The discursive aspect of fiction is primarily associated with the means of its realization and perception.
The main question is what conditions and assumptions are necessary for the existence of fiction as purely fantastical, not accepted as a brazen lie, that is, or an attempt to mislead or a story about reality.
After all, fiction is also expressed with initially limited means (ordinary language minimally modified, or built up); the fact that these means are certainly excessive (realities, concepts, constructs, concepts); on the one hand, fiction works are unlike purely formal search experiments of avant-garde and modernism, and on the other hand, from the popular science literature, support the delicate balance of subtle contrasts of the usual and unusual, explicable and wonderful, traditional and new, natural and artificial
For example, the metaphorical transfer is often used inversely, if the standard step is to compare technical progress with natural or magical, the device of reverse provides a unique effect.
Thus fiction forms, constantly reproduces and maintains a special horizon of expectation in the space of the absence of the true/false opposition, in other words, creates new evidence with the help of the self-extracting code and its reader, who has a taste for such a recoding and other similar intellectual procedures.
The subject-indicating focus of language means is transformed by the means of fiction discourse in the functioning process into subject-projecting, the goal of which is to reveal the unprecedented.
Thus, science fiction acts as discursively embodied means of literature and/or visual arts (painting, drawing, sculpture, movie) as something given, represented, described, but nonexistent, but real and materialized at the same time unlike, abstract art for instance.
The peculiarity of the fictional in this sense is mostly defined by separation from the rest and self-restraint, by the act of mental balancing in testing the different types of discourse.
The most widely open and extremely pointed (though, again, not to a radical break) fiction discourse becomes the generative source for filling the gaps in lacunae, detected in the accepted discourse or the worldview.
Fiction is attractive due to its invincible variety; it opens new conceptual space and carries away to an amazing, wonderful, mysterious, unknown, unusual, supernatural and going beyond the limits.
Like a mental experiment in physics (Maxwell's demon, Schr;dinger's cat, Einsteins elevator) fantasy provokes construction of unexpected concepts in other sciences, including a collection of imaginary constructs that have numerous applications the imaginary logic of Vasilyev, the unspeakable communities and imaginary social institutions.
But this goes far beyond science, of course, Tolkien's epic "The Lord of the Rings" for example, could easily be interpreted as a full-fledged version of a modern esoteric doctrine.
At the attempts to locate science fiction into a tight conceptual grid it often happens that all the definitions fade and moreover blur the stereotypical schemes of perception and thought.
Science fiction fans are well aware of the harm which "science-fiction mass consumption products" do to this genre.
Heroes there are substituted with schemes (even super-schemes), supermen with crystal-clear and empty soul.
With stagy ease these "heroes" use their abilities in time and space, unlimited even by common sense.
Cinematography did not go far beyond from the publishers in this sense, making new "supermen" and new "star massacres" rich with dynamics which are made at a really fantastic technical level.
Therefore, the appearance of such work as a novel by Andrey Demidov "The Natotevaal Recruits" should become a significant, and even iconic event not only in the paradigm of fiction, but of the literary process in general.
Why are we talking about literature in general in this case?
Because literature is always a non-fictional (and sometimes distorted) reflection of the present.
But can we say that works of fiction genre reflect the future?
No, we cannot.
The present is refracted and repeated in a special form in them.
The future is just a prism through which science fiction writer considers his time, his contemporaries. However, this prism still allows the readers to see features of future in the present.
That is why we can confidently say that fiction helps a person in a world, that is changing with tremendous speed, especially nowadays, when the rate of change has dramatically increased, and all these changes can be both beneficial as well as threatening to the mankind.
Fiction, that describes possible changes, prepares a person for a real change and helps either to adjust to it or to change oneself.
But are these changes of human nature really needed and are they possible?
We live in a world, predicted by science fiction writers decades ago.
Andrey Demidovs protagonists live in a world, the suppositions of which we are making today, the premises of which we can see even now.