As the author of this article claims, science fiction as a worldcentric convention, creates a fictitious world through the activation of the difference between the norm and the extraordinariness. A configuration of possible worlds arises, in the center of which the current world of fiction is. Science fiction enjoys a great variety of possibilities of confronting worlds. A particularly interesting variant is realized by the cyberpunk containing creations of simulated space or cyberspace.
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With the exception of Lem’s works, Polish science fiction of the communist era is largely forgotten. Anglo-American readers know only fragments of Lem’s literary work, and they know almost nothing about other Polish science fiction writers. The aim of this article is to familiarize Anglo-American audience with seven Polish science fiction novels written in the communist era: Farther than Hatred (Dalej niż nienawiść) by Wojciech Bieńko (1963); Aspasia (Aspazja) by Andrzej Ostoja-Owsiany (1958); To Drain the Sea (Wyczerpać morze) by Jan Dobraczyński (1961); Arsenal (Arsenał) by Marek Oramus (1985); Paradisia (Paradyzja) by Janusz A. Zajdel (1984); The Robot (Robot) by Adam Wiśniewski-Snerg (1977); Imago (Imago) by Wiktor Żwikiewicz (1985).
Artykuł recenzyjny książki: K. M. Maj, Allotopie. Topografia światów fikcjonalnych, Kraków 2015.
EN
The article is ispired by the pioneering book Allotopie by Krzysztof M. Maj, which describes the feeling of immersion in fictional world evoked by fantasy fiction. Maj chooses the immersion strategy of reception over the predominant mimetic interpretation, which he sees as incomplete in that it omits the fundamental for allotopy act of world creation. Immersion reflects the idiosyncrasy of creation and genre reception. Moreover, Maj’s book does not fail to address the traditional questions about the value of fantasy fiction.
Science fiction novels are chronologically located where multiple time references intersect. Future dominates the semantics of the novel whereas past reference organizes the grammar of the narrative. Nostalgic retrofuturism explicitly demonstrates the tensions between various time modes, and as a result it shows a vision of “the future which has never happened”.
The article evaluates the reception of the futurological work by Stanisław Lem – Summa technologiae. It points to the discrepancy between Lem’s expectations and the reception of his work by western philosophy of science and technology. Further, the text recognizes the fact that Lem’s work belongs to the legacy of Solaris.
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