The fifteen essays collected in Hard Reading argue that science fiction has its own internal rhetoric, relying on devices such as neologism, dialogism, semantic shifts, the use of unreliable narrators. It is a “high-informationâ€_x009d_ genre which does not follow the Flaubertian ideal of le mot juste, “the right wordâ€_x009d_, preferring le mot imprévisible, “the unp…
Our fear of the world ending, like our fear of the dark, is ancient, deep-seated and perennial. It crosses boundaries of space and time, recurs in all human communities and finds expression in every aspect of cultural production—from pre-historic cave paintings to high-tech computer games.
Well-known in science fiction for tomb-raiding and mummy-wrangling, the archaeologist has been a rich source for imagining ‘strange new worlds’ from ‘strange old worlds.’ But more than a well-spring for SF scenarios, the genre’s archaeological imaginary invites us to consider the ideological implications of digging up the past buried in the future. A cultural study of an array of very…
J.K. Rowling's Harry Potter series (1997-2007) has turned into a global phenomenon and her Potterverse is still expanding. The contributions in this volume provide a range of inter- and transdisciplinary approaches to various dimensions of this multifacetted universe. The introductory article focuses on different forms of world building in the novels, the translations, the film series and the f…