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Literary arts
[edit]Literature can be defined in various ways. It can be defined broadly: literature encompasses everything written down or printed.[1] It can be defined narrowly, as only written masterworks.[1] Literary critic Jonathan Cullen writes that it can even be defined unhelpfully: it is whatever a given society calls literature.[2] The classification of literature is contested, but generally includes fiction and excludes non-fiction.[3]
Prose
[edit]Poetry
[edit]Charles Mills Gayley and Theodore Watts-Dunton describe poetry as rhythmic, emotive language; Samuel Taylor Coleridge develops this as emotive language producing pleasure by way of aesthetic beauty.[4]
Drama
[edit]The term has generally come to identify a collection of writings, which in Western culture are mainly prose (both fiction and non-fiction), drama, and poetry. In much, if not all, of the world, artistic linguistic expression can be oral as well and include such genres as epic, legend, myth, ballad, other forms of oral poetry, and folktales. Comics, the combination of drawings or other visual arts with narrating literature, are called the "ninth art" () in Francophone scholarship.
Context and interpretation
[edit]Political and economic
[edit]Neuromancer, its sequels and other cyberpunk stories can be contextually located within the socieconomic context of the 1980s, a period of economic restucturing,[5][6] corporate globalization,[7] and government deregulation.[8][9] In the 1990s, a particularly influential view was that the novel reflected the "dilemmas of post-Fordist work and life",[10][11] with Gibson reflecting or recreating the societal change brought on by the economic and industrial changes of the 1970s and 1980s.[10][12] Cyberspace's reliance on the circulation of data can be understood as a metaphor for the global circulation of financial capital,[7][13] and its addictiveness parodies the culture of workaholism among Silicon Valley developers.[10] His protagonists have been identified as resembling contract workers,[6] with Case dependent on diazepam to cope with the barrage of "relentless and fragmented data [and] get through the workday".[14] The novel's characters represent the professional–managerial class and the novel was popular with the demographic.[15][16]
While the novel represents anxiety about societal change, it is not generally viewed as being about resisting it. Gibson's protagonists do not threaten the social order of his worlds.[17] Corporations view the novel's freelance criminal protagonists as another tool at their disposal.[10] Gibson's inexperience as an author led to the novel capturing the essence of 1980s inequality but reinforcing and appealing to the dominant power structure,[11] leaving his "dead-cynicism [and] fashionable survival".[11]
Zion
[edit]Reception and analysis of the in-orbit Rastafarian cluster, Zion, varies considerable. Subject to clichés about Rastafarianism, their distinct vocabulary is markedly different than the jargon associated with other characters. They are the only characters to perform visible labor, and the group originated, in the narrative, within a labor protest movement.[18] Their society could provide an alternative to social structure of corporate hegemony, but ultimately form "another node in the capitalist network".[19][9] Samuel R. Delany, an African Americans writer, criticized their portrayal—highlighting their "shrunken hearts" and brittle bones.[20][a] Tom Moylan notes that Neuromancer loses its "critical edge" in exploring Zion's within the primary narrative,[17] describing a pattern in Gibson's Sprawl trilogy of including the racial Other but limiting their role to "happy helper".[12]
"Gibson's depiction of the powerful Tessier-Ashpool familial corporation [is] an example of solipsistic corporate wealth that is all-too-familiar in today's climate where the barest sliver of a percentage of the population owns a disproportionately large share of global capital and resources and, in turn, directs that wealth towards space tourism" (Murphy, 2024, p8); it is not an alternative system but 'a micro-enterprise' of it. Dery notes that 'their music can be wholly analyzed and reproduced' [by a corporation analogue] (Dery, 'Black to the Future: Interviews with Samuel Delany, Greg Tate and Tricia Rose' in Flame Wars: The Discourse of Cyberculture (1994) p. 194-195)
Technological
[edit]Gibson's generation was the first to write science fiction at a time when the genre's concepts were becoming part of daily life.[21][22] Gibson recognised, and benefitted from, the growing public fascination with the evolving technology landscape,[23] and used these concerns to "create an entire cultural vocabulary",[22] merging the language of human experience with the electronic.[24][b]
The cyborg represents the increasing reliance on technology, like contact lenses and the Sony Walkman, which touched skin Gibson's technology touches skin,[25]
Trust is a purchased commodity (Murphy, 2024 p6)
"Gibson's depiction of the powerful Tessier-Ashpool familial corporation [is] an example of solipsistic corporate wealth that is all-too-familiar in today's climate where the barest sliver of a percentage of the population owns a disproportionately large share of global capital and resources and, in turn, directs that wealth towards space tourism" (Murphy, 2024, p8); it is not an alternative system but 'a micro-enterprise' of it. Dery notes that 'their music can be wholly analyzed and reproduced' [by a corporation analogue] (Dery, 'Black to the Future: Interviews with Samuel Delany, Greg Tate and Tricia Rose' in Flame Wars: The Discourse of Cyberculture (1994) p. 194-195)
Zion 'appears to operate as a locus for hope because communal kinship is a different method of social organisation' (Moylan, Global, p88) but they are ultimately 'another node in the capitalist network' (Murphy, 2024, p. 74);
- Globalism
- Capitalism
Feminism
[edit]We may take this "boundless urbanism" to register both a geo
graphical and a metaphorical metropolitan incontinence.The former finds
its instantiation in the topography of Neuromancer, where Case's home
town, "the Boston-Atlanta Metropolitan Axis," is suitably indexed, for a
city overflowing the measure, by the sobriquet "the Sprawl" (57). The
sheer material expansiveness of the metropolis, which in Neuromancer
extends even into the extra-terrestrial orbit of Freeside, the space-sta
tion town that is "brothel and banking nexus, pleasure dome and free
port, border town and spa" (125), is matched in another sense by the
ubiquity of urban experience. It is this that Jameson has in mind when he
remarks upon the complementary "disappearance of Natu
- ^ a b "Accept Terms and Conditions on JSTOR". www.jstor.org. Retrieved 2025-02-04.
- ^ Culler, Jonathan (2007). "Commentary: What Is Literature Now?". New Literary History. 38 (1): 229–237. ISSN 0028-6087.
- ^ Frye, Northrop (1950). "The Four Forms of Prose Fiction". The Hudson Review. 2 (4): 582–583. doi:10.2307/3847713. ISSN 0018-702X.
- ^ Lotspeich, C. M. (1922). "Poetry, Prose, and Rhythm". PMLA. 37 (2): 293–294.
- ^ Rosenthal 1991, p. 90-91.
- ^ a b Rieder 2020, p. 338.
- ^ a b O'Connell 2020, p. 287-286.
- ^ Moylan 2010, p. 82-83.
- ^ a b Moylan 2010, p. 89.
- ^ a b c d Rosenthal 1991, p. 99.
- ^ a b c Moylan 2010, p. 94.
- ^ a b Moylan 2010, p. 93-94.
- ^ Bould 2010, p. 120.
- ^ Rosenthal 1991, p. 90.
- ^ Murphy 2024, p. 103.
- ^ Strombeck, 2010 & p-278-279.
- ^ a b Moylan 2010, p. 92-93.
- ^ Strombeck 2010, p. 280.
- ^ Murphy 2024, p. 73-74.
- ^ a b Murphy 2024, p. 74-75.
- ^ McCaffery1991, p. 12.
- ^ a b Cavallaro 2000, p. 18.
- ^ Omry & XXXX, p. 69.
- ^ a b Csiscery-Ronay, Jr. 1991, p. 190.
- ^ Sterling 1986, p. 8.
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