Masters Of Science Fiction Subtitles English S0... [VERIFIED]
His Master's Voice (original Polish title: Głos Pana) is a 1960s science fiction novel written by Polish writer Stanisław Lem. It was first published in 1968 and translated into English by Michael Kandel in 1983. The book incorporates a "message from space" theme. It is a densely philosophical first contact story about an effort by scientists to decode, translate, and understand an extraterrestrial transmission. The novel critically approaches humanity's intelligence and intentions in deciphering and truly comprehending a message from outer space. It is considered to be one of the three best-known books by Lem, the other two being Solaris and The Cyberiad.[1]
Masters of Science Fiction subtitles English S0...
The book can be viewed on many levels: as part of the social science fiction genre criticizing Cold War military and political decision-making as corrupting the ethical conduct of scientists; as a psychological and philosophical essay on the limitations of the human mind facing the unknown; or as a satire of "men of science" and their thinking. The critique of the idea of 'pure science' is also a critique of the positivist approach: Lem argues that no scientist can be detached from the pressures of the outside world. The book is deeply philosophical, and there is relatively little action; most of the book consists of philosophical essays, monologues and dialogues.
As a genre of literature, science fiction enables human beings to model themselves as a cosmic species, a life form that imagines and inhabits an entirely new scale of being. No longer confined to a tribe, nation or tradition, science fiction narrates and explores the galactic magnitudes of both the external world of astronomical exploration (billions and billions of stars) and the inner world of subjective reality and imagination (billions and billions of neurons). This course introduces students to the surprisingly long history of science fiction as a way of exploring both the microcosm and the macrocosm, mapping a species imagining themselves into the future.
Reading Nonfiction will provide students with a historical context and the reading skills necessary for this "fourth genre" of creative writing, with an emphasis on memoirs and the essays that have defined the genre across different eras. Biographies, autobiographies, travel narratives, science writing, and political writing could be included along with hybrid nonfiction such as graphic memoir and the video essay. As a reading (not writing) class, content will focus on the implicit contract of truth between the writer and the reader, with discussions to focus on the impact of a "true story" told creatively. What must the writer accomplish on the page in order for a reader to become engaged with this genre? The course will bring to the table questions of ethics and morals when applied to our latest understanding of the fallibility or reliability of memory and how authors use their memories to write nonfiction. Later weeks in the course will examine publishing trends in nonfiction and identify career paths for students wishing to further explore the scholarship of nonfiction.
Texts confronting social, political, technological, or other issues in the English-speaking world. (Section subtitles may appear in the Schedule of Courses.) ENGL 402 Literature and Society (3)(BA) This course meets the Bachelor of Arts degree requirements. One variation will focus on Literature and Censorship by first considering general arguments for and against censorship and then by examining texts by writers who sought publication in their own country but whose books were censored or banned. The course will consider such questions as, Are there ever legitimate grounds for censorship? How do standards of censorship differ between countries? What is the relation between censorship on political and on moral grounds? What does artistic merit have to do with concern about moral or political subversion? Works from England, South Africa and the United States will be read and discussed, and where available, excerpts from trial transcripts will be read in order to examine arguments for and against publication. Readings will include works by Milton, D. H. Lawrence, Alan Paton, Nadine Gordimer, Athol Fugard, Eugene O'Neill, Henry Miller, and Alan Ginsberg.Another variation will focus on war and gender in 20th century American literature by examining the ways male and female authors write about war. Texts will vary from battlefield experiences to repercussions of war to the symbolic implications of war. Questions will be raised about literary authority: Does one need to be combatant to write about war? If not, how does one find the authority to speak, particularly as a woman? How does race and/or ethnicity complicate one's perceptions of American participation in war? Readings will include works by Ernest Hemingway, William Faulkner, Joseph Heller, Cynthia Ozick, Leslie Marmon Silko, Norman Mailer, Bobbie Mason, Tim O'Brien, and Toni Morrison.Another variation will focus specifically on the writings which emerged from the postwar African-American struggle for civil rights. The course will include not only fiction and poetry but also those speeches, sermons, editorials, and other forms of discourse to have emerged from the era. The emphasis will be both traditional literary concerns as well as on the various rhetorical strategies involved in each work. Ideally, the course would make visible to students the difficulties attendant upon any attempt to separate the concerns of rhetoric and persuasion too firmly from the concerns of literature. The course could conclude with a look at some of the various biographies, autobiographies, and histories written over the last twenty-five years, which attempt to shape our national memory.Other variations include literature as a response to Newtonian science or to Darwinism or to the American Depression or to postwar technology or to new dystopias or to AIDS or, as in the sample outline, the Civil Rights movement.
Analysis and composition of informative, persuasive, and "creative" Web texts, based on rhetorical principles; no prior Web writing experience required. ENGL 420 Writing for the Web (3)(BA) This course meets the Bachelor of Arts degree requirements. This course, designed for writers and potential writers, will explore the unique opportunities and constraints of writing for the Web. As a writing course, it should appeal to students in the Humanities; however, because of the growing importance of Web texts in fields such as business and the social sciences and given the opportunity to compose/construct a variety of fictional and non-fictional "creative" and informative/persuasive Web texts, this course should be of value to students across the college.In this course, students will survey a wide variety of Web texts--webs, electronic journals and books, learning to analyze these as to their efficacy in light of each text's rhetorical situation. As students learn to compose and construct such texts themselves, rhetorically based principles of audience awareness and persuasive appeal will be emphasized. Rather than focusing on writing html codes and java scripts, this course will build on the rhetorical principles taught in first-year writing courses, teaching students how to apply those principles to more sophisticated, multi-sensory, multi-media hyper textual writing.The course will be taught primarily in a hands-on workshop environment-in a PC computer lab or laptop-equipped classroom. Although no prior Web writing experience is required, some experience with Web navigation and computer word processing will be helpful. Students will be evaluated on the basis of their participation/attendance in the course's workshop environment, written web analyses, and constructed web texts.
Creative writing workshop focused on the environment and related issues. ENGL (ENVST) 424 Creative Writing and the Natural World (3) American literature includes a long and rich tradition of writing that focuses on the natural world. From the oral stories of indigenous people to the journals of the first European settlers, many have looked for a way to understand their own place in the world based upon their relationship to the earth and its creatures. While Puritans often discerned the pleasure or wrath of God in the environmental changes they experienced, Transcendentalists like Henry David Thoreau and Ralph Waldo Emerson sought out moments of spiritual enlightenment by immersing themselves in the natural order. More recently, such poets as Galway Kinnell, James Wright, and Robert Bly have attempted to connect with the depths of collective unconsciousness by exploring the natural world, while others, like Mary Oliver, Dan Gerber, Jim Harrison, Gary Snyder and Wendell Berry, have used transcendental thought and melded it with Christian and Buddhist insights. Still others, like Gary Paul Nabhan, Rachel Carson, and Alison Hawthorne Deming have brought science to bear upon the riches that nature, art, and scientific exploration may offer when joined in the pursuit of a deeper understanding of, and relationship with, the natural world. This course will acquaint students with the tradition of American nature writing, as well as contemporary nature writing, in the genres of nonfiction, poetry and fiction. Students will be introduced to issues of style, philosophy, and content, as they produce their own essays, poems, and stories. The course culminates in the production of a portfolio of nature writing. Much of this work will begin in class with specific assignments, which will include field work, and feedback from other students in the class. As a workshop course in creative writing, the emphasis will be upon the production of literary texts that interact with the natural world and upon the revision of those texts.
I think this is part and parcel of several other related trends that people here might like. Filmmakers now feel not just permission, but perhaps even an obligation, for foreign characters to be played by actors speaking that language, rather than speaking English with a stilted accent. Science fiction and fantasy TV shows now very often hire linguists to construct alien languages, even if audiences won't be able to tell the difference from unstructured gibberish. Similarly, sound designers now sometimes design the sound to give you more of the feeling of the sound environment they want you to experience, rather than prioritizing intelligibility of the speech of the characters. All of this is enabled by the ease and acceptance of subtitles and captioning, which also turn out to be very helpful for anyone who wants to watch a video on a small screen, or when the kids are sleeping, or in any of the other environments we can watch in now apart from the best theaters. 041b061a72