The Philosophy of Science Fiction: Henri Bergson and the Fabulations of Philip K. Dick explores the deep affinity between two seemingly quite different thinkers, in their attempts to address the need for salvation in (and from) an era of accelerated mechanization, in which humans' capacity for destroying or subjugating the living has attained a planetary scale. The philosopher and the science fiction writer come together to meet the contradictory imperatives of a realist outlook-a task which, arguably, philosophy and science fiction could only ever adequately undertake in collaboration. Their respective approaches meet in a focus on the ambiguous status of fictionalizing, or fabulation, as simultaneously one of mechanization's most devastating tools, and the possibility of its undoing. When they are read together, the complexities and paradoxes thrown up by this ambiguity, with which both Bergson and Dick struggle on their own, open up new ways to navigate ideas of mechanism and mysticism, immanence and transcendence, and the possibility and meaning of salvation. The result is at once an original reading of both thinkers, a new critical theory of the socio–cultural, political and ethical function of fictionalizing, and a case study in the strange affinity, at times the uncanny similarity, between philosophy and science fiction.

The science fiction genre maintains a remarkable hold on the imagination and enthusiasm of the filmgoing public, captivating large audiences worldwide and garnering ever-larger profits. Science fiction films entertain the possibility of time travel and extraterrestrial visitation and imaginatively transport us to worlds transformed by modern science and technology. They also provide a medium through which questions about personal identity, moral agency, artificial consciousness, and other categories of experience can be addressed. In The Philosophy of Science Fiction Film, distinguished authors explore the storylines, conflicts, and themes of fifteen science fiction film classics, from Metropolis to The Matrix. Editor Steven M. Sanders and a group of outstanding scholars in philosophy, film studies, and other fields raise science fiction film criticism to a new level by penetrating the surface of the films to expose the underlying philosophical arguments, ethical perspectives, and metaphysical views. Sanders's introduction presents an overview and evaluation of each essay and poses questions for readers to consider as they think about the films under discussion.The first section, "Enigmas of Identity and Agency," deals with the nature of humanity as it is portrayed in Blade Runner, Dark City, Frankenstein, Invasion of the Body Snatchers, and Total Recall. In the second section, "Extraterrestrial Visitation, Time Travel, and Artificial Intelligence," contributors discuss 2001: A Space Odyssey, The Terminator, 12 Monkeys, and The Day the Earth Stood Still and analyze the challenges of artificial intelligence, the paradoxes of time travel, and the ethics of war. The final section, "Brave Newer World: Science Fiction Futurism," looks at visions of the future in Metropolis, The Matrix, Alphaville, and screen adaptations of George Orwell's 1984.

Beijing International Conference, 1992

This accessible and provocative collection of science fiction acquaints readers with cutting-edge gender controversies in moral and political philosophy. By imagining future worlds that defy our most basic assumptions about sex and gender, freedom and equality, and ethical values, the anthology’s authors not only challenge traditional standards of morality and justice, but create bold experiments for testing feminist hypotheses. Selections are grouped under four main themes. Part 1, "Human Nature and Reality," concentrates on whether there is an intrinsic difference between males and females. Here the authors inspect opposing views on five related questions: What does it mean to be human? What are women and men really like? How significant is the reproductive difference? How do we define the concepts of "woman" and "nature"? Why is language important? Part 2, "Dystopias: The Worst of All Possible Worlds," first portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Chilling stories of future possibilities follow, including worlds where women and men separate into armies to fight a literal war of the sexes. Part 3, "Separatist Utopias: Worlds of Difference," assembles stories that scrutinize both the virtues and vices of separatism, in order to address the questions Why should women want to separate from men? and What would and should these all-female worlds be like? In Part 4, "Androgynous Utopias: Worlds of Equality," the authors create intriguing worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. With selections from such noted writers as Octavia Butler, Marion Zimmer Bradley, James Tiptree Jr., and many others, plus chapter introductions, discussion questions, and recommended reading list, this stimulating collection offers fresh insights on troubling issues by weaving controversial utopian and dystopian designs from the separate threads of opposing positions.

Sometimes called the “literature of ideas,” science fiction is a natural medium for normative political philosophy. Science fiction’s focus on technology, space and time travel, non-human lifeforms, and parallel universes cannot help but invoke the perennial questions of political life, including the nature of a just social order and who should rule; freedom, free will, and autonomy; and the advantages and disadvantages of progress. Rather than offering a reading of a work inspired by a particular thinker or tradition, each chapter presents a careful reading of a classic or contemporary work in the genre (a novel, short story, film, or television series) to illustrate and explore the themes and concepts of political philosophy.

James Gunn--one of the founding figures of science fiction scholarship and teaching--wrote in 1951 what is likely the first master's thesis on modern science fiction. Portions were in the short-lived pulp magazine Dynamic but it has otherwise remained unavailable. Here in its first full publication, the thesis explores many of the classic Golden Age stories of the 1940s and the critical perspective that informed Gunn's essential genre history Alternate Worlds and his anthology series The Road to Science Fiction. The editor's introduction and commentary show the historical significance of Gunn's work and its relevance to today's science fiction studies.

As the gap between science fiction and science fact has narrowed, films that were intended as pure fantasy at the time of their premier have taken on deeper meaning. This volume explores neuroscience in science fiction films, focusing on neuroscience and psychiatry as running themes in SF and finding correlations between turning points in "neuroscience fiction" and advances in the scientific field. The films covered include The Strange Case of Dr. Jekyll and Mr. Hyde, The Island of Dr. Moreau, Robocop, The Stepford Wives, The Mind Snatchers and iconic franchises like Terminator, Ironman and Planet of the Apes. Examining the parallel histories of psychiatry, neuroscience and cinema, this book shows how science fiction films offer insightful commentary on the scientific and philosophical developments of their times.

Featuring numerous updates and enhancements, Science Fiction and Philosophy, 2nd Edition, presents a collection of readings that utilize concepts developed from science fiction to explore a variety of classic and contemporary philosophical issues. Uses science fiction to address a series of classic and contemporary philosophical issues, including many raised by recent scientific developments Explores questions relating to transhumanism, brain enhancement, time travel, the nature of the self, and the ethics of artificial intelligence Features numerous updates to the popular and highly acclaimed first edition, including new chapters addressing the cutting-edge topic of the technological singularity Draws on a broad range of science fiction’s more familiar novels, films, and TV series, including I, Robot, The Hunger Games, The Matrix, Star Trek, Blade Runner, and Brave New World Provides a gateway into classic philosophical puzzles and topics informed by the latest technology

Bringing together short stories by award-winning contemporary science fiction authors and philosophers, this book covers a wide range of philosophical ideas from ethics, philosophy of religion, political philosophy, and metaphysics. Alongside the introductory pieces by the editors that help readers to understand how philosophy can be done through science fiction, you will find end-of-story notes written by the authors that contextualize their stories within broader philosophical themes. Organised thematically, these stories address fundamental philosophical questions such as: *What does it mean to be human? *Is neural enhancement a good thing? *What makes a life worthwhile? *What political systems are best? By making complex ideas easily accessible, this unique book allows you to engage with philosophical ideas in entertaining new ways, and is an ideal entry point for anyone interested in using fiction to better understand philosophy.

Ursula K. Le Guin's The Dispossessed is of interest to political theorists partly because of its association with anarchism and partly because it is thought to represent a turning point in the history of utopian/dystopian political thought and literature and of science fiction. Published in 1974, it marked a revival of utopianism after decades of dystopian writing. According to this widely accepted view The Dispossessed represents a new kind of literary utopia, which Tom Moylan calls a 'critical utopia.' The present work challenges this reading of The Dispossessed and its place in the histories of utopian/dystopian literature and science fiction. It explores the difference between traditional literary utopia and novels and suggests that The Dispossessed is not a literary utopia but a novel about utopianism in politics. Le Guin's concerns have more to do with those of the novelists of the 19th century writing in the tradition of European Realism than they do with the science fiction or utopian literature. It also claims that her theory of the novel has an affinity with the ancient Greek tragedy. This implies that there is a conservatism in Le Guin's work as a creative writer, or as a novelist, which fits uneasily with her personal commitment to anarchism.