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decision not to define the field at all -- but it is, in fact, the only
completely accurate definition." (Card p.12)
"The most complete definition will come to you only one way,
and it isn't easy. You have to know everything ever published as
speculative fiction or fantasy. Of course, you want to begin
writing sf and fantasy before you die, so you know that you can't
read every single book or story. You'll have to read a
representative sample to get a feel for what has already been
done in the field." (Card p.13)
"Speculative fiction includes all stories that take place in a
setting contrary to known reality." (Card p.17)
"Speculative fiction by definition is geared toward an audience
that wants strangeness, an audience that wants to spend time in
worlds that absolutely are not like the observable world around
them." (Card p.20)
"Here's a good, simple, semi-accurate rule of thumb: If the story
is set in a universe that follows the same rules as ours, it's
science fiction. If it's set in a universe that doesn't follow our
rules, it's fantasy. Or, in other words, science fiction is about
what could be but isn't; fantasy is about what couldn't be." (Card
p.22)
"sf can have a socially or politically critical purpose" (Shaw p.2)
"sf offers potential futures whose most important function is to
distance the reader from, and thus offer a critical perspective
on, her present." (Shaw p.2)
"Suvin's definition of the genre as requiring the presence of
'estrangement and cognition.'" (Shaw p.4)
"As Baudrillard has (now famously) claimed, 'SFis no longer an
elsewhere, it is an everywhere.'" (Shaw p.5)
"the writing of sf proceeds from a need to express a truth, a
concept, a conviction or a question which, like Charlotte Perkins
Gilman's 'important truths, needed but unpopular,' find their
most potent expression through the invention of imaginary
worlds in which the future has already happened." (Shaw p.178)
"The speculative, 'thought experiment' nature of the genre has
fuelled a comprehensive breadth of innovation." (Makinen 129)
"But Wells, like Shelley before him, uses science fiction to raise
questions about society, in relation to technology. In Britain, the
fiction has been used as a form of social critique from its
inception." (Makinen 131)
"despite its history, science fiction did have revolutionary
potential because of its structural premise to question things-asthey-are. Sf's alternate paradigms could play off dialectically
against the given reality to create a non-ethnocentric literature."
(Makinen 139)
b. define feminism
i. FEMINISM
1. http://www.merriam-webster.com/dictionary/feminism
2. https://owl.english.purdue.edu/owl/resource/722/11/
3. "Sexist discourse defines, describes and delimits how men
and women must act in order to be considered masculine
and feminine, how to be 'real' men and 'real' women in a
patriarchal or male-dominated society (Kress, 1985 (A)). It
similarly orders the interactions between the sexes, what
constitutes normal or acceptable sexual behavior and,
equally oppressively, what constitutes normal behavior for
both sexes, in both private and public areas of activity."
(Cranny-Francis p.2)
4. "I thus adopt Alison Jaggar's formulation, which defines as
feminist all those forms of theory and practice that seek,
no matter on what grounds and by what means, to end
the subordination of women." (Felski p.13)
5.
ii. FEMINIST FICTION
1. "In feminist fiction, including feminist genre fiction,
feminist discourse operates to make visible within the text
the practices by which conservative discourses such as
sexism are seamlessly and invisibly stitched into the
textual fabric, both into its structure and into its story, the
weave and the print." (Cranny-Francis p.2)
2. "But why genre fiction?...As a conscious feminist
propagandist it makes sense to use a fictional format
which already has a huge market." (Cranny-Francis p.2)
3. "Feminist generic fiction is not simply masculinist generic
fiction with female heroes telling stories of oppression; as
such it would risk becoming an even more effective
apology for patriarchy. Feminist generic fiction, like
socialist generic fiction, is a radical revision of
conservative genre texts, which critically evaluates the
ideological significance of textual conventions and of
fiction as a discursive practice." (Cranny-Francis p10)
4. "Feminist genre fictionreveals genre as a social
strategy on a number of levels. Feminist analysis of
generic fiction has shown that genres encode ideological
information. They have a specific social function to
perform as the expression of conservative ideological
discourses, though oppositional voices are often heard -either within the same texts and in order to be silenced
(but still there) or in self-consciously oppositional works by
politicized writers (for example socialists or feminists)."
(Cranny-Francis p.17)
5. "Feminist fiction can be understood as both a product of
existing social conditions and a form of critical opposition
to them, and this dialectic can be usefully interpreted in
conjunction with an analysis of the status of feminism as a
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iii. FEMINIST SF
1. "Because of its estrangement from the everyday world of
experiential reality, science fiction (and fantasy) can
present women in new roles, liberated from the sexism
endemic to their society even in its most emancipated
state. In this way science fiction has a role in this task of
Hopkinson
3. Conclusion
a. thoughts for further study
b. ok yes these texts do these things but WHY?? awareness? social
change?
i. "the novel's capacity to effect change" (MacKay p.4)
ii. "Realism, then, has been the key term in most accounts of why
the novel matters, and it has come to mean many things. But
one point unites all these claims: that realism means more than
juts representing what 'really' is. That is to say, the novel may
act upon us all as cultural texts do, and thus potentially change
the world in the act of describing itCan a novel change the
world simply by making people look at it differently?...novels are
doing something by teaching you how to feel, and, in theory,
when we 'feel right,' we act rightly." (MacKay p.14)
iii. "If this is true, we have to take novels seriously as potential
agents in the world rather than imagining them as the
innocently reflective surfaces that the term 'realism' implies. Are
they agents for good? Yes -- and no. What makes Uncle Tom's
Cabin such a useful example is that its considerable narrative
power has notoriously proved a curse as well as a blessing.
Which is to say that even though the novel professes a
documentary aspiration in its rendering of African American
slavery -- its subtitle is 'life among the lowly' -- this book has