Superman et la gravitation
Etudier les notions de gravitation et de pesanteur terrestre à partir d'un texte qui cherchèrent l'origine des pouvoirs de Superman dans la physique. […].
The History of Science Fiction
(Lambourne et al. p. 55). The category error here is the 'in fact'. A story is not 'fact'; nor does fictional entry into one or other discourse of science
Psychology of Terrorism
groups and behavior had been asked by social science researchers; to identify the main violence is correcting the lack or equality.
GENERAL KNOWLEDGE
Tides are caused by the gravitational attraction - the 'pull' of the moon on the earth sometimes assisted by and sometimes hindered by the Sun.
Hard Reading: Learning from Science Fiction
Sonja Fritzsche The Liverpool Companion to World Science Fiction Film the nineteenth century
Science in School
like Superman might actually be possible – given a miracle or two. gravitational waves reaching us from across the Universe (page 26).
LIGO Magazine Issue 2
https://www.ligo.org/magazine/LIGO-magazine-issue-2.pdf
New Light Through Old Windows
Exploit science fiction for educational purposes and as a means of promot- embryos using a base editing technique is described in Liang et al. (2017).
Table of Contents Notes for Salman Rushdie: The Satanic Verses
published novel Grimus
A Cultural History of Heredity III: 19th and Early 20th Centuries Max
We are naturally most interested in the scientific impact of Mendel. Darwin et l'après Darwin: Une histoire de l'hypothèse de selection naturelle.
[PDF] Superman et la gravitation - Académie dOrléans-Tours
23 avr 2018 · Continuité collège-lycée en Sciences Physiques 2017/2018 Les performances de Superman dépendent de la force de gravitation
Superman et la gravitation - PDF Free Download - DocPlayerfr
Interaction gravitationnelle Superman et la gravitation DESCRIPTIF DE SUJET DESTINE AU PROFESSEUR Objectif Assurer une continuité et une progressivité
[PDF] Evaluation Blanche Gravitation
Superman : La masse de superman est 90 kg 1 Donner la relation entre le poids et la masse d'un objet en fonction de g l'intensité de pesanteur
Activité - Gravitation et science-fiction - Correction gTerre = 981 N
Activité - Gravitation et science-fiction - Correction gTerre = 981 N Exercice 1 : La force d'attraction Superman : La masse de superman est 90 kg
[PDF] Activité : Gravitation et science- ction - Chiphoumie
Découvrir ce qu'est l'interaction gravitationnelle et le poids d'un corps L'origine des pouvoirs de Superman (d'après Physique-Chimie 2nde Ed Bordas)
[PDF] Doù viennent les pouvoirs de Superman - chimphys
Chapitre 10 : MODELISER UNE ACTION MECANIQUE SUR UN SYSTEME AD n°3 : D'où viennent les pouvoirs de Superman ? Comme chacun sait la science-fiction c'est un peu
Superman : Gravitation et science-fiction - Physique - Chimie
12 juil 2016 · Cette activité permet de travailler la force de pesanteur et son expression P=mg Elle permet en outre de mettre en évidence que l'intensité
Devoir_3 : Correction – ProdM2Phys
15 déc 2016 · Masse de Superman : mS=96 kg Masse de la Terre : MT = 598×1024kg Rayon de la Terre : RT=638×103km Constante de gravitation universelle
[PDF] distorsions spatio-temporelles dans la science-fiction et le fantastique
Science-fiction et fantastique : définitions génériques quantique de la gravitation la fameuse théorie du Tout le Saint-Graal de la physique qui
Quel est le poids de Superman sur Terre ?
Physique Ordinaire d'un super héros», Roland Lehoucq, EDP sciences. masse de Superman : mSup = 90 kg ; masse de la Terre : mT = 5,98 x 1024 kg ; rayon de la Terre : RT = 6,38 x 106 m ; rayon de Mars : RM = 3390 km ; masse de Mars : mM = 6,42 x 1023 kg intensité de pesanteur terrestre : gT = 9,8 N.Quelle est la masse de Superman sur Krypton ?
8. Calculer le poids de Superman à la surface Krypton. On cherche le poids de Superman sur Krypton. Le poids de Superman sur Krypton est de 28252,8N.15 déc. 2016Quelle longueur et quelle hauteur Superman petit franchir sur terre ?
Les performances de Superman dépendent de la force de gravitation. S'il peut sauter sur Krypton a une hauteur de 2 mètres, sur Terre, l'intensité de pesanteur étant 30 fois plus faible, il pourrait sauter 30 fois plus haut, soit une hauteur de 60 mètres.23 avr. 2018- La gravitation est tout simplement une interaction attractive entre deux objets qui ont une masse. C'est le cas entre la Terre et le Soleil par exemple. On parle d'interaction car le soleil exerce une action (force) attractive sur la Terre mais l'inverse est vraie également
![Hard Reading: Learning from Science Fiction Hard Reading: Learning from Science Fiction](https://pdfprof.com/Listes/17/24704-171004071.pdfsequence1.pdf.jpg)
Hard reading
Liverpool Science Fiction Texts and Studies, 53
Liverpool Science Fiction Texts and Studies
Editor david Seed, University of Liverpool
Editorial Board
Mark Bould,
University of the West of England
Veronica Hollinger,
Trent University
rob Latham, University of California roger Luckhurst, Birkbeck College, University of LondonPatrick Parrinder,
University of Reading
andy Sawyer, University of LiverpoolRecent titles in the series
30. Mike
ashley Transformations: The Story of the Science-Fiction Magazine from 1950-197031. Joanna
russ The Country You Have Never Seen: Essays and Reviews 32.robert Philmus Visions and Revisions: (Re)constructing Science Fiction 33.
gene Wolfe (edited and introduced by Peter Wright) Shadows of the
New Sun: Wolfe on Writing/Writers on Wolfe
34. Mike
ashley Gateways to Forever: The Story of the Science-Fiction Magazine from 1970-198035. Patricia Kerslake
Science Fiction and Empire
36. Keith Williams
H. G.Wells, Modernity and the Movies
37. Wendy
gay Pearson, Veronica Hollinger and Joan gordon (eds.) QueerUniverses: Sexualities and Science Fiction
38. John Wyndham (eds.
david Ketterer and andy Sawyer) Plan for Chaos39. Sherryl Vint
Animal Alterity: Science Fiction and the Question of the Animal40. Paul Williams
Race, Ethnicity and Nuclear War: Representations of NuclearWeapons and Post-Apocalyptic Worlds
41. Sara Wasson and
emily alder, Gothic Science Fiction 1980-2010 42.david Seed (ed.), Future Wars: The Anticipations and the Fears 43.
andrew M. Butler, Solar Flares: Science Fiction in the 1970s 44.
andrew Milner, Locating Science Fiction
45. Joshua
raulerson, Singularities46. Stanislaw Lem: Selected Letters to Michael Kandel (edited, translated and
with an introduction by Peter Swirski)47. Sonja Fritzsche,
The Liverpool Companion to World Science Fiction Film48. Jack Fennel:
Irish Science Fiction
49. Peter Swirski and Waclaw M.
Osadnik:
Lemography: Stanislaw Lem in
the Eyes of the World 50.gavin Parkinson (ed.), Surrealism, Science Fiction and Comics
51. Peter Swirski,
Stanislaw Lem: Philosopher of the Future
52. J.
P.Telotte and
gerald duchovnay, Science Fiction Double Feature:The Science Fiction Film as Cult Text
Hard reading
Learning from Science Fiction
TOM SHiPPey
LiVerPOOL UniVerSiTy PreSS
First published 2016 by
Liverpool University Press
4 Cambridge Street
Liverpool
L69 7ZU
Copyright © 2016 Tom Shippey
The right of Tom Shippey to be identified as the author of this book has been asserted by him in accordance with the Copyright, designs and Patents act 1988. all rights reserved. no part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.British Library Cataloguing-in-Publication data
aBritish Library CiP record is available
print iSBn 978-1-78138-261-5 cased epdf iSBn 978-1-78138-439-8Typeset by Carnegie Book Production, Lancaster
Printed and bound in Poland by BooksFactory.co.uk
For Peter Weston
True fan, true friend
viiList of Figures
ix note on references x aPersonal Preface
xiWhat SF Is
1Coming Out of the Science Fiction Closet 3
'Learning to read Science Fiction' 6 2 rejecting gesture Politics 24 'Literary gatekeepers and the Fabril Tradition' 26 3 getting away from the Facilior Lectio 47 'Semiotic ghosts and ghostlinesses in the Work of BruceSterling' 50
SF and Change
4 getting Serious with the Fans 67 'Science Fiction and the idea of History' 70 5 getting to grips with the issue of Cultures ... 85 'Cultural engineering: a Theme in Science Fiction' 89 6 ... and not Fudging the issue! 103 '"People are Plastic": Jack Vance and the dilemma ofCultural
relativism' 106 7SF authors really Mean what they Say 121
'alternate Historians: newt, Kingers, Harry and Me' 124Contents
Contents
Hard readingviii
8A Revealing Failure by the Critics 141
'Kingsley amis's Science Fiction and the Problems of genre' 144 9A Glimpse of Structuralist Possibility 160
'The Golden Bough and the incorporations of Magic inScience Fiction' 162
10 Serious Issues, Serious Traumas, Emotional Depth 182
'The Magic art and the evolution of Words:Ursula Le
guin's "earthsea" Trilogy' 185SF and Politics
11 A First Encounter with Politics 207
'The Cold War in Science Fiction, 1940-1960' 20912 Language Corruption, and Rocking the Boat 229
'Variations on newspeak: The Open Question of NineteenEighty-Four' 233
13 Just Before the Disaster 255
'The Fall of america in Science Fiction' 25814 Why Politicians, and Producers, Should Read Science Fiction 274
'The Critique of america in Contemporary ScienceFiction' 277
15 Saying (When Necessary) the Lamentable Word 293
'Starship Troopers, galactic Heroes, Mercenary Princes:The Military and its
discontents in Science Fiction' 296References 311
Index 321
ix1 desirability and possibility 82
2 The branches of magic according to the laws of thought
which underlie them, from Sir James Frazer'sThe Golden
Bough 164
Figures
Figures
x These pieces were written over a period of more than thirty years, in many different house-styles. i have tried to make them consistent, and have also aimed at not burdening the reader with pseudo-scholarship. There is rarely any point in giving page references for quotations from works of fiction which have been repeatedly republished and repaginated (except to show repetition, as at pages 238, 245-6, 253-4). Where i think it is useful i have indicated chapter or section numbers, so that quotes from works of fiction can be located. There is also little point in giving publication details of first editions which most readers never see. accordingly, works of fiction do not appear in the 'List of references' at the end. The first time any work of fiction is mentioned in a piece, i give its author, title, and date of first publication. references to all magazine publications are given by year and month to the first, usually the american, edition: several magazines issued US/UK editions, dated a few months apart. (note that Astounding Science Fiction changed its name to Analog: Science Fact/Science Fiction in august 1960: the abbreviation ASF refers to either title.) all authors' names are furthermore indexed. references to critical works, however, are indicated in text by author, date and page, and keyed to the composite 'List of references' at the end. Footnotes are used for the most part only to add information or make a point which is (i hope) interesting, but to one side of the main argument. note on references note on references xi Science fiction has been the most characteristic literary mode of the twentieth century. it has of course had forerunners and 'anticipations' (for which see Seed 1995). But whether one looks back to the early nineteenth century and Mary Shelley'sFrankenstein, and after that the
mostly British tradition of 'scientific romances' (see Stableford 1985), or the many moon-voyages and fantastic journeys of much earlier times, there was a sea change in the Wellsian 1890s, and an even greater one in the 'pulp fiction' era beginning in the 1920s. it came, obviously, as a natural reaction to the accelerating pace of scientific discovery, which affected people's everyday lives on the technological level, with internal-combustion engines, powered flight and the whole apparatus of military matters right up to the atom and hydrogen bombs and the intercontinental ballistic missiles (iCBMs) which could deliver them. not very far in the background, on the intellectual level, were the impacts of darwinism, social anthropology, challenges to faith and even (much underrated) grimmian comparative philology. Many authors, even more readers, responded to these changes in every conceivable way. This development caught the literary world by surprise and was too often unwelcome. Later in this book i note some of the hostile reactions which have often been reported to me, but the one which sticks in my mind is the extraordinarily grudging blurb which Penguin Books used to put on the back of their editions of John Wyndham's books in the1950s and 1960s: they summarised his career, saying he wrote 'stories of
various kinds' and 'detective novels'. But then, the blurb proclaimed, 'he decided to try a modified form of what is unhappily known as "science fiction"'. Only a 'modified form', and don't let the term for it put you off, the Penguin editors defensively insisted. Later blurbs only noted that Penguin had sold half-a-million copies of Wyndham's works, but the attitude remained and has not entirely vanished: see, for instance, Ursula Le guin's tart reaction, now, in 2015, to Kazuo ishiguro's nervousness aPersonal Preface
aPersonal Preface
Hard readingxii
lest his novelThe Buried Giant
might be taken as 'fantasy' (and so not serious, not literary). 1 it may be as a result of this estrangement between the literary- critical world and the new mass audience that Samuel delany said, in his address on receiving the 1985 Pilgrim award, that 'we must learn to read science fiction as science fiction'. it is an enigmatic remark, though corroborated by others (see n.11 on p. 34, p. 39), and one hopes
that after thirty more years of ever-increasing critical attention, it is not as true as it once was. yet there is a sense in which it contains an obvious truth, at least as regards literary critics. Most critics, even of science fiction and fantasy, learned their trade and acquired their critical techniques and vocabulary in colleges and graduate schools where the focus was on 'the great classical texts', to quote ProfessorHoward Felperin (see p.
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