ARTICLE ABSTRACTS
Alan C. Elms
The
Psychologist Who Empathized with Rats: James Tiptree, Jr. as Alice B. Sheldon,
PhD
Abstract. -- Fans and scholars have been intrigued not only by Alice Bradley Sheldon’s
sustained disguise as the male writer James Tiptree, Jr., but by her earlier
activities in the secret world of Army Air Force Intelligence and the CIA.
Less attention has been given to her major pursuit between her careers in
intelligence and sf: graduate work, teaching, and research in experimental
psychology. Though her work in psychology represented the fulfillment of
long-term goals, she was forced to give it up because of health problems and
psychological pressures. Her subsequent fiction often displayed the influence
of her psychological training and interests. Earlier life experiences may have
shaped both her career in psychology and her career as a writer.
Steffen Hantke
Raumpatrouille: The Cold War, the “Citizen in Uniform,”
and West German Television
Abstract. -- Kept in the public consciousness by a devoted fan following, the series
Raumpatrouille Orion, all seven episodes of which aired in 1966, stands as the
first science fiction program produced by and for German television. With its
critical exploration of insubordination in a military setting, the show
reflects ambiguities among the German population about West Germany’s role in
NATO in the wake of German rearmament after World War II. At the same time,
the show’s critique of blind military obedience and its positive validation of
insubordination prepared the way for a new form of competitive individualism.
The program echoes central features of the brand of neoliberalism common in
post-War West Germany.
Patrick A.
McCarthy
The Genesis of Star Maker
Abstract. -- Olaf Stapledon’s Star Maker evolved in the
author’s imagination for more than two decades before its publication in 1937.
This evolution may be traced first in poems, letters, and an unpublished
philosophical manuscript, then in several stages of revision of Stapledon’s
“cosmos book.” Examining evidence from the poems of
Latter-Day Psalms (1914)
through the author’s final corrections of page proofs, this article
demonstrates ways in which Stapledon struggled first with the ideas, then with
the narrative shape, of his vision of the cosmos and its relation to human
life.
Livia Monnet
A-Life and the Uncanny in Final Fantasy: The Spirits
Within
Abstract. -- Sakaguchi Hironobu’s Final Fantasy: The Spirits
Within (2001) was the first entirely computer-generated film to produce a
nearly perfect, cinematic photorealism. This article argues that the
significance of this film lies less in the technological achievement of its
computer graphics than in the questions it raises about the conceptualization
and representation of life in analog and digital media, as well as in popular
genres such as science fiction. I argue that a contingent, historically
specific notion of life (and death) as artificial life, or a-life, provides
continuity and cross-fertilization between analog and digital moving-image
media on the one hand and information-based life sciences on the other.
Articulated in varying forms ranging from cinema’s animism, or ersatz of life,
to the life effect of computer-generated Artificial Life ecologies, this
notion of a-life is uncanny because it is predicated on life excess, as well
as on the constant reenactment of an absence. While this absence has as a rule
been the result of the abduction of women’s (or of marginalized,
disenfranchised groups’) agency and cultural contributions, Final Fantasy also
alerts us to this violent erasure’s history of suppression in the cinema,
animation, and software culture, as well as in science fiction, philosophy,
and psychoanalysis. The conclusion of the essay argues that, in spite of all
these traditions’ repeated attempts to eradicate the haunting memory of the
missing woman, it is her stubborn return as life effect that produces a
persistently unheimlich sensation, and an unheimlich aesthetics in much
contemporary science fiction, as well as in other genres in our global network
culture.
William L.
Svitavsky
From Decadence to Racial Antagonism: M.P. Shiel at the
Turn of the Century
Abstract. -- M.P. Shiel was influenced by the Decadent
movement of the 1890s more lastingly than most of his contemporaries, in part
because the tenets of Decadence resonated with his own personal history and
racial views. As the movement faded, Shiel built on the underlying logic of
Decadence to create adventure novels involving race-based conflict. Shiel’s
racism is disturbing but complex, ultimately leading toward a vision of union
between Self and Other. Shiel’s developing views are evident in five of his
works from 1895-1901: Prince Zaleski, Shapes in the Fire, The Yellow Danger,
The Purple Cloud, and The Lord of the Sea.
Gary Westfahl
Twelve Eighty-Seven: John Taine’s Satisfactory Solution
Abstract. --
John Taine, the literary pseudonym of mathematician Eric Temple Bell
(1883-1960), was long recognized as one of the world’s greatest science
fiction writers, praised for his scientific knowledge and imaginative
narratives. While writers who published alongside Taine, such as John W.
Campbell, Jr., Robert A. Heinlein, and Jack Williamson, have remained familiar
to readers and scholars, Taine has proven less successful in keeping his name
and reputation alive. His works have drifted out of print, and the 1935 novel,
Twelve Eighty-Seven, featured in Astounding Stories, has still never been
published in book form. One can readily understand why Taine has been
neglected, and why this novel in particular has remained invisible.
Paradoxically, however, reexamination of this apparently insignificant novel
might help to rehabilitate Taine as a noteworthy science fiction writer, by
demonstrating that his then-unusual status as a science fiction writer with
ties to the scientific community led him to innovative attitudes about other
races and the proper role of scientists in both developing, and limiting the
use of, destructive superweapons. This article concludes with a bibliography
of Taine’s work.