Eng Final

Front 1

What is Defamilarization in Shklovsky's view?

Back 1

It is the purpose of art. It refers to the artistic technique where the author takes the familiar, and turns it into the strange and unfamiliar, which causes us to examine our world in a new light.

Front 2

What is Free Indirect Discourse?

Back 2

Free indirect discourse occurs when the third-person narrator describes a character’s thoughts but without attributing the thoughts to the character. As such, the narrator speaks as if they have these thoughts themselves.

Front 3

How does art defamilarize the objects and ideas it presents?

Back 3

It forces us to reconsider the way we perceive the world.

Front 4

How does free indirect discourse work with defamiliarization?

Back 4

FID defamiliarizes the perceived distinction between objective and subjective experience.

Front 5

Defamiliarization with Sulvin?

Back 5

He is interested in cognitive estrangement. He looks at how the author's subject matter cues the reader to reflect on their own world critically. He believes that science fiction caries out a specific type of defamilization. It can alert us to oppressive ideology.

Front 6

What is a novum?

Back 6

According to Suvin, at the heart of SF literature is the novum, defined as the essential difference between the story’s setting and the reader’s sense of reality.

Front 7

The concept of science fiction has two overlapping meanings which are?

Back 7

1. A genre that developed historically.

2. A mode of writing that authors working in a wide range of genres use to varying effects. Science fiction is agenre in which the differences between the story’s unfamiliar setting and our own world are produced by a rationally or scientifically plausible set of events.

Front 8

Science Fiction as a genre?

Back 8

Stories tended to reverescientific research and futuristic technology. Consequently, sf gained areputation for being naïve and formulaic.

Front 9

Marxist Literary Criticism?

Back 9

-> Marxist literary criticism emerges out of the writings of Karl Marx (1818-1883), the Germanphilosopher who argued that in a capitalist society, the ruling class subdue civil unrest by manufacturing ideologies that keep labourers in a state of false consciousness.

Marxists examine the political statements a literary work conveys.

Does the work encourage readers to embrace unquestioningly the social conditions responsible for their oppression?

Or does it encourage readers to critique the dehumanizing affects of a capitalist economy?

Front 10

Workers alienation?

Back 10

According to Marx, workers become alienated when they feel separated from their environment. In a capitalist society, argues Marx, the wage worker loses control over his or her labour and consequently loses a sense of self.

Front 11

What is the epistolary novel?

Back 11

An epistolary novel is comprised of found documents (e.g. letters, diary entries, transcripts, newspaper clippings,etc.).

Front 12

The Gothic Tradition?

Back 12

Gothic fiction is a literary genre that some critics see as a subgenre of romanticism. Gothic fiction uses the supernatural as a metaphor for anxieties that middle-class people struggle to repress.

Front 13

Gothic stories consist of...?

Back 13

Gothic stories are typically set in buildings orplaces that have fallen into disuse but continue to connect characters to a hidden, disturbing past. Gothic stories plunge characters into worlds of uncertainty,where reason fails to explain strange occurrences. Gothic stories are populatedby severely flawed and morally ambiguous characters. If a Gothic story’s author sets out merely to create an ominous, creepy mood, it is Gothic terror.

Front 14

Horror vs Terror vs Revulsion?

Back 14

Terror is the fearful anticipation of ahorrifying event. Horror is the shock of having experienced the horrifying event. Revulsion is the physical, sickening reaction to the horrifying event.

Front 15

The purpose of the final girl?

Back 15

Carol Clover notes that horror films often end with a “final girl,” who not only survives but manages to vanquish the monster. But while she survives, the final girl is nevertheless a victim. As such, by identifying with this final girl, audiences experience a masochistic form of pleasure. They submit themselves to pain in order to atone for the guilt they feel over their desire to dominate. According to Clover, the final character must be a woman, because male audiences would refuse to identify with a man undergoing the same traumas.

Front 16

The Abject as a Form of Discrimination?

Back 16

We define ourselves impart by identifying what we are not. The term for that which is not us is the Other. Feminist critics have observed that horror authors and filmmakers traditionally associate women with the Other by abjecting her. By abjecting women as monstrous, the reader can affirm his masculinity (I am not “her”).

Front 17

The Adject as a Form of Discrimination?

Back 17

Barbara Creed, identifies a number of monstrous feminine horror figures:

-the archaic mother (e.g. Alien)

- the possessed monster (e.g. The Exorcist)

-the monstrous womb (e.g. The Brood)

- the woman as vampire (e.g. The Hunger)

-the woman as witch (e.g. Carrie)

- the castrating mother (e.g. Psycho).

Front 18

What is the Uncanny?

Back 18

In an analysis of a Gothic short story, Freud explains how certain works evoke feelings of terror, what he calls “the uncanny.” The uncanny is “that class of the terrifying which leads back to something long known to us, once very familiar.” The most uncanny things are those that remind readers of their earliest repressed impulses.

Front 19

The ego-ideal vs the ideal ego?

Back 19

Lacan theorized that individuals are split between the ideal ego (their ideal self) and the ego-ideal (the self as viewedfrom the point of view of the ideal ego).

Front 20

Theory of displacement?

Back 20

According to Freud, if an individual cannot attack a source of frustration, he or she will attack a substitute. In so doing, the individual achieves catharsis, a release of built-up tension.Catharsis means purification and, in this context, means a cleansing of emotion.

Front 21

Concept of the abject?

Back 21

The feeling of horror we experience when we can no longer distinguish between our sense of self and external objects. We attempt to protect ourselves from the "abject" by experiencing it through art. Its a form of a coping mechanism.

Front 22

Difference between science fiction and horror?

Back 22

Science fiction is an intellectual genre that encourages readers to marvel at possible worlds. Horroris an emotional genre that encourages readers to dread the real world.

Front 23

Explain the concept of a "Danse Macabre"

Back 23

Stephen King (b. 1947)calls horror fiction a “danse macabre” that works on “two levels”:

1. The “gross-out” level, where the author creates a disgusting image.

2. The “psychological” level, where the author presents a horrible, hidden truth, one that readers repress on a daily basis.On this second level, authors work on “phobic pressure points” or “terminals of fear” that “are sodeeply buried and yet so vital to observe".

Front 24

The Mirror Stage?

Back 24

French psychoanalyst Jacques Lacan (1901-1981) theorizes that human beings begin developing a sense of self between the ages of six and eighteen months. During this stage, the mirror stage, children begin seeing themselves as a stable, unified self (their“ideal ego”). They, in turn, begin denying that their minds actually consist of fragmented, conflicting drives or impulses. Children look to their environmentfor confirmation of this newfound sense of self, e.g. in a mirror. The notion of the self (the “ideal ego”) is, in other words, imaginary and dependent onthe child’s ability to identify the ideal ego in external objects.

Front 25

The Abject + Mirror stage?

Back 25

She theorizes that before the child enters the mirror stage, he or she begins developing a sense of self by repressing (or “abjecting”) substances that blur the boundary between subject and object. The abject is the horrified feeling we experience when we can no longer distinguish between the subject (the “I”) and external objects.

Front 26

What is the joy in horror?

Back 26

We attempt to “protect” ourselves from “the abject” by experiencing it through art. Art “purifies” the abject because, after putting the reader in contact with this horrifying reality, it returns the reader to the constructed reality of a subjectivity. Art acknowledges the abject, but makes it seem safe because it re-establishes oursense of self. It gives us the illusion of control over the abject. Kristeva uses the term “jouissance” to describe the immense, paradoxically painful joy the abject delivers.

Front 27

What is the difference between Graphic Novels and Comics?

Back 27

Nothing.

Front 28

Where is the issue with comics?

Back 28

Comics have long been perceived as one of the lowest forms of the popular arts. One of the problems is that comics violate the perceived distinction between words and images. This baseless point of view assumes that poetry and paintings are pure artistic renderings of words and images, respectively, whereas comics are impure fusions of words and images. Moreover, comics allegedly fuse words and images in orderto appeal to the readers’ basest senses.

Front 29

Viewer identification?

Back 29

McCloud theorizes that cartoons create “amplification through simplification.” In other words,cartoons amplify certain human features by removing fine details. In so doing,comics invite viewer identification with the characters. By lacking detail, a cartoon allows a wider group of readers to identify with it. (The cartoon canstand in for anyone who remotely resembles it.) Partly for this reason, McCloud argues, comics have found large audiences in popular culture. Note, however,that the scenery need not invite viewer identification. As such, the scenery often looks more realistic than the characters themselves.

Front 30

Photographs vs Cartoons?

Back 30

Simple means that the cartoon lacks detail (as opposed to the fine details of a photograph). Iconic means that the cartoon refers to a cultural ideal (as opposed to the realism ofthe photograph). Subjective means that the viewer interprets the cartoon subjectively—in a personally meaningful way (as opposed to the interpretationof a photograph, which is a purportedly objective representation of the world). Universal means that the cartoon represents a group (as opposed to the photograph, which represents a specific person or thing).

Front 31

Sequential Art?

Back 31

His definition of comicsis “juxtaposed pictorial and other images in deliberate sequence.” By pictorial, he means that the images bear at least some resemblance to the real world (e.g. to real people). While most comics include writing, writing itself is not pictorial. The appearance of words “doesn’t affect their meaning because they represent invisible ideas” (28). Writing offers readers fixed meanings whereas a picture requires interpretation (i.e. readers need to figure out what the picture resembles).

Front 32

Explain the definition by McCloud of comics "juxtaposed pictorial andother images in deliberate sequence.”

Back 32

According to McCloud, the art of comics requiresreaders to interpret the meaning constructed by panel juxtaposing. The areabetween the panels is called the gutter. Closure is the act of interpreting theconnection between two juxtaposed panels.

Front 33

What are the 6 panel transitions?

Back 33

1. Moment-to-moment

2. Action-to-action (most common)

3.Subject-to-subject

4. Scene-to-scene

5. Aspect-to-aspect

6. The Non-sequitur.

Front 34

What was the Harlot's Progress?

Back 34

It's a story about a woman who became a prostitute and died. Another woman told her to come into her home for work, she became a mistress. Then the next panel is she's about to get arrested. Then she's in prison. Then she gets sick. Then she dies, and everyone is enjoying themselves at her funeral.

Front 35

Merging of text and image types?

Back 35

1) Word specific combinations: image is not needed, text gives us enough info.

2) Picture specific combinations: picture does all the work, words don't need to be added.

3) Additive combinations: words tell us more about the image.

4) Interdependent (most common): we need both words and images to get the message across.

Front 36

The birth of superman?

Back 36

Superman has dual identities: the average Clark Kent and the ideal Superman. He is “average” insofar as he is a modest, white, male working professional raised in theAmerican Midwest (Kansas). In order to socially integrate, he must maintain the illusion of normalcy. Social conformity limits his abilities. In order to save the world, he must remove the mask and reveal his true self: Superman. Much of the conflict in his life stems from an inability to conceal his true self, his secret identity. A desire for a just world motivates him.

Front 37

The birth of Batman?

Back 37

Batman debuted in theMay, 1939 issue of Detective Comics. There is nothing average about either Bruce Wayne or his alter ego, “The Batman.” Born into wealth, Wayne suffered a severe trauma as a child when he witnessed his parents’ murder. Unlike Superman,Batman has no superpowers. He, instead, relies on intelligence, technologicalinnovation, physical training, and detective skills. Unlike Superman, Batman seeks vengeance.

Front 38

The 7 defining traits of superhero genre?

Back 38

1. The hero is marked outfrom society. He often reaches maturity without having a relationship with his parents.

2. At least some of the superheroes will be like earthbound gods in their level of powers. Other superheroes of lesser powers will consort easily with these earthbound deities.

3. The hero’s devotion to justice overrides even his devotion to the law. (Note this does not apply to the supervillain.)

4. Theextraordinary nature of the superhero will be contrasted with the ordinariness of his surroundings.

5. Likewise, the extraordinary nature of the hero will be contrasted with the mundane nature of his alter-ego. Certain taboos will govern the actions of these alter-egos. 6.Although ultimately above the law, superheroes can be capable of considerable patriotism and moral loyalty to the state, though not necessarily to the letter of its laws. (Note this does not apply to the supervillain.)

7. The stories are mythical and use science and myth indiscriminately to create a sense of wonder.

Front 39

Wonder Woman's significance?

Back 39

Wonder Woman is the first female comic book hero, or superheroine. She debuted in 1941. At home onParadise Island, she is Princess Diana. Elsewhere, she is Diana Prince. Atrained fighter and hunter, Wonder Woman relies on advanced technology such asthe Lasso of Truth and the Bracelets of Submission. Her creator, William Moulton Marston, wanted Wonder Woman to have ‘‘all the allure of an attractivewoman but with the strength of a powerful man” (Daniels, 23). Marston was a professional psychologist who knew that Wonder Woman’s frequent depictions inbondage and other sexually submissive positions would arouse readers.

Front 40

The superheroine paradox?

Back 40

Feminist critics have noticed that while superheroines populate the universe of comic bookcharacters, patriarchal ideology limits their powers. She must be powerful (so as to abide by the superhero archetype), but not so powerful as to threaten her other role: to provide sexual pleasure for the male heterosexual reader.

Front 41

The first five steps of the hero's journey?

Back 41

1. The Call to Adventure

2.Refusal of the Call

3. Supernatural aid

4. Crossing the threshold

5. Belly ofthe Whale.

Front 42

What is Belly of the Whale?

Back 42

The hero “is swallowed into the unknown and would appear to have died. This popular motif gives emphasis to the lesson that the passage of the threshold is a form of self-annihilation.Instead of passing outward, beyond the confines of the visible world, the herogoes inward, to be born again.”