While reading “Neuromancer”, one may become extremely baffled if he or she cannot interpret the terminology used or the framework in which the book is written. Hence, the use of the formalistic approach is necessary in order for the reader to actually understand the concepts trying to be declared by Gibson. Through the formalistic approach one can begin to see that Gibson uses repetition, and specific word choice to set the tone for the novel, and imagery to relate the content of the book to the lives of his readers.
Gibson chooses words to aid the reader in imagining the “dystopia” of the Freeside, a place where the main portion of the book takes place: “For Case, who’d lived for the bodiless exultation of cyberspace, it was the Fall” (6). “The sky above the port was the color of television, tuned to a dead channel” (3). Gibson describes Freeside as if it is one of the worst places to go. Katie Cooper also describes the dystopia portrayed in this book as well. Gibson also uses words out of the science fiction terminology such as “jack-in and flatline” to encourage the reader to feel as though he or she is actually in the mist of cyberspace. Even the title of the novel depicts a certain characteristic of the book: “‘Neuromancer,’ the boy said, slitting long gray eyes’The lane of the land of the dead. Where you are, my friend Neuro from the nerves, the silver paths. Romancer” (243). Through Gibson’s use of specific words he creates a constantly depressing mood and he allows the reader in many ways to visualize cyberspace themselves.
William Gibson is able to project a clear-cut conception of human communication and exactly how we interact with one another through imagery. He symbolizes this relationship through the use of the two Artificial Intelligence’s (AI), Wintermute and Neuromancer. In the book, the AIs live completely different contexts than the other characters such as Case, Molly, or Linda. “No. I saw her death coming. In the patterns you sometimes imagined you could detect… My methods are far more subtle than Wintermute’. I brought her here. Into myself” (259). Neuromancer, one of the AI’s, uses Case’s close friend, Linda, to try and deceive Case into staying on the beach. Hence, the AI’s speak through old friends of the characters to communicate with them.
Flattery in Pride and Prejudice
Flattery in Pride and Prejudice
Since its composition in 1797, Jane Austin’s Pride and Prejudice has
enjoyed two centuries of literary esteem not because of its witty dialogue
or its tantalizing plot, but because of its universal themes that allow
modern readers to identify with early Victorian life. Although the novel
focuses on the etiquette of courtship, related social rituals are also
prevalent throughout the story. William Collins, a rector in Pride and
Prejudice, uses excessive flattery to persuade people to look upon him
favorably. He even lavishly praises himself to enhance his self-esteem.
While the sycophant’s peculiar behavior is comical at first glance, its
emphasis in the story portends a greater social meaning that is
illuminated upon evaluation of his flattery with relevance to the plot. In
Pride and Prejudice, Austin suggests through Collins’ mannerisms that one
flatters others to enlist their future support and one flatters oneself to
ensure individual prosperity. Pertaining to others, Austin endows Collins
with a motive of personal gain and later removes that objective,
establishing a strong correlation between flattery and selfish advantage.
As the legal heir to the Bennet family’s estate once its patriarch dies,
Collins offers unwarranted praise along with his hand in marriage to one
of the daughters. Apart from flattering the family to marry one of its
girls, his profuse compliments also extend to his wealthy benefactress and
also, of course, to himself. However, Collins’ compliments toward the
family end after he fails to marry on…
… middle of paper …
…lattery may have academic
influence, she allows Collins to smother praise on anything that might
prove advantageous to his affluence, from which one may surmise that
flattery contributes to personal prosperity in any form. This truth
becomes readily apparent upon contrasting Collins’ behavior in situations
wherein he may or may not have something to gain through flattery. Of
course, this mundane reiteration about flattery must be particularly
monotonous to a reader who has already demonstrated a profound grasp of
literature by deftly maneuvering through and deliberating upon mistakes
previous to this point, so it is for that intelligent and sophisticated
reader that this paper ends abruptly.
Austin, Jane. Pride and Prejudice. Norwalk: The Easton Press, 1997.