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Revision as of 07:38, 25 June 2024 by 92.19.73.187(talk)(→Timeline of works: Not having Brin's uplift novels (cited in opening para as one of the major works of the genre and the popularizer of the term) in the timeline was a bizarre omission.)
In science fiction, uplift is a developmental process to transform a certain species of animals into more intelligent beings by other, already-intelligent beings. This is usually accomplished by cultural, technological, or evolutional interventions like genetic engineering. The earliest appearance of the concept is in H. G. Wells's 1896 novel The Island of Doctor Moreau.[1] The term was popularized by David Brin in his Uplift series in the 1980s.[2]
History of the concept
The concept can be traced to H. G. Wells's novel The Island of Doctor Moreau (1896),[3] in which the titular scientist transforms animals into horrifying parodies of humans through surgery and psychological torment. The resulting animal-people obsessively recite the Law, a series of prohibitions against reversion to animal behaviors, with the haunting refrain of "Are we not men?" Wells's novel reflects Victorian concerns about vivisection and of the power of unrestrained scientific experimentation to do terrible harm.
Other early literary examples can be found in the following works:
Mikhail Bulgakov's Heart of a Dog (1921) tells the story of a stray dog, who is found by a surgeon, and undergoes extensive brain surgery for experimental purposes to create a New Soviet man.
In Cordwainer Smith's Instrumentality of Mankind series "underpeople" are created from animals through unexplained technological means explicitly to be servants of humanity, and were often treated as less than slaves by the society that used them, until the laws were reformed in the story "The Ballad of Lost C'Mell" (1962). Smith's characterizations of underpeople are frequently quite sympathetic, and one of his most memorable characters is C'Mell, the cat-woman who appears in "The Ballad of Lost C'Mell" and in Norstrilia (1975).
David Brin has stated that his Uplift Universe was written at least in part in response to the common assumption in earlier science fiction such as Smith's work and Planet of the Apes that uplifted animals would, or even should, be treated as possessions rather than people.[4] As a result, a significant part of the conflict in the series revolves around the differing policies of Galactics and humans toward their client races. Galactic races traditionally hold their uplifted "clients" in a hundred-millennium-long indenture, during which the "patrons" have extensive rights and claims over clients' lives and labor power. In contrast, humans have given their uplifted dolphins and chimpanzees near-equal civil rights, with a few legal and economic disabilities related to their unfinished state. A key scene in Startide Rising is a discussion between a self-aware computer (the Niss) and a leading human (Gillian) about how the events during their venture (and hence the novel's plot) relate to the morality of the Galactics' system of uplift.
The concept can be traced to H. G. Wells's novel The Island of Doctor Moreau (1896),[3] in which the eponymous scientist transforms animals into horrifying parodies of humans through surgery and psychological torment. The resulting animal-people obsessively recite the Law, a series of prohibitions against reversion to animal behaviors, with the haunting refrain of "Are we not men?" Wells's novel reflects Victorian concerns about vivisection and of the power of unrestrained scientific experimentation to do terrible harm.
The 1963 science fiction novel by French author Pierre Boulle was adapted into the 1968 film Planet of the Apes, launching the Planet of the Apes media franchise.[5] The series also explores the opposite of uplift, the reduction of the human species to a regressed, atavistic, savage-like animal state.
2001: A Space Odyssey implies at least cultural uplift if not outright biological uplift of humanity by the monoliths. The novel's sequels imply that life forms indigenous to Europa are later uplifted by the same alien technological artifacts.[6]
Starting with Sundiver in 1980, Brin's six novels (and several short stories) making up the Uplift War and Uplift Storm pair of trilogies describe a universe dominated by a society built around a process of uplift, where full sentience is deemed virtually impossible without the intervention of another species through uplift.
Uplift is a major theme. Some cards have "UPLIFT" highlighted in the title and can help score points and achieve goals. Designer Tom Lehmann attributes the inspiration for uplift to David Brin's Uplift series.[7]
Pilkington, Ace G. (2017). "Uplift". Science Fiction and Futurism: Their Terms and Ideas. Critical Explorations in Science Fiction and Fantasy. Vol. 58. McFarland. pp. 145–149. ISBN978-0-7864-9856-7.
