13401810
Description
Flashcards by Gracie Cavs, updated more than 1 year ago
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Created by Gracie Cavs
over 6 years ago
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| Question | Answer |
| narrative | a sequence of events real or imaginary that are arranged as a record or imitation of life |
| narrative perspective | the standpoint from which the story is told. The vantage from which we observe the plot. Two major kinds: first person perspective point of view, and third point omissive point of view, kind of a god's eye kind of view (this one has a power to be in many different perspectives |
| narrative style | these types of styles linked together to make you feel like you're in this type of genre |
| agonistic | conflictive |
| genre | defined by the different narrative conventions that characterize their organization. This includes elements of plot, characters (mysterious), style, etc |
| syntax | the arrangement of words and phrases to create well-formed sentences in a language. |
| diction | the choice and use of words and phrases in speech or writing |
| atmosphere | refers to the feeling, emotion, or mood a writer conveys to a reader through the description of setting and objects |
| setting | has temporal, geographic, and social subsections to where the events take place |
| antithesis | means opposite and is used as a literary device to put two contrasting ideas together |
| focus | how close we are to events in space and time, how things are being seen |
| character | PROTAGONIST = drives the story ANTAGONIST = opposes the protagonist FLAT = not too complex, just there to serve specific purposes to move the plot along ROUND = complex, know a lot, more emotion PLOT = the order in which the events of the story (which is in chronological order) are told to you, so its not necessarily in chronological order to create specific effects FRAME NARRATIVE = a story told within a story, it foregrounds the act of narration, to suggest that there is no single story CLOSE READING = being very closely engaged with the text, think about how the words relate to the characters, plot, setting |
| frankenstein's narrative style | gothic |
| gothic | They like to stand out and seem different than everyone else. The gothic world is the world of the dead, the living dead. The effect of gothic excess is transgression, it makes you think beyond normal limits of life. |
| frankenstein narrative perspective | frame narrative |
| monster | mix of heterogenous parts |
| abhorrent | something that repels you |
| promethean ambition | promotes the isolation of someone from nature and their community, like Victor in his dorm room |
| anthropomorphism | the tendency of humans to project onto other creatures the qualities of humans |
| robot | refers to our specific understanding of labor |
| RUR theme | materialism and humanism |
| materialism | a philosophical system that holds matter, the tangible and measurable aspects of reality, as the foundation for all knowledge |
| humanism | there are aspects of experience that are not reducible to recognized laws of cause and effect |
| practical knowledge | the instrumentalization of knowledge, to make a resource into something useful |
| science fiction | concerns the future of human kind, with a particular focus on the ways in which advances in scientific research and technology will shape the way in which we will live in the years to come. |
| cognition | allows us to see where we're going, to take what is overly familiar and make it strange. Elements that are recognizable in the present and you can recognize the future in the present |
| sci fi | is not an escapist genre, more a radically political genre, came out of the late 19th century. Usually in institutional settings. |
| robota | serve or servant |
| estrangement | once cognition happens, it becomes an exaggeration and shows things from the present day as a concern |
| epistemology | ways of knowing |
| progress | a model of history that is both linear and teleological. |
| progression | the theme, shape, and structure. Lowest to highest form of life. This could also be referencing evolution. |
| frankenstein myth | - Has a model of history that is agonistic - Agons were people in stage battles - Each person trying to gain dominance over the other - Victor against Creation, shows technology as a threat to human, something we must resist to retain humanity |
| human exceptionalism | says we were created different from everything else, and the rest of creation was GIVEN to humans. We have this special complex, that we are god's favorite. This is being undone by the creation of robots. |
| first law of robotics | Cannot harm humans or through inaction, allow a human to be harmed |
| 2nd law of robotics | A robot must obey orders given to it by humans except where this would interfere with the first rule |
| 3rd law of robotics | A robot must protect its own existence unless this conflicts with rule 1 and 2 |
| robot psychology | Combination of robotics and the world of humanist study |
| empathy | the ability to put yourself in another's shoes. You become as the other. You have experienced what this person is going through, you are feeling this feeling for them. |
| sympathy | a relation to the other, extending yourself to someone else, feels sorry for someone else |
| postmodernism | an epistemological stance, of incredulity, to be skeptical of something, unwilling to believe |
| android | an artificial form of life designed to mimic the physical features and behaviors of the human down to the smallest detail |
| the depth model of identity | the belief that identity has a deep inward reserve, divided from the surface world, there is something that makes us uniquely ourselves |
| 2 ways to think about post modernism | 1. Decline of the metanarrative 2. Question of the real itself |
| theme and structure of do androids dream | postmodernism |
| cyberspace | a consensual hallucination experienced daily by legitimate users, a graphical representation of data |
| leotard's METANARRATIVE | a theory that tries to give a totalizing, comprehensive account to various historical events, experiences, and social, cultural phenomena based upon the appeal to universal truth or universal values |
| incredulity | the state of being unwilling or unable to believe something |
| the coming singularity | by 2045 machines will be capable of everything humans are capable of, rational thought, pass the turing test, empathy, and now we are no longer able to comprehend it. They have gone beyond human life and are more powerful than all human life and understanding. |
| theme of Neuromancer | cyberpunk |
| cyberpunk | a subgenre of science fiction that first came to prominence in the early 1980s |
| origin of cyberpunk | Cyber (comes from cybernetics): navigates or controls a ship Punk (comes from punk rock which originated from UK): rebelling against middle class |
| cyborg | beings who's limbs organs and sensory faculties have been augmented by artificial means in hopes of enhancing. |
| Harroway's version of cyborg | the cyborg is more than just flesh with machine. At its heart it is the model of identity, the new way of thinking. A way to offer women a place inside the matrix instead of outside. It is a broken narrative, always connecting and disconnecting to others. It belongs to no one, not even itself. |
| artificial intelligence | A completely digital form of consciousness. One which is able to think and act according to its own needs. Conscious as itself, aware of what it means to be an AI. Capable of reflecting on its existence. Not part of the world as physical beings. A life form in and of itself, autonomous of human existence. |
| narrative perspective of cyberpunk | third person restricted to one person's point of view |
| what's William Gibson's style like | Hard edge, dispassion, lacking in sentiment, nothing is lamented, cool, detached, sardonic |
| who invented the two ai's and what are their names | Marie Tessier and Wintermute and Neuromancer |
| objective | tending to degrade, humiliate, or demoralize: the abjective influences of his early life |
| alterity | otherness |
| digital assistant | a form of artificial intelligence designed to assist humans with a range of information oriented daily tasks. NON anthropomorphic, does not resemble the human except for the voice |
| posthumanism | to imagine the contours of a world no longer organized around the flesh and blood human |
| 3 aspects of posthumanism | ECOCRITICISM = how we try to study human meshment in the natural world. New way of thinking about mortality. MORTON said this. ANIMALIST = Haraway made the companion species manifesto TRANSHUMANIST = the revival of aspiration for immortality |
| narrative perspective in HER | implied 3rd person omniscient point of view through Theodore |
| setting of HER | a world we recognize but slightly displaced about 10 minutes into the future |
| difference in birth scenes in Frankenstein and HER | Mary Shelley believed you are born as a blank slate. The monster was rejected, and Theodore is more curious about Samantha and she explains how she is designed. |
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