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Science Fiction

Science Fiction. & Snow Crash by Neal Stephenson. Science Fiction: A definition. May contain a futuristic setting Other/alien worlds Alien beings Space travel Substantial technological advancements utopian or dystopian elements

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Science Fiction

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  1. ScienceFiction & Snow Crash by Neal Stephenson

  2. Science Fiction: A definition May contain • a futuristic setting • Other/alien worlds • Alien beings • Space travel • Substantial technological advancements • utopian or dystopian elements • social commentary (*For example in 1968, “Plato’s Stepchildren” (Star Trek), featured the first interracial kiss—between Kirk and Uhura—on a U.S. television show.)

  3. Background/History • While older or ancient texts, such as the Book of Ezekiel, may be retroactively labeled science fiction, the term itself is most used in reference to works from modern times, works like those by H.G. Wells and Jules Verne. • The first sci-fi writers in America published in pulp magazines, such as Amazing Stories. The beginning of the twentieth century, primarily the 1920s, is called the Pulp Era. (*Pulp refers to the cheap paper these magazines were printed on.) • The Golden Age of science fiction occurred roughly in the 1930s and 1940s and includes writers like Asimov and Heinlein. This period is called the Golden Age because science fiction writers began to gain more respect and to write in a more sophisticated manner, including more literary elements in their narratives. The writers are still mainly confined to magazine publication.

  4. Background, cont. A very famous magazine that’s published science fiction since 1926.

  5. Background/History, cont. • After World War II, science fiction writers had seen what advancements in science could do (atomic bombings of Hiroshima and Nagasaki in 1945). There was a turn to soft science fiction. • During the 1960s and 1970s, science fiction was also influenced by rights movements and social activism. • During the 1960s and 1970s, there was also a conscious effort on the part of science fiction writers to make the genre respectable, “literary.” • In the 1980s, cyberpunk became popular.

  6. Hard and Soft Science Fiction • Hard science fiction- Hard sci-fi utilizes tangible scientific advancements, and these are the focus of or impetus for the plot. • Soft science fiction- Soft sci-fi focuses more on society’s response to scientific advancements. The term comes from its attention to soft sciences, such as anthropology (The Left Hand of Darkness by Ursula K. Le Guin). In soft sci-fi, there is more focus on characters, morals, and ethics. *Morals are individual beliefs about what is right and what is wrong. Ethics refers to beliefs about morals that come from an outside source.

  7. Science Fiction Sub-genres • Speculative- Speculative science fiction involves narratives that are set in a near-Earth future and that include plots that are possible based upon current scientific advancement. These narratives also focus on society as well as ethics and morals as opposed to “hard tech.” Robert Heinlein coined the term in 1947 in his article titled “On Writing Speculative Fiction.” *The term speculative is also often used as a catchall for any writing that utilizes an unreal world, but in the context of sci-fi (see the definition above). Also, some writers use the term speculative to distinguish more literary/serious science fiction from that, as they see it, intended for mass entertainment.

  8. Sub-genres, cont. • Cyberpunk- Cyberpunk is a sub-genre of science in which an Earth-like dystopian setting is used, in which computers dominate the world and its reality, in which a loner is the protagonist, and in which Noir elements are dominant. This genre is considered to have been first established in the 1980’s. Gibson’s Neuromancer and other novels he’s written are famous for popularizing the genre. • Cyberpunk includes • Focus on computer/virtual technology • Dystopian world (near-future) • Loner figure as the protagonist • Elements of noir

  9. Snow Crash: Genres Besides being sci-fi (cyberpunk, speculative, and hard sci-fi), the book • Is postmodern (See the PowerPoint posted to our course site on Aug. 18.) • Is neo-noir (femme fatale)

  10. Neal Stephenson • First novel was The Big U (1984) featuring the setting of the American Megaversity • His breakthrough as a writer came with the publication of Snow Crash in 1992 • He is known for his use of science fiction and pop culture. • His novels express strong views about society (social commentary).

  11. Snow Crash: Formal Traits • Portmanteau • Stylized topography • Use of visual aids (pictures, re-creations of hypercards, etc.) • Acronyms • Misspellings (using a “k” instead of a “c” for courier) • Slang and jargon • P.O.V.- third-person shifting (mainly from Y.T. to Hiro) • Uses a lot of different narrative modes (e.g. rap lyricsand clips from a documentary.)

  12. Snow Crash: Sumerian History and Culture • Sumer- located in southern Mesopotamia; cradle of civilization; society flourished from ~4500-1750 B.C. • Cuneiform- one of the earliest forms of writing; script; stylus and clay tablet • Ziggurat- pyramid structure with a flat top; has levels/tiers, terraces, and steps • The Tower of Babel- a Sumerian myth; also a Biblical myth; one language intentionally split into many, resulting in humankind’s inability to communicate clearly and to thereby get along peacefully

  13. Mesopotamia

  14. Model of the Ziggurat at Ur

  15. Snow Crash: Sumerian Myth • Enki- god of the earth, crafts, and mischief; god of Eridu (a city); creates humans; confuses human language • Inanna- goddess of love, fertility, and war; Enki is tricked into giving her his me • Asherah (also known as Ninhursag and Ninmah)- goddess of the mountains and fertility, impregnated by Enki; helps Enki create humans • Enlil- Enki’s half-brother • An- Enki’s father • Nammu- Enki’s mother • Utu/Uttu- god of justice

  16. Snow Crash: Sumerian Myth • Me- the power to create civilization or aspects thereof • Nam-shub- magical words; incantation

  17. Works Cited Cuddon, J.A., ed. “Science Fiction.” Literary Terms and Literary Theory. New York: Penguin, 1998. 791-800. Print.

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