By Inez van der Spek
On the center of this stimulating and provocative learn is a technological know-how fiction tale via James Tiptree, Jr. (Alice Sheldon-Bradley, 1916–1987) a few brother and a sister (and fifty eight different humans) who come across an alien whereas on a starship touring to find a liveable planet. The booklet contains an summary of Tiptree’s paintings and of her awesome lifestyles because the merely baby of jungle explorers, as a painter, an American agent in the course of and after international conflict II, an experimental psychologist, and a feminine technology fiction author in male hide.
Read or Download Alien Plots: Female Subjectivity and the Divine in the Light of James Tiptree's A Momentary Taste of Being' (Liverpool University Press - Liverpool Science Fiction Texts & Studies) PDF
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Additional resources for Alien Plots: Female Subjectivity and the Divine in the Light of James Tiptree's A Momentary Taste of Being' (Liverpool University Press - Liverpool Science Fiction Texts & Studies)
But notice the female protagonist’s riposte, ‘I’m not sure a clear distinction can be made between the two. ’ And who could tell us more, I would add by extension, about God and the divine than the storytellers of all religions? The most obvious parallel science fiction offers to both psychological and theological women’s studies’ interdisciplinary status is its ambiguous SEED-BEDS 25 scientific character. Science fiction hovers between science and fiction, between science and non-science. Similarly, neither psychology nor theology can make simple claims to producing ‘hard knowledge’, and feminism further attenuates their claims to scientificity.
Ironically, the woman ruler is first supplied with social, economic and political dominance, in order to show next that female rule only leads to abuse of power or degeneration. In The Time Machine resonances of the female dystopia clearly sound in the depiction of the degenerated Eloi as stereotypical feminine. The Eloi, in this manner, are not opposed so much to their oppressors, the bestial Morlocks, but rather to the time traveller. At the same time, Wells points to hard science as salvation.
Today genre fiction is often equated with popular literature, and hence as ‘not literature’ covering mere formulaic stories for the simpletons of the earth. Generic writing in this view implies the uncreative following of a set of rules and conventions by writer and reader. However, once the anxious high/low division of culture is abandoned, it may become obvious that not only popular literature but mainstream literature as well can be conceived according to genre. Genres—popular and literary—are forms of discursive practices, in a similar manner, I would say, as theology is understood as discourse.