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  • Cited by 4
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    This (lowercase (translateProductType product.productType)) has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Raine, Susan 2015. Astounding history: L. Ron Hubbard's Scientology space opera. Religion, Vol. 45, Issue. 1, p. 66.

    Tranter, Kieran 2011. The Speculative Jurisdiction. Griffith Law Review, Vol. 20, Issue. 4, p. 817.

    Labuschagne, Dalene 2011. Deconstructing Utopia in Science Fiction: Irony and the Resituation of the Subject in Iain M. Banks'sThe Player of Games. Journal of Literary Studies, Vol. 27, Issue. 2, p. 58.

    Jakovljevic, Branislav 2010. Wooster Baroque. TDR/The Drama Review, Vol. 54, Issue. 3, p. 87.

  • Print publication year: 2003
  • Online publication date: May 2006

14 - Space opera

from Part 3 - Sub-genres and themes

Space opera is the most common, and least respected, form of science fiction. Its popularity in magazines of the 1920s and 1930s helped establish science fiction as a genre, and it continues to find appreciative readers, even while scorned by learned commentators. To many, space opera is synonymous with sf, and to this day, average citizens asked to define sf might respond, 'You know, the Star Trek, Star Wars stuff', which is to say, space opera. Still, although chastised for lacking merit and damaging the reputation of sf, space opera has endured, evolved and grown, so that sophisticated writers and scholars increasingly look to the form with bemused affection, or even genuine admiration.

Despite signs of changing attitudes, space opera has garnered little critical attention; only a few scholars have attempted anything resembling a rigorous definition. Necessarily, anyone discussing the nature, parameters and history of space opera at length breaks new ground.

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The Cambridge Companion to Science Fiction
  • Online ISBN: 9780511998805
  • Book DOI:
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