History zvonko

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Information about History zvonko

Published on February 15, 2014

Author: zvonkotronko

Source: slideshare.net


History of Zvonko

JOHN CLUTE Science fiction from 1980 to the present It is, to begin with, a problem in perception. The nature of sf during the last two decades of the twentieth century can be seen as a classic figure- ground puzzle.1 One angle of perspective on the era gives us a vision of the triumph of sf as a genre and as a series of outstanding texts which figured to our gaze the significant futures that, during those years, began to come to pass. But under a second angle of perspective, the high profile of sf as a shaping vision becomes indecipherable from the world during these years: in this perspective, sf gradually burned through the categories that gave it the defining potency of genre, and became fatally indistinguishable from the worlditattemptedtoadumbrate,tosignify:whichisawayofsaying,todiffer from. Both perspectives, after the nature of figure-ground puzzles, co-exist. This chapter can be understood to adhere to both perspectives. Much happened in the two decades between 1980 and 2000. The sf read- ership broadened and diffused; no longer could it be claimed (a claim only made in any case with any plausibility about some forms of American sf before 1980) that sf was primarily read, or could be profitably written for, adolescentmales.Writtensfwasincreasinglypresentedintheformofbooks, while magazines declined. Written sf itself lost its unquestioned status as the default form of the genre; indeed, many consumers of sf ideas and iconogra- phynowaccessedthatmaterialsolelythrough film,televisionandcomputer gaming, without in fact actually reading sf at all. And an increasingly high proportionofthatsfwhichcontinuedtoappearinwrittenformturnedout– onexamination–toconsistofversionsofsfworkswhichhadfirstappeared in other media; the copyright in spin-offs from enterprises like Star Trek or StarWars,whichproliferatedthroughthe1980sand1990s,wasinalmostall cases owned by the enterprises in question, for whom written sf constituted a kind of infomercial for a fixed product. These spin-offs, which represented the industrialization of the old cot- tage firm of sf, were fundamentally distinct from sf as a form of literature

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