Speculative fiction and political ideologies: meanings given by the audience
Article Sidebar
0)
Main Article Content
Authors
Abstract
0
Speculative fiction is based on one main question: what if? This paper addresses the question of how audiences interpret such interrogative. In particular, our main interest lies in knowing how the different political ideologemes that may inhabit speculative fiction are signified. Thus, in this study we have focused on the genre of dystopia. To this end, a total of five focus groups were carried out. Specifically, the ideologemes tested in the reception study belong to socialism, conservatism, neoliberalism, liberalism and religious fundamentalism. The significance of these ideological values is empirically grounded in extensive qualitative research.
Keywords
References
Askanius, T. (2019). Engaging with The Bridge: Cultural citizenship, cross-border identities and audiences as 'regionauts.' European Journal of Cultural Studies, 22(3), 271-290. https://www.doi.org/10.1177/1367549417722093
Barker, C. (2004). The SAGE dictionary of Cultural Studies. London: Sage. https://doi.org/10.4135/9781446221280
Buckingham, D. (1987). Public Secrets: Eastenders and Its Audience. London: British Film Inst.
Claeys, G. (2013). Three variants on the concept of dystopia. In F. Vieira (Ed.), Dystopia(n) Matters: On the Page, on Screen, on Stage (pp. 14-18). Newcastle: Cambridge Scholars Publishing.
Claeys, G. (2022). Dystopia. In P. Marks, J. A. Wagner-Lawlor & F. Vieira (Eds.), ThPalgrave Handbook of Utopian and Dystopian Literatures (pp. 53-64). Switzerland: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-88654-7_4
Gordin, M. D., Tilley, H. & Prakash, G. (2010). Introduction: Utopia and Dystopia beyond Space and Time. In M. D. Gordin, H. Tilley & G. Prakash (Eds.), Utopia/Dystopia: Conditions of Historical Possibility (pp. 1-18). Princenton: Princeton University Press. https://doi.org/10.1515/9781400834952.1
Green, J. L. (2019). Why scream about sound in space? The functions of audience discourse about unrealistic science in narrative fiction. Public Understanding of Science, 28(3), 305-319. https://www.doi.org/10.1177/0963662518808729
Greene, V. (2011). Utopia/Dystopia. American Art, 25(2), 2-7. https://www.doi.org/10.1086/661960
Green, J. L. (2019). Why scream about sound in space? The functions of audience discourse about unrealistic science in narrative fiction. Public Understanding of Science, 28(3), 305-319. https://www.doi.org/10.1177/0963662518808729
Heywood, A. (2012). Political Ideologies: An Introduction. London: Palgrave Macmillan. https://doi.org/10.1007/978-0-230-36994-8
Jauss, H. R. (1988). Literary History as a Challenge to Literary Theory. In K. M. Newton (Ed.), Twentieth-Century Literary Theory. A reader (pp. 221-225). Hong Kong: MacMillan Education.
Krueger, R. A. (1997a). Moderating Focus Groups. Thousand Oaks, CA: Sage. https://doi.org/10.4135/9781483328133
Krueger, R. A. (1997b). Developing Questions for Focus Groups. Thousand Oaks, CA: Sage. https://doi.org/10.4135/9781483328126
Livingstone, S. (2002). Relationship between media and audiences. Prospects for audience reception studies. In E. Katz (Ed.), Media, ritual and identity (pp. 237-255). London: Routledge.
Moylan, T. (2000a). 'Look into the dark': On Dystopia and the Novum. In P. Parrinder (Ed.), Learning from Other Worlds: Estrangement, Cognition, and the Politics of Science Fiction and Utopia (pp. 51-71). Liverpool: Liverpool University Press.
Moylan, T. (2000a). Scraps of the Untainted Sky: science fiction, utopia, dystopia. Boulder: Westview.
Nærland, T. U. (2019). From pleasure to politics: Five functions of watching TV-series for public connection. European Journal of Communication, 35(2), 93-107. https://www.doi.org/10.1177/0267323119894481
Porto, M. P. (2005). Political Controversies in Brazilian TV Fiction: Viewers' Interpretations of the Telenovela Terra Nostra. Television & New Media, 6(4), 342-359. https://www.doi.org/10.1177/1527476405279862
Roberts, L., Berrisford, G., Heron, J., Jones, L., Jones, I., Dolman, C. & Lane, D. (2018). Qualitative exploration of the effect of a television soap opera storyline on women with experience of postpartum psychosis. BJPsych Open, 4(2), 75-82. https://www.doi.org/10.1192/bjo.2018.9
Sánchez-Gutiérrez, B. & Pineda, A. (2021). "A nation reborn": poder de clase, neoliberalismo y propaganda en la franquicia cinematográfica The purge. In A. Pineda (Coord.), Poder, ideología y propaganda en la ficción distópica (pp. 209-232). Valencia: Tirant lo Blanch.
Sargisson, L. (2011). The curious relationship between politics and utopia. In T. Moylan & R. Baccolini (Eds.), Utopia method vision. The use of social dreaming (pp. 25-46). Frankfurt: Peter Lang.
Savin-Baden, M. & Howell Major, C. (2013). Qualitative Research. The essential guide to theory and practice. Devon: Routledge.
Seliger, M. (1976). Ideology and Politics. London: Routledge.
Voloshinov, V. N. (1986). Marxism and the Philosophy of Language. Cambridge: Harvard UP.
Williams, R. (1975). The Long Revolution. United States of America: Greenwood Press.
Metrics
|
|
Details
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
RIGHTS TRANSFER
By submitting the article for evaluation and subsequent publication in Communication & Society, the AUTHOR exclusively assigns the rights of public communication, reproduction, distribution and sale for commercial exploitation to the University of Navarra through its Publications Service, for the maximum legal term in force -the entire life of the author and seventy years after his death or declaration of death-, in any country, and in any of the current and future edition modalities, both in print and electronic versions.
In the event that the article is not accepted for publication , this transfer of rights lapses with the communication of the refusal to the AUTHOR.
The AUTHOR affirms that the article is unpublished, that it has not been sent simultaneously to another publication medium and that the rights have not been transferred exclusively previously. He is responsible to the University of Navarra through its Publications Service for the authorship and originality of his work, as well as for all pecuniary charges that may arise for the University of Navarra through its Publications Service, in favor of third parties due to actions, claims or conflicts arising from the breach of obligations by the AUTHOR.
