennis Dobson, 1965.		*Robert A. Heinlein. "On the Writing of Speculative Fiction." [1947] ''Of Worlds Beyond. The Science of Science Fiction Writing.'' Ed. Lloyd Arthur Eshbach. London: Dennis Dobson, 1965.
			*Margaret Atwood. ''In Other Worlds''. 2011.
			::*(check ''Of Other Worlds: Essays and Stories'' by C.S. Lewis, ed. Walter Hooper, [1966])
	*Thomas, P. L.. "A CASE FOR SF AND SPECULATIVE FICTION: An Introductory Consideration." ''Science fiction and speculative fiction: Challenging genres.'' Rotterdam, Boston, Taipei: Sense, 2013.		*Thomas, P. L.. "A CASE FOR SF AND SPECULATIVE FICTION: An Introductory Consideration." ''Science fiction and speculative fiction: Challenging genres.'' Rotterdam, Boston, Taipei: Sense, 2013.
	*Gill, R. B. "The Uses of Genre and the Classification of Speculative Fiction." Mosaic: A Journal for the Interdisciplinary Study of Literature 46.2 (2013): 71-85.		*Gill, R. B. "The Uses of Genre and the Classification of Speculative Fiction." Mosaic: A Journal for the Interdisciplinary Study of Literature 46.2 (2013): 71-85.
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	*Handout: [[Traditions in our discourse about literature]]		*Handout: [[Traditions in our discourse about literature]]
	*Handout: [[Narratology]]		*Handout: [[Narratology]]

	~~===Quotes===~~
	*Robert A. Heinlein: "Speculative fiction is not fantasy fiction, as it rules out the use of anything as material which violates established scientific fact, laws of nature, call it what you will, i.e., it must [be] possible to the universe as we know it. Thus, Wind in the Willows is fantasy, but the much more incredible extravaganzas of Dr. Olaf Stapledon are speculative fiction—science fiction." (Grumbles from Grave, 1990 [1949])
	*Margaret Atwood: "What I mean by "science fiction" is those books that descend from HG Wells's The War of the Worlds, which treats of an invasion by tentacled Martians shot to Earth in metal canisters – things that could not possibly happen – whereas, for me, "speculative fiction" means plots that descend from Jules Verne's books about submarines and balloon travel and such – things that really could happen but just hadn't completely happened when the authors wrote the books." (The Guardian, 14 Oct 2011)

	===Further Reading===		===Further Reading===
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	*Batty, Nancy, and Robert Markley. "Writing Back: Speculative Fiction and the Politics of Postcolonialism, 2001." ARIEL: A Review of International English Literature 33.1 (2002): 5-201.		*Batty, Nancy, and Robert Markley. "Writing Back: Speculative Fiction and the Politics of Postcolonialism, 2001." ARIEL: A Review of International English Literature 33.1 (2002): 5-201.
	*Gomez, Jewelle. "Speculative Fiction and Black Lesbians." Signs 18.4 (1993): 948-55.		*Gomez, Jewelle. "Speculative Fiction and Black Lesbians." Signs 18.4 (1993): 948-55.

			===Quotes===
			*Robert A. Heinlein: "Speculative fiction is not fantasy fiction, as it rules out the use of anything as material which violates established scientific fact, laws of nature, call it what you will, i.e., it must [be] possible to the universe as we know it. Thus, Wind in the Willows is fantasy, but the much more incredible extravaganzas of Dr. Olaf Stapledon are speculative fiction—science fiction." (Grumbles from Grave, 1990 [1949])
			*Veronica Hollinger: "Speculative fiction: a heterogeneous group of texts ranging from the most "realistic" of hard SF novels to the most allegorical of experimental fictions. Perhaps the only thing these texts have in common is their activation—to different extents and for different purposes—of the various themes, images, and narrative conventions typically associated with science fiction." (Rev. of Marleen S. Barr, Feminist Fabulation: Space/Postmodern Fiction; in: [http://www.depauw.edu/sfs/reviews_pages/r60.htm ''Science Fiction Studies'' 20: July 1993])
			*Amy Goldschlager and Avon Eos: "A catchall term for science fiction and fantasy. It applies to work that answers the question "What if...?" Sometimes it is also applied to fiction considered more "literary" in nature that includes elements of SF or fantasy. Examples include Nicholas Christopher's Veronica and Gabriel Garcia Marquez's One Hundred Years of Solitude. Within science fiction, the term speculative fiction refers to novels that focus less on advances in technology and more on issues of social change, such as Aldous Huxley's Brave New World, George Orwell's 1984, Margaret Atwood's The Handmaid's Tale and Jack Faust by Michael Swanwick." ([https://www.sfsite.com/columns/amy26.htm "Science Fiction & Fantasy:A Genre With Many Faces", The SF Site, 1997])
			*Henry Leperlier: "In its beginning and under the editorship of Hugo Gernsback in the United States in the 1920ts, SF, in the form of the magazine Amazing Stones: The Magazine of Scientification, was mainly aimed at an adolescent and youthful, technologically oriented readership. Later, under the influence of John W. Campbell, SF needed a wider public and found a more sophisticated literary purpose as the exploration of the effects of science on humanity and our way of life. It then moved slowly from the realm of pulp fiction to the expensive hardbacks that carried with them a greater prestige and acceptability, a demonstration of the effect that packaging can exert on the judgement of content. This craving for acceptability motivated many writers and publishers to propose an alternative to the term "science fiction;" "Speculative fiction," "anticipation" (in French) and "futuristic fiction" were some of the terms that had fleeting vogues. None of them succeeded, and science fiction or "SF' has become the accepted term for better or worse, one reason being that science is an important element in bringing out the oxymoron of realistic illusion that is the essence of SF, as opposed to fantasy. SF is structured and written around technology or science, while the inclusion of science in fiction does not necessarily make it SF. Antoni Smuszkiewicz has a solution to this problem of defining science in SF by analyzing the role of props. […]It is this link to our perceived reality that differentiates SF from fantasy, where the reader is asked to accept a totally new environment with no explainable or required relation to Our own. Well-written SF will rely on these props, on particular terminology or on scientific elements (extrapolated from Our empirical environment) and then relegate them to the background in order to bring out other elements that are part of fiction, such as the protagonists' thoughts, or human dilemmas brought about by a scientific prop. It is the estrangement resulting from the inclusion of scientific elements in a different empirical environment from the one where the reader expects them to be that produces the fantastic character of SF and therefore the pleasure of reading it." (Canadian Science Fiction: A Reluctant Genre, 1998)
			*Akiko Ebihara: "The talents of authors such as Ursula le Guin, James Tiptree Jr., Joanna Russ, Octavia Butler and Suzy Mckee Charnas put "serious literature" writers in the shade, producing works that went beyond conventional science fiction territory and establishing a new genre of writing called speculative fiction." ([http://www.genders.org/g36/g36_ebihara.html "Japan's Feminist Fabulation: Reading Marginal with Unisex Reproduction as a Key Concept", ''Genders'' 36: 2000])
			*Margaret Atwood: "What I mean by "science fiction" is those books that descend from HG Wells's The War of the Worlds, which treats of an invasion by tentacled Martians shot to Earth in metal canisters – things that could not possibly happen – whereas, for me, "speculative fiction" means plots that descend from Jules Verne's books about submarines and balloon travel and such – things that really could happen but just hadn't completely happened when the authors wrote the books." (The Guardian, 14 Oct 2011)
			*Sam Weller: "Genre mash-ups are de rigueur these days. Of course, writers like Margaret Atwood have been tight-roping the misty border between literary fiction and speculative fiction, fantasy and mystery for years. But a new outcropping of younger upstarts, such as Michael Chabon, Charles Yu and Jonathan Letham, have been contorting the lines in new and unexpected directions. Genre fiction, it would seem, is no longer relegated to the back of the bookstore or the dominion of the geek. Examining the borderlands between what is traditionally deemed "literary" and what is "genre," inverting, twisting, defying and fusing traditional genre tropes with meta-modernist craft, is all part of this new genre renaissance." ([http://www.chicagotribune.com/lifestyles/books/ct-prj-0616-every-boy-should-have-man-preston-alle-20130614-story.html "Review: 'Every Boy Should Have a Man' by Preston Allen", Chicago Tribune, 14 Jun 2013])
			*David C. Downing: "Mark R. Hillegas exclaimed in 1960 that "in C. S. Lewis's trilogy, science fiction has up to now reached its highest level as literature" (27) But two years later, in a conversation with Kingsley Amis and Brian Aldiss, Lewis remarked that "probably the great work in science fiction is yet to come." (Unreal 93). Since that time, there have indeed been a good many novels of speculative fiction which have been acknowledged and studied as important works of literature--novels by writers of the first order including Isaac Asimov, Ray Bradbury, Margaret Atwood, Anthony Burgess, Doris Lessing, Ursula Le Guin, and Jorge Luis Borges. Yet Lewis's contribution to the field rests secure, both as a pioneering critic who helped establish the criteria for assessing this new genre, and as an imaginative writer who produced classic works of their kind." ([http://users.etown.edu/d/DOWNINDC/scifi.htm Chapter Twelve: "Otherworlds of the Spirit: Lewis on Science Fiction", date unknown])

	==Links==		==Links==

Anna Auguscik at 08:05, 23 October 2014

2014-10-23T08:05:28Z

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	*Kazuo Ishiguro's Never Let Me Go: themes and plot structure		*Kazuo Ishiguro's Never Let Me Go: themes and plot structure

	[Specify research interest until ~~...~~]		[Specify research interest until 5 Dec at the latest]


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	===Session 12 Thu, 22 Jan===		===Session 12 Thu, 22 Jan===
	*Speculative Fiction in the Marketplace		*Speculative Fiction in the Marketplace

	~~[Hand in RPOs until ...]~~

	===Session 13 Thu, 29 Jan===		===Session 13 Thu, 29 Jan===
	*evaluation		*evaluation

			[Hand in RPOs until 30 Jan at the latest]

	===Session 14 Thu, 5 Feb===		===Session 14 Thu, 5 Feb===
	*~~discussio~~ of RPOs		*discussion of RPOs
	*feedback on evaluation		*feedback on evaluation

Anna Auguscik at 07:40, 23 October 2014

2014-10-23T07:40:56Z

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	===Quotes===		===Quotes===
	*Robert A. Heinlein: "Speculative fiction is not fantasy fiction, as it rules out the use of anything as material which violates established scientific fact, laws of nature, call it what you will, i.e., it must [be] possible to the universe as we know it. Thus, Wind in the Willows is fantasy, but the much more incredible extravaganzas of Dr. Olaf Stapledon are speculative fiction—science fiction." (Grumbles from Grave, 1990 [1949])		*Robert A. Heinlein: "Speculative fiction is not fantasy fiction, as it rules out the use of anything as material which violates established scientific fact, laws of nature, call it what you will, i.e., it must [be] possible to the universe as we know it. Thus, Wind in the Willows is fantasy, but the much more incredible extravaganzas of Dr. Olaf Stapledon are speculative fiction—science fiction." (Grumbles from Grave, 1990 [1949])
			*Margaret Atwood: "What I mean by "science fiction" is those books that descend from HG Wells's The War of the Worlds, which treats of an invasion by tentacled Martians shot to Earth in metal canisters – things that could not possibly happen – whereas, for me, "speculative fiction" means plots that descend from Jules Verne's books about submarines and balloon travel and such – things that really could happen but just hadn't completely happened when the authors wrote the books." (The Guardian, 14 Oct 2011)

	===Further Reading===		===Further Reading===

Anna Auguscik at 21:07, 21 October 2014

2014-10-21T21:07:01Z

← Older revision		Revision as of 23:07, 21 October 2014
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	===Session 1 Thu, 23 Oct===		===Session 1 Thu, 23 Oct===
	*Introduction		*Introduction
			*Why speculative fiction?

	===Session 2 Thu, 30 Oct===		===Session 2 Thu, 30 Oct===
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	*discussio of RPOs		*discussio of RPOs
	*feedback on evaluation		*feedback on evaluation


	==Materials==		==Materials==
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	===Bibliography===		===Bibliography===
	*Robert A. Heinlein. "On the Writing of Speculative Fiction." [1947] ''Of Worlds Beyond. The Science of Science Fiction Writing.'' Ed. Lloyd Arthur Eshbach. London: Dennis Dobson, 1965.		*Robert A. Heinlein. "On the Writing of Speculative Fiction." [1947] ''Of Worlds Beyond. The Science of Science Fiction Writing.'' Ed. Lloyd Arthur Eshbach. London: Dennis Dobson, 1965.
			*Thomas, P. L.. "A CASE FOR SF AND SPECULATIVE FICTION: An Introductory Consideration." ''Science fiction and speculative fiction: Challenging genres.'' Rotterdam, Boston, Taipei: Sense, 2013.
			*Gill, R. B. "The Uses of Genre and the Classification of Speculative Fiction." Mosaic: A Journal for the Interdisciplinary Study of Literature 46.2 (2013): 71-85.

	''Oryx and Crake''		''Oryx and Crake''
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	===Further Reading===		===Further Reading===
	*Maxwell, Lauren Rule. "Desperate Times, Desperate Measures: Atwood's Speculative Fiction and Environmental Activism". Margaret Atwood Studies: 3.2 (2010 Aug.), pp. 4-10.		*Maxwell, Lauren Rule. "Desperate Times, Desperate Measures: Atwood's Speculative Fiction and Environmental Activism". Margaret Atwood Studies: 3.2 (2010 Aug.), pp. 4-10.
			*Batty, Nancy, and Robert Markley. "Writing Back: Speculative Fiction and the Politics of Postcolonialism, 2001." ARIEL: A Review of International English Literature 33.1 (2002): 5-201.
			*Gomez, Jewelle. "Speculative Fiction and Black Lesbians." Signs 18.4 (1993): 948-55.

	==Links==		==Links==

Anna Auguscik at 19:46, 21 October 2014

2014-10-21T19:46:58Z

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	~~PLEASE NOTE: THIS PAGE IS STILL UNDER CONSTRUCTION. NOT ALL INFORMATION IS VERIFIED AND RELIABLE YET.~~

	*'''Time:''' Thu, 10:00 - 12:00		*'''Time:''' Thu, 10:00 - 12:00
	*'''Venue:''' A01 0-010 b		*'''Venue:''' A01 0-010 b
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	===Session 3 Thu, 6 Nov===		===Session 3 Thu, 6 Nov===
	*Atwood		*Margaret Atwood's Oryx and Crake: narration and characterization

	===Session 4 Thu, 13 Nov===		===Session 4 Thu, 13 Nov===
	*Atwood with Janine Rogers		*Margaret Atwood's Oryx and Crake (with Janine Rogers)

	===Session 5 Wed, 19 Nov===		===Session 5 Wed, 19 Nov===
	*Rebecca Goldstein		*[http://www.fictionmeetsscience.org/ccm/content/news-and-events/events/rebecca-goldstein-in-bremen;jsessionid=91C28B87CF2BE46790FD5FFEAB4EF10C/ Rebecca Goldstein in Bremen]

	===Session 6 Thu, 27 Nov===		===Session 6 Thu, 27 Nov===
	*Ishiguro		*Kazuo Ishiguro's Never Let Me Go: narration and characterization

	===Session 7 Thu, 4 Dec===		===Session 7 Thu, 4 Dec===
	*Ishiguro		*Kazuo Ishiguro's Never Let Me Go: themes and plot structure

	[Specify research interest until ...]		[Specify research interest until ...]
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	===Session 9 Thu, 18 Dec===		===Session 9 Thu, 18 Dec===
	*Never Let Me ~~God~~ as Speculative Fiction		*Never Let Me Go as Speculative Fiction

	===Session 10 Thu, 8 Jan===		===Session 10 Thu, 8 Jan===
	*Speculative Fiction and Gender		*Speculative Fiction and Race/Gender

	===Session 11 Thu, 15 Jan===		===Session 11 Thu, 15 Jan===
	*Speculative Fiction~~: Genre~~ vs. ~~Literary~~ Fiction		*Speculative Fiction vs. Science Fiction

	===Session 12 Thu, 22 Jan===		===Session 12 Thu, 22 Jan===
	*Speculative Fiction in~~/and~~ the ~~(Print and Online) Market~~		*Speculative Fiction in the Marketplace

	[Hand in RPOs until ...]		[Hand in RPOs until ...]
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	===Quotes===		===Quotes===
	*~~Rober~~ A. Heinlein: "Speculative fiction is not fantasy fiction, as it rules out the use of anything as material which violates		*Robert A. Heinlein: "Speculative fiction is not fantasy fiction, as it rules out the use of anything as material which violates established scientific fact, laws of nature, call it what you will, i.e., it must [be] possible to the universe as we know it. Thus, Wind in the Willows is fantasy, but the much more incredible extravaganzas of Dr. Olaf Stapledon are speculative fiction—science fiction." (Grumbles from Grave, 1990 [1949])
	established scientific fact, laws of nature, call it what you will, i.e., it must [be] possible to the universe as
	we know it. Thus, Wind in the Willows is fantasy, but the much more incredible extravaganzas of Dr.
	Olaf Stapledon are speculative fiction—science fiction." (Grumbles from Grave, 1990 [1949])

	===Further Reading===		===Further Reading===
	*Maxwell, Lauren Rule. "Desperate Times, Desperate Measures: Atwood's Speculative Fiction and Environmental Activism". Margaret Atwood Studies: 3.2 (2010 Aug.), pp. 4-10.		*Maxwell, Lauren Rule. "Desperate Times, Desperate Measures: Atwood's Speculative Fiction and Environmental Activism". Margaret Atwood Studies: 3.2 (2010 Aug.), pp. 4-10.


	==Links==		==Links==

Anna Auguscik at 10:12, 27 September 2014

2014-09-27T10:12:29Z

← Older revision		Revision as of 12:12, 27 September 2014
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	Please, make sure to purchase and read the two novels in advance (both will be made available at the CvO bookshop). Your reading of them is prerequisite to the course.		Please, make sure to purchase and read the two novels in advance (both will be made available at the CvO bookshop). Your reading of them is prerequisite to the course.

	:*Margaret Atwood. ''Oryx & Crake'' (2003). London: Virago, 2013.		:*Margaret Atwood. ''Oryx & Crake'' [2003]. London: Virago, 2013.
	:*Kazuo Ishiguro. ''Never Let Me Go'' [2005]. London: Faber and Faber, 2010.		:*Kazuo Ishiguro. ''Never Let Me Go'' [2005]. London: Faber and Faber, 2010.

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	Vorstellung der Fragestellung in der letzten Semestersitzung.		Vorstellung der Fragestellung in der letzten Semestersitzung.

	~~==Part I: ==~~

	===Session 1 Thu, 23 Oct===		===Session 1 Thu, 23 Oct===
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	*Ishiguro		*Ishiguro

	[Specify research interest until ...]		[Specify research interest until ...]


	===Session 8 Thu, 11 Dec ===		===Session 8 Thu, 11 Dec ===
			*Oryx and Crake as Speculative Fiction

	===Session 9 Thu, 18 Dec===		===Session 9 Thu, 18 Dec===
			*Never Let Me God as Speculative Fiction

	===Session 10 Thu, 8 Jan===		===Session 10 Thu, 8 Jan===
			*Speculative Fiction and Gender

	~~[Hand in RPOs until ...]~~


	===Session 11 Thu, 15 Jan===		===Session 11 Thu, 15 Jan===
	*~~evaluation~~		*Speculative Fiction: Genre vs. Literary Fiction

	===Session 12 Thu, 22 Jan===		===Session 12 Thu, 22 Jan===
			*Speculative Fiction in/and the (Print and Online) Market

			[Hand in RPOs until ...]

	===Session 13 Thu, 29 Jan===		===Session 13 Thu, 29 Jan===
			*evaluation

	===Session 14 Thu, 5 Feb===		===Session 14 Thu, 5 Feb===
			*discussio of RPOs
			*feedback on evaluation


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	===Bibliography===		===Bibliography===
			*Robert A. Heinlein. "On the Writing of Speculative Fiction." [1947] ''Of Worlds Beyond. The Science of Science Fiction Writing.'' Ed. Lloyd Arthur Eshbach. London: Dennis Dobson, 1965.

			''Oryx and Crake''

			*Sean Murray. "The Pedagogical Potential of Margaret Atwood's Speculative Fiction: Exploring Ecofeminism in the Classroom." ''Environmentalism in the Realm of Science Fiction and Fantasy Literature.'' Ed. Chris Baratta. Newcastle upon Tyne, England: Cambridge Scholars, 2012. p111-125.
			*Karen F. Stein. "Problematic Paradice in Oryx and Crake." ''Margaret Atwood: The Robber Bride, The Blind Assassin, Oryx and Crake.'' Ed. J. Brooks Bouson and Sarah Graham. New York, NY: Continuum, 2010. p141-155. Continuum Studies in Contemporary North American Fiction New York, NY.
			*Angela Laflen. "'There's a Shock in This Seeing': The Problem of the Image in The Handmaid's Tale and Oryx and Crake." ''Amerikastudien/American Studies'' 54.1 (2009): p99-120.

			''Never Let Me Go''

			*Karl Shaddox. "Generic Considerations in Ishiguro's Never Let Me Go." ''Human Rights Quarterly'' 35.2 (May 2013): p448-469.
			*Keith McDonald. "Days of Past Futures: Kazuo Ishiguro's Never Let Me Go as 'Speculative Memoir'." ''Biography: An Interdisciplinary Quarterly'' 30.1 (Winter 2007): p74-83.

	'''Tools'''		'''Tools'''
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	===Quotes===		===Quotes===
			*Rober A. Heinlein: "Speculative fiction is not fantasy fiction, as it rules out the use of anything as material which violates
			established scientific fact, laws of nature, call it what you will, i.e., it must [be] possible to the universe as
			we know it. Thus, Wind in the Willows is fantasy, but the much more incredible extravaganzas of Dr.
			Olaf Stapledon are speculative fiction—science fiction." (Grumbles from Grave, 1990 [1949])

	===Further Reading===		===Further Reading===
			*Maxwell, Lauren Rule. "Desperate Times, Desperate Measures: Atwood's Speculative Fiction and Environmental Activism". Margaret Atwood Studies: 3.2 (2010 Aug.), pp. 4-10.


	==Links==		==Links==
			*[http://www.isfdb.org/cgi-bin/index.cgi\| The Internet Speculative Fiction Database]
			*[http://www.speculativeliterature.org/index.php\| The Speculative Literature Foundation]
			*[http://www.jessesword.com/sf/view/438\| Science Fiction Citations]
			*[http://www.qwc.asn.au/resources/writers-guides/genres-and-literary-communities/writing-speculative-fiction/\| QWC Writing Speculative Fiction]

	[[Category:Aufbaumodul]]		[[Category:Aufbaumodul]]
	[[Category:Winter 2014-15]]		[[Category:Winter 2014-15]]

Anna Auguscik at 08:20, 25 September 2014

2014-09-25T08:20:20Z

← Older revision		Revision as of 10:20, 25 September 2014
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	What is speculative fiction? Is it a synonym for science fiction or does it function as an umbrella term for sci-fi and fantasy? Does it only apply to future scenarios or could it also be applied to fictional representations of alternative histories? The term was first mentioned in an 1889 review in Lippincott's Monthly Magazine but was only defined and put to use by writer Robert A. Heinlein half a century later. Recently, 'speculative fiction' has had a comeback in literary debates about the relationship between 'literary' and 'genre' fiction - not least due to Margaret Atwood's Maddaddam trilogy (2003, 2009, 2013).		What is speculative fiction? Is it a synonym for science fiction or does it function as an umbrella term for sci-fi and fantasy? Does it only apply to future scenarios or could it also be applied to fictional representations of alternative histories? The term was first mentioned in an 1889 review in Lippincott's Monthly Magazine but was only defined and put to use by writer Robert A. Heinlein half a century later. Recently, 'speculative fiction' has had a comeback in literary debates about the relationship between 'literary' and 'genre' fiction - not least due to Margaret Atwood's Maddaddam trilogy (2003, 2009, 2013).

	In this seminar we will track the different meanings of speculative fiction, its history, its proponents and contestants. We will read two novels which were (controversially) discussed as speculative fiction in journalistic and academic criticism - Margaret Atwood's Oryx and Crake and Kazuo Ishiguro's Never Let Me Go. In the fifth week of the seminar we will attend a reading by and conversation with philosopher and novelist Rebecca Goldstein in Bremen. In addition, we will have a guest lecturer from Canada, Professor Janine Rogers, who will not only join our discussion of Oryx and Crake but who will also offer a workshop on teaching 'literature and science' - a thriving field of research and education which will be of core interest to any current/future educator.		In this seminar we will track the different meanings of speculative fiction, its history, its proponents and contestants. We will read two novels which were (controversially) discussed as speculative fiction in journalistic and academic criticism - Margaret Atwood's ''Oryx and Crake'' and Kazuo Ishiguro's ''Never Let Me Go''. In the fifth week of the seminar we will attend a reading by and conversation with philosopher and novelist Rebecca Goldstein in Bremen. In addition, we will have a guest lecturer from Canada, Professor Janine Rogers, who will not only join our discussion of ''Oryx and Crake'' but who will also offer a workshop on teaching 'literature and science' - a thriving field of research and education which will be of core interest to any current/future educator.

	Please, make sure to purchase and read the two novels in advance (both will be made available at the CvO bookshop). Your reading of them is prerequisite to the course.		Please, make sure to purchase and read the two novels in advance (both will be made available at the CvO bookshop). Your reading of them is prerequisite to the course.