ABSTRACT
Sf is gradually gaining acceptance as a significant arena of cultural mediation for the regime of globalizing hypermodernism. Throughout much of the twentieth century, Euro-American cultural elites considered the themes and icons that made up sf’s megatext (the large and mutable body of references that most sf artists and audiences consider to be the shared subcultural thesaurus of the genre) embodied in literary fiction, visual art, cinema, comics, music, and games, as the obsessions of a small technophilic subculture on the periphery of mainstream humanism.
