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The first person to approach the issue of literary space from the semiotic point of view was Juri Lotman. [2] According to Lotman, artistic space is only a model of real space, not its copy. He argued that the information provided by the text about space is incomplete and, consequently, space also is not complete.
Some writers took the fourth dimension to be one of time, which is consistent with the physical principle that space and time are fused into a single continuum known as spacetime. Others preferred to think of the fourth dimension in spatial terms, and some associated the new mathematics with wider changes in modern culture.
Geocriticism frequently involves the study of places described in the literature by various authors, but it can also study the effects of literary representations of a given space. An example of the range of geocritical practices can be found in Tally's collection Geocritical Explorations: Space, Place, and Mapping in Literary and Cultural Studies.
Since the inception and coining work of quantum fiction recognized by Publishers Weekly in 1995, [4] the influence and definition of literature by this as a genre is evidenced in the creation of novels, [43] short fiction, [44] [45] calls for submissions, [46] [47] [48] television and film.
According to Ott and Broman, Aniara is an effort to "[mediate] between science and poetry, between the wish to understand and the difficulty to comprehend". [10] Martinson translates scientific imagery into the poem: for example, the "curved space" from Albert Einstein's general theory of relativity is likely an inspiration for Martinson's description of the cosmos as "a bowl of glass ...
Quarantine is a 1992 hard science fiction novel by Greg Egan. [1] Within a detective fiction framework, the novel explores the consequences of the Copenhagen interpretation of quantum mechanics (or rather of its consciousness causes collapse variant), which Egan acknowledges was chosen more for its entertainment value than for its likelihood of being correct.
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To create the world of Arbre, Stephenson constructs new vocabulary. In order to familiarize the reader with the new words, many of which are analogous to English, Latin or Greek words and ideas, a glossary is included at the end of the book. Each chapter begins with a definition of one of these words, which usually relates to the chapter in ...