{"id":152,"date":"2014-06-07T18:24:12","date_gmt":"2014-06-07T22:24:12","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/italian-2500\/?page_id=152"},"modified":"2022-06-02T08:25:17","modified_gmt":"2022-06-02T12:25:17","slug":"the-syllabus","status":"publish","type":"page","link":"https:\/\/courses.bowdoin.edu\/italian-2500\/the-syllabus\/","title":{"rendered":"The Syllabus"},"content":{"rendered":"
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World Science Fiction Syllabus
\n<\/b>Spring 2022<\/b><\/h2>\n
WES\u00a0<\/strong>=\u00a0Wesleyan Anthology of Science Fiction\u00a0<\/em>(print)
\n<\/em>LC\u00a0<\/strong>= Literary Criticism (an article). If not link, then in “Readings” (BB)
\nNo indication<\/strong>: in “Readings” (BB)<\/div>\n
\n
WEEK 1<\/p>\n

<\/b><\/div>\n

Mon. Jan. 24
\n<\/b>Introduction<\/p>\n<\/div>\n
Wed. Jan. 26: Proto SF
\n<\/b>\u2022 H. G. Wells, \u201cThe Star\u201d (UK, 1897) (WES)
\n<\/b>\u2022 W.E.B.\u00a0DuBois<\/a>, \u201cThe Comet\u201d (USA, 1920) (please note who DeBois was and the context in which he uses the language he does; we will not use the same language in class)
\n\u2022 Spend a \u00bd hour getting to know our BB site and the\u00a0WSF website<\/a>
\nMUSIC<\/a>: Richard Strauss, “Also sprach Zarathustra,” Op. 30 (1896), used for Kubrick’s film\u00a02001: A Space Odyssey\u00a0<\/em>(1968)<\/p>\n

Thurs. or\u00a0 Fri.: <\/b>Word Press training \u00a0<\/a>about 15-20 mins.<\/span><\/div>\n

\n
\n

WEEK 2<\/strong>
\n* B<\/strong>log Overlords: Steve W, Joosep V, Colin V<\/strong><\/em>\u00a0 (Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)<\/p>\n<\/div>\n

Mon. Jan. 31: Golden Age
\n<\/b>\u2022 Isaac Asimov, \u201cReason\u201d (US, 1941) (WES)
\n<\/b>\u2022 Clifford D. Simak, \u201cDesertion\u201d (US, 1944) (WES)
\n<\/b>\u2022 Ray Bradbury, \u201cThere Will Come Soft Rains\u201d (US, 1950) (WES)
\n<\/b>\u2022 Juan Jose Arreola, \u201cBaby H.P.\u201d (Mexico, 1952)
\nMUSIC<\/a>: Ella Fitzgerald, “Two Little Men in a Flying Saucer” (1951)
\nWed. Feb. 2: Women of the Golden Age
\n<\/b>\u2022 Judith Merril, \u201cThat Only a Mother\u201d (US, 1948) (WES)
\n<\/b>\u2022 Margaret St. Clair, \u201cPrott\u201d (US, 1953)
\n\u2022 Andrew North (Alice Mary Norton), \u201cAll Cats are Gray\u201d (US, 1953)
\n\u2022 LC: Donawerth, \u201cBody Parts: 20th\u00a0c. SF Short Stories by Women\u201d
\nMUSIC<\/a>: Delia Derbyshire, “Doctor Who<\/em>\u00a0theme song” (1963)<\/p>\n<\/div>\n
\n
WEEK 3
\n* Blog Overlords Zoe U, Andrew T, Lou S <\/i>\u00a0(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)<\/p>\n

<\/b><\/div>\n

\u00a0<\/b>Mon. Feb. 7: Are we alone? Where are they?
\n<\/b>\u2022 Arthur C. Clarke, \u201cThe Sentinel\u201d (UK, 1951) (WES)
\n<\/b>\u2022 TV EPISODE: R. Bare and D. Knight,\u00a0To Serve Man<\/i>\u00a0[S3E24 of\u00a0The Twilight Zone<\/i>] (USA, 1962, 24m) –\u00a0here<\/a>
\n\u2022 GRAPHIC: The Fermi Paradox\u00a0\u00a0-here<\/a>\u00a0(scroll down a bit)
\n\u2022 GRAPHIC: The Drake Equation\u00a0\u00a0-here<\/a>\u00a0(scroll down a bit)
\nMUSIC<\/a>: Alexander Courage, “Where No Man Had Gone Before (theme from\u00a0Star Trek<\/em>)” (1966-69)
\n*\u00a0<\/em>Terminology Quiz,\u00a0<\/em>about 10-15mins\u00a0 (quizlet here<\/a>)
\n*\u00a0Sign up<\/a>\u00a0deadline for The Green Hand trip<\/div>\n
<\/div>\n
Wed. Feb. 9: A New Wave
\n<\/b>\u2022 Herbert Franke, \u201cThought Control\u201d (Austria, 1961)
\n\u2022 J. G. Ballard, \u201cYou & Me & the Continuum\u201d (UK, 1966)
\n\u2022 FILM: Chris Marker,\u00a0La Jet\u00e9e\u00a0<\/em>(France, 1962)\u00a0<\/b>–\u00a0here<\/a>
\nMUSIC<\/a>: The 5th Dimension, “Aquarius” (1965) and Pink Floyd, “Let There Be More Light” (1968)<\/div>\n
\n
WEEK 4
\n<\/b>* Blog Overlords Alan S, Karam S, Robert S\u00a0<\/i>\u00a0(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)<\/p>\n

<\/b><\/div>\n

\u00a0<\/b>Mon. Feb. 14: New Wave
\n<\/b>\u2022 Harlan Ellison, \u201c\u2018Repent Harlequin!\u2019 Said the Ticktockman\u201d (US, 1965) (WES)
\n<\/b>\u2022 Samuel Delany, \u201cAye and Gomorrah\u201d (US, 1967) (WES)
\n<\/b>\u2022 LC: Delany, \u201cAbout 5750 Words\u201d
\nMUSIC<\/a>: Jimi Hendrix, “1983… (A Merman I Should Turn To Be)” (1968)
\nFILM\/TV CLIPS<\/a>:\u00a0The Prisoner – series<\/em>\u00a0(1967),\u00a02<\/em>001: A Space Odyssey<\/em>\u00a0(1968),\u00a0Dark Star<\/em>\u00a0(1974)
\nWed. Feb. 16: 60s Italy
\n<\/b>\u2022 Lino Aldani, \u201cGoodnight, Sophie\u201d (Italy, 1963)
\n\u2022 Luigi Cozzi, \u201cRainy Day Revolution No. 39\u201d (Italy, 1965)
\n\u2022 Primo Levi, \u201cMan\u2019s Friend\u201d (Italy, 1966)
\nMUSIC<\/a>: Zager & Evans, “In the Year 2525” (1968)
\nFILM\/TV CLIPS<\/a>:\u00a0Barbarella<\/em>\u00a0(1968)<\/p>\n<\/div>\n
Thurs. Feb. 17:<\/b>\u00a0<\/b>The Green Hand Bookshop, Portland\u00a0(sign up here<\/a>), allot about 3 hours<\/div>\n
\n
WEEK 5
\n<\/b>* Blog Overlords Alaijah R, Ignacio P, River P\u00a0<\/i>\u00a0(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)<\/p>\n

<\/b><\/div>\n

\u00a0Mon. Feb. 21: Soviet Russia
\n<\/b>\u2022 Arkady & Boris Strugatsky, \u201cThe Strangers\u201d (Russia, 1959)
\n\u2022 Ilya Varshavsky, \u201cPerpetual Motion\u201d (Russia, 1965)
\n\u2022 Sergei Drugal, \u201cThe Exam\u201d (Russia, 1979)
\n\u2022 LC: Ronay, \u201cSF and the Thaw”
\nMUSIC<\/a>: David Bowie, “Space Oddity” (1969)
\nFILM\/TV CLIPS<\/a>:\u00a0Stalker<\/em>\u00a0(1979)<\/div>\n

\nWed. Feb. 23: 60s-70s Japan\u2014Guest Speaker:\u00a0Prof. Selinger<\/a>
\n<\/b>\u2022 Shinichi Hoshi, \u201cBokko-Chan\u201d (Japan, 1958)
\n\u2022 Saky\u014d Komatsu, \u201cTake Your Choice\u201d (Japan, 1967)
\n\u2022 Yasutaka Tsutsui, \u201cStanding Woman\u201d (Japan, 1974)
\nMUSIC<\/a>: Styx, “Mr. Roboto” (1983)
\nFILM\/TV CLIPS<\/a>:\u00a0Godzilla<\/em><\/div>\n

\nFri. Feb. 25:<\/b>\u00a0Essay 1:\u00a0\u201cMicroreading\u201d uploaded to your\u00a0Google Folder\u00a0<\/a>by midnight.\u00a0Guidelines here.<\/a><\/div>\n
\n

\nWEEK 6
\n<\/b>* Blog Overlords Sam N, Calvin L, Isabelle L<\/i>\u00a0(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)
\n*\u00a0<\/b>Green Hand Book\u00a0<\/b>blog post<\/p>\n

<\/a>Mon. Feb. 28: Memory and Machines
\n<\/b>\u2022 Philip K. Dick, \u201cWe Can Remember it For You Wholesale\u201d (US, 1966) (WES)
\n<\/b>\u2022 Tor Age Bringsvaerd, \u201cCodemus\u201d (Norway, 1968)
\n\u2022 Brian Aldiss, \u201cSuper-Toys Last All Summer Long\u201d (UK, 1969) (WES)
\nFILM\/TV CLIPS<\/a>:<\/b>\u00a0A.I.<\/em>\u00a0(2001)
\n<\/b>MUSIC<\/a>: King Crimson, “21st Century Schizoid Man” (1969)<\/p>\n<\/div>\n

Wed. Mar. 2: Gender & Sexuality
\n<\/b>\u2022 Ursula K. Le Guin, \u201cNine Lives\u201d (US, 1969) (WES)
\n<\/b>\u2022 Joanna Russ, \u201cWhen It Changed\u201d (US, 1972) (WES<\/b>)
\n\u2022 James Tiptree, Jr. (Alice Sheldon), \u201cAnd I Awoke and Found Me Here on the Cold Hill’s Side\u201d (USA, 1972)
\nMUSIC<\/a>: Yes, “Then” (1970)
\nFILM\/TV CLIPS<\/a>:\u00a0Zardoz<\/em>\u00a0(1974),\u00a0Logan’s Run<\/em> (1976)<\/div>\n
***Nino Cipri,\u00a0Defekt\u00a0<\/i>(USA, 2021), ideally, read before going to play (if not possible, then by Wed, March 9); we\u2019ll discuss on\u00a0Wed., March 9<\/p>\n

<\/strong><\/div>\n

Grace Keller-Long\u2019s adaptation of\u00a0Defekt:\u00a0<\/em><\/strong>WISH THEATER in MEMORIAL HALL
\n-Thurs. March 3: 7:30 Open dress rehersal
\n-Fri. March 4: 7:30
\n-Sat. March 5: 2pm and 7:30<\/div>\n
\n

\nWEEK 7
\n<\/b>* Blog Overlords Sam L, Gretchen K, Ezra J\u00a0<\/i>\u00a0(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)
\n*\u00a0Green Hand Book\u00a0blog post<\/p>\n

<\/a><\/b><\/b>Mon. Mar. 7:\u00a0A few more from the 60s & 70s
\n<\/b>\u2022 Stanislaw Lem, \u201cTale of the Computer that Fought a Dragon\u201d (Poland, 1964)
\n\u2022 Jos\u00e9 B. Adolph, \u201cThe Falsifier\u201d (Peru, 1972)
\n\u2022 Hanmura Ry\u014d, \u201cCardboard Box\u201d (Japan, 1975)
\nMUSIC<\/a>: Black Sabbath, “Iron Man” (1970) and Rush, “2112” (1976)
\nFILM\/TV CLIPS<\/a>:\u00a0Close Encounters<\/em>\u00a0(1977),\u00a0Star Crash<\/em>\u00a0(1978),\u00a0Alien<\/em>\u00a0(1979)
\n
\nWed. Mar. 9:\u00a0<\/b>Science Fiction on Stage, Guest Speaker: Grace Keller-Long (\u201922)
\n<\/b>\u2022 Nino Cipri,\u00a0Defekt\u00a0<\/i>(USA, 2021)
\n\u2022 REREAD: Jos\u00e9 B. Adolph, \u201cThe Falsifier\u201d (Peru, 1972) – Who is speaking to the Commander?\u00a0 Who is the white man the Incan see?\u00a0 Commentary on Christianity?
\nMUSIC<\/a>: Bj\u00f6rk, “All Is Full of Love” (1997)<\/p>\n<\/div>\n

\n
Spring Break\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Spring Break\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Spring Break\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Spring Break \u00a0\u00a0\u00a0\u00a0\u00a0 Spring Break \u00a0\u00a0\u00a0\u00a0\u00a0 Spring Break<\/b><\/b><\/div>\n
\n

\nWEEK 8
\n<\/b>* Blog Overlords Serena J, Thomas H, Mary H\u00a0<\/i>(Blog<\/a>\u00a0\/\u00a0<\/i>Guidelines<\/a>)
\n*\u00a0Green Hand Book\u00a0blog post<\/a><\/p>\n

<\/b><\/div>\n

Mon. Mar. 28:\u00a0<\/b>China\u00a0\u00a0***Prof. at conference.\u00a0\u00a0Recorded lecture (watch before discussion)<\/a>.
\nDiscussion on\u00a0ZOOM<\/a>\u00a0starting at 11:00: come with q’s and thoughts***
\n<\/b>\u2022 Zheng Wenguang, \u201cThe Mirror Image of the Earth\u201d (China, 1980)
\n\u2022 Chen Qiufan, \u201cA History of Future Illnesses\u201d (China, 2012)
\n\u2022 Hao Jingfang, \u201cFolding Beijing\u201d (China, 2014)
\n\u2022 LC: Xia Jia, \u201cWhat Makes Chinese SF Chinese?\u201d
\nMUSIC<\/a>: TanWeiwei,\u00a0soundtrack<\/a> (2021) for a radio adaptation of Cixin Liu’s Hugo Award winning trilogy,\u00a0The Three Body Problem<\/em><\/a>
\nFILM\/TV CLIPS<\/a>:<\/p>\n

<\/em><\/div>\n

Wed. Mar. 30:\u00a0<\/b>Latin America\u00a0***Prof. at conference.\u00a0\u00a0Recorded lecture (watch before discussion)<\/a>.
\nDiscussion on\u00a0ZOOM<\/a>\u00a0starting at 10:45:\u00a0come with q’s and thoughts***
\n<\/b>\u2022 Alicia Y\u00e1nez Coss\u00edo, \u201cThe IWM 1000\u201d (Ecuador, 1975)
\n\u2022 Federico Schaffler, \u201cA Miscalculation\u201d (Mexico, 1983)
\n\u2022 Ang\u00e9lica Gorodischer, \u201cThe Unmistakable Smell of Wood Violets\u201d (Argentina, 1985)
\nMUSIC<\/a>: Patricio Rey y sus Redonditors de Ricota, “Las incre\u00edbles andanzas del Capit\u00e1n Buscapina en Cybersiberia” (1998)
\nFILM\/TV CLIPS<\/a>:\u00a0<\/em>
\n\u2022 LC: Bell, \u201cSF in Latin America: Reawakenings\u201d<\/div>\n
\n

\nWEEK 9
\n<\/b>*\u00a0Blog Overlords Sarah H, Ray G, Timmy G<\/em>\u00a0(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)
\n*\u00a0Green Hand Book\u00a0blog post<\/p>\n

<\/a><\/b><\/b>Mon. Apr. 4:<\/b>\u00a0Octavia Butler Day
\n<\/b>\u2022 Octavia Butler, \u201cSpeech Sounds\u201d (US, 1983) (WES)
\n<\/b>\u2022 Octavia Butler, \u201cBloodchild\u201d (US, 1984)
\n\u2022 Butler\/Duffy, opening pages of the 2020 graphic novel adaptation of Butler’s\u00a0Parable of the Sower\u00a0<\/em>(1993)
\nMUSIC<\/a>: Sun Ra, “Space is the Place” (1974) and Parliament, “Mothership Connection” (1975) and Donna Summer, “I Feel Love” (1977)
\nFILM\/TV CLIPS<\/a>:\u00a0Space is the Place<\/a>\u00a0<\/em>trailer<\/p>\n<\/div>\n

Wed. Apr. 6:\u00a0<\/b>Cyberpunk
\n<\/b>\u2022 William Gibson, \u201cBurning Chrome\u201d (US, 1982) (WES)
\n<\/b>\u2022 Pat Cadigan, \u201cPretty Boy Crossover\u201d (US, 1986) (WES)
\n<\/b>\u2022 Braulio Tavares, \u201cStuntmind\u201d (Brazil, 1989)
\nMUSIC<\/a>: Kraftwerk, “The Robots” (1978) and Queen, “Flash’s Theme” (1980) and Herbie Hancock, “Rockit” (1983)
\nFILM\/TV CLIPS<\/a>:\u00a0Altered States<\/em>\u00a0(1980),\u00a0Brazil<\/em>\u00a0(1985),\u00a0RoboCop<\/em>\u00a0(1987)<\/div>\n
\n

\nWEEK 10
\n<\/b>*\u00a0Blog Overlords Lily F, Evan B, Stephen B\u00a0<\/em>\u00a0(<\/em>Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)
\n*\u00a0Green Hand Book\u00a0blog post<\/a>
\n<\/b>
\nMon. Apr. 11: Food and Humor
\n<\/b>\u2022 Massimo Mongai, \u201cGalactic Guidebook for the Gourmet\u201d (Italy, 1999)
\n\u2022 Jake Kerr, \u201cThe Alien Invasion as Seen in the Twitter Stream\u201d (US, 2012)
\n\u2022 Vina Jie-Min Prasad, \u201cA Series of Steaks\u201d (Singapore, 2017)
\nMUSIC<\/a>: The Flaming Lips, “Yoshimi Battles the Pink Robots” (2002), Flight of the Conchords, “Robots” (2008), and Chairlift, “Le Flying Saucer Hat” (2008)
\n<\/p>\n

<\/em><\/div>\n

Wed. Apr. 13: Cities in the new millennium
\n<\/b>\u2022 Vandana Singh, \u201cDelhi\u201d (India, 2004)
\n\u2022 Ng Yi-Seng, \u201cXingzhou\u201d (Singapore, 2019)
\n\u2022 FILM: Giacomo Cimini,\u00a0The City in the Sky\u00a0(Italy-UK, 2009, 27 mins)\u00a0 –\u00a0here<\/a>
\nMUSIC<\/a>: Daft Punk, “Contact” (2013) and Crystal Fighters, “Wave” (2013)<\/p>\n

<\/em><\/div>\n

Fri. Apr. 15:<\/b>\u00a0Essay 2:\u00a0\u201cMultiplexing\u201d uploaded to your\u00a0Google Folder\u00a0<\/a>by midnight.\u00a0Guidelines here<\/a>.<\/div>\n
\n

\nWEEK 11
\n<\/b>*\u00a0Blog Overlords Narmer B, Elizabeth B, Isabella A\u00a0<\/em>(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)
\n*\u00a0Green Hand Book\u00a0blog post<\/p>\n

<\/a><\/b><\/b>Mon. Apr. 18: AI and Religion<\/b>
\n\u2022 FILM: K. Jee-woon The Heavenly Creature in\u00a0Doomsday Book (Korea, 2012; 30mins)\u00a0–\u00a0here<\/a>
\n<\/b>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0-Based on Park Seonghwan\u2019s \u201cReadmade Bodhisattva\u201d (Korea, 2005)
\n\u2022 Fadzlishah Johanabas, \u201cAct of Faith\u201d (Malaysia, 2010)
\n\u2022 LC: James, \u201cArtificials Should Be Allowed to Worship.\u201d –here<\/a>
\nMUSIC<\/a>: Sufjan Stevens, “Get Real Get Right” (2010) and Arctic Monkeys, “Science Fiction” (2018)
\nFILM\/TV CLIPS<\/a>:\u00a0Dune<\/em> tv miniseries (2000)<\/p>\n

Wed. Apr. 20: Africa
\n<\/b>\u2022 Nnedi Okorafor, \u201cFrom the Lost Diary of TreeFrog7\u201d (Nigeria, 2009)
\n\u2022 Tlotlo Tsamaase, \u201cVirtual Snapshot\u201d (Botswana, 2019)
\n\u2022 FILM: Wanuri Kahiu,\u00a0Pumzi\u00a0(Kenya, 2009; 23m)\u00a0\u00a0– here<\/a>
\n<\/b>\u2022 LC: Okorafor, \u201cAfrican Science Fiction is Still Alien\u201d –\u00a0here<\/a>
\nMUSIC<\/a>: CopperWire, “Phone Home” (Ethiopia, 2012)\u00a0video here<\/a><\/div>\n

\n

\nWEEK 12
\n<\/b>*\u00a0Blog Overlords Katherine, Summer, Johnny L<\/em>\u00a0(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)
\n*\u00a0Green Hand Book\u00a0blog post<\/p>\n

<\/a><\/b><\/b>Mon. Apr. 25: 2000s Indigenous SF
\n<\/b>\u2022 FILM: Lisa Jackson,\u00a0The Visit\u00a0<\/em>(Anishinaabe, 2009)\u00a0\u00a0– here<\/a>
\n\u2022 FILM: Nanobah Becker,\u00a0<\/em>The 6th World\u00a0<\/em>(Navajo, 2012)\u00a0\u00a0– here<\/a>
\n\u2022 FILM: Helen Haig-Brown,\u00a0The Cave<\/em>\u00a0(Tsilhqot\u2019in, 2018)\u00a0\u00a0– here<\/a>
\n\u2022 LC: Lempert, \u201cNative Sci-fi Film Futures\u201d (2019) –here<\/a>
\n<\/b>\u2022 LC: Dillon & Neve Marques, \u201c\u2026Indigenous Futurisms\u201d (2021) –\u00a0here<\/a>
\nMUSIC<\/a>: Low Leaf, “Voice” (2018),\u00a0video here<\/a>
\n<\/b>
\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/b><\/div>\n

Wed. Apr. 27: Machine-Body Interface\u00a0 \u00a0<\/b>
\n\u2022 FILM: Robert Valley,\u00a0Zima Blue\u00a0<\/em>(Canada, 2019) –\u00a0here<\/a>
\n-Based on Alistair Reynold’s “Zima Blue” (England, 2005)
\n\u2022 FILM: Antoine Ca\u00ebcke & H\u00e9l\u00e8ne Jeudy,\u00a0Anvil<\/em>\u00a0(Japan\/Belgium, 2017)\u00a0\u00a0– here<\/a>
\nMUSIC<\/a>: I Am Robet and Proud, “The Electricity in Your House Wants to Sing” (2006)
\n<\/b>FILM\/TV CLIPS<\/a>:\u00a0Westworld\u00a0<\/em>– tv series (2016 -)<\/div>\n
*DUE: Sunday, May 1:\u00a0Green Hand Book\u00a0blog post<\/a><\/b><\/div>\n
\n

\nWEEK 13<\/b>
\n*\u00a0Blog Overlords Diego L, Sophie G., Nora H<\/em>\u00a0(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)<\/p>\n

<\/b><\/b>Mon. May. 2: The Middle East\u2014Guest Speaker:\u00a0Prof. Sreenath<\/a><\/b>
\n\u2022 Zhraa Alhaboby, \u201cBaghdad Syndrome\u201d (Iraq, 2016)
\n\u2022 Talal Abu Shawish, “Final Warning” (Palestine, 2019)
\nMUSIC<\/a>: Al Nather, “Abu Bakr” (Palestine, 2018) and 47 Soul, “Gamar” (Palestine, 2018)<\/p>\n

Wed. May 4: Postapocalyptic \/ Clifi
\n<\/b>\u2022 Carmen Maria Machado, \u201cThe Hungry Earth\u201d (US, 2013)
\n\u2022 Catherynne Valente, \u201cThe Future is Blue (US, 2016)
\nMUSIC<\/a>: XTC, “This World Over” (1984), 4Hero, “Loveless” (1998), and Deltron 3030, “3030” (2000)
\n\u2022 LC: Michael Horka, \u201cHeyiya\u201d<\/p>\n<\/div>\n

\n

\nWEEK 14
\n*\u00a0Blog Overlords Tyrese D and Liam J\u00a0<\/em>(Blog<\/a>\u00a0\/\u00a0Guidelines<\/a>)<\/p>\n

<\/b><\/b>Mon. May 9: Don Hertzfeldt Day
\n<\/b>\u2022 Don Hertzfeldt,\u00a0World of Tomorrow\u00a0(US, 2015) –\u00a0here<\/a>
\n\u2022 Don Hertzfeldt,\u00a0World of Tomorrow\u00a0 Episode Two: The Burden of Other People\u2019s Thoughts\u00a0(US, 2017)\u00a0 –\u00a0here<\/a>
\n\u2022 Don Hertzfeldt,\u00a0World of Tomorrow\u00a0 Episode Three: The Absent Destinations of David Prime\u00a0(US, 2020)\u00a0–\u00a0here<\/a>
\nMUSIC<\/a>: Radiohead, “Subterranean Homesick Alien” (1997)<\/p>\n<\/div>\n

Wed. May 11: Optimistic SF
\n<\/b>\u2022 Annalee Newitz, \u201cTwo Scenarios for the \u2026\u201d (US, 2014)
\n\u2022 Charlie Jane Anders, \u201cThe Day It All Ended\u201d (US, 2014)
\n\u2022 Darcie Little Badger, \u201cRobo-Liopleurodon” (Lipan Apache, 2019)
\nMUSIC<\/a>: Carpenters, “Calling Occupants of Interplanetary Craft” (1977), Donald Fagan. “I.G.Y.” (1982), and LF58, “Evocazione\/Contatto\/Risevglio” (2020)
\nFILM\/TV CLIPS<\/a>:\u00a0Arrival<\/em>\u00a0(2016),\u00a0The OA<\/em>\u00a0– tv series (2016-17),\u00a0Legion<\/em>\u00a0– tv series (2017-19)<\/div>\n
\n
Last day of Exams<\/strong>:\u00a0Final paper (critical essay) or short story, or other project.\u00a0 Due by 5pm in your Google Folder.\u00a0Guidelines here<\/a>.<\/div>\n
\n
(A list of other recommended stories in chronological order. Not required, but available on BB or in WES)
\n<\/b>\u2022 Julian Kawalec, “I Kill Myself” (Poland, 1962)
\n\u2022 J. G. Ballard, \u201cThe Cage of Sand\u201d (UK, 1962) (WES)
\n<\/b>\u2022 G\u00e9rard Klein, \u201cParty Line\u201d (France, 1969)
\n\u2022 Gheorghe S\u0103s\u0103rman, \u201cSenezia\u201d (Romania, 1975)
\n\u2022 David Grigg, \u201cA Compassionate People\u201d (Australia, 1978)
\n\u2022 Ernst Vlcek, \u201cSay It with Flowers\u201d (Austria, 1980)
\n\u2022 Nancy Kress, \u201cOut of All Them Bright Stars\u201d (US, 1985) (WES)
\n<\/b>\u2022 Ion Hobana, \u201cNight Broadcast\u201d (Romania, 1986)
\n\u2022 Eileen Gunn, \u201cComputer Friendly\u201d (US, 1989) (WES)
\n<\/b>\u2022 Yves Meynard, \u201cEquinox\u201d (Canada, 1992)
\n\u2022 Valerio Evangelisti, \u201cSepultura\u201d (Italy, 1996)
\n\u2022 Pablo Castro, \u201cExerion\u201d (Chile, 2000)
\n\u2022 W. J. Maryson, \u201cVerstummte Musik\u201d (The Netherlands, 2005)
\n\u2022 Panagiotis Koustas, \u201cAthos Emfovos in the Temple of Sound\u201d (Greece, 2007)
\n\u2022 Kristin Mandigma, \u201cExcerpt from a Letter by a \u2026\u201d (Philippines, 2007)
\n\u2022 Anabel Enr\u00edquez Pi\u00f1eiro, \u201cBorrowed Time\u201d (Cuba, 2007)
\n\u2022 Ted Chiang, \u201cExhalation\u201d (US-China, 2008) (WES)
\n<\/b>\u2022 Nir Yaniv, \u201cCinderers\u201d (Israel, 2009)
\n\u2022 Fabio Fernandes, \u201cNothing Happened in 1999\u201d (Brazil, 2010)
\n\u2022 Rochita Loenen-Ruiz, \u201cAlternate Girls\u2019\u2026\u201d (Philippines-Netherlands, 2010)
\n\u2022 Ken Liu, \u201cMono no Aware\u201d (USA\/Japan 2012)
\n\u2022 Hao Jingfang, \u201cNew Year Train\u201d (China, 2017)
\n\u2022 S. Quioyi Lu, \u201cMother Tongues\u201d (USA, 2018)<\/div>\n
\n
\u00a0
\nThe WSF Course<\/strong><\/div>\n
\n

This course explores the local, global, and universal natures of the speculative genre of science fiction (SF) from the early twentieth century through the present. Highlights works from the Golden Age (late 1930s-50s), the New Wave of the 1960s and 70s, cyberpunk in the 1980s, and today\u2019s various sub-genres and cross-over incarnations. Approaches SF as a mode of thought-experimentation and world-building that problematizes actual and possible political, cultural, natural, human, and techno-scientific realities. Among the themes included are the human-machine interface, environmental apocalypse, the alien, and time travel. Readings include short stories from nearly every continent (a number of which are accompanied by a film or other media), scholarly writing on SF, and contemporary debates in and around SF.<\/p>\n

Objectives
\n<\/b>Upon completion of this course, students will be able to:
\n<\/u>\u2022 Identify and understand various formal characteristics of science fiction (SF<\/b>)
\n\u2022 Apply techniques of critical analysis to speaking and writing about SF literature and other media
\n\u2022 Demonstrate understanding of the cultural, historical, and political contexts in which SF has been produced
\n\u2022 Use literary study to develop skills for careful reading\/viewing and clear writing
\n\u2022 Speak both broadly and specifically about the world of SF today<\/p>\n

Required for the course
\n<\/b>\u2022 Attendance, participation, assignments on time
\n\u2022 Reading assigned materials (short stories and literary criticism) and viewing assigned short films BEFORE class
\n\u2022 Always having the readings with you in class, printed out or on an ipad
\n\u2022 2 essays (4-5pp each)
\n\u2022 Terminology Quiz
\n\u2022 Website postings
\n\u2022 Green Hand Book & Blog
\n\u2022 Attending the play\u00a0Defekt<\/em>
\n\u2022 Final paper or short story<\/p>\n<\/div>\n

Final Grade calculation
\n<\/b>\u2022 20%\u00a0 Participation\/Attendance
\n\u2022 35%\u00a0 \u00a0Essays (2)
\n\u2022 15%.\u00a0 WSF Blog postings & Green Hand Book
\n\u2022 \u00a005%\u00a0 Terminology Quiz
\n\u2022 25%\u00a0 Final Project\n<\/div>\n
To purchase<\/u><\/strong>
\n\u2022 Evans, A., et al., eds.\u00a0The Wesleyan Anthology of Science Fiction<\/em>. Middletown: Wesleyan University Press, 2010.
\n\u2022 Cipri, Nino.\u00a0Defekt<\/em>. New York: Tordotcom, 2021<\/p>\n<\/div>\n
Short Stories, Short Films, and Articles<\/strong>
\n<\/u>\u2022 in\u00a0WES<\/b>,\u00a0BB<\/b>, or the\u00a0WSF website<\/b>.<\/div>\n

\nWorld Science Fiction Website (WSF)<\/strong>
\n<\/u>\u2022\u00a0on\u00a0BB<\/b>, or google \u201cworld science fiction\u201d & Bowdoin<\/div>\n

\nAttendance Policy
\n<\/b>Attendance is required and will be taken each class.\u00a0 Please be on time.\u00a0 Three lates = 1 absence.\u00a0 It is understood that periodically things happen that prevent your attendance. Hence, you will be allowed\u00a02 unexcused absences<\/u><\/b>\u00a0throughout the semester. \u00a0These absent days are to cover things such as illness, weddings, funerals, job interviews, etc.\u00a0 Beginning with your 3rd absence (regardless of the reasons for the first 2) 2 points will be deducted from your final participation grade each time you are absent if you are not able to document the absence with a valid excuse (e.g., dean\u2019s note.).<\/div>\n

\nDeadline Policy
\n<\/b>All papers are due in your Google folder by the given time (see each paper) on assigned dates<\/u><\/b>.\u00a0 Late papers are graded down 5 points each day late (e.g., from a 90 to an 85, etc.). \u00a0If there is an urgent matter or serious health issue that delays your paper, please have a dean contact me.<\/div>\n

\nParticipation in Discussion Policy
\n<\/b>You are expected to engage in class discussions thoughtfully and respectfully toward the opinions of their peers. \u00a0In general, each student who comes to class prepared, has the stories and articles\u00a0PRINTED OUT, IN A BOOK, OR ON IPAD<\/u><\/b>, attentively follows class discussions, and participates in debates fulfills the participation criteria. \u00a0Students who show a higher than average level of motivation, regularly contribute to class discussions, display competence and a high degree of thoughtfulness can earn a\u00a0bonus\u00a0of up to 5 points on their participation grade (an excellent participation grade is an A [95]; a\u00a0bonus\u00a0one is 100). \u00a0Conversely, students who display lack of preparation may receive a\u00a0malus\u00a0of up to 5 points on their participation grade.\u00a0 If you are particularly shy about speaking in class, let me know and we will arrange for alternative ways for you to share your questions and thoughts.<\/div>\n

\nPreparation Policy
\n<\/b>You are expected to come to class\u00a0having read\/viewed<\/u>\u00a0the assigned material AND with\u00a0the readings in front of you<\/u>. \u00a0If it becomes clear that more than an occasional few students haven\u2019t read\/viewed the material, I may start giving pop quizzes, which will be averaged with other assignments to constitute your final grade. \u00a0Please always have your computer and cells with you, in case we need them for a particular project.\u00a0 Always bring a notebook and writing implement, too.<\/div>\n

\nEmail policy
\n<\/b>You are required to\u00a0check your Bowdoin email account<\/u>\u00a0at least once a day<\/u>,<\/b>\u00a0in case there are any announcements or changes (like having class online because of a weather or health emergency).<\/div>\n

\nTech Policy
\n<\/b>Phones\u00a0are forbidden in class, unless otherwise stated (an occasional activity).\u00a0\u00a0Ipads<\/b>\u00a0are, however, allowed, for the readings only. \u00a0If you prefer to take notes on a\u00a0computer<\/b>, please speak with me, and you\u00a0MUST take a vow of surfing\/email\/etc. abstinence.<\/u><\/b><\/div>\n

\nCitation Policy \/ Academic Integrity
\n<\/b>The primary sources that you will be citing in your papers are short stories, films, articles, class discussions, blog postings, works of art, and websites.\u00a0 There is a huge amount of SF material online, as you will see.\u00a0 Please be\u00a0very\u00a0careful when surfing and have a\u00a0sharp critical eye and awareness about who is writing and what their objectives are.\u00a0 If you are uncertain about whether to cite a site or someone, ask me.\u00a0 If you are not sure how to cite a source, check the \u201cCitation Guidelines<\/b>\u201d on BB. \u00a0And\u2026 remember to respect all aspects of the academic honesty and honor code\u00a0http:\/\/www.bowdoin.edu\/studentaffairs\/forms\/pdf\/honor_code.pdf<\/a><\/div>\n

\nNot required, but encouraged
\n<\/b>\u2022 Watching at least one recommended film or TV series on the\u00a0WSF website.<\/b>
\n\u2022 Contributing to the\u00a0Sci-Fi Spotify<\/b>\u00a0playlist.<\/div>\n

\nOffice Hours
\n<\/b>My office hours are\u00a0Mondays\u00a0<\/b>and\u00a0Wednesdays 11:45-12:45,\u00a0<\/b>and\u00a0Fridays 10:15-11:15am<\/b>.\u00a0 I will be in my office on the first floor of Riley House (#102).\u00a0 If you cannot make those times, email me to set up another time.\u00a0\u00a0Sign-up for a meeting (see BB link).<\/b><\/div>\n

\nOther Stuff
\n<\/b>\u2022 You may bring drinks to class, but\u00a0NOT<\/u>\u00a0smelly food (e.g. bananas, peanut butter, tuna fish, soup) or noisy food.
\n\u2022 Obviously, know the College\u2019s plagiarism policy and maintain the Honor Code.
\n\u2022 Guidelines for all papers and activities on\u00a0BB<\/b><\/div>\n
Word Press questions<\/u><\/b>: our L.A. Bradford Dudley:\u00a0bdudley@bowdoin.edu<\/a>\u00a0or David Israel\u00a0disrael@bowdoin.edu<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
<\/div>\n

 <\/p>\n

\n

Copyright Information:<\/strong>
\nThe information on this website is licensed under Creative Commons 4.0<\/a>.
\nThe images are \u00a9 Franco Brambilla<\/a>.
\n\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

World Science Fiction Syllabus Spring 2022 WES\u00a0=\u00a0Wesleyan Anthology of Science Fiction\u00a0(print) LC\u00a0= Literary Criticism (an article). If not link, then in “Readings” (BB) No indication: in “Readings” (BB) WEEK 1 Mon. Jan. 24 Introduction Wed. Jan. 26: Proto SF \u2022 H. G. Wells, \u201cThe Star\u201d (UK, 1897) (WES) \u2022 W.E.B.\u00a0DuBois, \u201cThe Comet\u201d (USA, 1920) (please […]<\/p>\n","protected":false},"author":134,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-152","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/courses.bowdoin.edu\/italian-2500\/wp-json\/wp\/v2\/pages\/152","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.bowdoin.edu\/italian-2500\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/courses.bowdoin.edu\/italian-2500\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/italian-2500\/wp-json\/wp\/v2\/users\/134"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/italian-2500\/wp-json\/wp\/v2\/comments?post=152"}],"version-history":[{"count":0,"href":"https:\/\/courses.bowdoin.edu\/italian-2500\/wp-json\/wp\/v2\/pages\/152\/revisions"}],"wp:attachment":[{"href":"https:\/\/courses.bowdoin.edu\/italian-2500\/wp-json\/wp\/v2\/media?parent=152"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}