But this is based on how we at Third Person Press define it for the purposes of our anthologies, and how I, as a writer and reader, think about it as regards the entirety of the science fiction and fantasy and related genres. It might be easier to talk in terms of generalities. A given story is probably NOT what we consider speculative if:
How can a definition withstand the cyberflotsam gathered by a wider net? What about Philip K.
When a large body of work is examined, however, certain traits begin to stand out. The definition of cyberpunk used in this project admittedly, one only a few degrees removed from "cyberpunk is what I say is cyberpunk" relies on three concepts.
Our broad definition of cyberpunk is "science fiction literature that emphasizes, to a greater or lesser degree, the three attributes of post-humanism, post-industrialism, and post-nationalism. The stereotypical cyberpunk novel is positively dripping with chromed artificial limbs, bizarre prostheses used to ill ends, crazed artificial intelligences run amok.
The concept is more subtle than that, however.
The underlying aesthetic is often one of transcending the flesh; all the rest is just surface glitter and means to that end. The methods of transcendence can be mundane; drugs are an amazingly prominent feature of many cyberpunk books.
This is a fairly common trope. Count Zero features entities of uncertain origin, taking the form of voodoo loa and dwelling in the Matrix.
Are there ghosts in the machine, or are they just us? When the human body becomes non-essential, will the species have gained or lost? Will it really matter? Post-industrialism could also be thought of to steal a phrase from anarchist rhetoriticians Hakim Bey and Bob Black too-late capitalism.
Service industries and software remain, but in a future transformed by telepresence, when the Net makes telecommuting as common as the streetcar and the highway made commuting, who needs factories?
Nanomachines can build it cheaper and better. Bangkok, perhaps, or Newark. Life is cheap; information is dear. Information is, in fact, the true medium of exchange in cyberpunk.
As Snow Crash adeptly points out, even the franchized service industries really boil down to nothing more than information. Perhaps the fact that so many heroes in cyberpunk literature are criminals can be explained by authors largely committed to the old hacker ethic: In a world where bits are the only real commodity--those bits could represent a coded Swiss bank account, new military icebreakers, or the formula for a new synthetic drug giving a cheaper high or, for that matter, Coca-Cola --only the informed survive.
How will it be purchased, though? In most cyberpunk literature, physical dollar bills are no longer even widely accepted currency. Many works posit other currencies yen, Euros replacing the dollar in importance; many more suggest either that folding money will be replaced entirely by digital transactions or that private currencies will be issued.
Our guides to the post-industrial economy come from several quarters. Future guru Alvin Toffler and his Gingrinchian allies provide relatively positive visions of the future as slowly but inexorably shaped by the market.
Black and Bey provide models of resistance dropping out of the rat race or creating new, rhizomatic economies that, often as not, look toward the past. Finally, most cyberpunk literature is dystopian.
Often, a war or catastrophe has occured in the backstory, prior to the beginning of the plot. If a war, it was most likely not a success; America in cyberpunk is often a beleagured country.
Whether through a disaster or simply the unending tide of technological change the erosion of borders predicated by the development of the net, e. The positions of the Third World and the First World--with the rise of post-industrialism--are often reversed or muddled.CONNOTATION: The extra tinge or taint of meaning each word carries beyond the minimal, strict definition found in a rutadeltambor.com instance, the terms civil war, revolution and rebellion have the same denotation; they all refer to an attempt at social or political change.
This webpage is for Dr. Wheeler's literature students, and it offers introductory survey information concerning the literature of classical China, classical Rome, classical Greece, the Bible as Literature, medieval literature, Renaissance literature, and genre studies.
In the following essay, Fekete reviews the volume Storming the Reality Studio: A Casebook of Cyberpunk and Postmodern Science Fiction, providing a brief overview of the cyberpunk movement.
We see through eyeglasses and . Definition of 'cyberpunk' John was reading Katherine’s essay.
Fiona is preparing Read more about 'Verbs' Word of the day: umbrella. An umbrella is an object which you use to protect yourself from the rain or hot sun.
It consists of a long stick with a folding frame covered in cloth. Cyberpunk and Science Fiction in the Information Age Cyberpunk science fiction is considered to be the “literary manifestation of postmodernism” (Elements). According to McHale, as a sub-genre of science fiction, cyberpunk stands as the product of the convergence between “science fiction poetics and postmodernist poetics” (Elements .
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