6/10/2023 0 Comments Youtube storyspace eastgate![]() ![]() Among the 'existential risks' contemplated are cosmological or geological disasters, our use of weapons, global plagues and other pandemic agents, ecological collapse and climate change. ![]() more The imagining of the worst ends of humanity has been so present in the genre of SF written in English that it has given rise to the subgenre of 'apocalyptic SF'. The imagining of the worst ends of humanity has been so present in the genre of SF written in Eng. A close reading of these topics will show whether they endorse a solid feminist stance or are just colourful feminist details in a male-dominated space opera and, in turn, if they have a specifically narrative purpose in the context of the dystopic subgenre. This article intends to analyse not only how these specifically female issues related to motherhood/mothering are presented in the novel, but also to explore their function and role. Despite the fact that the genre of SF and that of space opera in particular have been traditionally quite male-oriented, in the last years feminist theories of several kinds have been an undeniable transformative influence. more Marianne de Pierres's Transformation Space (2010) is a rare example of an Australian novel set in an apocalyptic and dystopic interstellar future where pregnancy, childbearing and nursing have a presence that is quite uncommon in Science Fiction (SF). Marianne de Pierres's Transformation Space (2010) is a rare example of an Australian novel set in. Ultimately, the voices of the different characters in the novel convey a polyhedral vision of possible future feminist motherhood(s) where ideas of personal freedom and codependency are radically reconceptualised-a rethinking that becomes especially important nowadays, for the biotechnological elements of this fictional dystopia are already a reality. As an analysis of the novel will show, The Growing Season creatively explores the existing tensions among contemporary understandings of motherhood and feminism(s), as well as developments in reproductive biotechnology, through the different perspectives offered by the heterodiegetic third-person narration and multiple focalisation. ![]() However, if men could share procreation, would these views change? A recent work of fiction exploring this question from multiple perspectives is Helen Sedgwick’s The Growing Season (2017), a novel that presents a near future in which babies can be grown in artificial wombs that can be carried around. Conventionally, patriarchal thinking tends to posit a biological explanation for gender inequality: women are supposed to be child bearers and the primary caregivers, whereas men should provide for the family through their work. more After the boom of feminist science fiction in the 1970s, many such novels have tackled the different sociocultural understandings of gender and sexual reproduction. In MacLeod's fiction, a Transmodern urban place is conceived, where the glocal and the virtual meet in a new multifold reality without ever losing their local specificity.Īfter the boom of feminist science fiction in the 1970s, many such novels have tackled the differ. My analysis focuses on the interconnectedness of place as presented in the two novels, creating a new territory that transcends Scottish Postmodern urban geographies. Both are set in urban Scotland in the near-future and they portray new configurations of place. His novels Intrusion (2012) and Descent (2014) are remarkable examples of what some critics have called Transmodern fiction. Ken MacLeod is one of the figures who has successfully managed to set Scotland on the SF map. To (re)imagine Scotland and its places means to envision its potential spaces. ![]() Scottish science fiction (SF) goes a step further by emphasising the need not only to recognise and represent Scottish places, but also to recreate and to (re)imagine them in their possible futures. more A place cannot exist if it has not been imagined, if it has not been perceived, as Alasdair Gray famously stated. A place cannot exist if it has not been imagined, if it has not been perceived, as Alasdair Gray. ![]()
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