Gynoid: Perbedaan antara revisi

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Sebuah tradisi panjang dalam kisah fiksi, bahwa pria mencoba menciptakan stereoti wanita ideal, dan gynoid fiksi telah dilihat sebagai perpanjangan dari tema ini.<ref name=melzer202>{{cite book | first = Patricia | last = Melzer | title = Alien Constructions: Science Fiction and Feminist Thought | publisher = [[University of Texas Press]] | year = 2006 | isbn = 9780292713079 | page = 202}}</ref> Contohnya termasuk [[Hephaestus]] dalam kisah [[Iliad]] yang menciptakan pelayan wanita dari logam dan [[Ilmarinen]] dalam [[Kalevala]] yang menciptakan istri buatan. Barangkali yang paling terkenal adalah [[Pygmalion (mythology)|Pygmalion]], salah satu konseptualisasi paling awal dari konstruksi mirip dengan gynoid dalam sejarah sastra, dari karya [[Ovid]] tentang Pygmalion.<ref name=melzer202/> Dalam mitologi ini patung wanita dipahat dengan begitu cantiknya sehingga sang pemahat jatuh cinta kepadanya, dan setelah memohon kepada [[Venus (mythology)|Venus]], sang dewi berbelas kasihan dan mengubah patung itu menjadi wanita nyata dengan siapa Pygmalion mendapatkan anak-anak.
 
Gynoid pertama dalam film, ''the [[maschinenmensch]]'' ("machine-human"), juga disebut "Parody", "Futura", "Robotrix", atau "Peniru Maria", dalam filmnyafilm karya [[Fritz Lang]] bertajuk ''[[Metropolis (film)|Metropolis]]'' juga sebuah contoh: robot berbentuk feminim dan diberi kulit sehingga dia tidak dikenali sebagai robot dan bermasil meniru Maria yang sedang dipenjara dan bekerja secara meyakinkan sebagai [[penari erotis]].<ref name=melzer202/>
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Such gynoids are designed according to patriarchal stereotypes of a perfect women, being "sexy, dumb, and obedient", and reflect the emotional frustration of their creators.<ref name=technophob77/> Fictional gynoids are often unique products made to fit a particular man's desire, as seen in the novel ''[[The Future Eve|Tomorrow's Eve]]'' and films ''[[The Benumbed Woman]]'', ''[[The Stepford Wives]]'', ''[[Mannequin (1987 film)|Mannequin]]'' and ''[[Weird Science (film)|Weird Science]]'',<ref name=desirbody230>{{cite book |title= The desirable body: cultural fetishism and the erotics of consumption|last= Stratton|first=Jon |year= 2001|publisher=University of Illinois Press|location=US |isbn=9780252069512 | page = 230}}</ref> and the creators are often male "[[mad scientists]]" such as the characters [[Rotwang]] in ''Metropolis'', Tyrell in ''Blade Runner'', and the husbands in ''The Stepford Wives''.<ref name=technophob78>{{cite book |title= Technophobia!: Science Fiction Visions of Posthuman Technology|last= Dinello|first= Daniel |authorlink= |coauthors= |year= 2005|publisher= University of Texas Press|page= 78|isbn=9780292709867}}</ref> Gynoids have been described as the "ultimate geek fantasy: a metal-and-plastic woman of your own".<ref name=popscibots>{{cite web | url = http://www.popsci.com/cars/article/2008-12/return-bodacious-bots | title = Return of the Bodacious 'Bots | first = Julia | last = Wallace | date = 16 December 2008 | work = [[Popular Science]]}}</ref>
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Serial televisi ''[[The Bionic Woman]]'' mencetuskan kata fembot. Fembots ini adalah barisan gynoid sangat kuat dengan wajah dari sahabat baiknya tokoh protagonis [[Jaime Sommers (Bionic Woman)|Jaime Sommers]].<ref>Browne, Ray B., ''Forbidden Fruits: Taboos and Tabooism in Culture'', Popular Press, 1984, 9780879722555</ref> Mereka bertarung dalam dua episode dari serial itu: "Kill Oscar" dan "Fembots in Las Vegas", dan meskipun berawalam feminin, ada juga versi lelakinya, termasuk beberapa yang didesain untuk meniru individu tertentu untuk tujuan infiltrasi. Walaupun bukan benar-benar [[kecerdasan buatan]], fembot tetam memiliki pemrograman yang canggih yang memungkinkan mereka melebihi manusia dalam banyak situasi. Istilah "fembot" juga digunakan dalam serial TV ''[[Buffy the Vampire Slayer (TV series)|Buffy the Vampire Slayer]]'' (mengacu kepada robot yang meniru karakter Buffy a.k.a. [[Buffybot]]) dan ''[[Futurama]]''.
 
[[Film kultus]] fiksi ilmiah 1987 ''[[Cherry 2000]]'' juga menggambarkan karakter gynoid yang dideskripsikan oleh peran protagonis pria sebagai "pasangan sempurna"nya.
''[[The Bionic Woman]]'' television series coined the word fembot. These fembots were a line of powerful life-like gynoids with the faces of protagonist [[Jaime Sommers (Bionic Woman)|Jaime Sommers]]'s best friends.<ref>Browne, Ray B., ''Forbidden Fruits: Taboos and Tabooism in Culture'', Popular Press, 1984, 9780879722555</ref> They fought in two multi-part episodes of the series: "Kill Oscar" and "Fembots in Las Vegas", and despite the feminine [[Prefix (linguistics)|prefix]], there were also male versions, including some designed to impersonate particular individuals for the purpose of infiltration. While not truly [[Artificial intelligence|artificially intelligent]], the fembots still had extremely sophisticated programming that allowed them to pass for human in most situations. The term "fembot" was also used in ''[[Buffy the Vampire Slayer (TV series)|Buffy the Vampire Slayer]]'' (referring to a robot duplicate of the title character, a.k.a. the [[Buffybot]]) and ''[[Futurama]]''.
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The 1987 science fiction [[cult movie]] ''[[Cherry 2000]]'' also portrayed a gynoid character which was described by the male protagonist as his "perfect partner". The 1964 TV series ''[[My Living Doll]]'' features a robot, portrayed by [[Julie Newmar]], who is similarly described.
 
===Gender===
Fiction about gynoids or female cyborgs reinforce essentialist ideas of femininity, according to Magret Grebowicz.<ref>{{cite book |title= SciFi in the mind's eye: reading science through science fiction|last= Grebowicz|first= Margret |authorlink= |coauthors= L. Timmel Duchamp, Nicola Griffith, Terry Bisson|year=2007 |publisher= Open Court|page=xviii |isbn=9780812696301}}</ref> Such essentialist ideas may present as sexual or gender stereotypes. Among the few non-eroticized fictional gynoids include [[Rosie the Robot Maid]]{{Citation needed|date=January 2010}} from ''[[The Jetsons]]''. However, she still has some stereotypically feminine qualities, such as a matronly shape and a predisposition to cry.<ref>{{cite book |title= The Social Psychology of Gender: How Power and Intimacy Shape Gender Relations|last= Rudman|first= Laurie A.|authorlink= |coauthors= Peter Glick, Susan T. Fiske|year=2008 |publisher= Guilford Press|page=178 |isbn=9781593858254}}</ref>