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1、Science fiction remains an alien dimension of the history of science. Historical and literary studies of science have become increasingly attentive to various ―literary technologies‖ in scientific practice, the metaphorical features of scientific discourse, and the impact of popular science writing on the social development of scientific knowledge. But the function of science fiction and even literature as such in the history of scientific and technological innovation has often been obscured, misconstrued, or repudiated owing to conventional notions of authorship, influence, and the organic unity of texts. The better to address those close encounters where scientific practice makes use of speculative fiction, this essay proposes that we instead analyze such exchanges as processes of appropriation, remixing, and modification..

科幻小说在科学史上仍然保持着一个如外星人般的神秘面目。科学的历史和文学研究已经越来越多地细化到各种各样的研究当中——科学实践中的文学技术研究，科学话语的隐喻性特征的研究，热门的科普写作对社会发展的影响的研究。但是，由于受原创作者的传统观念，作品的影响力，以及原文的有机统一这三方面的影响，使得科幻小说，甚至是诸如此类的文学，在科学史上和科技创新上的作用经常性地被掩盖，被曲解，被批判。这篇文章给我们的建议是，不要去分析，交流的过程、观点的交叉以及意见的修改，会使得“科学实践利用推理小说”这一观点更加符合常理。

2、SCIENCE FICTION: the very concept appears as a monstrous violation of categories, an improper joining of radically different domains. Hugo Gernsback, the founding editor of Amazing Stories (the first magazine exclusively devoted to this strange literary genre), coined the term in 1929, as a more marketable successor to his earlier neologism“scientifiction.‖ Certainly, stories of this kind had existed long before Gernsback gave us the name. The roots of science fiction are at least as old as modern science itself, germinating in the utopian romances of the sixteenth and seventeenth centuries, with offshoots in the Gothic novels of the eighteenth century and onward, eventually flourish-ing in the scientific romances and voyages extraordinaires of the nineteenth century. But the sense of science fiction as a recognizable genre, a ready-made cultural form, is largely an invention of the last century. Indeed, science fiction is often said to be the most characteristic literary mode of late modernity, the defining genre of our age. 1 Yet even as.

“科幻小说”这个概念最初的出现是极其荒谬和不合理的——它根本就是作为不同领域穿插上来的东西。惊奇故事的奠基人和编辑者雨果.根斯巴克，他首发的唯一一本杂志就是贡献给了这种陌生的文学体裁。他在1929年创造了“科幻小说”这个术语，由于这种文学体裁的作品有很大的市场潜力，所以在早期他就已成为了这种文学体裁的继承人。当然，这类型的故事早在雨果.根斯巴克赋予给他们一个专业术语（即科幻小说）的时候就已存在了。如，萌芽于16，17世纪的乌托邦式爱情，成为18世纪及在此之前的哥特式小说的分支，以及最终带来的19世纪的科学浪漫小说和杰出的航行旅行的鼎盛时期等。因此，科幻小说的起源，至少跟现代科学的起源一样，拥有同样长的历史。作为一种极易辨认的科幻小说风格，它是一种陈旧的文化形式，是上世纪的一个主要发明。事实上，科幻小说经常被认为是现代晚期最具特色的文学模式——即我们这个时代最典

型的文学体裁。

* Department of English and Program in Science and Technology Studies, University of California, Davis, California 95616.

1 For examples see Fredric Jameson, Archaeologies of the Future: The Desire Called Utopia and Other

Science Fictions (New York: Verso, 2005); Carl Freedman, Science Fiction and Critical Theory (Hanover, N.H.:

Univ. Press New England for Wesleyan Univ. Press, 2000); David G. Hartwell, ed., The Science Fiction Century

(New York: Tor, 1997); and Istvan Csicsery-Ronay, Jr., The Seven Beauties of Science Fiction (Middletown,

Conn.: Wesleyan Univ. Press, 2008).

Isis, 2010, 101:560–569

©2010 by The History of Science Society. All rights reserved.

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3、it has become ever more familiar and commonplace, this mash-up of the word ―science‖with the word ―fiction‖ still seems to insist on a certain internal incoherence, as if the tiny t ypographic space inside the label of ―science fiction‖ were to signify a vast chasm, a void between alien worlds. And this, of course, is precisely the problem. Among aficionados, the idea that science fiction influences science as much as science influences science fiction is now something of a cliche ´. 2 Legendary examples of science fiction shaping the history of science have entered the communal lore of fandom: Leo Szilard theorizing nuclear chain reactions—and their social implications—after reading H. G. Wells’s depiction of atomic bombs in The World Set Free (1914); Wernher von Braun pursuing a career in rocketry because of his early interest in Jules Verne; Gerald Feinberg analyzing the quantum field properties of tachyons as an answer to James Blis h’s faster-than-light communicator in ―Bleep‖ (1954); and so forth. We often hear about the“predictions‖ of science fiction that eventually came to pass; and, to be sure, a favorite proverb of popular science reportage goes: ―Yesterday it was science ficti on; today it is science fact.‖ If this form of folk wisdom puts fiction writers in the untenable position of prophets and clairvoyants, it likewise renders the task of professional science as the fulfillment of literary dreams, diligently turning fantasies into realities. Neither seems very adequate as a springboard for historiography.

科幻小说如今已是一种为人所熟知的平凡体裁，“科幻”与“小说”这两个词的融合在外界看来在某种程度上仍是一种自相矛盾的结合，这两个词就像是科幻小说在微小排版空间里面的标签，意味着一个重大的分歧和一个外星世界的空间。而这个，恰恰就是问题所在。对于“科幻小说对科学的影响就像科学对科幻小说的影响一样重大”的这样一个概念，在那些科幻小说迷看来就是一种陈词滥调。在阅读了赫伯特.乔治.威尔斯对原子弹在世界爆发的描写和利奥齐拉的理论上的核连锁反应及其所带来的社会暗示后，这两部在塑造科学史的科幻小说传奇代表作现在已经为影迷所熟知。由于幼年时期就对儒勒凡尔纳很感兴趣，所以韦纳冯布劳恩将对火箭的研究作为终身的事业最求。1954年，范伯格对超光速粒子的量子场特性的分析很好地回答了詹姆斯研发的超光速沟通“Bleep”这个聊天软件的原理，以及