By Robert Scholes
These 13 unique essays have been written in particular for the 3rd J. Lloyd Eaton convention on technological know-how Fiction and delusion Literature, held February 21–22, 1981, on the college of California, Riverside.
Leslie Fiedler units the tone of this quantity by way of solving a simple set of coordinates—that of “elitist” and “popular” standards.
Those replying to his cost are: Eric S. Rabkin, Professor of English on the University of Michigan and writer of The Fantastic in Literature, “The Descent of Fantasy”; Gerald Prince, Professor of French on the collage of Pennsylvania, “How New is New?”; Mark Rose, Professor of English on the college of California at Santa Barbara, writer of Alien Encounters, “Jules Verne: trip to the Center of technological know-how Fiction”; Joseph Lenz, who teaches English Literature on the collage of Michigan, “Manifest future: technological know-how Fiction Epic and Classical Forms”; Michelle Massé, of the English division on the George Mason collage, “‘All you might want to do is recognize what you want’: person Expectations in Triton”; Gary okay. Wolfe, who teaches English at Roosevelt college, author of The recognized and the Unknown, “Autoplastic and Alloplastic diversifications in technology Fiction: ‘Waldo’ and ‘Desertion’”; Robert Hunt, an editor with Glencoe Press, “Science Fiction for the Age of Inflation: analyzing Atlas Shrugged in the 1980s”; George R. Guffey, Professor of English at UCLA, “Fahrenheit 451 and the ‘Cubby-Hole Editors’ of Ballantine Books”; H. Bruce Franklin, Professor of English and American Literature at Rutgers collage at Newark, “America as technology Fiction: 1939”; Sandra M. Gilbert, Professor of English on the college of California at Davis, and coauthor with Susan Gubar of Madwoman within the Attic, “Rider Haggard’s center of Darkness”; the aforementioned Susan Gubar, Professor of English at Indiana college, “She in Her/and: Feminism as Fantasy”; and George R. Slusser, Curator of the Eaton assortment, “Death and the replicate: Existential Fantasy.”
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