PLM3503 2005/06
Tuesday, January 31, 2006
Schedule PLM3503, Semester 2
Assessment:
Work must be sent by email as well, but cannot be accepted unless a printed copy is also deposited with the student office.
Rough drafts are due in Week 9.
You are strongly urged to submit rough drafts. Past experience indicates a considerable disparity of marks between those who do request feedback, and those who don’t.
Students are required to submit a portfolio consisting of three assessments,
1) A portfolio of discussions, convention/event reports and/or on-line interaction exploring issues around the construction and or “reading” of science fiction with a 1,000 word commentary. (20%)
due Tuesday week 11.
Criteria for 1.
• An awareness of the “conversation”,
• A critical approach to the report,
• An indication of
2) one piece of science fiction such as:
i) a short story
ii) a novel chapter
iii) a poem or filk
iv) a script or part of a script (medium indicated)
v) a radio play (approximately 20 minutes, recording to be submitted as well as script).
vi) A short film (approximately 20 minutes, recording to be submitted as well as script).
vii) a short sf book for children (pictures optional)
viii) an sf comic book/storyboard
ix) a piece of “imagined” sf non-fiction (ie a news report from the future, or a text book—anything which is fully immersed in its own time period). (40%) 2,000 words 15 May
Criteria for 2.
• Appropriacy of language and structure to the narrative and chosen subgenre.
• Evidence of an understanding of the narrative, thematic, and stylistic conventions of the crime form and the chosen subgenre.
• Clear evidence of the conventions of your text being framed in a manner appropriate to the form you have chosen.
3.
Either
a) a commentary on the stylistic and ideological structures of a selection of science fiction texts (40%) 2,000 words 15 May
or
b) A critical essay. (2000)
Compare this year’s shortlists for at least three different awards, considering one category only. What do these short lists tell you about the values of the different constituencies which nominate or select for these awards? (a study of short fiction categories is permitted).
or
c) an assignment negotiated with me.
2,500 words 50% 15 May
Criteria for 3.
• Evidence of extensive secondary reading and clear application of cultural, narratological theories of science fiction as appropriate to the essay selected.
• An appropriately structured answer that clearly engages with the question selected
• Evidence of relevant independent reading and research appropriately employed in the essay and appropriate to the module framework.
• Evidence of material having been carefully edited, together with full bibliographic and research references.
• Evidence of an informed engagement with the essay as a form, for example appropriacy of register, structure and the development of a logical and relevant arguments.
• Work should be clearly presented and structured with evidence of careful editing e.g. spelling, grammar, coherence. The following must be included full bibliographic and research references, drafts and presentation materials including interim assessment work – these will not impinge on the word count.
Weekly schedule:
Week 1: What is Science Fiction? Why Do We Read It? Or Cognitive Dissonance for Beginners.
We will be discussing:
La Jetee (1962)
Panamarenko: the magic of art.
Henry’s Quest and other sf tales.
The Introduction to The Cambridge Companion to Science Fiction (ed James and Mendlesohn), 2003. pp. 1-15.
Logging onto Livejournal.
Week 2:
Talk: a short romp through early(ish) science fiction. The fiction, the magazines, the editors.
NB: this week will have the largest list of fiction to read. Do your best, try to think about which stories attract you and why. Identify the “what if?” Which make you think?
A Quick Whizz Around the Genre: Icons and Metaphors.
1. Robert A. Heinlein, “The Roads Must Roll” (1940).
2. Isaac Asimov, “Nightfall” (1941)
3. Murray Leinster, “First Contact” (1945)
4. Judith Merrill, “That Only a Mother” (1948)
5. Arthur C. Clarke, “The Star”. (1956)
6. Brian Aldiss, “Who Can Replace A Man?” (1958)
7. Harry Harrison, “The Streets of Ashkelon” (1965)
8. Joanna Russ, “When it Changed”(1971)
9. Lois McMaster Bujold “The Mountains of Mourning”, (1989)
Gwyneth Jones, “The Icons of Science Fiction”, The Cambridge Companion to Science Fiction, pp. 163-173.
Ken MacLeod, “Politics and Science Fiction”, The Cambridge Companion to Science Fiction pp.230-240.
Week 3:
Talk: the embarrassments of science fiction; pulp fiction, pulp art and the profusion of tentacles.
Practical: Genres (1) Hard SF
Tom Godwin, “The Cold Equations”
Bob Shaw, “Light of Other Days”, (1966) http://www.scifi.com/scifiction/classics/classics_archive/shaw/shaw1.html
Colin Kapp, “The Railways Up On Cannis” (1959)
Greg Egan, “The Hundred Light Year Diary”, (1992)
Kathryn Cramer, “Hard Science Fiction” in The Cambridge Companion to Science Fiction, pp. 197-208.
Week 4:
Talk: The Fan Canon and the Critical Canon, a consideration of values.
Practical: Genres (2) Cyberpunk, and Space Opera.
William Gibson, “Johnny Mnemonic” (1981)
Pat Cadigan, “Rock On”, (1986).
Gregory Benford, “Around the Curve of a Cosmos” (2002) http://www.scifi.com/scifiction/originals/originals_archive/benford2/benford21.html
Stephen Baxter, “The Gravity Mine” (2000): http://www.cix.co.uk/~sjbradshaw/baxterium/gravmine.html
David Weber, Chapter 31 of On Basilisk Station: http://www.baen.com/library/067157793X/067157793X.htm
Please also take a look at the map at: http://www.baen.com/library/067157793X/067157793X.htm
Week 5:
Showing and discussion: Star Trek episode.
Practical Genres (3) New Space Opera
Iain M. Banks, Excession .London: Orbit, 1996, 15-45.
Justina Robson, extract from Natural History, London: MacMillan, 2003, chapter 23, pp. 228-238.
M. John Harrison, extract from Light, London: Gollancz, pp. 201-221
Week 6:
Showing and discussion: Babylon 5: The Coming of the Shadows.
Practical: Thought experiments : technique as science fiction.
Cordwainer Smith, “The Ballad of Lost C’mell” (1962)
Pamela Zoline, “Heat Death of the Universe” (1967): http://www.scifi.com/scifiction/classics/classics_archive/zoline/zoline1.html
James Tiptree Jr., “Painwise” (1974) at: http://www.scifi.com/scifiction/classics/classics_archive/tiptree4/index.html
Week 7: Reading week (please watch at least two of the following: Gattaca, Memento, Groundhog Day, Waterworld, Sliding Doors, Eternal Sunshine of the Spotless Mind, Galaxyquest, Red Dwarf, Spaced, Third Rock from the Sun.)
Week 8:
Showing: Firefly
Practical: Politics and Science Fiction (1) Race.
Ray Bradbury, “Way in the Middle of the Air” (1950)
Octavia Butler, “Bloodchild”, (1984)
Nalo Hopkinson, extract from Midnight Robber. New York: Warner Aspect, 2000. pp. 91-141
Extrapolation; Fall 2005, vol. 46 no. 3. The whole issue.
Andrea Hairston, “Driving Mr Lenny: Notes on Race and Gender as a Transport to Another Reality, Another Dimension”, Foundation 92, 2004, pp. 5-16.
Nalo Hopkinson, “The Profession of Science Fiction, 60: Sometimes it Might Be True”, Foundation 91, 2004, pp.5-9.
Samuel R. Delany, “Racism and Science Fiction”, Dark Matter: a century of speculative fiction from the African Diaspora, (ed. Sheree R. Thomas), Warner Books, 2000, pp. 383-397,
Octavia Butler, “The Monophobic Response”, Dark Matter: a century of speculative fiction from the African Diaspora, (ed. Sheree R. Thomas), Warner Books, 2000, , pp. 415-417.
Week 9: (Rough drafts due)
Talk: Fan Culture.
Practical: Politics and Science Fiction (2) Gender.
Theodore Sturgeon, “The World Well Lost” (1953)
Racoona Sheldon, “The Screwfly Solution” (1977), http://www.scifi.com/scifiction/classics/classics_archive/sheldon/sheldon1.html
Samuel R. Delany, “Aye and Gomorrah”, (1971) http://www.scifi.com/scifiction/classics/classics_archive/delany3/
Lisa Tuttle, “The Wound” (1987)
William Tenn, “Party of the Two Parts” (1954), http://www.scifi.com/scifiction/classics/classics_archive/tenn2/tenn21.html
Eleanor Arnason, “The Grammarian’s Five Daughters” (2004), http://www.strangehorizons.com/2004/20040329/grammarian.shtml
Helen Merrick, “Gender and Science Fiction”, CUP, 241-252.
Wendy Pearson, “Science Fiction and Queer Theory”, CUP, pp. 149-162.
Week 10:
Talk: Graphic Novels
Practical: Politics and Science Fiction (3) The World Beyond America.
Ruchir Joshi; extract, from The Last Jet Engine Laugh London:HarperCollins,2001,.pp.294-335.
Vandana Singh, “Delhi” in So Long Been Dreaming eds. Uppinder Mehan and Nalo Hopkinson, 2004.
Vacation work:
By this stage you will have figured out what you like and don’t like. For week 11, select a short story from either Strange Horizons or from SciFi.com (that we have not read in class) and come prepared to argue about it. Titles must have been nominated before hand, and your colleagues (and myself) informed so that we have a chance to read them over the vacation.
Week 11: (Assignment 1 due)
Showing: Battlestar Galactica
Discussion: Students choice.
Work must be sent by email as well, but cannot be accepted unless a printed copy is also deposited with the student office.
Rough drafts are due in Week 9.
You are strongly urged to submit rough drafts. Past experience indicates a considerable disparity of marks between those who do request feedback, and those who don’t.
Students are required to submit a portfolio consisting of three assessments,
1) A portfolio of discussions, convention/event reports and/or on-line interaction exploring issues around the construction and or “reading” of science fiction with a 1,000 word commentary. (20%)
due Tuesday week 11.
Criteria for 1.
• An awareness of the “conversation”,
• A critical approach to the report,
• An indication of
2) one piece of science fiction such as:
i) a short story
ii) a novel chapter
iii) a poem or filk
iv) a script or part of a script (medium indicated)
v) a radio play (approximately 20 minutes, recording to be submitted as well as script).
vi) A short film (approximately 20 minutes, recording to be submitted as well as script).
vii) a short sf book for children (pictures optional)
viii) an sf comic book/storyboard
ix) a piece of “imagined” sf non-fiction (ie a news report from the future, or a text book—anything which is fully immersed in its own time period). (40%) 2,000 words 15 May
Criteria for 2.
• Appropriacy of language and structure to the narrative and chosen subgenre.
• Evidence of an understanding of the narrative, thematic, and stylistic conventions of the crime form and the chosen subgenre.
• Clear evidence of the conventions of your text being framed in a manner appropriate to the form you have chosen.
3.
Either
a) a commentary on the stylistic and ideological structures of a selection of science fiction texts (40%) 2,000 words 15 May
or
b) A critical essay. (2000)
Compare this year’s shortlists for at least three different awards, considering one category only. What do these short lists tell you about the values of the different constituencies which nominate or select for these awards? (a study of short fiction categories is permitted).
or
c) an assignment negotiated with me.
2,500 words 50% 15 May
Criteria for 3.
• Evidence of extensive secondary reading and clear application of cultural, narratological theories of science fiction as appropriate to the essay selected.
• An appropriately structured answer that clearly engages with the question selected
• Evidence of relevant independent reading and research appropriately employed in the essay and appropriate to the module framework.
• Evidence of material having been carefully edited, together with full bibliographic and research references.
• Evidence of an informed engagement with the essay as a form, for example appropriacy of register, structure and the development of a logical and relevant arguments.
• Work should be clearly presented and structured with evidence of careful editing e.g. spelling, grammar, coherence. The following must be included full bibliographic and research references, drafts and presentation materials including interim assessment work – these will not impinge on the word count.
Weekly schedule:
Week 1: What is Science Fiction? Why Do We Read It? Or Cognitive Dissonance for Beginners.
We will be discussing:
La Jetee (1962)
Panamarenko: the magic of art.
Henry’s Quest and other sf tales.
The Introduction to The Cambridge Companion to Science Fiction (ed James and Mendlesohn), 2003. pp. 1-15.
Logging onto Livejournal.
Week 2:
Talk: a short romp through early(ish) science fiction. The fiction, the magazines, the editors.
NB: this week will have the largest list of fiction to read. Do your best, try to think about which stories attract you and why. Identify the “what if?” Which make you think?
A Quick Whizz Around the Genre: Icons and Metaphors.
1. Robert A. Heinlein, “The Roads Must Roll” (1940).
2. Isaac Asimov, “Nightfall” (1941)
3. Murray Leinster, “First Contact” (1945)
4. Judith Merrill, “That Only a Mother” (1948)
5. Arthur C. Clarke, “The Star”. (1956)
6. Brian Aldiss, “Who Can Replace A Man?” (1958)
7. Harry Harrison, “The Streets of Ashkelon” (1965)
8. Joanna Russ, “When it Changed”(1971)
9. Lois McMaster Bujold “The Mountains of Mourning”, (1989)
Gwyneth Jones, “The Icons of Science Fiction”, The Cambridge Companion to Science Fiction, pp. 163-173.
Ken MacLeod, “Politics and Science Fiction”, The Cambridge Companion to Science Fiction pp.230-240.
Week 3:
Talk: the embarrassments of science fiction; pulp fiction, pulp art and the profusion of tentacles.
Practical: Genres (1) Hard SF
Tom Godwin, “The Cold Equations”
Bob Shaw, “Light of Other Days”, (1966) http://www.scifi.com/scifiction/classics/classics_archive/shaw/shaw1.html
Colin Kapp, “The Railways Up On Cannis” (1959)
Greg Egan, “The Hundred Light Year Diary”, (1992)
Kathryn Cramer, “Hard Science Fiction” in The Cambridge Companion to Science Fiction, pp. 197-208.
Week 4:
Talk: The Fan Canon and the Critical Canon, a consideration of values.
Practical: Genres (2) Cyberpunk, and Space Opera.
William Gibson, “Johnny Mnemonic” (1981)
Pat Cadigan, “Rock On”, (1986).
Gregory Benford, “Around the Curve of a Cosmos” (2002) http://www.scifi.com/scifiction/originals/originals_archive/benford2/benford21.html
Stephen Baxter, “The Gravity Mine” (2000): http://www.cix.co.uk/~sjbradshaw/baxterium/gravmine.html
David Weber, Chapter 31 of On Basilisk Station: http://www.baen.com/library/067157793X/067157793X.htm
Please also take a look at the map at: http://www.baen.com/library/067157793X/067157793X.htm
Week 5:
Showing and discussion: Star Trek episode.
Practical Genres (3) New Space Opera
Iain M. Banks, Excession .London: Orbit, 1996, 15-45.
Justina Robson, extract from Natural History, London: MacMillan, 2003, chapter 23, pp. 228-238.
M. John Harrison, extract from Light, London: Gollancz, pp. 201-221
Week 6:
Showing and discussion: Babylon 5: The Coming of the Shadows.
Practical: Thought experiments : technique as science fiction.
Cordwainer Smith, “The Ballad of Lost C’mell” (1962)
Pamela Zoline, “Heat Death of the Universe” (1967): http://www.scifi.com/scifiction/classics/classics_archive/zoline/zoline1.html
James Tiptree Jr., “Painwise” (1974) at: http://www.scifi.com/scifiction/classics/classics_archive/tiptree4/index.html
Week 7: Reading week (please watch at least two of the following: Gattaca, Memento, Groundhog Day, Waterworld, Sliding Doors, Eternal Sunshine of the Spotless Mind, Galaxyquest, Red Dwarf, Spaced, Third Rock from the Sun.)
Week 8:
Showing: Firefly
Practical: Politics and Science Fiction (1) Race.
Ray Bradbury, “Way in the Middle of the Air” (1950)
Octavia Butler, “Bloodchild”, (1984)
Nalo Hopkinson, extract from Midnight Robber. New York: Warner Aspect, 2000. pp. 91-141
Extrapolation; Fall 2005, vol. 46 no. 3. The whole issue.
Andrea Hairston, “Driving Mr Lenny: Notes on Race and Gender as a Transport to Another Reality, Another Dimension”, Foundation 92, 2004, pp. 5-16.
Nalo Hopkinson, “The Profession of Science Fiction, 60: Sometimes it Might Be True”, Foundation 91, 2004, pp.5-9.
Samuel R. Delany, “Racism and Science Fiction”, Dark Matter: a century of speculative fiction from the African Diaspora, (ed. Sheree R. Thomas), Warner Books, 2000, pp. 383-397,
Octavia Butler, “The Monophobic Response”, Dark Matter: a century of speculative fiction from the African Diaspora, (ed. Sheree R. Thomas), Warner Books, 2000, , pp. 415-417.
Week 9: (Rough drafts due)
Talk: Fan Culture.
Practical: Politics and Science Fiction (2) Gender.
Theodore Sturgeon, “The World Well Lost” (1953)
Racoona Sheldon, “The Screwfly Solution” (1977), http://www.scifi.com/scifiction/classics/classics_archive/sheldon/sheldon1.html
Samuel R. Delany, “Aye and Gomorrah”, (1971) http://www.scifi.com/scifiction/classics/classics_archive/delany3/
Lisa Tuttle, “The Wound” (1987)
William Tenn, “Party of the Two Parts” (1954), http://www.scifi.com/scifiction/classics/classics_archive/tenn2/tenn21.html
Eleanor Arnason, “The Grammarian’s Five Daughters” (2004), http://www.strangehorizons.com/2004/20040329/grammarian.shtml
Helen Merrick, “Gender and Science Fiction”, CUP, 241-252.
Wendy Pearson, “Science Fiction and Queer Theory”, CUP, pp. 149-162.
Week 10:
Talk: Graphic Novels
Practical: Politics and Science Fiction (3) The World Beyond America.
Ruchir Joshi; extract, from The Last Jet Engine Laugh London:HarperCollins,2001,.pp.294-335.
Vandana Singh, “Delhi” in So Long Been Dreaming eds. Uppinder Mehan and Nalo Hopkinson, 2004.
Vacation work:
By this stage you will have figured out what you like and don’t like. For week 11, select a short story from either Strange Horizons or from SciFi.com (that we have not read in class) and come prepared to argue about it. Titles must have been nominated before hand, and your colleagues (and myself) informed so that we have a chance to read them over the vacation.
Week 11: (Assignment 1 due)
Showing: Battlestar Galactica
Discussion: Students choice.
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