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CFP: Eaton 2009, Extraordinary Voyages: Jules Verne and Beyond September 4, 2008

Posted by Jason Ellis in Conference, Science Fiction.
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Rob Latham recently sent out a CFP for next year’s Eaton Conference on “Extraordinary Voyages:  Jules Verne and Beyond.”  I haven’t had an opportunity to go to the Eaton Conference, but I hope to soon.  Definitely check out the CFP below, and read more about the conference on their official site here!

The 2009 Eaton Science Fiction Conference

Extraordinary Voyages: Jules Verne and Beyond

April 30-May 3, 2009          

University of California Riverside

Extraordinary voyages have shaped world literature since the Biblical Flood and The Odyssey, but no single writer has done more than Jules Verne to forge this device into a narrative template for addressing modern issues.The UCR Libraries’ Eaton Science Fiction Collection, in coordination with the North American Jules Verne Society, proposes a three and one-half-day conference that will examine the traditions Verne exploited, Verne’s own extraordinary work, and his far-ranging influence in modern fiction and culture. In 1863, Jules Verne published the first of the sixty-four novels and short story collections that would become known as the “Extraordinary Voyages.” Verne’s influence on the hardware and the locales of modern science fiction: the center of the earth, the bottom of the seas, outer space, is widely recognized. More significant is his influence on the shape of modern SF: the extraordinary voyage has become a foundational motif by which scientific knowledge is linked to the exploration of richly-imagined worlds. This conference will explore the implications of the extraordinary voyage as a narrative and ideological mode that resonates in world SF down to the present day.

The conference welcomes scholars, collectors, and enthusiasts of the extraordinary voyage and will address, but not necessarily be limited to, the following sets of questions. What is the place of the extraordinary voyage within the complex of genres that makes up early or proto-science fiction: the utopia, the scientific romance, the hollow-earth tale, the Robinsonade, etc.? How has the extraordinary voyage been linked to discourses of travel and tourism, to scientific and technological revolutions, to the history of European colonialism and the rise of industrial militarism? In what ways does a detailed focus on the mechanisms of locomotion (balloon, rocket, steamship, submarine, train, aircraft) transform the imaginary voyage into an extraordinary voyage, and how has this technique influenced other SF traditions? Does the theme of travel, of transit across physical borders and toward extreme destinations, serve as an allegory for contact and communication across other sorts of boundaries (linguistic, ethnic, gender, socioeconomic, national)? How do 20th-century writers (such as the so-called “steampunks”) rework legacies of Verne and other 19th-century SF, whether earnestly or satirically, as paradigm or as pastiche? What accounts for the remarkable afterlife of Verne’s characters, and those of 19th-century SF more generally, who appear in numerous revisions and elaborations by 20th- and 21st-century SF writers? What are the influences of the Vernian paratext: the thousands of maps, illustrations, photographs, and ornately colored and ornamented bindings of the first editions’ on contemporary works of imaginative fiction? How has the extraordinary voyage been translated into other cultures and other media, from comic books, graphic novels and film to theme parks and digital texts, and with what consequences?

Abstracts of 300-500 words (for papers of 20-minutes in length) should be submitted by December 15, 2008 to Melissa Conway, Head, Special Collections & Archives, UCR Libraries at Melissa.Conway [at] ucr.edu.

Contact us: eatonconference [at] ucr.edu

College Writing and Space Exploration Theme September 3, 2008

Posted by Jason Ellis in Kent State, Pedagogy, Science Fiction.
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As many of you know, this is my first year teaching college writing at Kent State University, and it’s already been an enlightening experience.  I chose space exploration as the course theme (after a suggestion by Brian Huot and protracted consideration on my part and a mad scramble for resources before classes began), because I can use this theme to bridge science fiction with the real world.  

I’ve already had my students write about Walt Disney’s short film, “Mars and Beyond.”  Soon, they will read Clarke’s 2001: A Space Odyssey and then move on to Sagan’s Pale Blue Dot.  Through their viewings and readings, I’m having them write extensively to develop their writing skills.  Also, I’ve taken steps to connect their career goals and hobbies with the rewards of space exploration through personal email exchanges, which I hope to incorporate into later assignments.  I’d say, so far, so good, and much thanks to everyone who offered me teaching advice and assistance!

If you’re interested, you may read my course syllabus here, and my first assignment handout to accompany the Disney film here.

CFP: IAFA, Time and the Fantastic September 3, 2008

Posted by Jason Ellis in Conference, Science Fiction.
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Graham Murphy sent out a CFP for the 30th International Conference on the Fantastic in the Arts.  Next year’s theme is “Time and the Fantastic.”  I was at IAFA earlier this year, and it was much fun!  I got to meet a lot of great folks, see some old friends, and listen to a number of excellent presentations.  Also, IAFA is a great place to connect with authors that you may study.  Below is the CFP, so please read and send in an abstract.  See you in Orlando!

The 30th International Conference on the Fantastic in the Arts

Time and the Fantastic

The 30th International Conference on the Fantastic in the Arts will beheld March 18-22, 2009, at the Orlando Airport Marriott in Orlando,Florida. The conference begins at 3pm on Wednesday and ends at 1 am on Sunday upon the conclusion of the conference banquet. Malcolm J. Edwardsand Brian Stableford write that “the metaphysics of time continues to intrigue writers inside and outside the genre” of the fantastic; thus, the focus of ICFA-30 is on the intriguing relationships between time and the fantastic. Papers are invited to explore this topic in science fiction, fantasy, horror, and other related modes of the fantastic. In addition, we especially look forward to papers on the work of our honored guests:

Guest of Honor: Guy Gavriel Kay, Aurora Award-winning, Caspar Award-winning, and Mythopoeic Fantasy Award-nominated author of the Fionavar Tapestry (The Summer Tree, The Wandering Fire, The Darkest

Road), Tigana, A Song for Arbonne, and The Last Light of the Sun

Guest of Honor: Robert Charles Wilson, Hugo Award-winning author of Axis, Spin, The Chronoliths, Darwinia, Mysterium, and A Bridge of Years

Guest Scholar: Maria Nikolajeva, author of The Aesthetic Approach to Children’s Literature (Scarecrow), The Rhetoric of Children’s Literature (Scarecrow), and From Mythic to Linear: Time in Children’s Literature (Scarecrow)

As always, we also welcome proposals for individual papers and for academic sessions and panels on any aspect of the fantastic in any media. The deadline is October 31, 2008.

We encourage work from institutionally-affiliated scholars, independent scholars, international scholars who work in languages other than English, graduate students, and undergraduate students.

The Jamie Bishop Memorial Award for an Essay Not in English is open to all members of the IAFA. The IAFA Graduate Student Award is open to all graduate students presenting papers at the year’s conference. Details are available via Robin Reid, Second Vice-President (Robin_Reid@tamu-commerce.edu). Finally, the Dell Magazines Undergraduate Science Fiction Award will also be handed out at this year’s conference.

Visit http://www.iafa.org for more details.

CFP: Science Fiction Film and Television September 3, 2008

Posted by Jason Ellis in Research, Science Fiction.
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Mark Bould, co-editor of Science Fiction Film and Television, recently sent out a CFP for the journal.  This is a journal to watch, and I’ve heard rumblings of their doing a BSG special issue in the future.  Read below for the details, and a little further down for the contents of their latest issue.  

Science Fiction Film and Television is a biannual, peer-reviewed journal published by Liverpool University Press and distributed in North America by Chicago University Press. Edited by Mark Bould (UWE) and Sherryl Vint (Brock University), with an international board of advisory editors, it encourages dialogue among the scholarly and intellectual communities of film studies, sf studies and television studies. 

We invite submissions on all areas of sf film and television, from Hollywood productions to Korean or Turkish sf film, from Sci-Fi Channel productions to the origins of sf tv in Rod Brown of the Rocket Rangers or The Quatermass Experiment. We encourage papers which consider neglected texts, propose innovative ways of looking at canonical texts, or explore the tensions and synergies that emerge from the interaction of genre and medium. 

We publish articles (6000-8000 words), book and DVD reviews (1000-2000 words) and review essays (up to 5000 words), as well as archive entries (up to 5000 words) on theorists (which introduce the work of key and emergent figures in sf studies, television studies or film studies) and texts (which describe and analyse little-known or unduly neglected films or television series).

Articles should be 6000-8000 words (MLA format) and include a 100-word abstract. Electronic submission in MS Word is preferred. Send submissions to both editors at mark.bould [at] uwe.ac.uk and sherryl.vint [at] gmail.com. If you have an idea for a contribution to the archives section, please contact the editors to discuss your proposal.

Advisory Editorial Board: Jonathan Bignell (University of Reading), Catherine Constable (University of Warwick), Susan A. George (University of California, Berkeley), Elyce Rae Helford (Middle Tennessee State University), Matt Hills (Cardiff University), Brooks Landon (University of Iowa), Rob Latham (University of Iowa), Susan Napier (Tufts University), Sharalyn Orbaugh (University of British Columbia), David Seed (University of Liverpool), Steve Shaviro (Wayne State University), Vivian Sobchack (University of California, Los Angeles) and JP Telotte (Georgia Institute of Technology)

Here’s the contents for the latest issue of Science Fiction Film and Television:

Science Fiction Film and Television 1.1 (Spring 2008)

Articles

Vivian Sobchack, ‘Love Machines: Boy Toys, Toy Boys and the Oxymorons of A.I.: Artificial Intelligence’

Alain Badiou, ‘Dialectics of the Fable’

Matt Hills, ‘The Dispersible Text: Theorising Moments of Doctor Who’

Dave Rolinson and Karen Devlin, ‘“A New Wilderness”: Memory and Language in the Television Science Fiction of Nigel Kneale’

JP Telotte, ‘Serenity, Cinematisation and the Perils of Adaptation’

Mariano Paz, ‘South of the Future: An Overview of Latin American Science Fiction Cinema’

Archive

Mary Pharr, ‘The Lab and the Woods: Science and Myth in Les Yeux sans visage’

Sherryl Vint, ‘Embodied Texts, Embodied Subjects: An Overview of N. Katherine Hayles’ 

Books reviews

Paul Williams on Wanda Strauven, ed., The Cinema of Attractions Reloaded

Carl Freedman on James Naremore, On Kubrick

David Seed on Matthew Frye Jacobson and Gaspar Gonzalez, What Have They Built You to Do? The Manchurian Candidate and Cold War America.

Andrew M Butler on Will Brooker, ed., The Blade Runner Experience

Rob Latham on Serge Grunberg, ed., David Cronenberg: Interviews

DVD reviews

Stacey Abbott on Stereo and Crimes of the Future

Bill Beard on Naked Lunch

Adam Roberts on The Man Who Fell to Earth

Neil Easterbrook on No Maps for These Territories

Mark Bould on Transformers

Aylish Wood on Flatland, the Film

William Brown on Immortal (ad vitam)

Seth Giddings on Fantastic Planet  

Pam Cook on District 13

Jarret Burke on 4

CFP: Place and Space in Children’s Literature September 3, 2008

Posted by Jason Ellis in Conference, Science Fiction.
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Farah Mendlesohn sent out the following CFP for the “Place and Space in Children’s Literature” conference at the University of Oxford.  If you’re a children’s literature scholar, you might want to check this out.  Read on for the details.

Place and Space in Children’s Literature

27-28 March 2009, University of Oxford

Keble College, Oxford

Keynote speech by Philip Pullman

The University of Oxford Children’s Literature Reading Group invites papers on the themes of place and space in children’s literature for its conference to be held at Keble College, Oxford. The keynote speech, opening reception, and delegates’ dinner on the evening of Friday 27 March will be followed by a day of panels and discussions on Saturday 28 March, 2009.

Space is fundamental in any exercise of power

–Michel Foucault

From the Prince Edward Island of Anne of Green Gables to Gossip Girl’s glamorous Upper East Side to the multiple Oxfords in His Dark Materials, the locales of children’s and young adult literature often aid in defining the child’s relationship to his or her world and delineating the terms and possibilities of youth. More abstract concepts of proximity, size, positioning, and enclosure likewise contribute to the construction of the child and the world in which s/he exists. This conference aims to address these issues through a day of papers by established and rising academics in the field of children’s literature studies. As such, the Oxford Children’s Literature Reading Group solicits a wide range of submissions that explore how metaphorical and physical space create landscapes of power, knowledge, and identity in texts aimed at youth audiences.

Appropriate to its theme, this conference will be held in Oxford, a location that has special importance for children’s literature as the home and/or university of such notable children’s authors as Lewis Carroll, Kenneth Grahame, C.S. Lewis, Diana Wynne Jones, Richard Adams, Susan Cooper, Alan Garner, and Kevin Crossley-Holland, among many others. It features as the setting in works by Penelope Lively, Philip Pullman, Matthew Skelton and more, and has served as a primary shooting location for the film adaptations of the Harry Potter novels and The Golden Compass.

Please email your 250-word abstract with your name and institutional affiliation to the University of Oxford Children’s Literature Reading Group at oxchildrenslit[at]gmail[dot]com by December 1, 2008.

Don LaFontaine, Mr. Movie Trailer Voice, Has Turned Off His Microphone September 2, 2008

Posted by Jason Ellis in News, Science Fiction.
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Don LaFontaine, the prolific voiceover actor, well-known for his ubiquitous movie trailer work, has passed away.  There’s a great video on YouTube that lets you see the man behind the voice.  See it here.  You might also want to revisit his postmodern GEICO commercial here.  From the narrator to “The Making of Star Wars,” to the first two Terminator trailers, he added an indelible element to SF trailers and film.  He will be missed.

SFRA Officer Candidate Statements Now Available August 21, 2008

Posted by Jason Ellis in SFRA.
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Make haste and read the officer candidate statements for the upcoming SFRA elections on the official website here.  The candidates for the 2009-2011 term are:

President–Jan Bogstad and Lisa Yaszek

Vice-President–Oscar De Los Santos and Ritch Calvin

Treasurer–Donald “Mack” Hassler and Patrick Sharp

Secretary–Rochelle “Shelley” Rodrigo and Ed Carmien

As you can see, this is a well-qualified group of nominees.  Best of luck to all the candidates, and don’t forget to vote!

ONTAP 5 Minute Teaching Session - Sci-Fi or SF? August 20, 2008

Posted by Jason Ellis in Kent State, Pedagogy, Science Fiction.
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Today, I had to give a five minute lesson to my ONTAP group at Kent State University as part of graduate teaching assistant training.  We were asked to teach the class something that we were familiar with, it could be on any subject, and we could teach it anyway we wished.  I chose to teach everyone the distinction between sci-fi and SF.  I got some good comments from everyone in class, which ranged from “I watch a lot of Science Fiction movies, and now I have the language to talk to my friends about it more effectively,” to, “I didn’t really follow what you were saying.”  I tried to construct it to connect with everyone, but I guess Michael Berube was right and we’re “teaching to the six.”  Anyways, I’ve included my notes below (I would have included the video that they made, but it’s on VHS tape and I don’t have an easy way to convert it for posting on YouTube).  Enjoy!

ONTAP 5 Minute Teaching Session

Today let’s talk about Science Fiction, sci-fi, and SF.  Science Fiction, as the scholar Darko Suvin puts it, is the literature of “cognitive estrangement.”  What does that mean?  Science Fiction is estranging, that is it puts the reader in unfamiliar territory.  You might say that other literature such as the gothic or even postmodern literature does the same thing, and you’d be right.  However, what sets Science Fiction apart is the cognitive aspect of its estranging function.  The cognitive estranging aspect of Science Fiction is called the novum, which is the technological and scientific extrapolation from the here-and-now that is the kernel of the story, the techno-scientific kernel of the narrative that is essential to the story and sets it apart from mainstream or fantasy literature.  What are some novum examples?  One example of the novum might be robots.  Can you name some others?  Space ships, ray guns, aliens, and humans with a multiplicity of sexes rather than just male and female are a few other examples.

Okay, so now you roughly know what Science Fiction is, however did you know that Science Fiction is a little more complicated than that?  You see, for much of the history of Science Fiction, beginning with its naming by the pulp magazine publisher, Hugo Gernsback, in 1929, academic and journalist elites have often sneered at Science Fiction as marginal, low, or pop culture.  These Science Fiction detractors pointed to the weakest stories and worst movies as examples of the supposed overall low quality of Science Fiction.  An early response to this problem was offered by the Science Fiction author Theordore Sturgeon in the 1950s when he stated that, “ninety percent of everything is crap.”  That observation is now known as Sturgeon’s Law and is available in the Oxford English Dictionary.  Sturgeon’s point is that there’s a lot of good Science Fiction, but there’s a lot more bad stuff that people point to when they talk about Science Fiction.  Also, the implication is that ninety percent of mainstream literature is also crap, and canonical literature such as Shakespeare’s Romeo and Juliet isn’t derided because of the multitude of trashy Romance novels.

This state of affairs expanded with the widespread adoption of the truncated term, sci-fi.  Sci-fi became widely used to describe Science Fiction by journalists with an implied insult toward the genre as a whole. 

In the 1970s, Science Fiction scholars and critics decided it was time to distinguish hackwork from the 10% of good stuff.   The new term for the best work, which often received the most critical attention, was simply SF.  SF works are those based on a novum and are as well or better written than its mainstream counterparts.  Sci-fi was used to label works with a much less extrapolated novum, and a very low level of quality in writing or production in the case of movies or television. 

So, what are some examples of SF and sci-fi?  A recent example of SF film would be The Matrix.  It extrapolates from our world to create a reasonably plausible future based around computer simulation, autonomous robot beings, and a planet devastated by war.  An example of sci-fi would be George Lucas’ Star Wars movies.  Sure, there are space ships, ray guns, and aliens, but there’s also the Force, which is more fantasy than Science Fiction, and the laws of physics are violated egregiously in space such as having things slide off space ships in outer space as if it were an airplane in the Earth’s atmosphere.  What are some Science Fiction movies that you’ve seen, and what would you classify them as–sci-fi or SF?  Some other examples of sci-fi include Plan 9 From Outer Sapce, Back to the Future, Cloverfield, and Red Planet.  Other examples of SF include A.I. Artificial Intelligence, A Scanner Darkly, WALL-E, The Dark Knight, and Mission to Mars.

Now you’re all initiate Science Fiction scholars who know the difference between SF and sci-fi!

Aerodynamics and Rocket Turbopumps, a Washington, DC Vacation August 18, 2008

Posted by Jason Ellis in Personal, Science, Science Fiction, Technology.
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http://dynamicsubspace.files.wordpress.com/2008/08/p10405471.jpg

Yufang and I jaunted to Washington, DC for a few days this past week for some much needed R & R.  While we were there, we visited the National Air and Space Museum (NASM), the NASM Steven F. Udvar-Hazy Center, walked the Mall at night, and dropped in at the Smithsonian Zoo, albeit when most of the critters were on break.  Also, we enjoyed ginormous fried shrimp with my cousin, Angie, in Mechanicsville, Maryland, and the next day, Yufang and I trekked to Bob’s Noodle 66 at the end of the red metro line for some delicious Taiwanese food.  It was a great trip, and Yufang was a real trooper, enduring countless aircraft (e.g., SR-71 Blackbird, B-29 Enola Gay, Concorde, F-86 Sabre Jet) and equally numerous spacecraft and rockets (e.g., Space Shuttle Enterprise, V-2 Rocket, SpaceShipOne, and Apollo 11 Command Module) as well as my meticulous explanations about how they work and why they are important.  She clearly has the patience of Job!

One curious thing I found at the Udvar-Hazy Center’s McDonnell Space Hangar was Willy Ley’s 1956 Hugo Award.  See it here.

I’ve posted about 200 of our 400 photos on Flickr here.

Paul Kincaid’s What It Is We Do When We Read Science Fiction August 18, 2008

Posted by Jason Ellis in Review, Science Fiction.
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Before a week’s long vacation, I finished reading and writing a review of Paul Kincaid’s What It Is We Do When We Read Science Fiction.  This is a great collection of Kincaid’s essays on a variety of topics centered around SF and the fantastic.  

In his introductory essay, from which the title of the book is taken, he tackles one of the major concerns of SF scholarship, which is the definition of SF.  He skillfully manages to create a pragmatic definition that draws on Samuel R. Delany’s idea of a SF language, or what Damien Broderick calls the SF “mega-text.”  

The collection is broken down into these sections:  Theory, Practice, Christopher Priest, Britain, the World, Gene Wolfe, and 1 April 1984.  The Priest section is very strong, and there are many other insightful and enthusiastically written pieces throughout the thirty-two essays and reviews in the book.

Keep an eye out for my full review in an upcoming issue of Foundation: The International Review of Science Fiction.

Discover more of Paul Kincaid’s scholarship online here, and read about his current work on his blog here.

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