#94 = Volume 31, Part 3 = November 2004
ARTICLE ABSTRACTS
Tatiana
Chernyshova
Science Fiction and Myth Creation in our
Age
Abstract. -- SF functions in contemporary life as a form of myth
creation. Myth has a gnoseological function for archaic societies; it creates a
whole world-picture by complementing accumulated empirical knowledge with
analogies drawn from familiar experience. Thus world-models are structurally
similar to myths, combining cognition and fiction. All writing that explains
scientific knowledge at the level of popular consciousness also works in this
manner; in the figures of sf, it overtly resembles myth creation.
Elana
Gomel
Gods Like Men: Soviet Science Fiction and the Utopian Self
Abstract. -- This essay deals with the
representation of the New Man in Soviet sf. The New Man is the ideal subject
whose creation was one of the central goals of Soviet civilization. Soviet sf
reflects the ideological paradox underlying his aborted birth: the New Man was
supposed to come into being as the culmination of the historical process and, at
the same time, to negate the contingency and violence of history. The article
focuses on the articulation of this paradox in the canonical works of Ivan
Efremov and the Strugatsky brothers and analyzes such aspects of the New Man as
anthropomorphism, gender, violence, and relation to the Other.
Erik Simon
The Strugatskys in Political Context
Abstract.
-- The Strugatsky brothers began their career in the early
1960s as writers of genial and down- to-earth utopian sf. Their important novels
of the mid-1960s, Hard to Be a God and The Final Circle of Paradise, were
popular successes, but they elicited some criticism from conservative
functionaries for their deviation from official ideology. Opposition from their
doctrinaire and opportunistic literary enemies steadily grew into outright
obstruction. In the second half of the 1960s, the Strugatskys wrote primarily
satirical and grotesque fantasies, such as Tale of the Troika and Snail on the
Slope, and found hardly any publishers willing to print them. In the early
1970s, they attempted to write more popular works, but they continued to
encounter obstructions, which finally became an institutionalized boycott by the
end of the decade. In the 1980s, they were the most popular Soviet sf writers
despite the boycotts and slander campaigns, and their oeuvre has been the only
one continuously and completely in print by Russian sf writers.
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