If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one (genres as regions of conceptual space) dominant but inadequate, the other (genres as historical particulars) better, but only occasionally making itself seen. I shall then discuss several important, in...

This article introduces and explores issues regarding the question of what constitute valid forms of development knowledge, focusing in particular on the relationship between fictional writing on development and more formal academic and policyoriented representations of development issues. We challenge certain conventional notions about the nature of knowledge, narrative authority, and represen...

Young children are surrounded by fictional media, including books, videos, and games. Often they are expected to learn new information from these explicitly fictional sources, while simultaneously avoiding confusion about what is true in the real world versus what is true only in fictional worlds. How do children navigate this ‘‘reader’s dilemma”? The current review addresses this question by f...

The Google Books corpus, derived from millions of books in a range of major languages, would seem to offer many possibilities for research into cultural, social, and linguistic evolution. In a previous work, we found that the 2009 and 2012 versions of the unfiltered English data set as well as the 2009 version of the English Fiction data set are all heavily saturated with scientific and medical...

There has been considerable interest in images of medicine in popular science fiction and in representations of doctors in television fiction. Surprisingly little attention has been paid to doctors administering space medicine in science fiction. This article redresses this gap. We analyse the evolving figure of 'the doctor' in different popular science fiction television series. Building upon ...

In his paper, "Science Fiction, Forbidden Planet, and Shakespeare's The Tempest," Simone Caroti illustrates the way in which Cyril Hume and Fred Wilcox's 1956 science fiction movie Forbidden Planet -whose plot is inspired by Shakespeare's Tempest -reconfigures in Shakespeare's play. Caroti begins by defining the genre of science fiction and explaining its attraction for modern audiences. Follow...

Should cognitive scientists and neuroscientists care about Dostoyevsky? Engaging with fiction is a natural and rich behavior, providing a unique window onto the mind and brain, particularly for mental simulation, emotion, empathy, and immersion. With advances in analysis techniques, it is time that cognitive scientists and neuroscientists embrace literature and fiction.

Many factors are blamed for the decreasing enrollments in computer science and engineering programs in the U.S., including the dot-com economic bust and the increase in the use of “off-shore” programming labor. One major factor is also the lack of bold new vision and excitement about computer science, which thus results in a view of computer science as a field wedded to routine programming. To ...

Empathy is a multidimensional process that incorporates both mentalizing and emotional sharing dimensions. Empathic competencies are important for creating interpersonal relationships with other people and developing adequate social behaviour. The lack of these social components also leads to isolation and exclusion in healthy populations. However, few studies have investigated how to improve t...

I n presenting a "Special Award" to Art Spiegelman's Maus in 1992, the Pulitzer Prize committee decided to finesse the issue of genre. The members were apparently befuddled by a project whose merit hey could not deny but whose medium they could not quite categorize. The obvious rubric (Biography) seemed ill-suited for a comic book in an age when ever-larger tomes and ever-denser scholarship def...