In Print
2022. "Recognizing Science Fiction." Language and Semiotic Studies
8 (3): 106–129.
2016. "The Free Slave Paradox." Semiotica (210): 57–74.
2015. "The Veneration of Violation in Sherlock." In Gender and the Modern Sherlock Holmes, edited by Nadine Farghaly, 208–222. Jefferson, NC: McFarland.
2013. "Decriminalising the Lawless Moor." In Monstrous Spaces: The Other Frontier, edited by Niculae Gheran and Ken Monteith, 11–19. Witney, England: Inter-Disciplinary Press.
Special Issue Editor
2015. "Special Issue on Cognition and
Neuroethics in Science Fiction." Journal of Cognition and Neuroethics 3
(3).
As a cultural theorist, I examine the interplay of structure and meaning in narratives so as to uncover systemic models and rationally interrogate both their coherence and ramifications. In projects ranging from inspecting the foundations of genres to uncovering cognitive frames in scholarship, I aim to unveil the work of cultural production. Rather than focus on revealing the concealed, I obliquely approach texts to trace the foundations, mechanisms, and complications of concealing structures. As this approach tends to stir interdisciplinary arguments, it fits well within conventional, critical outlets. Owing to a diverse education in literary theory, philosophy, semantics, and semiotics, my research projects are situated in multiple discourse communities, and I am confident that this is the key to generating solutions. Above all, my research rests on a commitment to advancing conversations. My research interests respectively align with my past, present, and future across the following themes.
Structuralism, Semantics, and Semiotics
My structural work leverages semantics and semiotics as technologies for revealing cultural models
in narratives, for verifying whether such models logically and coherently work, and for exploring
whether they can operate with reasonable alternative variables, thereby discovering how they can be
repaired. I have two publications stemming from this approach. One is a book chapter examining the
ways in which the male characters in the BBC series Sherlock interact with women in their
adventures, the ultimate result of which questions the very hero worship the series cultivates. The
other is an article that processes the expression “runaway slave” through several semiotic models to
expose its incoherence and then explores the ways in which it is paradoxically understood, even so,
as functions of racist cognitive frames issuing from white investments in the language.
Deleuzoguattarian Theory and Science Fiction
My dissertation three-dimensionally reconstructs Hjelmslev's glossematic matrix (composed of the
following quadrants: content-form, content-substance, expression-form, and expression-substance) in
conjunction with Deleuze and Guattari's theoretical concepts in order to reveal the purport of
science fiction (SF). I create this theoretical apparatus in the introduction. The following four
chapters then examine the content-form, expression-form, content-substance, and expression-substance
of SF through a Deleuzoguattarian lens. First, I question how we recognize SF if it has both no
essential details and an evolving identity. The chapter shows how recognition outweighs contingent
features, thereby revealing socio-cognitive frames that buttress such recognition, and ultimately
proposes a cognitive model for recognizing SF. Second, I advance an argument for a new generic
paradigm for SF, whereby a narrative without chapters as a generic abstract machine can be deployed
to differentiate all narratives, without defining them, while still allowing genres to define
themselves, which refines the theoretical framework currently buttressing SF theory. Third, I
examine Clarke's The City and the Stars (1956) to advance our understanding of anoedipal
bodies in the text and the fascist machines that give rise to them, which calls into question the
continental death of the author who must make choices in an oedipalized world while creating one.
Fourth, I explore the deployment, seizure, reclamation, and loss of power as functions of
destruction across several SF texts while advancing and interrogating the implications through
theory, the ultimate result of which shows that SF is becoming destructive. Finally, the conclusion
synthesizes the content and expression forms and substances from the previous four chapters to show
SF to be a socio-cognitive capacity to recognize prototypes through generic gravity for a future of
unavoidably oedipal technological enclosures where society has moved beyond a state of control to a
crisis of destruction. My dissertation disrupts the dominant contemporary conception of SF as having
an identity, or being, by committing it to the ontology of becoming. Such a re-conception frees SF
from retrospective determinations. Essentially, this project enters the critical conversation on SF
by proposing, first, to sidestep the need for generic determinations and, second, to accept it as an
evolutionary process entangling cognition, parameters, creation, and trends. I am now submitting
these chapters as articles.
The Neuroethics of Science Fiction
Constant exposure to the work of neuroethical decisions in popular narratives has been culturally
productive, insofar as it has largely contributed to the creation of a complicated US-American
neuroculture, which at once venerates and rejects both normalizing and atypical ideas of the brain.
How do we make sense of the reasonable and irrational views we have about the brain and the ethical
decisions we make based on them? From neuromanipulation and eugenics and to hope and horror, both
modern and futuristic narratives explore what it means to be human, and by and through the creation
and solution to neuroethical dilemmas foster a neuroculture. What is emerging? What does its
creation change? By entangling narratology, anthropology, English, ethics, and neuroscience, I aim
to investigate the neuroculture of narratives and explore particularly how its contours have been
shaped by science fiction. I am particularly interested in studying neuroethics issuing from 1990s
television series.
Concluding Remarks
Although my research interests are wide, my approach remains consistent: to reveal the work of
cultural production, to explore how it operates, and more importantly to examine how it can be
broken or repaired, as needed. Moreover, as someone specializing in the intersection of genre and
theory, my research both has a broad scope and great portability across national borders. This
international reach, coupled with an objective to foster transdisciplinary conversations, ensures
that my research will be noticed and contribute to the intellectual life of the department.
University Writing Program
University of Florida
zea.miller@ufl.edu
Journal of Writing and Artificial Intelligence
University of Florida
Journal of Cognition and Neuroethics
Center for Cognition and Neuroethics
University of Michigan-Flint
zeam@umich.edu