Masculinity in Science Fiction Essay

Throughout the past couple of centuries science fiction has become one of the most popular genres worldwide. Thousands of people of different age, gender, racial and ethnical origin submerge into a world where the level of technological development is incredibly high, and where the machines often seem to dominate their creators, humans. To begin the essay we should first give the definition for what the science fiction is. So, the Wikipedia says that: â€Å"Science fiction is a form of speculative fiction principally dealing with the impact of imagined science and technology upon society and persons as individuals.† Scientists have long been arguing about the reasons that make science fiction so popular among the readers. The realm, depicted in science fiction novels isn’t magical or fairy, like the fantasy world is. On the contrary, it’s often more cruel and merciless than our reality is. One of the main hypothesis is that people like to drift into the worlds of robots, intelligent machines and spaceships because there the easy ways to solving the emerging problems exist. In most of those books there is little attention paid to the human to human relations. On the contrary, the problems that are dealt in science fiction novels are rather more global than the relations between the individuals. The authors of this kind of books prefer to write about the rise and fall of the empires, about the giant wars, won or lost with the help of the mind, intrigues and power. For lots of people in our Western, highly individualistic world, reading science fiction books is one of the few ways to forget about the necessity to maintain and keep social relations with others. Nowadays, when the society allows us, its members, to open and develop our individuality freely, communication between the individuals becomes more and more complicated, as people, given the opportunity to develop the way they want, find more differences between each other, so that they have less in common with each passing year. This fact, combined with the absence of the defined standards of communication that existed in traditional societies, make communication a tough task for the contemporary people. It’s well known, that women adapt easier and faster than the man do, thus they experience less difficulties in adjusting to this new way of communication. On the contrary, men are those who sometimes experience severe troubles when some advanced form of social interaction is required. Thus, man read science fiction in order to transfer themselves in the world where mind and power decide a lot, and emotions are usually seen as something lateral and even useless. This hypothesis is confirmed by the fact that males comprise the main auditory for the books, shows and films in this genre. In order to better understand what is science fiction about, and why is it preferred by man, we’ll research the inner genres science fiction has in it. Kay Fowler offers his classification for the genres of science fiction which is: World at Risk SF and Apocalyptic Science Fiction Political/Massive War/Doomsday Weapons Disaster Alien Invasion/Conquest of Earth Plague/Disease/Epidemic Agricultural/Ecological/Population Disasters Far Future or Ancient History-Future History . Utopias/Dystopias/and in-between Utopia near utopias; ambiguous utopias, heterotopias Dystopias Alternate Earth/Alternate History (What If?) Time Travel, Time Paradoxes, Time Patrolling, Time Wars, Alternate Time Lines Religion/Theology/Anti-religion and Science Fiction Space Opera Robots, Androids, Cyborgs, Clones and Cyberbunk/Virtual Reality, Genetic Engineering, and Nanotechnology. World Building/Terraforming/Scientific and Social Inventiveness ESP/Telepathy/Psi Powers Underwater living/ocean worlds Human Colonization/Conquest of Other Worlds Feminist Science Fiction/Alternate Sexualities/Gender Benders SF with a theme of deafness or a focus on non-oral communication (Kay Fowler, Themes/Genres in Science Fiction: An idiosyncratic and woefully incomplete list) As you can note from the list above, science fiction is mostly the literature of action, the field of action for the active people, warriors, politicians and scientists, where there is little place for emotions and emotional life. Contemporary critics say that science fiction is one of the genres whose main characteristic is reflecting and reproducing masculinity, creating the specific, sometimes even perverted image of it in the minds of those who fancy this kind of literature. Of course, some researchers of the SF literature consider that: â€Å"science fiction †¦ seem(s) also to promise more freedom than do non-genre literature to imagine alternatives to the privileged assumptions of heterosexuality and masculinity that suffuse our culture », as it is noted in The Queer Encyclopedia of the Visual Arts.   But, in the reality, the authors of the SF books put â€Å"the male as the central role and in a position of power†, as it is noted in the article Science fiction’s use of Utopian and Dystopian visions of the future in relation to challenging boundaries of gender and / or sexuality. Today, when the amount of novels, stories and tales written in this genre is enormous, science fiction authors will do anything to attract the reader’s attention to their novel. Some years ago, when the SF began its rapid development, it was new and original to make the protagonist of the story female. Unfortunately, for most of the SF writers it meant only the change of setting or decorations, not touching the key points of their writings. To attract the readers’ (and, as we can recall, those are mostly males) attention they   provide their main protagonist with huge eyes and breasts, enormously long legs and a tempting smile, but inside their â€Å"heroines† are as masculine as any male monster slayer with the huge gun is. Thus, changing the decorations for their stories, the authors evade the convictions in gender discrimination, in the same time attracting new waves of male readers who are longing to read about the long-legged half-naked amazons fighting with the evil. Thus, the heroes of science fiction novels are mostly males to the marrow of their bones, and it doesn’t depend of their physical sex. Science fiction literature usually describes conflict situations, like war, ethical, racial or cultural conflicts. The protagonists of the science fiction stories are always the people of action; those who possess notable decision-making skills, and are able to actualize their choices immediately. If we analyze current researches in the field of gender psychology, a conclusion can be deduced that those qualities characterize mostly males, while women are considered to be more of the facilitators, peace makers. Stereotypical women behavior is characterized by irrationality, which’s doesn’t belong to the features that characterize this genre. A considerable part of science fiction novels and stories are characterized by the external conflict between the protagonists of the story. Of course the existing external conflict in science fiction, like in some of the other genres, is often the reflection of the internal protagonist’s conflict, but in most science fiction stories this internal clash is moved on the background of the story. Most SF stories are written for the man to allow them to drift into the world, where power and mind is the key to solving all of the existing problems. The external conflict in the story is usually characterized by the considerable amount of power the opposing characters possess, for whether it is physical or mental. Power is the key to becoming a winner in the clash, which’s the only goal the masculine protagonists usually have in mind. Another gaze into the gender psychology study book provides us with the information that the necessity to prove one’s superiority by becoming a winner in some conflict is also mainly male characteristic. Science fiction novels are usually the stories describing concrete situations, where the plot develops, and one event causes another. To cut the long story short, SF books are usually based on logical interpretation of the events. The causal consecutive ties there are usually very strong, thus there are usually little unfinished plot lines and the events that do not have any substantional meaning to the development of the plot of the story. All the technologies used in the story are scientifically validated, the principles of their operation are usually explained or understandable to the readers, in contradiction to the principles that stipulate the usage of magic in fantasy books.   One of the reasons for which less women read science fiction than man do, is the lack of the elements of decoration that make the book â€Å"alive† in women’s opinion. In the feminine literature the event that is described or the person that appeared may be introduced only in order to help the reader to feel the atmosphere of the setting described by the author. Only few of the science fiction novels hold such seemingly useless elements in them, while in all of the others â€Å"every gun that’s hanging on the wall is going to fire†, and every person appearing, and every action been committed are the basis for some further development of the plot, as Justine Larbalestier proves in his research book The Battle of the Sexes in Science Fiction. Science fiction novels’ protagonists are also often characterized by their orientation on victory. It’s a usual pattern of action for the SF heroes to fight the things they don’t like or don’t understand. They rarely seek for the round-abouts for reaching their goals, preferring the straight and habitual way of defeating and destroying the things that prevent them from getting the needed things. Such a way of solving the problems is also mostly male characteristic. For women the strategy would rather be to understand the enemy, to find the reasons for which he’s opposing and try to get rid of them, preferably uniting their forces with the past rivals. Women tend to understand and not to fight, as destroying diverges with the basic female ideals, while creation is their field.   But, as we can note, there are fewer science fiction novels that tell about the cooperation between the aliens and people, than of those, that describe the wars between the different races. In addition, most of the novels that actually describe that cooperation show it is based on the military, political or economic needs only. Actually, the situation with the aliens’ psycho type for lots of SF writers is the same as it is with gender appurtenant of the protagonists. The description of the aliens’ phenotype is called to create the impression in the consumer’s mind that humans in the story are contacting with the creatures totally different from them, but if the reader looks closer he begins to feel himself pigeoned, as there are the same humans under the scary carnival masks. Unfortunately, only a small amount of the writers puts an effort to design the psycho type different from the humans’ one.   Of course, most of them don’t even need it, as it’s not necessary and is even harmful to research the enemy’s psychology thoroughly, as it may summon sympathy or, which’s even worse, the desire to find the reasons for the antagonist’s inappropriate behavior. Psychologists prove this is typically masculine approach to problem-solving. That’s why only a few books describe cultural cooperation between the people and aliens. Human to human cooperation has been thoroughly researched and described, so it’s ineffective to create the â€Å"human in masks† type of aliens, while creating and designing the psychology of the race much different from humans requires lots of time and effort. Science fiction got its name because of the numerous elements of scientific research and the results of progress that characterize the books written in this genre. Science is the world of rationality, of the casual-consecutive bonds, where all the events have their reasons, and provoke certain consequences, the world where the miracle is unlikely, because it deprives that world of the reality it possesses. Introducing miracle in SF novel is the same as bringing the atomic bomb into the world of the faeries and dragons. If it is done without the proper skills only the excellent writers possess, those new elements ruin the authenticity of the imaginary world, making it look like a child’s picture with the broken proportions. SF world is primordially opposite to the woman’ irrational view of the surrounding world, the place where the content is valued and the form is neglected. Most of the science fiction worlds demand their protagonist to belong to one of the two categories, either the warrior or the scientist, in order to survive in the surrounding society. Of course there are woman whose nature is of one of this two types, but for most of the females those roles are unfamiliar and unwanted. It sometimes happens in the SF that the woman have to play those roles despite of their desires or longings in order to survive, but most writers prefer to describe the beings that feel themselves comfortable in those two roles, as only than their heroes are capable of actualizing their hidden potential and revealing some of the inner qualities.   Thus they prefer to write about males, who are naturally designed to play those roles. It is also important for the science fiction protagonist to be centered on the goals put before him by the gods, doom or just the consequences, and the science fiction writers know that man are much more suitable for this role than woman are. Realistic heroine will be distracted dozens of times a day from her high mission by the cute kitty mioving, new wrinkle appeared or the handsome man walking nearby. It is also worthy of mentioning that science fiction literature rarely describes the societies where the human’s individuality is valued. For most of the heroes their surroundings are not valued for their personal qualities, but for the things they can do, thus the notion of personality is often replaced by the notion of function in the mind of the protagonist of the SF novel. This also belongs to the typical masculine qualities, described by the gender psychologists. Te contemporary world becomes more and more feminine with each passing year, and the science fiction is often used to , distract the males’ attention from this fact. Using the example of Terminator 2, Amanda Fernbach in her article The Fetishization of Masculinity in Science Fiction: The Cyborg and the Console Cowboy says that: â€Å"Ordinary masculinity lacks, and the technological Terminator represents a fetishized, idealized masculinity that is a desirable alternative. In Terminator 2, the Terminator represents an idealized phallic masculinity heavily dependent upon technofetishes to ward off the anxieties of the male spectator faced with the prospect of a future vision of castrated masculinity. Although he learns to make jokes, the Terminator admits he could never cry. He becomes more human in every way except those that display weakness or vulnerability.† Thus we can make a conclusion that science fiction is a genre designed specially for man in order to solve some of their psychological problems and satisfy some of their needs. SF is designed for man and about them, at least most of the examples are. References Fernbach, A   2000, The Fetishization of Masculinity in Science Fiction: The Cyborg and the Console Cowboy. Science Fiction Studies, Volume 27, Part 2 Fowler. K 1999, Themes/Genres in Science Fiction:   An idiosyncratic and woefully incomplete list. Ramaro College of New-Jersey. Viewed 11 May, 2005.   http://orion.ramapo.edu/~kfowler/sfthemes.html Larbalestier, J 2002, The Battle of the Sexes in Science Fiction. Wesleyan University Press Science fiction. Wikipedia Online Encyclopedia. Viewed 11 May, 2005  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  < http://en.wikipedia.org/wiki/Science_fiction> Science fiction’s use of Utopian and Dystopian visions of the future in relation to challenging boundaries of gender and / or sexuality. 2002,   Viewed 11 May, 2005 http://www.corneredangel.com/amwess/papers/sf_gits_esca.doc. Summers. C (ed) 2004, The Queer Encyclopedia of the Visual Arts. Cleis Press.