Team, the theme or driving principle of this section of class has been Marx’s analysis of how society works: how work, money, and various ideologies such as religion or culture all interact to create life as we know it.
For this week’s blog, take any of the stories from this section of class (the “Material World: Work, Culture, and Meaning” section) and look at it in terms of Marx’s ideas. Remember that the goal in using secondary sources like Marx is ultimately to explain either the text or one of its ideas; how does Marx either explain the world of the text or explain what the text is talking about? What can Marx teach us about this story?
In the story "Dead Space for the Unexpected", written by Geoff Ryman, the work force is dominated by machines that evaluate the worker's every action and situation response. The workers no longer find pride or accomplishment in the work they do if the score they get is not perfect. Success depends not on the actual creation or output, but on a machines evaluation of it. Marx would explain this new way of living as society conforming to a lifestyle dominated by machines. After years and years with technology, the top class would have made certain that technological advancements in every aspect of life would be attractive to all levels of society. Also, this would allow the ruling class to monitor everyone below them in the working class; those results have to be going somewhere, right? Therefore, the working class is working harder, always trying to improve their results, and never opposes advancements in society.
Personally, I agree with a lot of Marx's theories. The dominating class always tries to win the masses over, or to favor the top's way at least. When one looks through the different phases of history and the different ruling bodies, for example, Roman times or Medieval times, I think it makes these theories especially evident.
Friday, March 30, 2012
Friday, March 23, 2012
Novum
Often when someone in class asks, "Why is this story SF?" the answer we give him/her is the "novum" of the story: the extrapolatory technical device, concept, process, location, etc. that the story's author has invented for this story. It's the "new thing" that characterizes so many SF stories and makes them seem futuristic and cool. It's a concept coined by SF writer/critic Darko Suvin.
For your blog, consider the concept of the novum. While many readers enjoy it purely for the shiny novelty value of a new thing, how can we as literary scholars discuss the novum in terms of the work we do? Why is it a valuable device? Why does SF use it?
Think about the elements that make up the meaning in a story:
- characters
- plot
- conflict
- language/style
- the reader
- genre expectations specific to SF
How does the novum create, enact, enhance, or enable any of those elements of the story? Why does SF use/need the novum? Use specific examples from our stories where applicable.
One of our assigned class readings this week was "Baby, You Were Great!" by Kate Wilhelm. In this short story the novum is a device that John Lewisohn created. It is a helmet that the user wears, with eight connection spots to the skull, and it allows the user to feel everything the other person (the one they are viewing) is feeling. In the case of "Baby, You Were Great!", it's pornographic and sexual stimulation. I think the novum is a valuable device in SF, because it places a totally out there device, thing, person, etc. into the lives of the characters and causes the reader to incorporate life with that novum into their imagination. In other words, it causes the reader to think more outside of the box. Literary scholars can discuss the novum in terms of their work because, especially in SF, the novum is often what the story is all about. While every story has a plot, often including love triangles, missions, and always something blocking those objectives, the novum is often the means the main plot or goal is attained through. SF needs a novum not only because it distinguishes a work as SF, but also to cause the main conflict. In "Baby, You Were Great!" the "emotion" machine ended up being John's only connection to Anne, Anne's inescapable nightmare, and Herb's moneymaking machine! All three of which caused the main characters conflicts with each other.
Personally, I like the literary device of the novum because it's usually awesome! In the stories we've read so far, while I wouldn't want the feeling device from "Baby, You Were Great!" or the machine that evaluates your performance from "Dead Space for the Unexpected" in my life, they are still incredibly interesting and cause me to think about what my future would be like with technology that advanced and incorporated into daily life. Already technology has taken over larger chunks of our lives than ever before. It can be scary at times.
:D
One of our assigned class readings this week was "Baby, You Were Great!" by Kate Wilhelm. In this short story the novum is a device that John Lewisohn created. It is a helmet that the user wears, with eight connection spots to the skull, and it allows the user to feel everything the other person (the one they are viewing) is feeling. In the case of "Baby, You Were Great!", it's pornographic and sexual stimulation. I think the novum is a valuable device in SF, because it places a totally out there device, thing, person, etc. into the lives of the characters and causes the reader to incorporate life with that novum into their imagination. In other words, it causes the reader to think more outside of the box. Literary scholars can discuss the novum in terms of their work because, especially in SF, the novum is often what the story is all about. While every story has a plot, often including love triangles, missions, and always something blocking those objectives, the novum is often the means the main plot or goal is attained through. SF needs a novum not only because it distinguishes a work as SF, but also to cause the main conflict. In "Baby, You Were Great!" the "emotion" machine ended up being John's only connection to Anne, Anne's inescapable nightmare, and Herb's moneymaking machine! All three of which caused the main characters conflicts with each other.
Personally, I like the literary device of the novum because it's usually awesome! In the stories we've read so far, while I wouldn't want the feeling device from "Baby, You Were Great!" or the machine that evaluates your performance from "Dead Space for the Unexpected" in my life, they are still incredibly interesting and cause me to think about what my future would be like with technology that advanced and incorporated into daily life. Already technology has taken over larger chunks of our lives than ever before. It can be scary at times.
:D
Friday, March 16, 2012
Close Focus Reading!
For my close focus reading, I want to use the following lines from "Liar" by Isaac Azimov.
The psychologist paused in thought then looked up suddenly. "A girl visited him here at the plant half a year ago. She was pretty, I suppose -- blond and slim. And, of course, could scarcely add two and two. He spent all day puffing out his chest, trying to explain how a robot was put together." The hardness had returned, "Not that she understood! Who was she?" Herbie answered without hesitation, I know the person you are referring to. She is his first cousin, and there is no romantic interest there, I assure you."
Susan Calvin rose to her feet with a vivacity almost girlish. "Now isn't that strange? That's exactly what I used to pretend to myself sometimes, though I never really thought so. Then it all must be true."
She ran to Herbie and seized his cold, heavy hand in both hers. "Thank you, Herbie." Her voice was an urgent, husky whisper. "Don't tell anyone about this. Let it be our secret -- and thank you again." With that, and a convulsive squeeze of Herbie's unresponsive metal fingers, she left.
Herbie turned slowly to his neglected novel, but there was no one to read his thoughts.
This scene in "Liar" is the scene where all of Susan Calvin's wildest hopes are confirmed: Milton Ashe loves her. Not only is she still learning about Herbie's "capabilities" but she receives just the information that will propel her into action towards the man she wants.
The opening line states her to be a psychologist, rather than just calling her Dr. Calvin, drawing attention to her occupation of studying behavior. Dr. Calvin was very involved emotionally in this scene, she paused in thought, contemplating the words she heard before this scene that grant her heart's desire. Her looking up "suddenly" puts a picture in the reader's mind of her snapping back into reality with excitement and waiting for the next answer. She notes that the girl was touring the plant half a year ago, pointing out that she kept track of the time that had passed, showing she really cares. When Calvin mentions she was pretty "I suppose" she is clearly very bitter and jealous towards this women. She points out the only flaws in the women she can compensate for, brains. Her jealousy even causes her to criticize Ashe, saying he was "puffing out his chest". Calvin once again bursts out, not at all hiding her frustration, saying "Not that she understood! Who was she?". Herbie was reluctant to solve her problems, or anyone's for that matter. He answered without hesitation, which shows just what kind of robot he was, he wanted to tell Calvin everything that would make her happy. Herbie is very specific and reassuring, he states "I assure you". Susan can no longer contain her excitement at this point in the scene and completely allows her thoughts and emotions unravel. The following lines of,
"Now isn't that strange? That's exactly what I used to pretend to myself sometimes, though I never really thought so. Then it all must be true."She ran to Herbie and seized his cold, heavy hand in both hers. "Thank you, Herbie.", really work to intensify the conflict of the story. If Calvin was not so excited and involved here, there would be no way for her to be let down and crushed so harshly in the end of the story. Next Calvin swears him to secrecy, which only she follows through with in the end of the story by destroying Herbie to keep her secrets safe. The last scene really invokes a sadness in the reader, making them feel bad for Herbie. He was no one. Especially the italics in his thoughts. It just makes the reader think "Aw Herbie needs help too!"
The psychologist paused in thought then looked up suddenly. "A girl visited him here at the plant half a year ago. She was pretty, I suppose -- blond and slim. And, of course, could scarcely add two and two. He spent all day puffing out his chest, trying to explain how a robot was put together." The hardness had returned, "Not that she understood! Who was she?" Herbie answered without hesitation, I know the person you are referring to. She is his first cousin, and there is no romantic interest there, I assure you."
Susan Calvin rose to her feet with a vivacity almost girlish. "Now isn't that strange? That's exactly what I used to pretend to myself sometimes, though I never really thought so. Then it all must be true."
She ran to Herbie and seized his cold, heavy hand in both hers. "Thank you, Herbie." Her voice was an urgent, husky whisper. "Don't tell anyone about this. Let it be our secret -- and thank you again." With that, and a convulsive squeeze of Herbie's unresponsive metal fingers, she left.
Herbie turned slowly to his neglected novel, but there was no one to read his thoughts.
This scene in "Liar" is the scene where all of Susan Calvin's wildest hopes are confirmed: Milton Ashe loves her. Not only is she still learning about Herbie's "capabilities" but she receives just the information that will propel her into action towards the man she wants.
The opening line states her to be a psychologist, rather than just calling her Dr. Calvin, drawing attention to her occupation of studying behavior. Dr. Calvin was very involved emotionally in this scene, she paused in thought, contemplating the words she heard before this scene that grant her heart's desire. Her looking up "suddenly" puts a picture in the reader's mind of her snapping back into reality with excitement and waiting for the next answer. She notes that the girl was touring the plant half a year ago, pointing out that she kept track of the time that had passed, showing she really cares. When Calvin mentions she was pretty "I suppose" she is clearly very bitter and jealous towards this women. She points out the only flaws in the women she can compensate for, brains. Her jealousy even causes her to criticize Ashe, saying he was "puffing out his chest". Calvin once again bursts out, not at all hiding her frustration, saying "Not that she understood! Who was she?". Herbie was reluctant to solve her problems, or anyone's for that matter. He answered without hesitation, which shows just what kind of robot he was, he wanted to tell Calvin everything that would make her happy. Herbie is very specific and reassuring, he states "I assure you". Susan can no longer contain her excitement at this point in the scene and completely allows her thoughts and emotions unravel. The following lines of,
"Now isn't that strange? That's exactly what I used to pretend to myself sometimes, though I never really thought so. Then it all must be true."She ran to Herbie and seized his cold, heavy hand in both hers. "Thank you, Herbie.", really work to intensify the conflict of the story. If Calvin was not so excited and involved here, there would be no way for her to be let down and crushed so harshly in the end of the story. Next Calvin swears him to secrecy, which only she follows through with in the end of the story by destroying Herbie to keep her secrets safe. The last scene really invokes a sadness in the reader, making them feel bad for Herbie. He was no one. Especially the italics in his thoughts. It just makes the reader think "Aw Herbie needs help too!"
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