Office: 408 Placid Hall
Phone: x2150
Hours: 9:30-10:20, 12:15-1:30 MW, 3:45-5:00 Tuesday
email: wclough@email.stvincent.edu
Science fiction as we know it is a relatively new genre of literature, originating in the early nineteenth century. But from its earliest days it has seized the imagination of the public, until today it has become virtually a new form of mythology. In this class we will examine science fiction as a genre, looking at its major themes, motifs, and concerns, and how it has developed. We will also explore the question of why it holds such a fascination for us.
Our approach will be mainly historical. Although science fiction as a genre is relatively new, its roots lie in mythology and folklore. From its earliest days, humanity has been been entralled by stories of advanced technology, space flight, other worlds, lost civilizations, and artificial humans; and so we'll begin by reading and discussing some myths and legends which could be called "pre-science fiction." Some works by Swift and Voltaire will bring us to the actual beginnings of the genre in the 1810's. As we move through some early classics by Verne, Wells, and Stapledon, we will see how different authors used their novels and short stories to engage in a kind of debate on such issues as the fate of humanity and the role of technology. We will finish up with modern classics by writers like Heinlein and LeGuin, discussing how they are taking this literature in new directions.
Our approach will also be somewhat thematic. When we discuss Frankenstein, for example, we will examine how other authors have handled such motifs as the dangers of technology. And The Time Machine will begin a unit on how time travel has been used by different writers for different purposes.
Finally, we will discuss the role of science fiction as a modern mythology, and how much of the most recent science fiction has taken on quasi-religious overtones. In the '60s, for example, Stranger in a Strange Land was one of the "bibles" of the New Agers; Spielberg deliberately fills E.T. and Close Encounters of the Third Kind with overt religious symbolism; and Star Wars and Star Trek have followings so devoted that they have moved beyond cult status (given time, The X-Files may join them). Science fiction has explored such questions as the nature of the universe, of God, and of humanity; it has given shape to our fears of cloning and nuclear power, and voice to our hope for a better tomorrow. And its view of technology and science is curiously ambiguous. Our study will focus on what this tells us not only about science fiction, but also ourselves.
Tests: I will be giving three in-class tests in this course--two hourly exams, one on Oct. 8 and the other on Nov. 7; and a final exam on Dec. 11 at 8:30 AM. Please do not miss these tests unless absolutely necessary. If for some reason you can not take the tests at these times, please let me know in advance and I will make special arrangements. If you miss a test without a sufficient excuse, I reserve the right to penalize any make-up test as I see fit, or even to deny one altogether. I will discuss details of the tests at a later time.
Theme: In the course of the semester you will write one term paper of approximately 1200-1500 words (exact length to be determined later). Although I will distribute possible topics, I encourage you to develop your own. You may examine in depth a particular concept in a story or novel, or compare two authors' treatments of the same motif. You should have no trouble finding a topic.
All themes are to be neatly typed or word-processed on standard eight-and-a-half by eleven inch unlined white paper; handwritten papers are not acceptable. Further details on format will be given later.
Please turn in your theme on the due date listed on the syllabus. If your theme is late without a sufficient excuse, it will be penalized one letter grade for each class day it is late. If you are genuinely having trouble getting your theme done on time, please see me so that we can work something out; do not simply turn the theme in late or it will be penalized.
I am open to a piece of creative work rather than a straightforward expository theme. If you are of an imaginative bent and would like to try your hand at a short story, please let me know. I do insist, though, that you see me ahead of time if you wish to do this. I will discuss this more in the future.
Attendance: You are expected to attend all classes. My usual policy is to allow three unexcused absences--that is, one week's worth of classes; after that, each unexcused absence lowers your final mark by a third of a letter grade (from a B to a B-, or from a B- to a C+, for example).
If for some reason you cannot make a particular class, for example because of a field trip, please let me know ahead of time. If you are sick, please inform me when you return. But please inform me; don't simply fail to show up and offer no explanation, or your absence is unexcused.
Late arrivals/early departures: Please be on time for each class and stay until dismissed. If you are having trouble getting to class on time, or if you must leave early for some reason, please let me know. Any combination of three late arrivals or early departures without sufficient excuse equals one unexcused absence.
Final marks: You final marks will be based on the following scale:
Finally, if you are having problems of any kind, please stop by and see me so that we can talk things over. Don't stay away out of shyness or fear.
Aug. 25: Introduction to the course.
Aug. 27: HANDOUT: On myth and archetype in science fiction. SFHA, pp. 3-50.
Aug. 29: SFHA, Voltaire, "Micromegas," 50-70.
Sept. 1: Labor Day. No class.
Sept. 3: SFHA, "The Nineteenth Century," 71-74; Shelley, from Frankenstein, 112-34.
Sept. 5: Continue selections from Frankenstein.
Sept. 8: SFHA, Hawthorne, "Rappaccini's Daughter,"161-92.
Sept. 10: SFHA, Poe, "A Descent into the Maelstrom," 134-51.
Begin Verne, 20,000 Leagues Under the Sea.
Sept. 12
Sept. 15 Verne, 20,000 Leagues Under the Sea.
Sept. 17
Sept. 19: SFHA, Gernsbeck, from Ralph 124c 41+, 233-48.
Sept. 22: HANDOUT: Marx, "Estranged Labor."
SFHA, Bellamy, from Looking Backward 2000-1887; London, "A Curious
Fragment," 193-218.
Sept. 24
Wells, The Times Machine.
Sept. 26
Sept. 29: SFHA, Finney, "The Third Level," 359-69; Heinlein, "All You Zombies," 402-14.
Oct. 1: SFHA, Stapledon, from Star-Maker, 286-313.
Oct. 3: SFHA, Wells, "The Star," 222-33; FILM: from Things to Come (1936).
Oct. 6
Oct. 8: First hourly test.
Oct. 10: Begin Lewis, Out of the Silent Planet.
Oct. 13: Extended weekend. No class.
Oct. 15
Lewis, Out of the Silent Planet.
Oct. 17
Oct. 20: SFHA, Simak, "Desertion," 338-51; Bradbury, "The City," 351-59.
Oct. 24
FILM: Title to be announced.
Oct. 27
Oct. 29
Oct. 31 Miller, A Canticle for Leibowitz.
Nov. 3
Nov. 5: Review of course to date.
Nov. 7. Second hourly exam.
Nov. 10: SFHA, Asimov, "Reason," 318-338.
Nov. 12: Clarke, "The Star," 364-70; begin Heinlein, Stranger in a Strange Land.
Nov. 14
Nov. 17 Heinlein, Stranger in a Strange Land. Term paper/project due 11/14.
Nov. 19
Nov. 21
LeGuin, The Left Hand of Darkness.
Nov. 24
Nov. 26-28: Thanksgiving holiday. No classes.
Dec. 1: Finish The Left Hand of Darkness.
Dec. 3: SFHA: Ellison, "I Have No Mouth and I Must Scream," 467-83.
Dec. 5: Review of course. Evaluations.
Dec. 11, 8:30-10:30: Final exam.
Because no semester is totally predictable, I reserve the right to change or adapt this syllabus as the need may arise. Of course, I will give adequate notice of any such changes.