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Lit Sci Final
this is going to be hard
| Question | Answer |
|---|---|
| Ethics | Principles that govern behavior; Help us determine right from wrong; Can be based in or connected to systems of law, religion, or culture |
| Utilitarian Approach | best action is that which creates greatest good for the greatest number and does the least harm |
| Consequentialism | concerned with consequences of actions; three types: utilitarianism, egoistic approach, and common good approach |
| Duty Based Approach (Deontology) | best action is that taken from duty or obligation |
| Virtue Approach | best action is that which contributes to a lifelong practice of acquiring virtue, living up to ideal human values |
| Agent Centered Ethics | concerned with ethical status of individual; two types: virtue approach and feminist approach |
| Romance | a work of highly imaginative ideas, NOT love |
| Sublime | associated with the extraordinary and grand; the use of language or literary devices that evoke the feeling of grandeur, and that which inspires awe or fear in the reader |
| Ratiocination | the process of exact thinking; tales of logical reasoning |
| Locked Room Mystery | Example is "Murders in the Rue Morgue" by Poe (1841) |
| Cyberpunk | computer science (cyber) and rebellion (punk) |
| Algorithm | a process or set of rules to be followed in calculations or other problem-solving operations; example is "The Algorithms for Love" by Liu (2004) |
| Artificial Intelligence | Utopian: emphasizing the potential benefits; Dystopian: emphasizing the dangers |
| Science | cultural value is to create knowledge; methods are usually collaborative; holds one accountable to others |
| Allusion | an implied or indirect reference to a person, event, or thing or to a part of another text |
| Point of View | the writer's way of deciding who is telling the story to whom |
| Plot | the sequence of events in which each event affects the next one through the principle of cause-and-effect |
| Symbol | anything that hints at something else, usually something abstract, such as an idea or belief; an object, a person, a situation, or an action that has a literal meaning in a story but suggests or represents other meanings |
| Foreshadowing | a narrative device in which suggestions or warnings about events to come are dropped or planted |
| Dramatic Irony | when the audience understands more about a situation than some of the characters do |
| Historical Drama | mostly fictionalized narratives based on actual people or historical events |
| Surreal | an artistic attempt to bridge together reality and the imagination |
| Psychological Romance | romance but with a gothic element. emotional, supernatural, less concerned with realism with a horror element |
| Gothic | supernatural/ scary |
| Deduction | the act of drawing logical conclusions based on the information given in a text, using one’s personal experiences and knowledge of the world |
| Serial | the act of publishing a story or piece of work in pieces, overtime |
| Genre Convention | are elements, themes, topics, tropes, characters, situations, and plot beats that are common in specific genres; Genre conventions are what make certain stories the genre that they are |
| Futurist | trying to predict the future |
| Turing Test | a test of a machine's ability to exhibit intelligent behavior equivalent to, or indistinguishable from, that of a human |
| Scientific Method | a method of procedure that has characterized natural science since the 17th century, consisting in systematic observation, measurement, and experiment, and the formulation, testing, and modification of hypotheses |
| Foil | a character that is meant to be compared with another character |
| Omniscient | the teller of the tale, who often appears to speak with the voice of the author himself, assumes an all-knowing perspective on the story being told |
| Setting | the place or type of surroundings where something is positioned or where an event takes place |
| Theme | the subject of a talk, a piece of writing, a person's thoughts, or an exhibition; a topic |
| Epigraph | writing before text; usually a quote |
| Ambiguity | a word or expression that can be understood in two or more possible ways |
| Epic Theatre | didactic drama presenting a series of loosely connected scenes that avoid illusion and often interrupt the story line to address the audience directly; ex: Galileo |
| Vivisection | dissection, while they are still alive but no pain meds |
| Romantic Period | pushes against rationality; ex: Frankenstein |
| Scientific Romance | the science fiction of the late nineteenth and early twentieth centuries, primarily that of Jules Verne, H. G. Wells and Arthur Conan Doyle; deals with imagination, NOT love |
| Detective Fiction | subgenre of crime fiction and mystery fiction in which an investigator or a detective—whether professional, amateur or retired—investigates a crime, often murder |
| Science Fiction | content is imaginative, but based in science; It relies heavily on scientific facts, theories, and principles as support for its settings, characters, themes, and plot-lines, which is what makes it different from fantasy |
| Frame Narrative | A story within a story, within sometimes yet another story; Shelley's Frankenstein |
| Robot | a mobile machine equipped with an advanced artificial intelligence |
| Asimov's Laws of Robotics | A robot may not injure a human being or, through inaction, allow a human being to come to harm; must obey orders given it by human beings; must protect its own existence as (long as such protection does not conflict with the First or Second Law) |
| Epistemology | theory of knowledge and ways of knowing |
| Narrator | the one who tells the story |
| Protagonist | the character who drives the action; the character whose fate matters most |
| Personification | emphasize a non-human's characteristics by describing them with human attributes |
| Motif | an object, image, sound, or phrase that is repeated throughout a story to point toward the story's larger theme |
| Irony | whenever a person says something or does something that departs from what they (or we) expect them to say or do |
| Drama | the portrayal of fictional or non-fictional events through the performance of written dialog |
| Realism | the attitude or practice of accepting a situation as it is and being prepared to deal with it accordingly; seeks to tell a story as truthfully as possible instead of dramatizing or romanticizing it |
| Freytag's Pyramid | exposition, inciting incident, rising action, climax, falling action, resolution (denouement) |
| Author: Shelly | Work: Frankenstein (1818) |
| Author: Hawthorne | Work: Rappaccini's Daughter (1844) |
| Author: Glaspell | Work: A Jury of Her Peers (1917) |
| Author: Asimov | Work: Runaround (1950) |
| Author: Brecht | Work: Galileo (1952) |
| Author: Tiptree | Work: The Scientist Who Wouldn't Do Awful Things to Rats (1976) |
| Author: Chiang | Work: Story of Your Life (1998/2002) |
| Author: Weir | Work: The Martian (2011) |
| Author: Jimenez | Work: Cyber-proletarian (2017) |
| Author: Poe | Work: Murders in the Rue Morgue (1841) |
| Author: Wells | Work: The Island of Dr Moreau (1896) |
| Author: Doyle | Work: The Sussex Vampire (1924) |
| Author: Bradbury | Work: There Will Come Soft Rains (1950) |
| Author: Komatsu | Work: Japan Sinks (1973) |
| Author: Liu | Work: Algorithms for Love (2004) |
| Author: Laufer | Work: Informed Consent (2015) |
Created by:
samfelan
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