Science Fiction: The Hyperaware Enunciator and the Concept of Journey from the Point of View of Referencing Processes

Science fiction is a literary genre that has spread around the world due, among other reasons, to its popularity; narratives contain exotic characters and fantastic intrigue. It is considered by the circle of scholars and critics, however, a “minor” literature; for discourse linguists, its aesthetic attributes remain in the background. The theory of points of view (POV), for example, can contribute to a better assessment of the genre. This article aims to study this literary genre via enunciation. First, we talk about studies in narratology to delimit the place of science fiction (or sf) in the universe of narratives. Secondly, we talk about concepts and notations from POV theory within narratological studies to trigger a dialogical analysis of literary discourse. Thirdly, we analyze a fragment from Dune, by Frank Herbert, in its version into Brazilian Portuguese (2017). Finally, we propose that “superpowers” held by characters in this genre can be explained linguistically.

KEYWORDS:
Science fiction; Narrative; Point of view; Superpowers

Point of View (POV)	Expression of subjectivity in enunciative instances through what is said (locution) and unsaid (modulization).
L1 (narrator)	The capital letter “L,” followed by the digit “1,” refers to the speaker-narrator, that corresponds to the first speaker. Recognized as the dialogic manager of enunciators’ POVs. They operate the perspective center for the modal subject (imputation).
E1 (narrator’s center of vision and focus)	The capital letter “E,” followed by the digit “1,” refers to the First Enunciator, which corresponds to the perspective center whose expression is the POV (expression of the subjectivity of L1).
L1/E1, l2/e2, l3/e3 etc.	The oblique bar “/” symbolizes syncretism (coincidence or synchrony) between L1 and E1, that is, L1/E1. It will also serve to represent consonance between l2/e2, l3/e3 etc.
L2 l3 etc. (second, third speakers etc.)	The lowercase “l,” followed by variable digits (l2, l3 etc.) symbolizes the different speakers as distinct from the first. They are vocalized by dicendi verbs or by polyphonic signs (dashes, quotation marks etc.).
E2 e3 etc. (second, third enunciators etc.)	The lowercase “E” followed by variable digits (e2, e3 etc.) symbolizes the enunciators. They are perspective centers par excellence. As they are not expressed in a spoken way (locution verbs), they can manifest themselves in an unspoken way through modalizers (such as discursive adverbs).
Enunciative Responsibility (RE)	· Whoever says they are responsible for what they say. There are two RE: a full RE and a limited ER. Full RE concerns the assumption of propositional content, which is present in the statement, by L1/E1. They accept the entirety of that content at their own risk. It is spoken. It is the commitment the First Speaker has with what they are saying (e.g., I say X). Limited RE occurs by the phenomenon of imputation (assigning a POV to an I2/E2) from L1/E1. Because it is an imputation from L1/E1, it is said by a second speaker and will be an RE, albeit limited (eg: He says X).
Imputation	Imputation is the displacement - or sliding - of the perspective center from one enunciative instance to another;
quasi-RE	Quasi-RE is a responsibility that is almost enunciative; because there is no locutionary verb (or any polyphonic sign that defines it) the enunciator can be held responsible not for what they say, but for what they think, feel, or see (sensory perceptions).

	Hypothesis 1 RE belongs to L1 Narrator	Hypothesis 2 RE belongs to e2 (Hawat)	Hypothesis 3 RE belongs to e3 Paul.
POV for slipped and softly.	RE is L1’s, that is, it is a POV of the scene narrator, by mere description of the action and of the way Thufir walks.	Quasi-RE is e2’s, that is, a Thufir POV is shown by adverbial modalizers (in Portuguese), equivalent to slipped and softly.	Quasi-RE is e3’s due to the character’s trait, and the adverbial modalizers (in Portuguese), equivalent to slipped and softly.

Modalized heterodiegetic situation	Dialogue situation between Paul and Thufir
Thufir Hawat slipped into the training room of Castle Caladan, closed the door softly.	“I heard you coming down the hall,” Paul said. “And I heard you open the door.” “The sounds I make could be imitated.” “I’d know the difference.”

Adverbs of mode found in the Portuguese version: softly and gently.	Referring sensory verbs: heard and would know.

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Excerpt 1	Thufir Hawat slipped into the training room of Castle Caladan, closed the door softly. He stood there a moment, feeling old and tired and storm-leathered. His left leg ached where it had been slashed once in the service of the Old Duke. Three generations of them now, he thought.
Excerpt 2	He stared across the big room bright with the light of noon pouring through the skylights, saw the boy seated with back to the door, intent on papers and charts spread across an ell table. How many times must I tell that lad never to settle himself with his back to a door? Hawat cleared his throat.
Excerpt 3	“I heard you coming down the hall,” Paul said. “And I heard you open the door.” “The sounds I make could be imitated.” “I’d know the difference.” He might at that, Hawat thought.