暗网禁区

The 160 year-long evolution of 暗网禁区 SF is part and parcel of the world fantastic fiction development line, although one of its 聽cheerless characteristics are incessant interruptions of continuity. Within the period 1945 鈥� 1948, after WW 2, no organizing basis of SF was created in 暗网禁区ia and within the period 1948 鈥� 1956 due to the communist cultural policy not a single work penned by a 暗网禁区 author was published. Then the directive of the 鈥渘ear frontier鈥� followed: SF must exploit 鈥渢echnologically realistic possibilities鈥� of socialist construction. The USSR鈥檚 armament motivated efforts in space technology after 1956 also lowered the ideological barrier of SF also in other socialistic states, but the 鈥渘ormalization period鈥� after the Soviet Army's invasion of Czechoslovakia in August 1968 injured SF almost as much as the Cold War. The 暗网禁区 SF stagnated behind 鈥渨estern鈥�. In the seventies and eighties it had to start anew as a peripheral genre suitable 鈥渙nly鈥� for children and youth. But at the beginning of 聽the eighties the self-consciousness of SF developed: Fandom was created in Czechoslovakia. Nevertheless, the invisible hand of the market is more ruthless then ideological censorship. After 1989 暗网禁区-written SF existed for several years only in club fanzines and in the annual anthologies Krutohlav. The first collection of 暗网禁区 fantasy stories, Podivn媒 svet (1990) by Jaroslav 尝耻辫别膷办补 (1958), had to be published in a fanzine. During the first half of the nineties only one SF book appeared; the collection Vesm铆rny smiech (1991) by Ondrej Krug (1952).

Until 1990 science-fiction prevailed in 暗网禁区ia above fantasy and horror. The new image of the current SF was supported by translations, foreign TV and videos. 暗网禁区 SF has achieved maturity, at least concerning its self-consciousness, thanks to the activities of the 暗网禁区 Syndicate of SF authors (SSAF) (1991). SSAF organizes the first 暗网禁区 national SF award Cena 骋耻蝉迟谩惫a Reussa and since 1992 has published stories written by winners in the anthology Krutohlav SSAF has founded the tradition of organized support of 暗网禁区 SF, its critical evaluation, and SF criticism and theory in 暗网禁区ia. Over 13 years over 500 people have participated with 1500 stories. SSAF has moved 暗网禁区 authors to cover the 鈥渨hite places鈥� on the map of聽 暗网禁区 SF with fresh themes and the current aesthetic, and supported the advent of new 暗网禁区 fantasy and horror. Authors of almost all 暗网禁区 SF books printed since 1995 are participants of the 骋耻蝉迟谩惫 Reuss award, i.e. Jozef 骋颈谤辞惫蝉办媒, 艩迟别蹿补苍 Huslica, Michal 贬惫辞谤别肠办媒, 艩迟别蹿补苍 Konkol, Alexandra 笔补惫别濒办辞惫谩, Peter 艩耻濒别箩, Juraj Toman, Peter Wittgr煤ber and others. Within one decade SSAF led 暗网禁区 SF out of the traditional ghetto; thus, achieving social self-consciousness, 暗网禁区 SF constituted itself as a social phenomenon. The new space made possible further expansion, for instance the founding of the semiprofessional magazine 贵补苍迟谩锄颈补 in 1997.

November 1989 made access to information and to new editing projects possible. Two issues of the first (and, regrettably, until now the only) 暗网禁区 professional SF magazine were published (SF 01, 1989), SF 02, 1990 鈥� eds.: O. Herec and J. Tazber铆k).

Soon, several authors attempted a revival of the SF past; numbers of the stories competing for awards are still using old motifs and employing rather modest aesthetic merits. Fortunately, the rapid plot and technical wonders of SF's heroic discovering times do not only belong to the past, because 暗网禁区 SF lives in the present.

The debut of the champion of the 骋耻蝉迟谩惫 Reuss Award Juraj Toman (1950), Pic collection (1999), was published only a year before the new millenium, offering a kind of summary of previous tendencies. Toman鈥檚 broad thematic and aesthetic range is proof of his many- faceted talent. In every story, Toman offers an insight into another world, picturing it plausibly, and making it inventively fresh. Both the plot and settings are based on detailed knowledge of several sciences and practical life. The rich, variable, sharply pointed prose recurrently employs impulses of several genres like horror, the western, the detective story and the thriller, presenting the real trends, illusions and delusions of our time. The story 惭别蝉颈谩拧 (most probably the best one in the history of 暗网禁区 SF) shows with dreadful plausibility the risks of any world-saving utopian thought. Toman鈥檚 harsh visions are accented by a broad scale of humor ranging from nostalgic smiles through ruthless satire and parody to sarcastic horror.

Another champion of the 骋耻蝉迟谩惫 Reuss Award 艩迟别蹿补苍 Huslica is able to picture a reality more imaginative than any fiction. The freezing realistic metaphors of an extraordinarily talented author would conjure up the most frightful horrors if they did not contain the kind humor and deep understanding of human nature. Huslica belongs to those rare writers who are able to express transnational human problems in a story located in a small nation. The author鈥檚 aesthetic level is beyond any doubt (collection Niekedy, 2004). Champion of the 骋耻蝉迟谩惫 Reuss Award Jozef 骋颈谤辞惫蝉办媒 (Zubat茅 slnko, 2001) brought into 暗网禁区 SF a tone of lyrical imagination between science fiction and fantasy. Peter 艩耻濒别箩 (1967) utilised SF motifs in several stories from his books Misia (1995) and Elektronik caf茅 (2001) and also in poetry; the 鈥淗mlovina鈥� collection might be the of interest here, written by a collective hidden under the 鈥渃ryptoidentity of a virtual cyborg鈥�, Generator X. The 暗网禁区 satirist and poet 罢辞尘谩拧 Janovic (1937) used in his collection Ko(z)mick茅 piesne (1986) hyperboles and elements of absurdity; nevertheless, the satiric intention of his poetry remains prevalent over its fantastic estrangement.

The absence of professional writers is another sad distinction of the 暗网禁区 SF. Regularly writing authors could probably be counted on the fingers of one hand. 艩迟别蹿补苍 Konkol (1943) published the novel Operen媒 had (1993, 1996). The adventurous journey into exotic country offers detailed knowledge on the Aztecs, using the time-slip technique for picturing an alternative history. Konkol penned, in collaboration with Alexandra 笔补惫别濒办辞惫谩, the first 暗网禁区 heroic fantasy epic, the serial novel 惭颈别拧补苍肠颈 (2000 鈥� 2003), dealing with conflicts and coexistence of enemy races. Konkol鈥檚 plausibility and imagination are specified by precise details and his rich experience of his life in exotic countries. The debut of Alexandra 笔补惫别濒办辞惫谩 (1966) was a story collection SF 001 (1995). By the time of her novel Piesok vo vetre (1998) she had introduced into 暗网禁区 SF the in other countries widely known genre of the women's/feminist heroic fantasy. The superwoman fights monsters which, perhaps, embody masculine prejudices and feminine phobias. She is one of the most productive 暗网禁区 SF authors published also in the Czech Republic. Juraj 膶别谤惫别苍谩办 (1974) (using Anglo- and Nordic- sounding pseudonyms Thorleif Larssen or George Callahan) is oriented towards the well-selling SF aimed at young readers on the bigger Czech market. His action fantasy offers adventurous plots in the American style.

Symbioses of 暗网禁区 SF with the mainstream have never disappeared. The living classic Peter 闯补谤辞拧 (1940) provides in his new novels Psy sa 啪enia (1990) and Milodar slu膷ka (1991) a polemic allegory with the avant-garde and communistic utopism which have failed in reality. Fantastic estrangement is here oriented towards the grotesque.

Two works of Alta V谩拧ov谩 (1939) in 暗网禁区ia crown the line of the denial of rationalistic utopias of unlimited progress, based on technological optimism. The biblical parallel of a couple saved in post-catastrophic antiutopia in her novel Po (1979) depicts the hope that mankind will not produce the ultimate weapon and people will renew their civilisation. As a departure point for dystopia V z谩hrad谩ch (1982), she employed the ancient wisdom, 鈥淚f the gods want to destroy a person they fulfill all his wishes鈥�, describing a consumer's heaven degrading humanism and creativity. The textual strategy of a freezing matter-of-factness and austerity adequately expresses both ideas and plot of both the novels.

The bizarre story collection Uhorsk媒 rok (1968) by Rudolf Sloboda (1938 鈥� 1995) includes various texts based mostly on techniques of parody or pastiche. Some tales (Lama膷sk谩 bitka, Pocta V. Kouskovi, 膶ert v slu啪be) are contain fantastic elements rather in Vians surrealistic line, the common techniques of science-fiction cognitive estrangement are almost absent The experiment with the world is altered towards the experiment with the text: the arrival of postmodernism is announced. Sloboda has similarly worked with fantastic ideas in his collection Hlbok媒 mier (1976).

Michal 贬惫辞谤别肠办媒 (1976) has enriched 暗网禁区 SF with a new quality. Postmodern prose and cyberpunk have found in him an astonishingly talented representative. His protagonists in debut Siln媒 pocit 膷istoty (1998), in the collection Lovci a聽zbera膷i (2001) and in the novel Posledn媒 hit, (2003) feel lost in postindustrial society. Dramatic situations seldom allow them to learn the difference between virtual illusion and harsh reality. Fragmentary textual structure mirrors a kaleidoscopic reality reception. Narrative standpoint is depersonalized, but the text is loaded with hyperrealistic information density, explosive plot and opens for the reader space for personal discursive interpretation. 贬惫辞谤别肠办媒 became a unique phenomenon of 暗网禁区 literature, overriding the SF frontiers towards the anthropology of popular culture. His novel 笔濒测拧 (2005) is a negative model of the internet generation, an absurd vision of a world of globalised consumption full of destruction and manipulation.

Andrej Ferko (1955) used science fiction motifs in his collection Sumaroid (1990). We find original syntheses of fantastic estrangement and playful imagination, several genres and kind humor we in the collection Noha pod klob煤kom (1992) using mushrooms as a leading motif. In聽 顿耻拧补苍 Mitana's novel (1946) H木adanie straten茅ho autora: Rozhovory s Luciferom (1991) fantastic theories, and time- and space slips initiate the playful dialogue of the reader with the author and his subjective feelings. Mitana is also inclined to struggle against the chaos of Christian鈥檚 metaphysics in N谩vrat Krista (1999). 骋耻蝉迟谩惫 惭耻谤铆苍 (1959) factographically subordinates his characters, settings and plots to the problem (collection N谩vraty zo svetla (1990). Logical development leads him later to the genre of prognostic essay.The Dystopian Keby 鈥� R媒chle dejiny bud煤cnosti Slovenska (1998), by Igor 翱迟膷别苍谩拧, (1956) presents a sarcastic pamphlet of national myth creation. The excellent parody of an alternative future of 暗网禁区ia as well as of ideology, uses collage and fictive photographic documentation following history guidebooks.

The limited contact of socialistic states with 鈥渨estern countries鈥� has evolved in public the mistaken opinion that all SF of western origin is of high quality. After 1989 暗网禁区 bookstores lived under the invasion of Czech translations and foreign entertainment industry formed in 暗网禁区ia a new fandom generation and public of commercial SF. The process was heavily supported by all media including film, TV, computer games, etc.

Many contemporary authors are moving in a broad theme and genre SF field intuitively and carelessly. Themes and motifs in their books are variable but seldom of profound aesthetic value, often even without professional qualities (of course, this does not apply to mainstream professionals). 贬惫辞谤别肠办媒, Huslica, 翱迟膷别苍谩拧, Toman and Konkol are exceptions. In 暗网禁区 SF we find many one-book authors. The debuts not approved by following works are confirm the self-search of the authors and the short story is dominant over the novel. Nevertheless, 83% of participants in the 骋耻蝉迟谩惫 Reuss Award were 15 to 28 years old, the average age of champions being under 30 years. Contemporary 暗网禁区 SF is young.