《SF杂志》是由早川书房于1959年创办的日本首本专业科幻杂志，至今已经累计发行760期以上，是科幻文学在日本落地生根和发展壮大的里程碑与见证者。本研究将范围限定在1960年代是因为，《SF杂志》及其主编福岛正实在该时段的冷战背景下，以其理念与实践引领日本第一世代作家将科幻文学视为反思全球危机、批判现代文明的关键方法，开创了现代科幻文学的新局面。目前，学界已经有一些研究，但相关研究还存在以下问题：对《SF杂志》的定位过于单一化，忽视了对其主编福岛正实的理念倡导及杂志影响的深入探讨；对1960年代第一代作家的作品研究还缺乏整体性视角的关注；缺乏宽广视野对该杂志与同时代文坛的互动及其促进科幻文学发展的考察。这导致1960年代在日本科幻文学发展中的重要意义尚未得到充分认识。

本研究以1960年代《SF杂志》为核心，通过深入探究与该时期全球变革紧密相关的宇宙、时间、灾难、视觉想象等关键议题，分以下五章探讨在冷战语境下日本现代科幻文学的多元创作实践。

第一章首先梳理以明治期为开端的日本科幻文学发展脉络，明确《SF杂志》在确立科幻文学这一新文类时所面临的双重课题：建立文类主体性和进行战争反思。在此基础上，聚焦主编福岛正实强调文学性与无国籍愿景的科幻理念，厘清《SF杂志》在1960年代的整体发展轨迹。本章不仅究明《SF杂志》的重要地位,也为后续章节的深入分析奠定基础。

第二章聚焦美苏太空竞赛背景下,《SF杂志》通过多样化的编辑实践，以超越冷战对立、实践人类命运共同体理想为核心追求，拓展了日本科幻文学的宇宙想象视野。日本现代科幻文学从空间想象与宇宙观出发，既响应《SF杂志》的导向，也对太空探索背后的文明危机进行了深刻反思。其中，光濑龙的长篇小说《百亿之昼、千亿之夜》建构了基于东方佛教无常观的宇宙想象，以后殖民和后人类视角，对西方中心的现代文明进行了深刻反思。

第三章以日本高速经济增长期的未来热潮为背景，探讨《SF杂志》通过专题与座谈会等形式，将时间悖论想象塑造为战后社会批判的有效工具。此期间的日本科幻以悖论想象解构现实、质疑战后追求未来的幻象本质。小松左京的《无尽长河的尽头》是该时期的标志性成果，通过探讨其与《SF杂志》的互动，及作品对历史与未来的辩证思考所体现的伦理责任，进一步明确了小松左京1960年代跨领域科幻实践和战后反思的内涵。

第四章聚焦冷战中随时可能爆发的“第三次世界大战”，重点考察《SF杂志》以特集形式将这一全球性议题纳入日本现代科幻文学对现实的讨论，表达对人类命运的关切。受此影响，该时期日本科幻以全球冲突与日本内战为想象主题，在反思全球危机的同时，展现了对日本战后现实的深刻认知。其中，筒井康隆的《东海道战争》以创新手法探究现实战争忧患，回应并启发了《SF杂志》的编辑实践，开拓了科幻想象的新方式，深化了日本现代科幻文学的潜力。

第五章以“空间”为核心概念，将《SF杂志》的封面设计作为研究对象。本章考察了《SF杂志》将视觉文本视为构建日本科幻文学主体性的关键路径，自觉突破美国杂志主导的视觉编码系统的实践过程。杂志通过融入超现实主义的表现风格与批判精神，意图以视觉想象激发读者与作家对历史与现实的反思，探索新现实与新文学主体的可能性。

通过对1960年代《SF杂志》的动态、多维度分析，本研究为重新审视该时期日本现代科幻文学发展与科幻史定位提供了新视角。《SF杂志》反思以美国科幻为中心的全球科幻文学格局，通过为日本科幻文学提供关键议题与批判空间，多样化地塑造了日本现代科幻文学的全球视野和文明批评姿态。与此同时，第一世代科幻作家立足现实议题，将科幻作为新的世界性文学语言，表达全球关切，重新界定了科幻想象力与现实的边界，其创作实践展现了科幻文学介入政治文化的可能性，开拓了科幻书写的新格局。这些特质构成了日本现代科幻文学的独特面貌。

SF Magazine, Japan's first professional science fiction magazine, was founded by Hayakawa Shobo in 1959. It has published over 760 issues to date and has been a milestone and witness to the establishment and development of science fiction literature in Japan. This study focuses on the 1960s because, under the Cold War context of that period, SF Magazine and its editor-in-chief Fukushima Masami led the first generation of Japanese science fiction writers to view science fiction as a crucial method for reflecting on global crises and criticizing modern civilization, pioneering a new era of modern science fiction literature. Although there have been some studies in academia, the existing research still has the following problems: the positioning of SF Magazine is too simplistic, neglecting the in-depth exploration of the advocacy of its editor-in-chief Fukushima Masami's ideas and the magazine's influence; the research on the works of the first-generation writers in the 1960s still lacks a holistic perspective; there is a lack of a broad vision to examine the interaction between the magazine and the literary world of the same era and its promotion of the development of science fiction literature. As a result, the significant role of the 1960s in the development of Japanese science fiction literature has not yet been fully recognized.

This study focuses on SF Magazine in the 1960s and explores the diverse creative practices of Japanese modern science fiction literature in the context of the Cold War by delving into key issues closely related to global changes of the period, such as space, time, disasters, and visual imagination. The study is divided into the following five chapters:

Chapter one begins by tracing the development of Japanese science fiction literature from the Meiji period, clarifying the dual tasks faced by SF Magazine in establishing science fiction as a new literary genre: establishing the genre's subjectivity and reflecting on the war. On this basis, the chapter focuses on the science fiction philosophy of editor-in-chief Fukushima Masami, which emphasizes literariness and a stateless vision, and elucidates the overall development trajectory of SF Magazine in the 1960s. This chapter not only investigates the important position of SF Magazine but also lays the foundation for in-depth analysis in subsequent chapters.

Chapter two focuses on the context of the US-Soviet space race, where SF Magazine, through diverse editorial practices, sought to transcend Cold War confrontations and realize the ideal of a community with a shared future for mankind as its core pursuit, expanding the cosmic imagination of Japanese science fiction literature. Starting from spatial imagination and cosmological perspectives, Japanese modern science fiction literature not only responded to the guidance of SF Magazine but also profoundly reflected on the civilization crisis behind space exploration. Among them, Mitsuse Ryu's novel Ten Billion Days and One Hundred Billion Nights constructs a cosmic imagination based on the Eastern Buddhist concept of impermanence, deeply reflecting on Western-centered modern civilization from post-colonial and post-human perspectives.

Chapter three, set against the backdrop of the future boom during Japan's high-speed economic growth period, explores how SF Magazine, through features and symposiums, shaped time paradox imagination as an effective tool for post-war social criticism. During this period, Japanese science fiction used paradox imagination to deconstruct reality and question the illusory nature of post-war pursuits of the future. Komatsu Sakyo's Hateshinaki nagare no hate ni is an iconic work of this period. By examining its interaction with SF Magazine and the ethical responsibility reflected in the work's dialectical thinking on history and the future, this chapter further clarifies the connotations of Komatsu Sakyo's cross-disciplinary science fiction practice and post-war reflection in the 1960s.

Chapter four focuses on the "Third World War" that could break out at any time during the Cold War. It examines how the SF Magazine, through special issues, incorporated this global topic into the discussion of reality in Japanese modern science fiction literature, expressing concerns about the fate of humanity. Influenced by this, Japanese science fiction of this period took global conflicts and Japanese civil wars as the main themes of imagination, reflecting on the global crisis while showing a profound understanding of Japan's post-war reality. Among them, Tsutsui Yasutaka's The Tōkaidō War explored the anxiety of real-world wars with innovative techniques, responding to and inspiring the editorial practices of the SF Magazine, pioneering new ways of science fiction imagination, and deepening the potential of Japanese modern science fiction literature.

Chapter five, with "space" as the core concept, takes the cover design of the SF Magazine as the research object. This chapter examines the SF Magazine's practice of consciously breaking through the visual coding system dominated by American magazines, regarding visual texts as a key path to constructing the subjectivity of Japanese science fiction literature. By incorporating the expressive styles and critical spirit of surrealism, the magazine intended to use visual imagination to stimulate readers and writers to reflect on history and reality, exploring the possibilities of new realities and new literary subjects.

Through a dynamic and multidimensional analysis of the SF Magazine in the 1960s, this study provides a new perspective for re-examining the development and historical positioning of Japanese modern science fiction literature during this period. The SF Magazine reflected on the science fiction literary landscape centered on American science fiction, providing Japanese science fiction literature with key issues and critical space, diversely shaping the global perspective and civilizational criticism of Japanese modern science fiction literature. At the same time, the first generation of science fiction writers, based on real-world issues, used science fiction as a new global literary language to express global concerns, redefining the boundaries between science fiction imagination and reality. Their creative practices demonstrated the possibility of science fiction literature intervening in politics and culture, opening up a new pattern of science fiction writing. These characteristics constitute the unique features of Japanese modern science fiction literature.