摘要：This paper will apply a politically oriented description-critique paradigm developed from the works of Whitehall and Grewell that offers a way to examine works of popular culture, particularly Mars-based science fiction films. Because of the unique nature of these films, primarily which they are set in a future and distant world, they allow us to explore the socio-political landscape in which they were created from a remove that does not exist in ＂real-world＂ based works. Specifically we will be examining the governing power （in any particular Mars-based science fiction film） that might be either wielded by business interests or governmental interests. Although it is possible to have both a strong government and a strong business in a society, in many Mars-based science fiction films, government and business seem to represent two sides of a continuum. The stronger the business power structure in the film, the weaker the governmental power structure, and vice-versa.

摘要：Although reviewers of Tremblay＇s play For the Pleasure of Seeing Her Again （1998） focus on the monologues of the angry mother who rants about everyday concerns for the well-being of her child, a character much like the one who initiated Tremblay＇s career （the old song）, the author will focus on how the narrator＇s memory of his mother stage by stage in his life enacted before our eyes, permits Tremblay to self-consciously explain that his artistry reaches far beyond bringing the people he knew best in his youth, who had no knowledge of theater history, acting, and directing and staging, to the stage. His growth as an artist and his ＂new songs＂ are a result of his own continuous development of that knowledge

摘要：The Left Hand of Darkness （abbr. LHD） is composed by Ursula Le Guin as a ＂thought experiment＂ to explore the postgender world on the planet of Gethen. By eradication of sexual difference and embracing the biological fluidity and psychological androgeny, dualism is deconstructed, and a postgender intersubjective space is reconstructed between Genly Ai and Estraven, interluded by cyborg myth and postgenderism culture narratives. Moreover, Le Guin suggests a possible transformation mode ofyin-yang cycle from psychoanalytic light and shadow.

摘要：The novel Ready Player One shows Ernest Cline’s ability of space construction,and demonstrates charm and artistic value of the virtual fantasy space it *** is a science fiction with perfect combination of ideological content and artistic *** thesis aims to discuss the Ernest Cline’s construction of the virtual pace and the real space in Ready Player One and the function of their *** real space,the environment is awful and dilapidated,and people’s lives are *** in the virtual space,the world is colorful and people have varied ways of entertainment to fulfill their *** Thesis summarizes the effects brought by both the real space and virtual space for Ready Player *** such a strong contrast,the conflict between the two spaces promotes the narrative process and also highlights the theme of the novel.

摘要：Chaviano＇s Fables of an Extraterrestrial Grandmother is a pioneering Cuban science fiction novel with four interconnected plots that manifest their separate worlds--the Havana of Ana, the protagonist writer, the Neolithic Celtic world of Merlin and Stonehenge, Faidir, the planet of Ijj e and the winged psyches with three eyes, and Rybel, the world of Ana＇s character Arlena, the ＂jumen＂ on the run in an alien planet after being wrecked in a space ship---through Ana＇s writing. Ana uses mental exercises and automatic writing to temporarily regress to a pre-rational state of consciousness where these parallel universes interpenetrate and cross in the locus of her subconscious. Writing for her is a form of possession that withdraws her fi＇om her immediate reality into a visionary state resembling that of a shaman. She is a writer being invented and written by her own characters. Her stories are not fictions, but already existing realities, and she is a channel by which they are able to manifest their existence through her writing. This science fiction vision of worlds within worlds suggests another origin of science fiction in the ancient literary genre of Menippean satire, a type of fiction that appeals to highly cosmopolitan, alienated readers who seek to renew contact with the sources of consciousness from which technological and social change have alienated them.

摘要：When Merlin first appears in Chaviano＇s Fables of an Extraterrestrial Grandmother as the wizard Soio, he reflects the imagination of Ana, the adolescent protagonist of the science fiction novel as she is in the process of writing the very novel the reader is reading. Later she will discover that her fictional creations are not the invention of her imagination but exist autonomously in parallel universes and are using her as a vehicle of inter-dimensional travel through time and space. Soio/Merlin gazes into his crystal ball, a microcosm that gathers the space-time energy fields of the parallel universes, and sees visions of the protagonists whose modes of existence are real in one and fictional in another parallel universe. Merlin is a Druid in exile from the Neolithic world of Celtic Britain who has crossed over from earthly life to existence in Rybel, a parallel universe. He had crossed over by lining up the Stone of the Past and the Mirror of the Future at the great circle of Stonehenge. The stone circle functioned as an astronomical observatory. Stonehenge is a microcosm, a circle that reflects and coordinates the larger circle of the universe, symbolized and embodied in the sphere or crystal ball that Merlin transmits to Ana in the form of the novel being read. All the characters are trying to coordinate dimensions of space and time in order to fly from one parallel universe to another. Chaviano emphasizes crossing boundaries of time and space. Her characters live in one world but belonging to another, yearn to make contact with the forces of the universe that will bring them home. Chaviano＇s use of the Merlin legend is original and takes into account archaeological evidence about the Celts, Druids, and Stonehenge.