Can you please explain and summarize the following text? If the whole above argumentation is found acceptable, it will be possible to supplement it also by a survey of forms and subgenres. Along with some which recur in an updated form—such as the utopia and fabulous voyage—the anticipation, the superman story, the artificial intelligence story (robots, androids, and so on), time travel, catastrophe, the meeting with aliens, and others, would have to be analyzed. The various forms and subgenres of SF could then be checked for their relationships to other literary genres, to each other, and to various sciences. For example, the utopias are—whatever else they may be—clearly sociological fictions of social-science-fiction, whereas modern SF is analogous to modern polycentric cosmology, uniting time and space in Einsteinium worlds with different but covariant dimensions and time scales. Significant modern SF, with deeper and more lasting sources of enjoyment, also presupposes more complex and wider cognitions: it discusses primarily the political, psychological, and anthropological use and effect of knowledge, of philosophy of science, and the becoming of failure of new realities as a result of it. The consistency of extrapolation, precision of analogy, and width of reference in such a cognitive discussion turn into aesthetic factors. (That is why the "scientific novel" discussed in 2.3 is not deemed completely satisfactory—it is aesthetically poor because it is scientifically meager.) Once the elastic criteria of literary structuring have been met, a cognitive—in most cases strictly scientific—element becomes a measure of aesthetic quality, of the specific pleasure to be sought in SF. In other words, the cognitive nucleus of the plot codetermines the fictional estrangement itself.

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In this section of his essay on the poetics of science fiction, Darko Suvin argues that science fiction be considered a legitimate literary genre. The quoted text above provides us directions we may go when studying science fiction if, in fact, it is truly a literary genre. He first explains several recurring themes across science fiction works that constitute science fiction subgenres. He claims that each of these subgenres should be explored for their own merits as well as how they relate to other genres of literature, society in general, and developing scientific theories. Suvin then provides us an example of how we might approach the science fiction utopia subgenre: the science fiction utopia is also a special form of a sociological utopian novel (Gulliver's Travels, for instance), but with greater attention to scientific endeavors and theories. He also suggests that one of the features of contemporary science fiction literature is that it is highly cerebral, taking the notion of social commentary from other genres of literature and making readers think specifically about the ways that scientific knowledge might affect society as a whole. He finishes by arguing that as we begin to consider science fiction its own literary genre, the ways that scientific ideas work their ways into writing might be considered a form of art ("an aesthetic quality") that readers might use to judge the merit and enjoyment of science fiction novels.

The final line refers to "fictional estrangement," or the idea that we can imagine a world differently (Renault, 1980). The cognitive nucleus of the plot in science fiction—that is, its "thinking" nature—forces us to think about scientific possibilities and new directions within the world.

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