H.P. Lovecraft’s Philosophy of Science Fiction Horror

The paper is an examination and critique of the philosophy of science fiction horror of seminal American horror, science fiction and fantasy writer H.P. Lovecraft (1890-1937). Lovecraft never directly offers a philosophy of science fiction horror. However, at different points in his essays and letters, he addresses genres he labels “interplanetary fiction”, “horror”, “supernatural horror”, and “weird fiction”, the last being a broad heading covering both supernatural fiction and science fiction. Taken together, a philosophy of science fiction horror emerges. Central to this philosophy is the juxtaposition of the mysterious, unnatural and alien against a realistic background, in order to produce the emotion that Lovecraft calls “cosmic fear”. This background must not only be scientifically accurate, but must accurately portray human psychology, particularly when humans are faced with the weird and alien. It will be argued that Lovecraft’s prescriptions are overly restrictive and would rule out many legitimate works of science fiction horror art. However, he provides useful insights into the genre

Ford Madox Ford

[About the book]: Featuring over 500 entries written by an international team of scholars, The Encyclopedia of Twentieth-Century Fiction is an authoritative reference resource of up to date scholarship. Arranged in three volumes covering British and Irish fiction, American fiction, and World fiction, the entries cover major writers and their works; the genres and sub-genres of fiction (including crime fiction, sci fi, chick lit, the noir novel, and the avant garde novel); and the major movements, debates, and rubrics within the field. My entry on the novelist, critic, poet and editor Ford Madox Ford is in Volume 1 of the Encyclopedia

Snapshot in a Squiggle: How Painting Terminology Illuminates Short Fiction

This paper will demonstrate that painting terms can offer a helpful avenue to understand short fiction, particularly abstract short fiction. After defining abstraction, realism, and the short story, it will trace relevant stages in the evolution of both painting and short fiction to show how and why the media share similar elements. In this examination, the paper will discuss which features of painting correspond with certain features of short fiction. Based on the essential elements of short fiction, as well as the features mentioned above, the paper will analyze examples of short stories that exemplify how painting parallels short fiction and how terminology drawn from that field can help illuminate abstract short stories

Sustaining local audiovisual ecosystems: shifting modes of financing and production of domestic TV drama in small media markets

Various trends, both technological and economic in nature, have led to a shift in the financing and production of serial television fiction (principally television drama and episodic comedy), resulting in pressure on existing financing of TV fiction. These pressures prove especially difficult for small nations and regions, being characterized by restricted markets, a limited number of active players, and barriers for export and scale. For media policy-makers, these transitions invoke a series of new challenges to sustain existing audio-visual ecosystems. Based on a case study of TV fiction in Flanders, and presenting evidence from a financial analysis of 46 TV fiction productions, this article analyses current financing streams, patterns and dynamics of TV fiction in small media markets. It seeks to reveal the composition of budgets and the relative importance of diverse agents and funders involved in TV fiction production. Critical evaluations are then offered as to whether current financing models and policy support mechanisms are fit to tackle the challenges posed by the increasing number of windows and increased fragmentation of TV fiction financing

Poetic License: Learning Morality from Fiction in light of Imaginative Resistance

Imaginative resistance (IR) is rejecting a claim that is true within a fictional world. Accounts that describe IR hold that readers exit a fiction at points of resistance. But if resistance entails exiting a fiction, then learning morality from fiction doesn’t occur. But moral learning from fiction does occur; some such cases are instances of accepting a norm one first denied. I amend current solutions to IR with poetic license. The more poetic license granted a work, the more flexible one is regarding perceived falsehoods. Instead of exiting the fiction, one has the chance to stay engaged and possibly learn norms she previously denied

Arts: Fiction and Fiction Writers: The Americas

This essay by Rachel Norman, which originally appeared in the Encyclopedia of Women & Islamic Cultures, discusses contemporary Muslim fiction published in the United States with a particular focus on three novels: Mojha Kahf\u27s The Girl in the Tangerine Scarf, Laila Halaby\u27s Once in a Promised Land, and Randa Jarrar\u27s A Map of Home

When fiction trumps truth : what ‘post-truth’ and ‘alternative facts’ mean for management studies

In this essay, we explore the notions of ‘post-truth’ and ‘alternative facts’ for management studies. Adopting a pragmatist perspective, we argue that there is no intrinsically accurate language in terms of which to refer to reality. Language, rather, is a tool that enables agents to grab hold of causal forces and intervene in the world. ‘Alternative facts’ can be created by multimodal communication to highlight different aspects of the world for the purpose of political mobilization and legitimacy. ‘Post-truth’ politics reveals the fragmentation of the language game in which mainstream politics has been hitherto conducted. Using the communicative acts of businessman-turned-politician President Trump and his aides, as a prompt, we explore the implications that ‘alternative facts’ and ‘post-truth’ have for today’s management scholarship. We argue that management scholars should unpack how managers navigate strategic action and communication, and how the creation of alternative realities is accomplished in conditions of informational abundance and multimodal communication

The Function of Self-Consciousness in John Barth\u27s Chimera

Much recent American fiction has become increasingly self-conscious, displaying an awareness of itself as fiction, as artifice that diminishes the role of a central human consciousness or self in the fiction. The fictional process is in the foreground of much contemporary fiction where the narrative human presence once was. Yet, both fictional process and human presence serve similar structural functions within the text, which suggests that the creation of a fiction resembles the creation of a human self, real or imaginary. The provisional reality of self-conscious fiction is like the provisional reality of the post-modern self, prone to self-questioning, constituted by process rather than substance, multiple, changeable, perhaps even illusory. John Barth\u27s novel Chimera is a supremely self-conscious fiction. Barth\u27s use of the three central narrators in the three sections of the novel— the Dunyazadiad , the Perseid , and the Bellerophoniad — foregrounds the relationship between diffusion of identity and artistic self-consciousness within the novel. Although an individual, by definition, should not be susceptible to division or separation into parts without losing its identity, the narrators in Chimera, like the novel\u27s sections, are all divisible, incomplete, or inter-changeable. Definitions of identity often include elements such as continuity, functional unity, consciousness, récognitive memory, personality, or awareness. Yet, there is still a question about the relation of a self so constituted to se//-conscious fiction

Building an Argument for the Use of Science Fiction in HCI Education

Science fiction literature, comics, cartoons and, in particular, audio-visual materials, such as science fiction movies and shows, can be a valuable addition in Human-computer interaction (HCI) Education. In this paper, we present an overview of research relative to future directions in HCI Education, distinct crossings of science fiction in HCI and Computer Science teaching and the Framework for 21st Century Learning. Next, we provide examples where science fiction can add to the future of HCI Education. In particular, we argue herein first that science fiction, as tangible and intangible cultural artifact, can serve as a trigger for creativity and innovation and thus, support us in exploring the design space. Second, science fiction, as a means to analyze yet-to-come HCI technologies, can assist us in developing an open-minded and reflective dialogue about technological futures, thus creating a singular base for critical thinking and problem solving. Provided that one is cognizant of its potential and limitations, we reason that science fiction can be a meaningful extension of selected aspects of HCI curricula and research.Comment: 6 pages, 1 table, IHSI 2019 accepted submissio

Globalization, Re-Discovery of the Malay ‘Local,' and Popular TV Fiction through Audience Narratives

The proliferation of TV fiction can be partly explained by TV producers attuning their products to draw audience’s attention. Narratives of love dominate the plots and almost always the good is pitted against the evil, rich against the poor - ultimately the good always wins. The formula may be clichéd, but in places where news of war, terrorism, diseases, violence, and conflicts usually prevail, respite from tumultuous realities of the world can often be found in popular TV fiction. Here, we study three popular Malay TV fiction, Julia, On Dhia, and Adam & Hawa to examine how TV fiction viewers relate to them through personal narratives and focus group interviews. Through their voices, we reveal that despite TV fiction viewers’ constant preoccupation with Western-imposed globalization, the TV fiction set against the backdrop of globalization can encourage the viewers to re-route their ways to re-discover their imaginary ‘good old days’ that are often dismissed, neglected or forgotten