Science Fiction Studies

#70 = Volume 23, Part 3 = November 1996

North American College Courses in Science Fiction, Utopian Literature, and Fantasy

EH 201. Science Fiction. Analyses of short stories, viewed from the postmodern perspective. TEXTS: Anthologies of short stories, currently The Norton Book of Science Fiction.—Thomas A. Brennan, English Dept., Univ. of South Alabama, Mobile, AL 36688.

English 326. Science Fiction. Explores the literary, social, and genre importance of science fiction in the twentieth century. Course objectives: 1. to appeciate the method and artistry of the works studied, 2. to develop an understanding of the nature of speculative fiction, 3. to enable students to analyze theme and method in literature, 4. to develop skills in original research, 5. to develop skill at presenting ideas in class discussions, oral reports, and written papers. Course content: 1. historical overview of the development of science fiction, 2. definitions of key terms and techniques, 3. in each work, primary focus on theme, with attention to narrative structure and characterization, 4. understanding the various trends developing in the genre, 5. discussion of the role of science and technology in modern life, as reflected in the works. TEXTS: Dick, Ubik, Le Guin, The Left Hand of Darkness, Lem, Solaris, Shippey, ed. The Oxford Book of Science Fiction Stories.—Jim Davis, English Dept., Troy State Univ., Troy, AL 36082.

English 111. Freshman English. In one segment of the semester, we examined Fredric Brown's "Arena" and compared it to the 1960's Star Trek  version of the story. Not only were visual similarities and differences discussed but also we surmised possible sociopolitical reasons for these changes.—Todd Sformo, c/o ASIC, ABE/GED Dept., PO Box 749, Barrow, AK 99723.

English 692. Seminar on 20th Century Fiction. Sf works used here and there in several courses. Sf TEXT in English 692: Le Guin, The Left Hand of Darkness.—Eric Heyne, English Dept., Univ. of Alaska, Fairbanks, AK 99775.

English 483. Studies in the Literature of Popular Culture: Sf and Postmodernism. Sf and postmodernism have been linked in various ways in recent years. Postmodern theorists have taken up Sf to show how the traditional boundaries of genre have collapsed in the fluid new culture of postmodernity. Students of the Chaos paradigm have turned to sf texts as touchstones for understanding the transformation of Western culture into a culture of chaos, while other critics of both sf and postmodernism argue that sf has become the preeminent literary form of the postmodern era, since its generic protocols and thematic systems are able to cope with the various and drastic transformations, especially in information/simulation technologies, of the postindustrial West. It has been argued that "sf has an advantage over most other disciplines in that it has had something like a theory of postmodernism ingrained in its futurism for many years," and that "with the catastrophic failure of traditional humanistic thought, sf has rushed in with a treasury of powerful metaphors and icons capturing the reality of insecure borders: the Female Man, xenogenesis, the cyborg, the simulacrum, viral language, cyberspace, Mechs and Shapers, and many others." In this course, we will look at various texts from the past three decades which will allow us to explore the fruitful connections between sf and postmodernism. There will be comparative analyses as well as close individual readings of specific texts. TEXTS: Banks, The Player of Games; Dick, Ubik; Fowler, Sarah Canary; Gibson, Neuromancer; Jones, White Queen; Le Guin, Fisherman of the Inland Sea; Powers, The Anubis Gates; Russ, The Female Man; Ryman, The Child Garden; Stephenson, Snow Crash; Sterling, ed, Mirrorshades; Womack, Random Acts of Senseless Violence.—Douglas Barbour, Department of English, University of Alberta, Edmonton. Canada T6G 2E5.

English 393. Science Fiction. This second-year "basic" sf course is taught annually by various English dept. faculty, including Susan Stone-Blackburn, R. Ramraj, Linda Howell, Janis Svilpis, et al. English 393 explores varieties of Otherness in science fiction through the 19th and 20th centuries. It investigates alien creatures, fantastic voyages, strange worlds, weird science, and extraordinary technologies. Questions about the changing social impacts of literature and science help to frame class lectures and discussions, while film viewings explore the visual realm of the science fiction imagination. TEXTS: Benford, Timescape, Shelley, Frankenstein, Wells, The Time Machine, Zamyatin, We, Miller, A Canticle for Leibowitz, Clarke, Childhood's End, Dick, The Man in the High Castle, Heinlein, The Moon is a Harsh Mistress, Herbert, Dune, Le Guin, The Left Hand of Darkness, Warrick et al. eds., Science Fiction: The SFRA Anthology. FILMS: Metropolis, Blade Runner.—Susan Stone-Blackburn, 3323 Constable Pl. NW, Calgary, AB, CANADA T2L 0K9, (403) 220-3153, "sstonebl@acs.ucalgary.ca".

English 453. Topics in Twentieth Century American Fiction: Contemporary American Science Fiction. In the 1960s, American science fiction entered a new era of critical respectability. Ursula K. Le Guin and Samuel Delany opened the doors of the academy to this popular literature. These and other writers such as Joanna Russ, Suzette Haden Elgin, Greg Bear, and Gregory Benford will be studied for their blend of science fiction conventions with literary sophistication and contemporary thought. TEXTS: Delany, Babel 17, Nova, Le Guin, The Left Hand of Darkness, The Dispossessed, Russ, The Female Man, Benford, Timescape, Bear, Blood Music, Elgin, Native Tongue.—Stone-Blackburn.

English 453. Topics in Twentieth Century American Fiction: American Women's Speculative Fiction. A study of utopian and dystopian novels that portray a spectrum of alternative societies. Texts range from fantasy to science fiction and present a variety of perspectives on gender and society. TEXTS: Gilman, Herland, Bryant, The Kin of Ata Are Waiting for You, Le Guin, The Dispossessed, Russ, The Female Man, Gearhart, The Wanderground, Piercy, Woman on the Edge of Time, Slonczewski, A Door into Ocean, Tepper, The Gate to Women's Country.—Stone-Blackburn.

English 3393. Seminar in Science Fiction. A course intended to acquaint the student with a selection of major authors of science fiction and their works, with several of the major themes to be found in sf, with the history of sf, and with the interrelationship between sf as an art form and science as a mode of perceiving reality. In particular, the course will strive 1. to acquaint the student with the precursors to modern sf, with the history and evolution of the genre, and with its contemporary manifestations, such as New Wave, Feminist, and Cyberpunk, all of this with special reference to the clash between science and religion and to attempts at their reconciliation; 2. to evolve a definition of sf, including significant enough differentia that this genre can be distinguished from other similar genres, such as fantasy literature and gothic novels; 3. to examine sf as comparative literature since its formulation and influence cut across the national, cultural, and linguistic barriers that frequently circumscribe other genres; 4. to analyze the sf film and to probe its relation to the literature of science fiction; 5. to see in sf a means for bridging the gap between what C.P. Snow has called "the two cultures," science and the humanities, inasmuch as this genre is both scientific and literary; 6. to gain a basic understanding of the sciences that form the backdrop for science fiction, such as astronomy, relativity theory, entropy and thermodynamics, the mathematics of chaos, ecology, computer technology, genetics, and parapsychology; 7. to acquire a particular way of seeing as it is encouraged by sf; that is, to understand the sf story as presenting a critique, often ironic, of present social conditions, and as exploring the nature and limits of our own reality; 8. to discover the connections between sf and utopian/dystopian thought and of these concepts to the problems of free will and determinism; 9. to confront the question of whether technology should be seen as humanity's saviour or destroyer, and to relate this question to the problem of human consciousness, which itself is a way of asking "What does it mean to be human?" 10. to understand how the alien encounter can be viewed as a metaphor for the exploration of the psychological and existential depths of human consciousness and how the alien landscape maps symbolically the human condition; 11. to define a variety of alternative futures, noting the plasticity of human nature and the fragility of civilization. What, in effect, can we become? How can we achieve a desired future and avoid apocalypse? What, therefore, is the relationship in humanity between the power to comprehend and the power to destroy? 12. to write and convey one's ideas on these issues and their intersection with our texts in a clear, literate, and persuasive manner. TEXTS: Asimov, I, Robot, Shelley, Frankenstein, Lem, Solaris, Heinlein, The Moon is a Harsh Mistress, Pohl & Kornbluth, The Space Merchants, Elgin, Native Tongue, Kapp, The Chaos Weapon, Clarke, Childhood's End, Wells, The Time Machine, Zamyatin, We, Dick, Martian Time-Slip, Sturgeon, Venus Plus X, Brunner, Shockwave Rider, Le Guin, The Left Hand of Darkness, Twain, A Connecticut Yankee in King Arthur's Court, Binsburg, ed. The Ultimate Threshold, Shippey, ed. The Oxford Book of Science Fiction Stories. FILMS: Blade Runner, Firestarter, Altered States, C.H.U.D., Them, Alien, Aliens, Brazil, Outland, Silent Running, Quest for Fire, Dr. Strangelove, War of the Worlds, The Day the Earth Stood Still, 2001, 2010, Total Recall, Planet of the Apes, Forbidden Planet, The Invasion of the Body Snatchers (among others).—Richard M. Collier, English Dept., Mount Royal College, 4825 Richard Rd. SW, Calgary, AB, CANADA T3E 6K6.

ENG 461. Women & Literature. This course is designed as an overview of women's sf and fantasy. TEXTS: Bradley, The Shattered Chain, Norton, Lavender Green Magic, McCaffrey, Dragonsong, Kidd, ed. Millenial Women, Jackson, The Sundial, Le Guin, The Left Hand of Darkness, Wilhelm, Juniper Time, Russ, The Female Man, Piercy, Woman on the Edge of Time, Lessing, The Marriages between Zones Three, Four, and Five.—Thelma Shinn Richard, PO Box 870302, Dept. of English, Arizona State Univ., Tempe, AZ 85287.

English 3623. Science Fiction. In this course, the student will learn about the background of the science-fiction genre, about the major themes in modern sf, and about the types and classifications of sf. He will become acquainted with the major writers of sf and with the major periodical publications in this field. TEXTS: Rabkin, Science Fiction: A Historical Perspective, Huxley, Brave New World, Clarke, Childhood's End, Pohl and Kornbluth, The Space Merchants, Gibson, Neuromancer.—Larry Don Frost, Box 7581, Arkadelphia, AR 71999.

English 3360.02. Selected Topics: Science Fiction. This course looks at the literary origins of science fiction and traces its growth into the twentieth century. Emphasis is placed on analyzing the literary quality of sf. TEXTS: Silverberg, ed. The Science Fiction Hall of Fame, Vol. 1, Shelley, Frankenstein, Verne, Journey to the Centre of the Earth, Ballard, The Drowned World, Lem, Solaris, Orwell, 1984, Le Guin, The Dispossessed, Dick, The Man in the High Castle, Wells, The Time Machine, War of the Worlds.—Steve Anderson, Dept. of English, Univ. of Arkansas at Little Rock, Little Rock, AR 72204.

California. Biola University, La Mirada

Seminar/ENGL 470. Topic or theme varies. Atwood's The Handmaid's Tale was used for Canadian Literature and for a course called "Totalitarianism and Guilt." —Brian Ingraffia, English Dept., 138000 Biola Ave., La Mirada, CA 90639.

EGL320. Literature of the Fantastic. This course centers around the reading and analysis of what may be loosely termed "quality supernatural fiction." It attempts to define the literature of the fantastic in terms that the average student may comprehend and thus relate to, within the larger context of a true literary genre. The essential qualities of the novels and short stories that will be dealt with in this course are the search for a satisfying form to the "unanswerable" and a way of dealing with "the experience behind the experience. . .the void beyond the face of order." TEXTS: Shippey, The Oxford Book of Fantasy Stories, Stoker, Dracula, The Jewel of Seven Stars, Stevenson, The Strange Case of Dr. Jekyll and Mr. Hyde, Shelley, Frankenstein, Rice, Interview with the Vampire, Bradbury, Something Wicked This Way Comes, Wilson, Lifeforce.—Kathryn D. Marocchino, 200 Maritime Academy Dr., Vallejo, CA 94590, (707) 648-4272

English 380. Contemporary Literary Ideas. A topics course whose topic in the spring quarter is usually science fiction. It is most often taught by David Kann, but this spring is being taught by the undersigned. The 1996 topic is Hard Science Fiction; some of the course will involve Internet work. TEXTS: Baxter, The Time Ships, Bear, Moving Mars, Butler, Dawn, Clarke, Rendezvous with Rama, Piercy, He, She, and It, Robinson, Red Mars, Sheffield, Proteus in the Underworld, Stephenson, Snow Crash, Sterling, Heavy Weather.—Michael Orth, English Department, California Polytechnic University, San Luis Obispo, CA 93407, "morth@cymbal.aix.calpoly.edu".

California. Claremont Graduate School, Claremont

English 371. Literature and Technology. Examines literary treatments of technology from the late 19th century to the cyberpunk era. TEXTS: Gibson, Mona Lisa Overdrive, Dick, Martian Time-Slip, Pynchon, V., Gravity's Rainbow. FILMS: Terminator, Blade Runner.—Marc Redfield, Dept. of English, Claremont Graduate School, Claremont, CA 91711-6163.

LIT 105. The Alien in Science Fiction. A study of the alien worlds, beings, and themes in science fiction and the ways the alien becomes a commentary on our lives and conditions. Neither a history of science fiction, nor a survey of its varieties, this course concentrates on the phenomenon of the alien and the distinctive capacity of sf to extend our consciousness through the encounter with the ambiguities, possibilities, and participation in the at-first unfamiliar. TEXTS: Stapledon, Star Maker, Wells, The Time Machine, Sturgeon, More Than Human, Clarke, Childhood's End, Russ, The Female Man, Le Guin, The Left Hand of Darkness, The Dispossessed, Miller, A Canticle for Leibowitz, Gibson, Neuromancer, Lem, Solaris.—Langdon Elsbree, Bauer Center, Claremont McKenna College, Claremont, CA 91211, (909) 621-8000 ext. 2765, fax (909) 621-8249.

Philosophy 2. Philosophy of Freedom. Central question of this course: Are freedom and justice possible for each person in society? What are freedom and justice in terms of a way of life or a life style? What economic, social, and philosophical changes must be made to achieve freedom for each purpose? In addition to the texts listed below, the course includes readings in or lectures on Aristotle, Plato, Hobbes, Lenin, Pope Leo XIII, Beveridge, and Hitler. TEXTS: Cohen, Four Systems; Bellamy, Looking Backward; Skinner, Walden Two; Huxley, Brave New World; Gore, Earth in the Balance; and The Soviet Constitution, revised 1976.—W.E. Tinsley, Foothill College, Los Altos Hills, CA 95030.

California. Harvey Mudd College, Claremont

Interdisciplinary 26. Introduction to Women's Studies. Gender, culture, and interdisciplinary approaches. Humanities 2. The Creative Imagination. 20th century culture, gender, literature, and film. TEXTS: Le Guin, Russ, Asimov, Lessing.—J'nan Morse Sellery, Dept. of Humanities and Social Sciences, Harvey Mudd College, 301 E. Twelfth St., Claremont, CA 91711-5990, "jsellery@hmcvax.ac.hmc.edu".

California. The Master's College, Santa Clarita

English E299. Popular Fiction: Text and Film. This course seeks to discuss the four subgenres of popular fiction: mystery-detective, romance-adventure, gothic-horror, and science fiction. Students view film adaptations of the texts and explore the works as both literature and film-media. Sf TEXTS: Wells, The War of the Worlds, Bradbury, Fahrenheit 451. FILMS: War of the Worlds, Fahrenheit 451.—John Hotchkiss, 21726 Placerita Cyn Rd., Santa Clarita, CA 91321.

English 25D. Science Fiction & Fantasy. This survey traces sf and fantasy from their roots in myth to modern concepts of technological man. The course will focus on sf and fantasy as they reveal the social and psychological implications of the themes explored. TEXTS: Wells, War of the Worlds, Tolkien, Fellowship of the Ring, Le Guin, The Left Hand of Darkness, Herbert, Dune, Clarke, Childhood's End, Stapledon, Sirius, Atwood, The Handmaid's Tale.—Karen McGuire, 2260 Cooley Pl., Pasadena, CA 91104, (818) 585-7231.

English 171. 20th-Century Science Fiction. In this course, we will try to get a sense of the development of science fiction from the '30s to the `Golden Age' and from there to the more experimental period that began in the '60s. At the same time, we will sample the various kinds of stories that sf writers typically write. Readings will consist chiefly of short stories and novels, most of them relatively short, by a wide variety of authors. We will also read a few critical essays and some essays on topics such as space travel, conditions on other planets, etc. TEXTS: Silverberg, ed. The Science Fiction Hall of Fame, Vol. 1, Warrick et al., eds. Science Fiction: The SFRA Anthology, Bradbury, The Martian Chronicles, Clarke, Childhood's End, Pohl and Kornbluth, The Space Merchants, Miller, A Canticle for Leibowitz, Heinlein, Stranger in a Strange Land, Dick, Blade Runner (Do Androids Dream of Electric Sheep?), Le Guin, The Left Hand of Darkness, Gibson, Burning Chrome.—Robert Gorsch, Dept. of English, St. Mary's College, Moraga, CA 94575.

California. San Diego State University, San Diego

English 525. American Fiction: 1950 to the Present. This course uses science fiction, along with novels in other genres, as a vantage on literary, philosophical, and cultural values and issues. Sf TEXTS: Gibson, Neuromancer, Piercy, He, She, and It, Dick, The Man in the High Castle, Hoban, Riddley Walker. Alida Allison, English Dept., San Diego State Univ., 5500 Campanile Dr., San Diego, CA 92182-8140.

English ??. Science Fiction and Fantasy. Defining and distinguishing sf from other forms of fantasy; analyzing sf and fantasy as part of the literary canon; applying literary critical techniques to these forms of novels and stories. TEXTS: Silverberg, ed. The Science Fiction Hall of Fame, Vol. 1; Clarke, Childhood's End; Bradbury, Fahrenheit 451; Heinlein, The Moon is a Harsh Mistress; More, Utopia; Asimov (robot stories), Le Guin, The Left Hand of Darkness; Tolkien, Lewis, MacDonald, L'Engle.—S.R. Felt, English Dept., Southern California College, 55 Fair Dr., Costa Mesa, CA 92626.

English 2C. Fictions of Gender and Science. The program of this class is to help you learn how to write clear and effective prose at the college level. Good writing is not a gift. It is a learned social skill that requires constant practice and revision. Good writing also requires the ability to think critically and read analytically. To develop these skills, you will be required to evaluate the work of your peers and analyze the assigned readings. The assigned readings are organized around the interconnections of gender, science, and science fiction. We will sample many different kinds of science fiction, from the original television series of Star Trek to the short stories of feminist science fiction writers like Joanna Russ. TEXTS: Packer and Timpane, Writing Worth Reading; Russ, "Cliches from Outer Space"; Mathews, "Children of Divers Kind"; Butler, "Bloodchild"; Willis, "Ado"; Cranny-Francis, "Sexuality and Sex-role Stereotyping in Star Trek"; Lamb and Veith, "Romantic Myth, Transcendence, and Star Trek Zines"; McHugh, China Mountain Zhang, Penley, "Spaced Out: Remembering Christa McAuliffe"; Tiptree, "Through a Lass Darkly"; Silverberg, "Who is Tiptree, What is He?"; Le Guin, "Introduction to Star Songs of an Old Primate"; Thomas, Correspondence; Keller, "Introduction to Reflections on Gender and Science."—Karen (Shelly) Cadora, PO Box 8403, Stanford, CA 94309 or Wilbur A-10, Dept. of Modern Thought & Literature, Stanford Univ., Stanford, CA 94305.

Political Science 153. Utopian Political Thought. The course will examine a variety of ways in which utopias function: as thought experiments, as standards of judgments, as blueprints for social change. How effective a device is utopia for bringing about social change? What roles do males have in feminist utopias? Are anti-utopias an attack on utopias or merely a pessimistic forecasting of our own future? TEXTS: Plato, The Republic; More, Utopia; Bellamy, Looking Backward; Gilman, Herland; Gibson, Burning Chrome; Atwood, Handmaid's Tale; Piercy, Woman on the Edge of Time; Hossain, Sultan's Dream; Le Guin, "The Ones Who Walk Away from Omelas"; Marx, The Communist Manifesto, Part III; Forster, "The Machine Stops"; Wright, from 12 Million Black Voices; Borges, "Utopia of a Tired Man"; Barthelme, "I Bought a Little City"; Pangborn, "Harper Conan & Singer David"; Haraway, "A Manifesto for Cyborgs."—Elizabeth Hansot, Political Science Dept., Stanford University, Stanford, CA 94305.

Film/TV 222. Seminar in Film Genres: Science Fiction. This graduate seminar will explore theories, methods, and issues relevant to the concept of "genre" within the context of a comparative study of the American sf film with emphasis on the 1950s and the 1980s. Special concerns will be the relation of formal generic elements and conventions to historical and cultural contexts; the reflexive, iterative, and affective functions of special effects and new technologies as the latter impact both the genre and the cinema, and the organic and technological transformations and reproductions of the human body. TEXTS: Benedikt, Cyberspace: First Steps, Bukatman, Terminal Identity: The Virtual Subject in Postmodern Science Fiction, Kuhn, Alien Zone: Cultural Theory and Contemporary Science Fiction Cinema, Landon, The Aesthetics of Ambivalence: Rethinking Science Fiction Film in the Age of Electronic (Re)Production, Penley, Close Encounters: Film, Feminism, and Science Fiction, Sobchack, Screening Space: The American Science Fiction Film. FILMS: I Married a Monster from Outer Space, Rocketship XM, The Flying Saucer, The Incredible Shrinking Man, When Worlds Collide, The Day the Earth Stood Still, Invaders from Mars, Close Encounters of the Third Kind, Starman, The Terminator, Them!, Alien, Repo Man, Wild in the Streets, Soylent Green, Night of the Comet, Rollerball, Brainstorm, Blade Runner, Tron, Robocop, The Lawnmower Man.—Vivian Sobchack, School of Theater, Film, and Television, Univ. of California at Los Angeles, 405 Hilgard Ave., Los Angeles, CA 90024, (310) 825-0119. "sobchack@emelnitz.ucla.edu".

Honors 32I. The Science in Science Fiction. The purpose of this course is to explore interrelations of the scientific and literary cultures as they occur in science fiction. Isaac Asimov defined science fiction as the form of literature that measured the impact of scientific and technological advancement on human beings. For the sake of argument, we will assume that sf as literary form began with the writings of Jules Verne and H.G. Wells toward the end of the 19th century. Verne's work is informed by then-new technologies of locomotion (balloons, submarines, flying machines, ultimately rocket ships) ; Wells's by Darwinian evolution and new theories of spacetime. We will chart the development of sf, in major technological cultures such as the US, England, France, and the Soviet Bloc, through the 20th century, as that development reflects changing scientific/technological discoveries and interests: from relativity and the paradoxes of space/time travel, to astrophysical mysticism, to biology and genetics, and finally to information and chaos theory. There will be a number of guest speakers in this course, in most cases either scientists who will discuss the works of sf assigned from the perspective of their scientific specialty; or authors of the works, who in many cases are professional scientists themselves (e.g. Benford, Brin, Forward). Most such encounters will be via interactive TV; some will be classroom appearances. TEXTS: Verne, Journey to the Center of the Earth; Wells, The Time Machine; Clarke, Childhood's End; Miller, A Canticle for Leibowitz; Lem, Solaris; Benford, Timescape; Brin, Startide Rising; Butler, Imago; Gibson, Neuromancer; Forward, Dragon's Egg; Crichton, Jurassic Park; Egan, Quarantine; Zukav, The Dancing Wu-Li Masters; Bernal, The World, the Flesh, and the Devil; Delany, The Einstein Intersection; Class reader with stories by Campbell, Heinlein, and Godwin.—George E. Slusser, "slus@ucrac1.ucr.edu", Eaton Collection, University Library, and Department of Languages and Literatures, University of California-Riverside, Riverside CA 92521.

CL 274. The Literatures and Cultures of Science. This course examines the cultural and literary ramifications of scientific activity in the Western world, down to the encounter of East-West cosmologies in the modern period. It traces "Science" from the moment this word designates a specific and definable human activity, a "method," through the Greeks and various ages of European culture, to the modern emergence of a two-cultures problem. Science, as a mode of knowing, can be seen as challenging the ontological systems of myth, religion, culture, and ultimately literature as narrative expression of these realms. Periods (1) Materialist Science / Metaphysical Idealism; (2) Alchemy and the Birth of Experimental Science; (3) Cogito and Conquest of New Worlds; (4) Enlightenment and its Dark Twin; (5) Disease, Health, and the Sciences of Society; (6) Science, Religion, Romanticism (7) The Two Cultures (8) Masternarratives of Modern Science: Time and Space; (9) The Mind-Body Nexus; (10) Zen and Implicate Order: Science East and West. TEXTS (1) Writings of Heraclitus, Zeno; Plato, Timaeus; Aristotle, Physics, Poetics; (2) Roger Bacon, The Mirror of Alchemy; Marlowe, Doctor Faustus; Francis Bacon, The New Atlantis; (3) Descartes, Discours de la méthode; Pascal, Pensées; Fontenelle, Entretiens sur la pluralité des mondes; (4) Vico, La scienza nuova; Diderot, Le rêve de d'Alembert; E.T.A. Hoffmann, "Der Sandmann"; (5) Galen, "On Hygiene"; Alain Corbin, The Foul and the Fragrant: Odor and the French Social Imagination; Smollett, Humphry Clinker; Blake, "Songs of Experience"; (6) Goethe, Farbenlehre; deQuincey, "The Literature of Knowledge and the Literature of Power"; Darwin, Origin of Species; Wells, The Island of Doctor Moreau; (7) Nietzsche, Unzeitgemässe Betrachtungen; C.P. Snow, The Two Cultures; John W. Campbell, "Who Goes There?"; Tom Godwin, "The Cold Equations"; (8) J.D. Bernal, The World, the Flesh, and the Devil; Thomas Kuhn, The Structure of Scientific Revolutions; Olaf Stapladon, Star Maker; Robert A. Heinlein, "By His Bootstraps"; Poul Anderson, Tau Zero; (9) Julian Jaynes, The Origin of Consciousness in the Breakdown of the Bicameral Mind; Carl Sagan, The Dragons of Eden; Michel Jeury, Le temps incertain; Arthur C. Clarke, Childhood's End; Greg Bear, Blood Music; (10) Jacques Monod, Le hasard et la necessité; Gary Zukav, The Dancing Wu-Li Masters; Ilya Prigogine, La nouvelle alliance; William Gibson, Neuromancer.—Slusser.

English 148M. C.S. Lewis. A survey of the fiction and criticism: Paradise Lost, The Faerie Queene, Wordsworth, Herbert, etc. The first paper will focus on Perelandra and its relation to Paradise Lost. The second will concentrate on the meaning of "situation" and "wonder" in Spenser and in Lewis' fiction and non-fiction. John Briggs, Department of English, UC Riverside, Riverside CA 92521.

ENGL 14ONN. Studies in Literary Genres: Feminist Science/Fiction. This course will include readings in feminist science fiction, feminist theory, and the philosophy and history of science. The objective of the course is to investigate the ways in which gender construction, scientific knowledge, and various kinds of speculative fiction are mutually implicated and mutually illuminating. Particular attention will be paid to feminist critiques of science and the work of women scientists, the intersection of popular science fiction and contemporary gender theory, and the implications for subject construction (including race, class, and gender) of new digital technologies. Some time will be spent collaborating with Dance 170 G students in their investigation of the body and interactivity. TEXTS: Butler, Dawn; Shelley. Frankenstein; Wittig, Les Guérillères; Russ, The Female Man; Stephenson, The Diamond Age; selected stories; essays by Donna Haraway, Constance Penley, Evelyn Fox Keller, Ruth Hubbard, Carole-Anne Tyler, Allucquere Rosanne Stone, Sue-Ellen Case, Elizbeth Potter, Sherry Turkle, Elizabeth Grosz; and episodes of Star Trek.—Marguerite Waller, Chair, Women's Studies, University of California, Riverside, CA 92521.

Lit/Gen 177. Science Fiction: The Next Generation. The standard popular image of science fiction stems from the post-WWII Golden Age: the fiction of Asimov, Bradbury, and Clarke, the media "space opera" embodied in the 60s by Star Trek and in the 70s by Star Wars. But since the 60s sf proper has undergone a literary revolution, steering away from the old icons of rockets, robots, and ray-guns to take on contemporary themes and concerns: feminism, environmentalism, multiculturalism, computerization, postmodernism, historical/sociological theory, literary tradition, and—of course—the outlook for the future as we stand on the brink of the Millenium. This course will explore the Next Generation through a reading of this generation's writers, several of whom will be visiting the class for guest lectures. TEXTS used in 1990, 1992, or 1994: Ballard, The Crystal World; Bear, Blood Music; Benford, Timescape; Brin, The Postman, The Glory Season; Butler, Parable of the Sower, Adulthood Rites; Dick, Do Androids Dream of Electric Sheep?; Ubik; Gibson, Neuromancer; Le Guin, The Left Hand of Darkness; Lem, Solaris; Miller, A Canticle for Leibowitz; Robinson, Pacific Edge, Red Mars; Turtledove, The Guns of the South; Vinge, A Fire Upon the Deep; FILMS: The Quiet Earth, Blade Runner.—Stephen Potts, University of California, San Diego, Department of Literature, 9500 Gilman Drive Dept 0410, La Jolla, CA 92093-0410.

English 280. Science Fiction. A course taught several times (last in Spring 1992) in the University of La Verne Educational Programs in Corrections. "This course is designed to familiarize students with the enormous energy and diversity of the modern genre of science fiction." TEXTS: Adams, A Hitchhiker's Guide to the Galaxy, Gibson, Neuromancer, Heinlein, The Door into Summer, Le Guin, The Left Hand of Darkness, Silverberg, Hawksbill Station, Silverberg, ed., The Science Fiction Hall of Fame, Vol. I. FILMS: Project Moonbase, La Jetée, Robinson Crusoe on Mars, 2001: A Space Odyssey, Doin' Time on Planet Earth.—Gary Westfahl, Learning Center, University of California-Riverside, Riverside CA 92521.

English 375. Science Fiction. This course considers the scope and significance of science fiction, with some attention to its historical development. Its origins are glanced at by reading Mary Shelley's Frankenstein and H.G. Wells's The Time Machine, but we are more concerned with the later developments from Golden Age sf to Cyberpunk and related postmodern developments. OTHER TEXTS: Asimov, Robot Visions; Miller, A Canticle for Leibowitz; Dick, The Man in the High Castle; Lem, Solaris; Pohl, Gateway; Le Guin, The Dispossessed; Butler, Dawn; Benford, Timescape; Rucker, Software and Wetware; Sterling, ed., Mirrorshades; Gibson, Neuromancer. FILMS: Blade Runner, The Terminator, and others.—Paul Alkon, English Department, University of Southern California, Los Angeles, CA 90089-0354.

HUM 470/C20. Science Fiction in Film and Literature. Film and written classics including Asimov, Heinlein, Wells, Lewis, in the one literary genre that is the "sociology of the future." TEXT: Silverberg, The Science Fiction Hall of Fame, Vol. 1; Lewis, The Space Trilogy; L'Engle, The Space Trilogy.—Daniel W. Decker, 180 S. Garrison St., Lakewood, CO 80226.

English 396. Topics: Science Fiction. Students will examine the evolution of science fiction as a distinct literary form. Beginning with Wells, the class will follow the course of science fiction through the Pulp Era of the 20s, the Golden Age of the 40s, the New Wave movement of the 60s, and finally the post-New Wave present, with an emphasis on Cyberpunk. During their readings, students will develop an understanding of science fiction's major themes and its unique literary style and lexicon. TEXTS: Wells, The Time Machine, Merritt, "The People of the Pit," Stapledon, Last and First Men, Asimov, Foundation, Heinlein, Orphans of the Sky, Miller, A Canticle for Leibowitz, Dick, The Man in the High Castle, Ballard, The Drowned World, Le Guin, The Left Hand of Darkness, Zelazny, Eye of Cat, Delany, "Time Considered as a Helix of Semi-Precious Stones," Gibson, Burning Chrome.—John Nizalowski, Mesa State College, Box 2647, Grand Junction, CO 81502.

Political Science 402F. Crosslisted in English, Honors, and Master's of Humanities. A senior-level and graduate course in utopian and dystopian fiction and drama, team-taught by a novelist-English professor and a political scientist specializing in practical utopianism. Catalog description: "Political, philosophic, and literary examination of classic and contemporary works of utopian and dystopian fiction. Fictional visions of wonderful and terrible societies we might become." One class per week focuses on utopian themes, the other on literary devices, with both areas viewed critically. Examination of practical experiments based on utopian fiction, philosophical speculation, and political movements. TEXTS: Zamiatin, We; Orwell, Animal Farm and/or Nineteen Eighty-four; Huxley, Brave New World and Island; Havel, Largo Desolato (a play); Le Guin, The Dispossessed; Piercy, Woman on the Edge of Time; Bellamy, Looking Backward; Atwood, The Handmaid's Tale; Vonnegut, "Harrison Bergeron." FILMS: Largo Desolato, The Handmaid's Tale, Nineteen Eighty-four.— Mike Cummings, Chair, Political Science Department, University of Colorado-Denver, P.O. Box 173364, Denver, CO 80217.

English 325. Fantasy and Science Fiction. One-half semester on the history and development of sf, study of sf types and formats, the craft of writing sf, and including a talk by at least one sf writer, sometimes by phone. TEXTS: Le Guin and Attebery, eds., The Norton Book of Science Fiction, Willis, The Doomsday Book, Miller, A Canticle for Leibowitz, Hartwell, Age of Wonders.—Lloyd Worley, Dept. of English, U. of N. Colorado, Greeley, CO 80639, "ldworle@bentley.univnorthco.edu".

English 254. The Literature of Science Fiction. English 254 is one of the survey courses in which novel, short story, drama and poetry are included. TEXTS: Students are asked to read one novel from each of eleven categories and to select one of the two short story collections to read. FOUNDATIONS: Wells, The War of the Worlds, The Time Machine, Verne, Journey to the Center of the Earth, Stevenson, Dr. Jekyll and Mr. Hyde, Shelley, Frankenstein, Stoker, Dracula, Haggard, She, Orwell, 1984; FANTASY: Burroughs, A Princess of Mars, Bradley, Darkover Landfall, Gentle, Golden Witchbreed, McKillip, The Forgotten Beasts of Eld, Willis, Doomsday Book; CLASSICAL MODEL: Niven, Inferno, Bova, The Starcrossed, Farmer, To Your Scattered Bodies Go, DeLint, Jack, the Giant Killer; ALTERNATE HISTORY: Gibson and Sterling, The Difference Engine, DeCamp, Lest Darkness Fall, Hogan, The Proteus Operation, Suskind, Perfume, Piercy, He, She, and It, Huxley, Brave New World; ALTERNATE WORLDS: Clement, Mission of Gravity, Herbert, Dune, Clarke, Rendezvous with Rama, Rama II, Slonczewski, A Door into Ocean, Sykes, Red Genesis; "SOFT" SF SPECULATIVE: Le Guin, The Lathe of Heaven, Zelazny, Dream Master, Atwood, The Handmaid's Tale, Hambly, Those Who Hunt the Night, Doctorow, The Waterworks; "SOFT" SF EXTRAPOLATIVE: Herbert, The Santaroga Barrier, Streiber, Nature's End, Pohl, The Space Merchants, The Merchant's War, Clarke, Ghost from the Grand Banks; CATASTROPHE: Theroux, O-Zone, Stewart, Earth Abides, Hyde, Jericho Falls, Kilian, Tsunami, McCollum, Thunder Strike!, Cussler, Sahara; ALIEN INVASION: Heinlein, The Puppet Masters, Niven, Footfall, Crichton, The Andromeda Strain; GENETIC CHANGE: Preuss, Human Error, Knight, CV or The Observers, Vinge, The Snow Queen, Koontz, The Watchers, Crichton, Jurassic Park; TIME TRAVEL: Benford, Timescape, May, The Many Colored Land, Wilson, A Bridge of Years, Gypsies, Anderson, The Boat of a Million Years; SF/DETECTIVE: Killough, Dragon's Teeth, Asimov, Naked Gun, Caves of Steel, Deighton, SS-GB, XPD, Hoeg, Similla's Sense of Snow; SHORT STORY COLLECTIONS: Silverberg, ed. The Science Fiction Hall of Fame, Vol. 1, Asimov, ed. 100 Great Science Fiction Short Short Stories.—Margaret Senatore, 180 G. Bonnymede Rd., Pueblo, CO 81001.

English 391. Special Topics in Women Writers of Sf. Harlan Ellison once said that the best science fiction being written today is by women. The purpose of this course is to exemplify the truth of this evaluation. This class may both complement and supplement English 234. Although works by women are included in English 234, when the same authors appear on both reading lists, either the novels differ or the literary form differs. For example, in English 234, the work by Mary Shelley, the mother of science fiction, is Frankenstein; in English 391, it is The Last Man. Rather than reading another novel by Ursula K. Le Guin, either a short story or selected poetry will be read. Part of the Women's Studies minor. TEXTS: Donawerth and Kolmerten, eds. Utopia and Science Fiction by Women: Worlds of Difference, Shelley, The Last Man, Lessing, The Fifth Child, Russ, The Female Man, Tepper, The Gate to Women's Country, Butler, Parable of the Sower, Wilhelm, Where Late the Sweet Birds Sang, Cherryh, Downbelow Station, Hoffman, Practical Magic, Sargent, ed. Women of Wonder: The Classic Years, Women of Wonder: The Contemporary Years.—Senatore.

Connecticut. Adult-Ed programs in central Connecticut

The Cultural Relevance of Star Trek. I have for the past 12 years taught a class called "The Cultural Relevance of Star Trek" at community colleges and area adult education forums. I use Star Trek in my class as a springboard for discussing American culture and my students' own experiences, so that we talk about Star Trek (and its influences in science fiction) as a metaphor and a mirror. I do sessions on diversity themes, first contact, "the prime directive of non-interference" and the issues it raises, technology (its perils and promises), religion, sexual equality issues, environmental issues, psychological profiles of the characters, mythological themes, etc. For each of these subjects, Star Trek is a vehicle for discussing larger cultural issues. —Jeffrey H. Mills, 7 Quarry Street, Ellington, CT 06029, (203) 875-6522.

English 2XX. Arthurian Legend. Despite changes in attitude and culture, the legend of King Arthur and the knights of the Round Table has remained potent over a span of eight hundred years. In this course we will survey Arthurian literature from the Middle Ages to the present, examining illustrations, paintings, and film, as well as texts. Emphasis will be placed on establishing each text in its era and understanding the development of the Arthurian legend. TEXTS: Gawain and the Green Knight; Chrétien de Troyes, "The Knight of the Cart"; Morris, "The Defense of Guinevere"; Malory, Le Morte D'Arthur, Vol. 2; Tennyson, Idylls of the King; White, The Once and Future King; Bradley, The Mists of Avalon; Beardsley's illustrations for Malory; pre-Raphaelite paintings of Arthuriana. FILM: First Knight.—K. Fuog, Dept. of Continuing Education, Connecticut College, New London, CT 06320.

English Lit 2310. Science Fiction and Fantasy. This sophomore-level course serves as an introduction to science fiction and fantasy and to fantasy's related subgenre, horror. Students read a mixture of novels and short stories, from various eras or literary periods, and see several related films so that they are conversant with the basic definitions, themes, and conventions of each area and with the difficulties of establishing them. TEXTS vary but generally include a number of the following: Wells, The Time Machine; Heinlein, Starship Troopers; Silverberg, The Science Fiction Hall of Fame; Vol 1; Haldeman, The Forever War; Tolkien, The Hobbit; Le Guin, The Earthsea Trilogy; Beagle, A Fine and Private Place; Stevenson, Dr. Jekyll and Mr. Hyde; King, Carrie; and Charnas, The Vampire Tapestry.—W.A. Senior, English Department, Broward Community College-Central, Davie, FL 33314.

LIT 3313-7444. Science Fiction. Definitive texts from the 1890s (the scientific romances of H.G. Wells) to the 1980s (the cyberpunk movement). The emphasis is on recurring motifs and intertextual echoes among sf writers. TEXTS: Silverberg ed., Sf Hall of Fame (Vol.1), Wells, The Time Machine, The War of the Worlds, Clarke, Childhood's End, Herbert, Dune, Smith, The Best of Cordwainer Smith, Le Guin, The Left Hand of Darkness, Heinlein, The Moon is a Harsh Mistress, Lem, Star Diaries, Gibson, Neuromancer.—Carol McGuirk, 51 SW 10th Terrace, Boca Raton, FL 33486.

LIT 3313-0364F. Science Fiction. Objective: To survey representative works in the development of the genre. TEXTS: Wells, The Time Machine, Asimov, I, Robot, The Caves of Steel, Heinlein, The Moon is a Harsh Mistress, Bradbury, Fahrenheit 451, Sturgeon, More Than Human, Clarke, Childhood's End, 2001, Card, Ender's Game, Dick, The Man in the High Castle, Herbert, Dune, Le Guin, The Left Hand of Darkness, Gibson, Neuromancer, Tepper, The Gate to Women's Country.—Robert A. Collins, English Department, Florida Atlantic University, Boca Raton, FL 33431.

LIT 3312-0338. Literature of Fantasy. A survey of representative works in fantasy and horror. TEXTS: FANTASY, Walton, The Prince of Annwn, MacDonald, The Golden Key, Lilith, Le Guin, The Wizard of Earthsea, The Tombs of Atuan, The Farthest Shore, Tehanu, Tolkien, The Fellowship of the Ring, The Two Towers, The Return of the King; HORROR, Lovecraft, The Lurking Fear & Other Stories, King, Carrie, The Shining, Leiber, Conjure Wife, Our Lady of Darkness, Bradbury, Something Wicked This Way Comes.—Collins.

LIT 6934. Seminar: The Fantastic in Literature. Research paper required. TEXTS: SCIENCE FICTION, Wells, The Time Machine, Asimov, Caves of Steel, Heinlein, The Moon Is a Harsh Mistress, Bradbury, Fahrenheit 451, Clarke, Childhood's End, Le Guin, The Dispossessed, Gibson, Neuromancer; FANTASY, Tolkien, The Lord of the Rings (trilogy), Tepper, The Gate to Women's Country, Lovecraft, The Lurking Fear & Other Stories, King, Different Seasons, Eco, The Name of the Rose, Borges, Labyrinths (collection).—Collins.

LIT 4001. Science Fiction in Literature and Film. This introductory course explores the nature and functions of science fiction literature and film from a variety of critical perspectives. TEXTS: Asimov, The Foundation Trilogy, Gibson, Neuromancer, Le Guin, The Dispossessed, Orwell, Nineteen Eighty-Four, Shelley, Frankenstein, Stapledon, Last and First Men, Starmaker, Vonnegut, Player Piano, Wells, The Time Machine, The War of the Worlds. FILMS: Alien, Blade Runner, Forbidden Planet, Frankenstein, Metropolis, Star Man, Them!, The Day the Earth Stood Still, On the Beach, 2001: A Space Odyssey.—Charles Elkins, Dept. of English, Florida International Univ., University Park, DM 453, Miami, FL 33199.

E/WS 241. Gender Images in Science Fiction. Like speculative fiction itself, this course is a wedding of many ideas: how we define ourselves as women and men; how the genders interact; how we make our decisions and choose and apply our values as individuals, as a nation, as a world; how we learn to celebrate and love the alien, the diverse, the spark of individual fire we see in each other though we seldom comprehend it fully. We will study literature, the finest use of language, to examine the incomprehensible and define the delicate tendrils of connectedness we must all seek out and nurture in our lives. In speculative fiction, we will find new metaphors to help us analyze the complexities of our values, our gender definitions, our treatment of each other, and our proposed solutions to the complex problems which confront us all as individuals and as an earth whose life is imperiled. TEXTS: Asimov, Foundation and Empire, Ellison, ed. Dangerous Visions, Heinlein, Glory Road, Le Guin, The Left Hand of Darkness, McCaffrey, The Ship Who Sang, Russ, The Two of Them, Sturgeon, Godbody, Tiptree, Brightness Falls from the Air, Tolkien, The Fellowship of the Ring, Vonnegut, "Miss Temptation."—Twila Yates Papay, Box 2655, Rollins College, Winter Park, FL 32789.

LIT 3313.B01. Science Fiction. Instead of rereading selected favorite works (yours or mine) of science fiction, or instead of taking an introductory approach to science fiction, we are taking a much more limited approach. We will study selected dystopian science fiction. TEXTS: Zamyatin, We, Dick, Do Androids Dream of Electric Sheep?, Le Guin, The Dispossessed, Gibson, Burning Chrome.—Dan Jones, Dept. of English, Univ. of Central Florida, Orlando, FL 32816.

IDH 2931. Undergraduate Honors: American Science-Fiction Literature and Film. Objectives: to survey twentieth-century American science-fiction literature and film, to develop critical skills in thinking about the role of science fiction within contemporary American culture, to develop analytical skills through writing about science-fiction stories and films. TEXTS: Warrick, et al., The SFRA Anthology, Heinlein, Starship Troopers, Herbert, Dune, Le Guin, The Left Hand of Darkness, Vonnegut, Slaughterhouse Five, Haldeman, The Forever War, Gibson, Neuromancer, Rose, Alien Encounters, Sobchack, Screening Space: The American Science Fiction Film. —Andrew Gordon, Dept. of English, University of Florida, Gainesville, FL 32611.

English 383. Science Fiction. This survey of science fiction emphasizes novels that are generally regarded as influential or innovative. Lectures and class discussions will stress the literary, social, political, and imaginative qualities of the works. TEXTS: Wells, The Time Machine, The War of the Worlds, Heinlein, Starship Troopers, Roshwald, Level 7, Lem, Solaris, Ballard, The Drowned World, Dick, Do Androids Dream of Electric Sheep?, Le Guin, The Left Hand of Darkness, Clarke, Rendezvous with Rama, Butler, Dawn.—Patrick A. McCarthy, English Dept., Univ. of Miami, Coral Gables, FL 33124, (305) 284-2553, fax (305) 284-2182.

WRI 230F. Writing Science Fiction and Fantasy. This course explores the special considerations and opportunities in writing science fiction and fantasy. TEXTS: Card, How to Write Science Fiction and Fantasy; Dozois, ed., The Year's Best Science Fiction.—Richard Matthews, English Dept., University of Tampa, Tampa, FL 33606.

ENG 295A/495B. Science Fiction. The class will be required to read most of the short stories in the anthology, focusing on stories by writers such as Heinlein, Asimov, Ellison, etc. Five classic novels will be read also. The course will also examine common sf themes—the encounter of humans with alien intelligence, for example—as treated by popular sf television series in order to pin down whatever differences national, cultural, etc. may exist in the handling of sf themes. TEXTS: Silverberg, ed. The Science Fiction Hall of Fame, Vol. 1, Dick, Do Androids Dream of Electric Sheep?, Ballard, Hello America, Wells, The Time Machine, Le Guin, The Left Hand of Darkness, Lewis, Out of the Silent Planet. FILMS: Blade Runner, Star Trek, Dr. Who, Blake's 7.—James Smith, Dept. of Lang., Lit., and Communication, Augusta College, Augusta, GA 30904.

LIT 109. Fantastic Fiction: Science Fiction & Fantasy. A survey of the fantastic in fiction, including high and low fantasy, horror, myth, and folktales, and a brief survey of classic science fiction. TEXTS: Poe, "The Facts in the Case of M. Valdemar," "MS. Found in a Bottle," "The Narrative of Arthur Gordon Pym," Clarke, "The Sentinel," "The Star," Wells, "The Story," "The Country of the Blind," Hawthorne, "The Birthmark," Heinlein, "All You Zombies," Bradbury, "There Will Come Soft Rains," Weinbaum, "A Martian Odyssey," Bester, "Fondly Fahrenheit," "The Man Who Murdered Mohammed," Zelazny, "A Rose for Ecclesiastes," Dick, "Faith of our Fathers," Ellison, "I Have No Mouth and I Must Scream," Le Guin, "White Lies," Russ, "When It Changed," Vonnegut, "Harrison Bergeron," Gibson, "The Gernsback Continuum."—Joe Francavilla, Dept. of Lang. & Lit., Richards Hall, Columbus College, Columbus, GA 31907-5645.

English 3308. Survey of Science Fiction. Science fiction is a literature engendered by the strains of the high-change era which has followed the industrial revolution; like all literature, it has roots in ambiguous feelings—in this case, very largely our hopes for a future enhanced by our technology and our fears for our own humanity as the rate of change threatens to swamp traditional mores and values. While certain elements familiar in sf—most notably the utopia, the fantastic voyage, and the wonderful machine—appear in literature from the earliest times, the sense of historical change at the heart of science fiction is missing from those narratives. After a brief survey of earlier literature, we begin with Mary Shelley's Frankenstein and proceed through the last two centuries at the rate of a novel a week. TEXTS: Shelley, Frankenstein, Verne, Twenty Thousand Leagues Under the Sea, Wells, The War of the Worlds, The Time Machine, Twain, A Connecticut Yankee in King Arthur's Court, Zamiatin, We, Pohl, Gateway, Clement, Mission of Gravity, Bova, Death Dream, Le Guin, The Left Hand of Darkness.—Bud Foote, LCC, Georgia Tech, Atlanta, GA 30332.

English 3161. Senior Seminar in Science Fiction. This course varies in topic; it always concentrates on one author, one period, or one theme related to sf. During the winter term of 1995-96, our topic was the sf works of Ben Bova.—Foote.

English 393. Junior Honors Tutorial: Critical Approaches to Science Fiction. In this course, we will interrelate two sets of texts: "classical" (= important, canonical) science-fiction short stories/novels and "classical" (same synonyms) sf criticism. Though selective, the syllabus nevertheless spans the history of modern sf, from its nineteenth-century precursors (Mary Shelley, Jules Verne, H. G. Wells), on into the twentieth century, and winding up with the 1980's "cyberpunk" movement. By semester's end, I hope that as a result of taking this course you will feel informed about an important kind of popular literature and more comfortable about your ability to read literary criticism and do literary research. TEXTS: Silverberg, ed., Science Fiction Hall of Fame, Vol. I; Shelley, Frankenstein; Verne, Twenty Thousand Leagues under the Sea; Wells, The Time Machine; Clement, Mission of Gravity; Clarke, The City and the Stars; Heinlein, Citizen of the Galaxy; Bradbury, The Martian Chronicles; Bester, The Demolished Man; Sturgeon, More Than Human; Lem, Solaris; Dick, The Man in the High Castle; Ballard, The Drowned World; Delany, The Einstein Intersection; Le Guin, The Dispossessed; Russ, The Female Man; McCaffery, ed., Storming the Reality Studio; a selection of critical texts.—Sammons.

Honors 491/492. Honors Colloquium: Interdisciplinary Approaches to Science Fiction. We will begin by reading a paradigmatic sf story, then what many critics consider the first sf novel, then a series of classic sf short stories. After this basic orientation to the genre, we will read a core sequence of sf texts, each one chosen because of an obvious (and sometimes even a multiple) affinity to an academic discipline, including—but certainly not limited to—American Studies, anthropology, astronomy, biology, computer science, English, history, linguistics, physics, psychology, sociology, women's studies. On your own, and for your senior project, you will read and write on an sf work germane to your academic interests and background. TEXTS: Forster, "The Machine Stops"; Shelley, Frankenstein; Silverberg, ed., Science Fiction Hall of Fame (vol. 1); Vonnegut, Player Piano; Clement, Mission of Gravity; Burgess, A Clockwork Orange; Le Guin, The Left Hand of Darkness; Lem, Solaris; Gibson, Neuromancer.—Sammons.

English 115. Fantastic Literature. This is both an introduction to the study of literature and an examination of a particular literary mode. We will study methods of literary analysis applicable to many sorts of literature, but we will be applying them to fantastic tales, poems, and plays. If you are already a reader of fantasy or science fiction, you should reach a higher level of critical sophistication and become more aware of the traditions behind those contemporary forms. If you are unfamiliar with them, you should gain an appreciation of the varieties and uses of the fantastic. TEXTS: Apuleius, The Golden Ass, Boroff, Sir Gawain and the Green Knight, Carter, The Bloody Chamber, Dickens, A Christmas Carol, Larsen, Silk Road, Lem, Solaris, Lewis, Till We Have Faces, MacDonald, The Princess and the Goblin, Lilith, Tepper, The Gate to Women's Country, Gibson, Neuromancer, Shakespeare, The Winter's Tale, The Tempest, selected poems and short stories.—Brian Attebery, Dept. of English, Box 8056, Idaho State Univ., Pocatello, ID 83209.

English 368. Science Fiction and Fantasy. Introduction to sf and fantasy from an historical perspective; extensive study of some classic sf novels and the tradition behind some major post-modern short fiction (1960 to contemporary); study of some classic sf texts and introduction to critical terminology and theory. Intense study of the iconography of selected sf and fantasy films. Careful study and analysis of theme and iconography of two major fantasy novels. TEXTS: Attebery and Le Guin, eds. The Norton Book of Science Fiction; Wells, The Time Machine and The War of the Worlds; Forster, The Machine Stops; Huxley, Brave New World; Atwood, The Handmaid's Tale; Tolkien, The Hobbit; Le Guin, A Wizard of Earthsea; choice of another novel from a selected list. FILMS: Metropolis; The Day of the Triffids (selected scenes); Fahrenheit 451; Star Trek: The City at the Edge of Forever; Blade Runner; The Hobbit. —Edgar L. Chapman, English Department, Bradley University, Peoria, IL 61625.

IDS 490. Senior Seminar: The Future. Senior Seminar is designed to give Eureka College seniors a taste of what graduate school is like as well as provide a "transition to life-long learning." I have selected science fiction works because the emphasis in sf is the future. All of the books that we will read and discuss in this course will have ideas and concerns that are important for the future. TEXTS: Science Fiction: The Future, Shelley, Frankenstein, Wells, The Time Machine, Huxley, Brave New World, Clarke, Childhood's End, Bradbury, Fahrenheit 451, Le Guin, The Left Hand of Darkness, Burgess, A Clockwork Orange, Kosinski, Being There.—Loren L. Logsdon, Humanities Div., Eureka College, Eureka, IL 61530.

English 172. Literary Visions of the Future. A study of several 20th-century extrapolative novels, short stories, poems, and films. Our purpose is to see the sorts of futures these writers have foreseen, to investigate the societal trends that might have inspired them, and to ask how accurate such visions might be. TEXTS: Zamyatin, We, Huxley, Brave New World, Orwell, 1984, Miller, A Canticle for Leibowitz, Bradbury, Fahrenheit 451, plus short stories and poems. FILMS: Metropolis, Things to Come, THX 1138, Fahrenheit 451, On the Beach, 1984.—Dale F. Martin, Dept. of English, Box 159, Greenville College, Greenville, IL 62246.

ENGL 532-051. Rhetoric of Technology. This course will provide a forum in which to interrogate the rhetorical underpinnings of technological practices. The thesis of the course is that what we call technology is in fact a socially constructed activity. All technologies obtain their legitimacy within a given culture through specific social and institutional practices. A technical community is defined by the sorts of practices, discursive and otherwise, within which its knowledge claims are made and against which they are either validated or discarded. Two questions that this course will consistently confront: Are other technologies possible? Are they desirable? TEXTS: Bolter, Writing Space, Gibson, Neuromancer, Le Guin, The Left Hand of Darkness, Pirsig, Zen and the Art of Motorcycle Maintenance, packet of essays on theory.—Joe Amato, Lewis Dept. of Humanities, Illinois Instit. of Tech., 3101 S. Dearborn St., Chicago IL 60616-3793.

English 102. Composition II. Survey of short stories and poetry. This is an introductory literature course. Sf TEXTS: Le Guin, "The Ones Who Walk Away from Omelas," Bisson, "The Coon Suit," Robinson, "Zurich."—Edgar V. McKnight, Jr., 708 Emerald Lane, Carbondale, IL 62901, (618) 529-2468.

English 395. Honors Tutorial: Texts and Hypertexts. Reading and writing texts and hypertexts, using on-line and print resources to produce hypertext assignments on technology, gender, class and history. TEXTS: Gibson, Neuromancer, Shelley, Frankenstein, Butler, Adulthood Rites, Stephenson, The Diamond Age.—Steven Jones, English Dept., Loyola University, 6525 N. Sheridan Rd., Chicago, IL 60626.

English 171. Creative Writing Round Table: Focus on Science Fiction and Fantasy. This course is for writers and writer wannabes. It exists to give them access to an audience besides themselves plus access to an editor, me. It concentrates on the students as writers. Of course, they are heavy readers of science fiction as well as Trekkers, Whodies, Dwarfers, and so forth. The end result will be the publication of either a chapter or a short story in booklet form for our delight and edification. Caveat: This course was designed especially for me; I am leaving Milliken in June, and have no idea when or if this course will ever be taught again.—Gretchen Grove, English Dept., Milliken Univ., Decatur, IL 62522.

English 247. Readings in Science Fiction. This course looks at a variety of early and contemporary literature of the genre, noting its reflection of developing knowledge and experimentation in technology and the natural and social sciences. Some readings may focus on the envisioning of future societies which explore possible consequences of this new knowledge. Others use the genre to present classic themes of personal and human identity, journey and test, conflicts between good and evil, and other themes that permeate literature. In addition to the selected readings, film examples will also be studied. TEXTS: Bradbury, The Martian Chronicles, Huxley, Brave New World, Wells, The Island of Dr. Moreau, Le Guin, The Left Hand of Darkness, a selection of short stories. FILMS: The Day the Earth Stood Still, The Handmaid's Tale, Altered States, 2001: A Space Odyssey, 2010.—Jane A. Barnes, 30 N. Brainard St., Naperville, IL 60566-7063.

English 356/456. Science Fiction. I do a course about every two years. Every time I try something different; last time it was a summer course in which we went through the Norton Book of Science Fiction, supplemented by various handouts, and focused on fictional strategies rather than the history of the genre. Before that, I used the Silverberg Hall of Fame together with novels by Farmer, Haldeman, Benford, and Wells. In that class, I set up a speakerphone so that the students could interview all the authors directly (except for Wells, of course, although the thought crossed my mind I probably could have fooled most of them with a good impostor). TEXTS: Farmer, To Your Scattered Bodies Go; Haldeman, The Forever War; Benford, Against Infinity; Wells, The Time Machine; Ellison, "I Have No Mouth and I Must Scream".—Gary K. Wolfe, Department of English, Roosevelt University, 430 South Michigan Avenue, Chicago, IL 60605.

BGS 379. Science Fiction: An Interdisciplinary Humanities Module. A one-credit correspondence course. Science-fiction movies are some of the most popular films of all time, but science fiction itself remains the province of a relatively limited number of passionate readers. This course will explore both the reasons for science fiction's popularity and the reasons it seems challenging to many readers—and will offer guidelines on how to read this unique form of literature in order to get the most from it. The course includes a discussion of the philosophical views underlying the fiction; a brief history of science fiction in literature, art, film, and theater; and an examination of common themes and techniques. Evaluation is based on two paper assignments and exercises in the module. TEXTS: Gary K. Wolfe, Science Fiction: An Interdisciplinary Humanities Module; Wells, The Time Machine; Le Guin's The Left Hand of Darkness or Haldeman's The Forever War or Robinson's Red Mars or some other modern sf novel chosen with the consent of the instructor. For further information, write or call External Studies Program, Roosevelt University, 430 South Michigan Avenue, Chicago, IL 60605-1396; telephone 312-341-3866.—Arny Reichler, Director.

ENG 309. Popular Literature: Science Fiction. An introduction to and survey of sf from Frankenstein to the present; our overview makes use of novels, films, short fiction, and TV shows. TEXTS: Science Fiction: The SFRA Anthology, ed. Warrick et al; The Norton Book of Science Fiction, ed. Le Guin & Attebery; William Gibson, Neuromancer; Margaret Atwood, The Handmaid's Tale; Shelley, Frankenstein; Wells, The Time Machine.—Jack G. Voller, English Dept., Southern Illinois University, Edwardsville, IL, 62026-1431. "jvoller@siue.edu".

ENG 309. Popular Literature: Feminist sf. Contrary to popular assumption, sf is not—or is no longer—a genre only for adolescent males. While much of the phallocentric/chest-beating/anal compulsive residue of Western white culture may still be found, it is increasingly the case that sf's fuller possibilities are being realized by female writers who are discovering in sf's extrapolative, imaginative, and narrative freedoms the means of giving voice and life to alternative visions of social and personal being-in-the-world. We begin with Mary Shelley's Frankenstein (published in 1818) and end with contemporary works; most of our reading, of necessity, will be in post-1960 texts. TEXTS: Science Fiction: The SFRA Anthology, ed. Warrick, et al; The Norton Book of Science Fiction, ed. Le Guin & Attebery; Atwood, The Handmaid's Tale; Gilman, Herland; Le Guin, The Left Hand of Darkness; Piercy, Woman on the Edge of Time; Joanna Russ, Extra(Ordinary) People, Sargent, The Shore of Women; Shelley, Frankenstein.—Voller.

English 121. Science Fiction and Modern Culture. TEXTS: Wells, The Time Machine, The First Men in the Moon, Verne, The Mysterious Island, Silverberg ed., The Science Fiction Hall of Fame (Vol.1), Heinlein, The Moon is a Harsh Mistress, Dick, The Man in the High Castle, Le Guin, The Dispossessed.—John Huntington, English Dept. m/c 162, 601 S. Morgan, Univ. of Illinois at Chicago, Chicago, IL 60607, (312) 413-2247, fax (312) 413-1005.

English 298. Honors Seminar—Popular Fiction: The Instance of sf. This course combines extensive readings in sf of the 1930s, 40s, and 50s with readings of other popular fiction of the period in The Saturday Evening Post, The Ladies Home Journal, and Collier's. We will also be reading critics and theorists of literature. TEXTS: Silverberg, ed. The Science Fiction Hall of Fame, Vol. 1, Miller, A Canticle for Leibowitz, Vonnegut, The Sirens of Titan, Shute, On the Beach, Williams, The Sociology of Culture, Astounding Science Fiction, July 1939.—Huntington.

English 480. Science Fiction and Film. The course examines recurring science fiction topics or themes as these find expression in paired readings and films. TEXTS: Shelley, Frankenstein, Wells, The Time Machine, Zamyatin, We, Delany, Babel-17, Le Guin, The Dispossessed, Piercy, Woman on the Edge of Time. FILMS: The Day the Earth Stood Still, 2001: A Space Odyssey.—Judith L Everson, Brookens 485, Univ. of Illinois at Springfield, Springfield, IL 62794.

Lit. 216-001. Science Fiction. Surveys sf short stories and novels as popular literature and assesses sf's unique contribution to the history of ideas. TEXTS: Hull & Pohl eds., Tales from the Planet Earth, Silverberg ed., Science Fiction Hall of Fame (Vol.1), Warrick et al. eds., Science Fiction: The SFRA Anthology, Asimov, The Gods Themselves, Clarke, Childhood's End, Heinlein, The Moon is a Harsh Mistress, Le Guin, The Left Hand of Darkness, Pohl, Gateway, Vonnegut, Cat's Cradle.—Elizabeth Anne Hull, 855 S. Harvard Dr., Palatine, IL 60067, 708-925-6323, fax 708-925-6037.

LIT 229. Science Fiction—Psychology and Prophecy. Course objectives: 1. to develop critical thinking, 2. to become acquainted with the various myths that form an integral part of the reading of the course, 3. to become acquainted not only with some of the major writers in the field, but also with various types of science fiction such as scientific romance, the `sword and sorcery' novel, the tale-of-horror science fiction and with various genre and thematic definitions associated with these materials. By the end of the course, the student will be familiar with the elements of science fiction that distinguish general fiction from science fiction and science fantasy. TEXTS: Wells, The Island of Dr. Moreau, Doyle, The Lost World, Vonnegut, Cat's Cradle, Clarke, Childhood's End, Burgess, A Clockwork Orange, Howard, Conan the Conqueror, Heinlein, The Puppet Masters, Glory Road, Lovecraft, Bloodcurdling Tales of Horror and the Macabre.—Bob Blackwood, English Dept., Wright College, 4300 N. Narragansett, Chicago, IL 60634, fax (312) 202-8082.

English 104. Composition 2. Higher-level instruction in composition with emphasis on critical thinking and writing in response to literary texts. TEXTS: Bradbury, "October 2026: The Million-Year Picnic," Cheever, "The Enormous Radio," Thurber, "The Secret Life of Walter Mitty," Raine, "A Martian Sends a Postcard Home."—Michelle L. Wallace, Dept. of English, RB 281, Ball State Univ., Muncie, IN 47306.

French Seminar 420—Science Fiction in France. This course is a survey of science fiction in France from its beginnings to the present. We will explore the origins and evolution of this literary genre from the early imaginary voyages and utopias of the 17th and 18th centuries, to the scientific fictions of Verne's Voyages Extraordinaires, to the modern French sf of the 20th century. The methodological approach will be threefold: thematic (encounters with the alien other, man vs. machine, utopia/dystopia, etc.), narratological (how sf signifies, techniques of reader alienation, "absent paradigms," etc.), and sociological (historical contexts, gender roles, evolution of science, etc.). TEXTS: Cyrano de Bergerac, Voyage dans la Lune, Fontenelle, Entretiens sur la pluralité des mondes, Voltaire, Micromégas, Mercier, L'An 2440, Verne, Voyage au centre de la Terre, Rosny Aîné, Les Navigateurs de l'infini, La Mort de la Terre, Renard, "Les Vacances de M. Dupont," "Le Brouillard du 26 octobre," Barjavel, Ravage, Klein, Les Voiliers du soleil, Boulle, La Planète des singes, Wintrebert, Les Maîtres-feu.—Arthur B. Evans, Dept. of Romance Languages, DePauw University, Greencastle, IN 46135, "aevans@depauw.edu", (317) 658-4758, fax (317) 658-4856.

English 155-W. Science Fiction. In this course we will study some of the most challenging and complex works of science fiction, paying close attention to certain themes dear to the genre: utopia and dystopia, aliens and extraterrestrial contact, visions of the future and varieties of reality. All these themes are simultaneously entertaining fictions and philosophical speculations on reality and society. TEXTS: Shelley, Frankenstein, Wells, The Time Machine, Butler, Kindred, Russ, The Female Man, Le Guin, The Left Hand of Darkness, Dick, A Scanner Darkly, Watson, The Embedding, Gibson, Neuromancer, Orwell, Nineteen Eighty-Four, Simmons, Hyperion, Robinson, Red Mars.—Istvan Csicsery-Ronay, English Department, DePauw Univ., Greencastle, IN 46135, "icronay@depauw.edu".

English 335. Science Fiction. A course is offered each semester in three sections by instructors in the English Dept., Indiana State University, Terre Haute, IN 47809.

Section 1. I use about 35 stories and 2 films per semester, divided among 6 critical/theoretical approaches to sf. I lift a quote from Le Guin's introduction—namely, the course is both for those with little knowledge of sf (improves their reading skills for sf) and for fans to read more deeply. TEXTS: Le Guin and Attebery, eds. The Norton Book of Science Fiction.—Elaine Kleiner.

Section 2. Representative sf texts from mainstream to pulp, so that students can enjoy both but tell the difference. TEXTS: Warrick, et al., eds. The SFRA Anthology (I teach every story in it), Shelley, Frankenstein, Verne, Twenty Thousand Leagues Under the Sea, Wells, The Time Machine, Huxley, Brave New World, Le Guin, The Left Hand of Darkness.—Charles Nicol.

Section 3. We approach science fiction as social criticism, stressing conquest and colonization, technology and the myth of progress, utopian/dystopian and feminist issues. While we stress cultural critique, we also examine science fiction in relation to both mainstream literature and other popular genres, particularly war fiction and mystery and detection. TEXTS: Asimov, Caves of Steel, Dick, Do Androids Dream of Electric Sheep? (Blade Runner) or UBIK or The Man in the High Castle, Hogan, Inherit the Stars or Entoverse, Le Guin, The Left Hand of Darkness or The Dispossessed, Wells, The Island of Dr. Moreau, Sterling, ed., Mirrorshades, Gibson, Neuromancer. Selected short fiction from the Hall of Fame volumes. FILMS: Clips from Flash Gordon serials, The Thing (both versions), Metropolis, Things to Come, and Fleischer's Superman cartoons. The complete Blade Runner (Director's Cut) when that novel is assigned.—Jake Jakaitis.

English C392. Science-Fiction Film. An historical survey of sf cinema primarily American and British. In each decade we will be concerned with the problem of defining the limits and boundaries of this complex genre, and of exploring the conventions consisting of visual imagery or iconography, narrative, and sound (music and dialogue) which historically have differentiated the sf film from other genres. We will also consider the complex thematic interrelationship between science, magic, and religion as it is manifested in the main types and categories of sf film since the 1950s, including the monster film, the disaster film, space opera, hard sf, and cyberpunk. TEXT: Phil Hardy, ed., The Overlook Film Encyclopedia: Science Fiction. FILMS: Metropolis, The Day the Earth Stood Still, Forbidden Planet, Planet of the Apes, 2001: A Space Odyssey, Solaris, Zardoz, Close Encounters of the Third Kind, Blade Runner, Dune, The Abyss, Alien 3, The Lawnmower Man, Johnny Mnemonic.—William Touponce, English Dept. IUPUI, Indianapolis, IN 46202. "wtouponc@indycms.iupui.edu"

English L385 (V656). Science Fiction: Cyberpunk. This course investigates the movement known as "cyberpunk," which came into prominence in the American sf community, but whose ideas, such as "cyberspace," have now spread internationally to the general public and are exerting an influence on film and television as well as comics and other visual media. We will seek to survey major themes and concerns of the movement by reading programmatic statements made by its leaders and spokesmen and by reading major works of fiction by its most prominent members. We will seek to understand how cyberpunk sf departs from and revises the sf of previous decades. Particular attention will also be given to an analysis of the styles of the texts themselves in order to properly appreciate the aesthetics of cyberpunk. Reading journal is required. TEXTS: Sterling, ed., Mirrorshades; Sterling, Crystal Express; Gibson, Neuromancer; Rucker, Living Robots; Kishiro, Battle Angel Alita; Wagner, Wild Palms. FILMS & VIDEOS: TekWar, Nemesis, and others.—Touponce.

English L200. Stephen King. For eight spring semesters now I have offered a course on Stephen King in which I have taught all the fiction (including the Bachman fiction) and most of the films. Normally I use as the centerpiece what has just come out. Since only The Green Mile is certain—there are three others promised in 1996!—I am still at sea. With the Mile, though, I will certainly do Rita Hayworth and the Shawshank Redemption and the film. If the fourth Dark Tower comes out I will probably do them. Though if the new "Bachman" novel appears, that may open up a whole new line of inquiry.—Edwin Casebeer, 5649 North College Avenue, Indianapolis, IN 46220. "casebee@indyvax.iupui.edu".

English 373. Science Fiction/Fantasy. Representative works of science fiction and fantasy, examined in relation to both mainstream and popular literature. Emphasis is on technique, theme, and form. TEXTS: Huxley, Brave New World, Miller, A Canticle for Leibowitz, Wyndham, Chrysalids, Clarke, Childhood's End, Orwell, 1984, McCaffrey, Dragonflight, Le Guin, The Left Hand of Darkness, various sf and fantasy short stories.—Sharon Snyder, Lawshe Hall 218E, Dept. of English & Philosophy, Purdue Univ., Calumet, Hammond, IN 46323.

English 373. Science Fiction and Fantasy. Essentially a masterworks course with the intent of distinguishing among science fiction, fantasy, and horror. The historical background is shared through lectures rather than readings. TEXTS: Asimov, Foundation and Empire, Heinlein, Stranger in a Strange Land, Herbert, Dune, Zelazny, Lord of Light, Le Guin, The Wizard of Earthsea, Stoker, The Jewel of Seven Stars, The Mammoth Book of New World Science Fiction: Short Novels of the 1960s, Dozois, ed., The Year's Best Science Fiction.—R. Schlobin, 1915 David Drive, Chesterton, IN 46304, "dragon@niia.net".

English 232,01. The Fantasy and Science-Fiction Short Story. An "open" course: major themes in literature that various faculty adapt to special interests. It has been primarily used in the summer session. The short stories are designed to illuminate the distinctions among science fiction, fantasy, and horror. TEXTS: Selections from Carr, ed. The Science Fiction Hall of Fame, Vol. IV and Hartwell, ed. Masterpieces of Fantasy and Enchantment.—Schlobin.

Writing 212. Advanced Exposition. The course utilizes utopian texts in contrast to "realistic" fiction in order to disclose both the subversive narrative strategies and the insurrectionist epistemologies of utopian authors. Students examine the two basic types of texts and develop extended research projects on utopian themes. Among the issues examined is that of the relation of closural authority, realism, and utopography to the master-narratives of progress and evolution. Dickens's and Conan Doyle's tidy codas are shown to represent evasions or arbitrary finalizations of a type which utopian authors, on the whole, refuse to employ; consequently, utopian fiction, even in its dystopic mode, eschews finitude and compels its readership into open imagining and narrative reciprocity. TEXTS: Dickens, Hard Times; Doyle, Hound of the Baskervilles; More, Utopia; Wells, The Time Machine; Gilman, Herland; Orwell, Nineteen Eighty-Four; Atwood, The Handmaid's Tale; supplementary reserve readings in narrative theory and utopian tradition.—Larry W. Caldwell, Department of English, University of Evansville, Evansville, IN 47722.

ENGL 414:01. Realism and the Supernatural. An attempt to develop a theory of the supernatural and the uncanny in "realistic" fiction from Defoe to James. TEXTS: Defoe, Robinson Crusoe (excerpts) and "A True Relation of the Apparition of One Mrs. Veal"; Poe, Narrative of Arthur Gordon Pym; Godwin, Caleb Williams; Shelley, Frankenstein; Scott, "The Tapistried Chamber"; Hoffman, Best Tales of Hoffman; LeFanu, Best Ghost Stories of J.S. LeFanu; Brontë, Jane Eyre; James, The Turn of the Screw; Stevenson, The Strange Case of Dr. Jekyll and Mr. Hyde; Wilde, The Picture of Dorian Gray; Stoker, Dracula.—INSTRUCTOR: James Walton.

ENGL 433B:01. Arthurian Literature. The stories surrounding Arthur are both the oldest and most enduring fables of the post-classical era. Almost every century since the sixth has contributed at least one major version of the evolving legend. The twentieth century, despite its technological preoccupations, has proved highly receptive to the fantasy and idealism inherent in Arthurian legend. We will examine the origins of the Arthurian story and study in detail the texts listed. TEXTS: Gawain and the Green Knight; Malory, Morte D'Arthur; Chrétien de Troyes, Erec et Enide and Lancelot; Twain, A Connecticut Yankee in King Arthur's Court; Tennyson, Idylls of the King; White, Once and Future King.—INSTRUCTOR: Les Martin.

ENGL 436Z:01. Sr. Sem: Monsters, Saints, and Heroes. Beowulf, a poem most people consider to be about a hero, shares a manuscript with some rather curious companions: a fragmentary epic on Judith, a story about St. Christopher, and two texts about various kinds of marvels and monsters. This juxtaposition asks us to consider just how neat the categories "monster," "saint," and "hero," really are. This senior seminar will examine a wide range of critical and cultural issues presented by a number of prose and verse texts (in Modern English translation) from Anglo-Saxon England. This class will examine the belief systems underlying these texts and the cultural work the texts performed. The seminar will offer a "hands-on" introduction to work in the field, including some background in the language, in the reading of manuscripts and their illustrations, and in research strategies. INSTRUCTOR: Katherine O'Brien O'Keefe.

ENGL 325:01. Science Fiction. From Lucien to Vonnegut and beyond, the writer of Science Fiction has directed attention not to Character as Fate, but to the Will as wearing different instruments and committing prestidigitation with possibility and prophecy. We will read about this will, and the magicians it creates in its determination to command rather than perceive, through the lenses of fictions based on hypotheses in Aristophanes, Lucian, More, Swift, Vonnegut, Vance, and others such as Williamson, Heinlein, Stewart, and Harrison.—INSTRUCTOR: Lew Soens.

ENGL 300N:01. Fearing Fictions: The Literature of Terror. From Puritan sermons to contemporary "slasher" films, American audiences have been fascinated by the monstrous, the frightening, and the uncanny. Why are we entertained by what ought to distress and repulse us? What is the connection between our fantasy fears and our actual fears? Do encounters with the terrifying, the gruesome, and the strange challenge, even endanger, our values and beliefs—or do they reaffirm them? This course will investigate such questions through close analysis of selected American "classics" in the gothic mode, selected popular horror fiction, and a few films. In some of our texts, various "hauntings"—both supernatural and psychological—will lead us to explore issues of personal identity, perception, and knowledge. In others, we'll examine the horror lurking beneath the surface of the "normal" and the everyday—in our social institutions, cultural assumptions, and national myths. Students will be encouraged to develop their own theories on the nature and function(s) of the art of terror. The only prerequisite is a willingness to read, think, and apply critical intelligence to what is often unsaid, unseen, and threatening. TEXTS: James, The Turn of the Screw; Faulkner, Sanctuary; Capote, Other Voices, Other Rooms; O'Connor, The Violent Bear It Away; Blatty, The Exorcist; Rice, The Vampire Lestat; a course packet to include short stories by Poe, Hawthorne, Gilman, Jackson, Oates, Stephen King. Films: The Haunting, Psycho, The Exorcist, Halloween.—INSTRUCTOR: Brian Riley.

—The department's Spring 1996 catalogue sent us by Donald P. Costello, Associate Chair, English Department, University of Notre Dame, Notre Dame, IN 46556.

English 37. Studies in Literary Genres, Science Fiction. This course is intended as a serious investigation of a broad and widely-defined field of writing known as Science Fiction. While the heart of sf creativity has always resided in the short story or the novella, this course will focus narrowly on the more demanding form of the science fiction novel. Each novel imagines a particular vision of the world in full and literate detail. Each novel represents a significant departure from contemporary literary forms in its style, language, and content. And each novel presents a glimpse of a possible future, extrapolated from the present time. TEXTS: Wells, The Time Machine, The War of the Worlds, Bradbury, The Martian Chronicles, Clarke, Childhood's End, Le Guin, The Left Hand of Darkness, Dick, Do Androids Dream of Electric Sheep?, Gibson, Neuromancer, Lem, Solaris, Simmons, Hyperion. FILMS: Metropolis, Forbidden Planet, 2001: A Space Odyssey, The Man Who Fell to Earth, Blade Runner, The Terminator, Solaris.—Thomas P. Campbell, Box 352, Crawfordsville, IN 47933 "campbelt@wabash.edu".

ENGL 71M. Science Fiction. This course seeks to acquaint students with the majors forms and ideas of contemporary science fiction, so that by the end of the term they understand how to read and evaluate this new and exciting form of literature. TEXT: Warrick et al., eds. Science Fiction: The SFRA Anthology.—Adam J. Frisch, Dept. of English, Briar Cliff College, Sioux City, IA 51104-2324.

English 330. Science Fiction. This course replaces English 240 in the 1997_99 catalog. It will be an introduction to the study of science fiction as a distinct genre from its origins in the nineteenth_century, with special attention to H. G. Wells; emphasis on reading protocols and the rhetoric of sf with a hasty review of how various schools of literary criticism have defined the genre from our Golden Age into the new millennium. TEXTS: Wells, War of the Worlds and Time Machine; Bradbury, Martian Chronicles; Asimov, Caves of Steel; Pohl, Gateway; Le Guin, Dispossessed; the short fiction of Robert Heinlein, James Tipree, Jr., Joanna Russ, Samuel Delany, Ted Sturgeon, Connie Willis, Joan Vinge, Kim Stanley Robinson, Octavia Butler, John Kessel, Pat Murphy, Nancy Kress, Michael Swanwick, Bruce Sterling, Terry Bisson, Tanith Lee, and many another gifted writer of contemporary sf shows up in the course on a regular basis.—Virginia Allen, Department of English, Iowa State Univ., Ames, IA 50011_1201. 515-294_3510. "vallen@iastate.edu".

Paideia II. Speculative Fiction. Course rotates within Paideia II; it has been taught at least 3 times during the past 6 years. It is a team-taught, interdisciplinary course. We had a physicist, a religion professor, and an English professor team teach, with joint lectures and 3 sections of discussion groups. TEXTS: Shelley, Frankenstein, Bear, Blood Music, Dick, Do Androids Dream of Electric Sheep?, Miller, A Canticle for Leibowitz, and an anthology.—P. Scholl and David Faldet, Dept. of English, Luther College, 700 College Drive, Decorah, IA 52101-1045.

English 360. Contemporary Science Fiction. An advanced study of speculative fiction from 1960 through the present, focusing especially on the Cyberpunk movement of the 1980s and '90s. TEXTS: Herbert, Dune, Le Guin, "The Ones Who Walk Away from Omelas" and The Dispossessed, Butler, "Bloodchild," Card, "Ender's Game" and Xenocide, Dick, A Scanner Darkly and Do Androids Dream of Electric Sheep?, Gibson, Neuromancer, Cadigan, Mindplayers, Stephenson, Snowcrash.—Carl Herzig, 518 W. Locust St., Davenport, IA 52803.

ENGL 199. Science Fiction. This course takes a thematic approach to science fiction, focusing on major issues such as first contact, apocalypse, defining what is human, space exploration, utopia/dystopia. In addition to the sf elements themselves, we will examine how this genre, as with any good literature, provides an opportunity to explore the human condition. TEXTS: Wells, The Time Machine, Blish, A Case of Conscience, Niven and Pournelle, The Mote in God's Eye, Warrick et al., eds. Science Fiction: The SFRA Anthology.—Joseph Green, Dept. of English, William Penn College, Oskaloosa, IA 52577.

English 182. History and Theory of sf. A famous science fiction writer/ editor, Damon Knight, has defined sf as "that literature which I point to and call sf." He's right, of course, but most of us need a bit more than that, since our fingers aren't that powerful. This course is designed to try to figure out the "rules" that distinguish sf from mainstream and fantasy literature, and then to ask whether those "rules" have any relevance or utility in a contemporary writing scene characterized by postmodern and slipstream approaches. Since sf has clearly evolved through stages, with each stage suggesting a different set of concerns and priorities, the "theory" of sf almost inevitably turns out to be "theories," each theory tied to a particular historical period. So, we'll also look at sf over a range of time, paying particular attention to the formative years starting in 1926, when pulp sf codified the genre. Since diversity is perhaps sf's most salient characteristic, our reading for the course will consist of short stories—lots of them. TEXTS: The Year's Best Science Fiction: Twelfth Annual Edition, ed. Gardner Dozois; The Norton Book of Science Fiction, eds. Ursula K. Le Guin and Brian Attebery; The Science Fiction Hall of Fame, Vol I, ed. Robert Silverberg. Recommended but not required texts are the two new editions of the Women of Wonder series, edited by Pamela Sargent, and Science Fiction in the Twentieth Century, by Edward James.—Brooks Landon, English Dept., Univ. of Iowa, Iowa City, IA 52242.

Guided Correspondence English 182. Differs in content from classroom course so that both may be taken for credit. May be taken by e-mail. Brief historical survey beginning with Mary Shelley's Frankenstein, a Gothic precursor, and following with H.G. Wells, one of the "fathers" of the genre, and moving, then, into a look at the genre as it has existed over the past 60 years. This course is primarily guided by theme, not time, for ideas, not sequence, are at the heart of science fiction. For more information, contact "credit-programs@uiowa.edu" or the GCS office at 800-272-6430. —Landon

POLISCI 138. Current Political Theory—Science Fiction as Political Theory. This is a topics course, new each time in themes and readings. So far the course has explored (1) Sf as Syzygy, (2) Orwell's Political Myths and Ours, (3) Subgenres of Sf, (4) Deconstructing Modernity in Sf, (5) Sf as feminist theory, (6) Dreams as Realities in Sf, and (7) Sf as Green Politics. It analyzes a book each week, mostly novels, and 3-5 films each term. The aim is to appreciate the sf genre as an important form of political theory in fiction and film. The assignments include writing politically oriented stories of alien encounters, alternate histories, micro-macro ties, single changes, fantasy styles, time travels, utopias, and dystopias. Students also write sf poems, myths, and film outlines. TEXTS for (6): Anderson, Orion Shall Rise; Bear, Heads; Delany, the Neveryon series (4 volumes); Dick, The Man in the High Castle, "The Pre-Persons"; Kress, Beggars in Spain; Le Guin, The Lathe of Heaven, "The Ones Who Walked Away from Omelas," "The Princess," "She Unnames Them," "The Wife's Story"; Wilhelm, The Dark Door, Death Qualified; Willis, Lincoln's Dreams; Le Guin and Attebery, eds., The Norton Book of Science Fiction. FILMS: Aliens, Batman Returns, Blade Runner, Carrie, The Shining, Something Wicked This Way Comes, Total Recall, 2001: A Space Odyssey, 2010: The Year We Make Contact. ARTICLES: Bettelheim, "The Art of Moving Pictures: Man, Superman, and Myth"; Le Guin, Introduction to Buffalo Gals and Other Animal Presences; Slusser, "The Politically Correct Book of Science Fiction: Le Guin's Norton Collection"; Spinrad, "Political Science Fiction."—John S. Nelson, Dept. of Political Science, Univ. of Iowa, Iowa City, IA 52242; 319/351-0899; john-nelson@uiowa.edu.

POLISCI 30. Introduction to Political Thought and Action. The course acquaints students with political theory, and it usually includes several novels or stories of science fiction: Delany, "The Tale of Old Venn"; Le Guin, The Dispossessed; Piercy, He, She and It and Woman on the Edge of Time; Robinson, The Gold Coast and Pacific Edge. Films for the course often include Blade Runner and 1984.—Nelson. ENG 8:462. Seminar: Cultural Studies—Cyborg Culture. This seminar examines the theoretical and cultural currency of the cyborg (cybernetic organism) as a symbolic condensation of the promises and perils of postmodernist identity. If, as Michel Foucault argues in The Order of Things, "man"—that psycho-physical paradigm instantiated in the nineteenth-century human sciences (philology, biology, political economy)—is "an invention...nearing its end," then the cyborg marks its point of disappearance and the simultaneous emergence of a new form of corporeality associated with the posthuman sciences—cybernetics, robotics, computer technology. This vast mutative transition finds potent expression throughout the theoretical and aesthetic cultures of postmodernity, and this seminar will, therefore, employ an interdisciplinary focus upon texts derived from diverse media in order to descry the psycho-social horizons of cyborgization. Our purpose will be two-fold: 1. to elicit the immanent logic of cyborg culture in terms of its sexual-economic-cultural normativity (what does it mean to be a cyborg in the bedroom? in the workplace? in the public sphere of civic responsibility?), and 2. to establish critical standards to evaluate these norms without recourse to the waning verities of a moribund humanism (how can one be a feminist and/or queer cyborg? a labor-activist cyborg? a politically committed cyborg?). The materials we will survey include: theoretical texts by Norbert Weiner, Daniel Bell, Jean Baudrillard, Paul Virilio, and Donna Haraway; films by David Cronenberg, Atom Egoyan, and Lizzie Borden; novels and stories by Thomas Pynchon, Pat Cadigan, J.G. Ballard, and William S. Burroughs; art works by Alan Rath, H.R. Giger, and Survival Research Laboratories; music by John Cage, Front 242, and Sonic Youth; comics by Howard Chaikin and Katsuhiro Otomo; as well as advertisements, music videos, CD-Rom games, virtual reality hardware and software, and various artifacts of material culture.—Rob Latham, 308 EPB, English Dept., Univ. of Iowa, Iowa City, IA 52242.

EN 398. Science Fiction. A survey of the development of science fiction as a modern genre (approximately 1920-present). Students will read and discuss the novels and short stories assigned from the list of texts. TEXTS: Stapledon, Last and First Men, Silverberg, ed. Science Fiction Hall of Fame, vol. 1, Clarke, Childhood's End, Gibson, Neuromancer, Le Guin, The Left Hand of Darkness, Miller, A Canticle for Leibowitz, Vonnegut, Cat's Cradle, Dick, The Man in the High Castle, Heinlein, Starship Troopers, Pohl, Gateway.—George E. Nicholas, English Dept., Benedictine College, Atchison, KS 66002.

English 125. Honors Composition 2. Analyses of short stories, mostly from The Norton Book of Science Fiction, organized around broad topics like, "what is sf?" "war and sf," "gender and aliens".—Carol Franko, English Dept., Kansas State Univ., Manhattan KS 66506.

English 635. Readings in 20th-Century British Literature: Science Fiction. Explores the historical contexts, themes, narrative strategies, and shifting generic conventions of 20th-century British science fiction. Texts: Wells, The Time Machine and The War of the Worlds, "Under the Knife," The Island of Doctor Moreau, The Invisible Man; Stapledon, Odd John & Sirius; Huxley, Brave New World; Lewis, Perelandra; Orwell, Nineteen Eighty-Four; Burdekin, Swastika Night; Wyndham, Consider Her Ways, Clarke, Childhood's End; Ballard, The Drowned World; Burgess, A Clockwork Orange; Carter, Heroes and Villains; Zoline, "The Heat Death of the Universe" (which was cheating); Banks, Consider Phlebas (which, however was OUP); Ryman, "Omnisexual"; Gywneth Jones, "The Mechanic."—Franko.

English 395. Topics in English: Women Writers of Science Fiction. A proposed, 2-week, intercession course (for this May). Probable texts: Le Guin, The Left Hand of Darkness; Perkins Gilman, Herland: A Lost Feminist Utopia; Butler, Dawn; Russ, To Write Like a Woman: Essays in Feminism and Science Fiction; plus short stories and/or essays by Le Guin, Russ, James Tiptree (Alice Sheldon) and others.

—Franko.

English 209. Introduction to Fiction. A genre course using representative texts of different genres, including science-fiction. In the past I taught Gibson's Neuromancer; for next semester I have dropped it (due, alas, to poor student response) in favor of Tepper's Grass. I will also teach a short story, tentatively slated to be Weinbaum's "A Martian Odyssey."—Hellekson.

English 506. Science Fiction; English 790 Studies in a Genre. The 23rd anniversary offering of the Intensive English Institute on the Teaching of Science Fiction will begin July 13 with the Campbell Conference and conclude on July 26. The subjects for discussion in the Institutes alternate each year between the stories in the four volumes of James Gunn's The Road to Science Fiction and a list of some two-dozen novels. In 1996 discussion will focus on the novels. The purpose of the Institute is to provide students with an understanding of contemporary and future science fiction through a study of how sf got to be the way it is. This summer, so as not to compete with other summer English courses, almost all scheduled for the morning hours, Institute sessions will begin at 1:00 p.m. and normally end by 4 p.m. If the size of the class permits, sessions will be held in the English Department conference room in Wescoe Hall; classes will meet on both Saturday, July 20 and Sunday, July 21. The Institute offers three hours of graduate or undergraduate credit. Tuition for Kansas residents will be $243.30 for undergraduates, $330.30 for graduate students; for non-residents, $813.30 for undergraduates, $942.30, for graduate students. Housing and meals, if desired, can be arranged separately. Information on housing and a form to indicate interest in the Institute or the Workshop can be obtained by writing the undersigned. The reading for the course should be completed before the course begins. The grade in the course is based on a paper due four weeks after the course ends. The paper can be an ambitious essay about several novels by an author or on novels by several authors discussing the same theme, a lesson plan, or a science-fiction short story. Permission to enroll in the course may be obtained from the undersigned. He also will have available, before the course begins, a schedule of the order in which the novels will be discussed. TEXTS: Recommended: Gunn, The Road to Science Fiction, 4 volumes. Required: Aldiss, Helliconia Spring; Asimov, The Caves of Steel, The Foundation Trilogy; Benford, Timescape; Bester, The Demolished Man; Brunner, Stand on Zanzibar; Clarke, Childhood's End; Clement, Mission of Gravity; Delany, Babel-17; Dick, The Man in the High Castle; Gibson, Neuromancer; Gunn, The Listeners; Heinlein, The Puppet Masters; Herbert, Dune; Le Guin, The Left Hand of Darkness; Pohl and Kornbluth, The Space Merchants; Pohl, Gateway; Silverberg, Dying Inside; Sturgeon, More Than Human; Vance, The Languages of Pao; Vonnegut, The Sirens of Titan; Van Vogt, The World of Null-A; Wells, The Time Machine, The War of the Worlds; Wolfe, The Shadow of the Torturer. Because texts often are difficult to find, the Center has arranged with the Oread Book Store, Kansas Union, Lawrence, KS 66045, to supply books by mail; write for a price list. This is the only source for Xerox copies of The Road to Science Fiction.—James Gunn, English Department, University of Kansas, Lawrence, KS 66045; "jgunn@falcon.cc.ukans.edu".

EN 199/377. Science Fiction. Science fiction depicts scientific innovations and discoveries and their impact on individuals, society, and the sentient universe. Students will explore science fiction through reading and discussing selected novels, short stories, and articles. TEXTS: Le Guin and Attebery, eds. The Norton Book of Science Fiction, Shelley, Frankenstein, Wells, The Time Machine, Heinlein, The Moon is a Harsh Mistress, Asimov, Foundation, Le Guin, The Dispossessed.—Roy Sheldon, Dept. of English, Washburn Univ., Topeka, KS 66621.

English 310. Science Fiction and Utopian Literature. This course surveys the literature of science fiction and utopian thought in both historical and contemporary forms, with an emphasis on those texts that have both defined and challenged traditional ways of looking at the genre. We will be especially concerned about the boundaries of science fiction, as we study authors who have 1. always been defined as sf writers, 2. those who have rarely been so defined, 3. those who have crossed the border between what is generally regarded as a popular culture domain and elite or mainstream literary territory. We will used various approaches to the genre, including Darko Suvin's concept of "cognitive estrangement," the "archetypal utopian city" of Jorge Luis Borges, and the experimentalism of the British "new wave." TEXTS: Ballard, The Crystal World; Borges, Ficciones or Labyrinths; Dick, The Man in the High Castle or Dr. Bloodmoney or The Three Stigmata of Palmer Eldritch or Do Androids Dream of Electric Sheep?; Disch, Camp Concentration; Kafka, Selected Stories; Le Guin, The Word for World is Forest; Miller, A Canticle for Leibowitz; Cordwainer Smith, selected stories; Sturgeon, More Than Human; Lewis, Out of the Silent Planet; Wells, The Time Machine or The Island of Dr. Moreau.—Tom Zaniello, Dept. of Literature and Language, Northern Kentucky Univ., Highland Heights, KY 41099.

English 642 or 740 (graduate) or English 442 (undergraduate). 20th Century Literature: Modern British Utopian Novel. Close readings of novels that argue with each other in the cycle running from Erewhon to Island. Butler, Erewhon; Wells, The Time Machine, The First Men in the Moon, A Modern Utopia; Zamyatin, We; Lawrence, The Plumed Serpent, Lady Chatterley's Lover; Huxley, Brave New World; Orwell, Animal Farm, Nineteen Eighty-Four; Huxley, Ape and Essence; Burgess, The Wanting Seed, A Clockwork Orange; Huxley, Island.—Jerome Meckier, English Department, University of Kentucky, Lexington, KY 40506-0027.

Political Science 386. Political Theory and Utopia. The objective of this course is to explore and analyze the elements of political theory through an examination of selected literary and experimental utopian societies. Readings and discussions focus upon the history and character of utopian thought and practice, particularly as it relates to such questions as the nature of politics, the ideal form of government, the proper limits of social authority, the meaning of equality and such problems as alienation, conflict, political participation, political stability and change. TEXTS: More, Utopia; Bellamy, Looking Backward; Morris, News from Nowhere; Zamiatin, We; Le Guin, The Dispossessed; Piercy, Woman on the Edge of Time; Atwood, The Handmaid's Tale; Pitzer, America's Communal Utopias.—Susan Matarese, Department of Political Science, University of Louisville, Louisville, Kentucky 40292.

Eng 340. Speculative Fiction: Parables for our Times. Speculative fiction is a rather wide-ranging genre that includes not only science fiction in the strictest sense of the term, but also a variety of fictional narratives that are not necessarily science-based (e.g., socio-political fantasies). The common denominator in our readings is their speculation about possibilities, which may be political, psychological, ecological, or even mythological. Quite often, these emphases combine and overlap. The best speculative fiction—no matter how "alien"—encourages us to think not only about what we can do but who we are and who we could be. In this course, we will become acquainted with the development of speculative fiction as a distinct literary genre. We will read, discuss, and write about texts that give us the opportunity to explore that development and the genre's prevalent themes. We will approach the readings not merely as entertainment (although they are certainly that) but as literature. Thus, we will discuss the literary conventions and techniques the authors employ to tell their highly imaginative stories. In addition, we will consider speculative fiction's impact on popular visual media, particularly film, and its relation to our cultural consciousness. TEXTS: Warrick et al., eds., Science Fiction: The SFRA Anthology; Atwood, The Handmaid's Tale; Clarke, Childhood's End; Huxley, Brave New World; Shelley, Frankenstein; short stories. FILMS: Blade Runner, 2001.—Karen Schneider, English Dept. Cherry Hall, Western Kentucky Univ. Bowling Green, KY 42101, 502-745-5772.

English 200. Introduction to Literature. Introductory study of fiction, poetry, and drama demonstrating techniques by which literature reflects human experience. Sf TEXT: Vonnegut, "Harrison Bergeron."—David LeNoir, Dept. English, Western Kentucky Univ., 1 Big Red Way, Bowling Green, KY 42101.

English ??. Special Topics in English Literature: Literature of the Fantastic. Experience dragons, gallant knights, lordly ladies, ogres, vampires, sociopaths. Readings from the spectrum of fantasy literature from the epic to science fiction. TEXTS: Gardner, Grendel; Burgess, A Clockwork Orange; Voltaire, Candide; Twain, A Conneticut Yankee at King Arthur's Court; and others.—Douglas Holt, Dept. of English, Louisiana State University, Baton Rouge, LA 70803. (Entry obtained with the help of J.R. Madden, 7515 Sheringham Avenue, Baton Rouge, LA 70808-5762.)

English 315. Science Fiction and Fantasy. A course in the origin and development of science fiction as a literary and cinematic genre, with a focus on the opportunity for social criticism that sf affords. It includes a survey of the history of science fiction, its distinguishing traits, and its variations from "mainstream" fiction. Students will be provided a set of critical methodologies for reading, interpreting, and evaluating sf and will practice these methodologies through close reading, discussion, and writing on a number of sf stories and novels. TEXTS: Le Guin and Attebery, eds. The Norton Book of Science Fiction, Asimov, The Caves of Steel, Clarke, Childhood's End, Heinlein, Stranger in a Strange Land.—Merrell Knighten, Dept. of English, One University Place, Louisiana State Univ. at Shreveport, Shreveport, LA 71115.

English 475. Science Fiction. The works to be discussed in this course will focus on these four areas: 1. man in control of science and technology—the "wonder" of space, space exploration, and other worlds; 2. the destructive potential of science and technology, the perils of science, of space exploration, and of other worlds; 3. the problem of identity and of the self in society; 4. the nature of "life" and of "intelligence" in society. TEXTS: Adams, The Hitchhiker's Guide to the Galaxy; Aldiss, Trillion Year Spree; Hartwell, Age of Wonders; Bradbury, The Martian Chronicles; Budrys, Rogue Moon, Who?; Dick, Blade Runner (Do Androids Dream of Electric Sheep?), Hartwell, ed. The World Treasury of Science Fiction. FILMS: 2001: A Space Odyssey, Blade Runner, Who?, The Terminator.—Dennis Minor, Dept. of English, Louisiana Tech Univ., PO Box 3162, Ruston, LA 71272.

English V180. Science Fiction and Fantasy Literature. We will survey the major science-fiction/fantasy themes and forms in an effort to assess their relevance to our complex post-modern society. The values discussed and the issues raised by this study—such as individual freedom vs. social determinism—should help the student better grasp the individual's role in our contemporary technological world. TEXTS: Shelley, Frankenstein; Wells, Time Machine; Stoker, Dracula; Zamiatan, We; Le Guin, Left Hand of Darkness; Tolkien, Return of the King; Gardner, Grendel; Gibson, Neuromancer; packet of essays and stories.—Ronald Foust, English Department, Loyola University, New Orleans, LA 70118.

ENGL 4231. Science Fiction and Fantasy. A course in the study of a literary genre divided into two parts. In the first part, we look at a couple of "pure" examples of two distinct narrative genres, science fiction and fantasy. Trying to discover what is unique to each genre, we will examine the nature of their narrative worlds, the codes governing their discursive strategies, and the ways in which readers make sense of them. In the second part we will turn to a narrative form, science fantasy, which combines features from each of the genres. We will try to identify the generic features of this hybridized form and take a look at a number of science-fantasy types. In so doing, perhaps we can account for the growing popularity of this particular narrative form. TEXTS: Wells, The Time Machine; Tolkien, The Hobbit; Asimov, I, Robot; Lewis, Out of the Silent Planet; Leiber, Conjure Wife; Bradbury, The Martian Chronicles; Lindsay, Voyage to Arcturus; Herbert, Dune.—Carl Malmgren, Department of English, University of New Orleans, New Orleans, LA 70148.

ENG 2938. Science Fiction. This course approaches science fiction as a genre of literary narrative which explores the shapes of tomorrow through extrapolation from existing technologies or speculation about imaginary technologies. Sf particularly concerns itself with the impact that technological change has upon the human condition and human institutions. The genre will be treated as literature and at the same time discussed in the larger contexts of its scientific, social, and ideational backgrounds and implications. We will read classic, `golden age,' and contemporary sf stressing concern with the human condition in alternative presents and futures. The course is designed to enable students to develop their capacity for reading sf as one of the most authentic forms of literature in a technotronic society and to cultivate thoughtful attitudes toward the emerging realities of the future: the viability of liberal and humanistic values, the direction and dynamics of change, the role of science and technology, the position of humanity in technotronic cultures. By the end of the term, the student will also have developed an overview of the history of sf and its relation to other forms of prose literature. TEXTS: Scholes and Rabkin, Science Fiction: History, Science, Vision; Shell