The purpose of this collection, which was first published in 1996, is to provide both an overview of the major critical approaches to the Four Branches of the Mabinogi and a selection of the best essays dealing with them. The essays examine the origins of the Mabinogion, comparative analyses, and structural and thematic interpretations. This book is ideal for students of literature and Medieval studies.

The purpose of this collection, which was first published in 1996, is to provide both an overview of the major critical approaches to the Four Branches of the Mabinogi and a selection of the best essays dealing with them. The essays examine the origins of the Mabinogion, comparative analyses, and structural and thematic interpretations. This book is ideal for students of literature and Medieval studies.

The media vampire has roots throughout the world, far beyond the shores of the usual Dracula-inspired Anglo-American archetypes. Depending on text and context, the vampire is a figure of anxiety and comfort, humor and fear, desire and revulsion. These dichotomies gesture the enduring prevalence of the vampire in mass culture; it can no longer articulate a single feeling or response, bound by time and geography, but is many things to many people. With a global perspective, this collection of essays offers something new and different: a much needed counter-narrative of the vampire's evolution in popular culture. Divided by geography, this text emphasizes the vampiric as a globetrotting citizen du monde rather than an isolated monster.

Star Trek: The Next Generation blended speculative science fiction and space opera in its portrayal of communication. Multiple different modes of communication used by and between characters are presented in the show, and the multilevel tapestry of communication contexts in the series is critical in its appeal to viewers. This book proposes that these patterns of communication reveal a foundational philosophy of Star Trek that informs the series as a whole while also enticing millions of viewers. These patterns serve as models for the viewer, which both causes stronger empathetic connections with characters and impels viewers to form parasocial relationships with the show, explaining their extreme devotion.

Just over two hundred years ago on a stormy night, a young woman conceived of what would become one of the most iconic images of science gone wrong, the story of Victor Frankenstein and his Creature. For a long period, Mary Shelley languished in the shadow of her luminary husband, Percy Bysshe Shelley, but was rescued from obscurity by the feminist scholars of the 1970s and 1980s. This book offers a new perspective on Shelley and on science fiction, arguing that Shelley both established a new discursive space for moral thinking and laid the groundwork for the genre of science fiction. Adopting a contextual biographical approach to understand the factors that enabled Shelley to create Frankenstein, and undertaking a close reading of the 1818 and 1831 editions of the text, gives readers insight into how this famous story synthesizes many of the concerns about new science that were prevalent in Shelley's time. Using Michel Foucault's concept of discourse, this work argues that Shelley should be credited with not only the foundation of a genre but recognized as a figure who created a new cultural space for readers to explore their fears and negotiate the moral landscape of new science.

Charles Fort was an American researcher from the early twentieth century who cataloged reports of unexplained phenomena he found in newspapers and science journals. A minor bestseller with a cult appeal, Fort's work was posthumously republished in the pulp science fiction magazine Astounding Stories in 1934. His idiosyncratic books fascinated, scared, and entertained readers, many of them authors and editors of science fiction. Fort's work prophesied the paranormal mainstays of SF literature to come: UFOs, poltergeists, strange disappearances, cryptids, ancient mysteries, unexplained natural phenomena, and everything in between. Science fiction authors latched on to Fort's topics and hypotheses as perfect fodder for SF stories. Writers like Arthur C. Clarke, Philip K. Dick, Robert Heinlein, H.P. Lovecraft, and others are examined in this exploration of Fortean science fiction-a genre that borrows from the reports and ideas of Fort and others who saw the possible science-fictional nature of our reality.

Caitlin R. Kiernan is at the forefront of contemporary gothic, weird and science fiction literature. She has written more than a dozen novels, over 250 short stories, many chapbooks, along with a large number of graphic works. For these Kiernan has won numerous awards. This first full-length look at Kiernan's body of work explores her fictional universe through critical literary lenses to show the depth of her contributions to modern genre literature. A prolific and creative writer, Kiernan's fictions bring to life our fears about the other, the unknown, and the future through stories that range widely across time and space. A sense of dark terror pervades her novels and stories. Yet Kiernan's fictional universe is not disengaged from reality. That is because she works within the long tradition of gothic fiction speaking to the gravest ethical, social and cultural issues. In her dark fiction, Kiernan illustrates the terror of the tyranny of the normal, the oppression of marginalized people, and the pervasive violence of our time. Her dystopian sf propels today's dangerous economic, social, political and environmental tendencies into the future. Kiernan's fiction portrays troubling truths about the current human condition.

One of the major figures in science fiction for over sixty years, James Gunn has been instrumental in the development of science fiction teaching and in making science fiction one of the most vibrant and engaging areas of scholarly study. His genre history Alternate Worlds and his monumental The Road to Science Fiction anthologies introduced countless readers to the genre. While a professor of English at the University of Kansas, Gunn founded the Gunn Center for the Study of Science Fiction in 1982. But Gunn has also been one of the genre's leading writers, whose classic novels Star Bridge (with Jack Williamson), The Joy Makers, The Immortals, and The Listeners, helped shape the field. Now in his nineties, Gunn remains a major voice in science fiction. His latest novel, Transformation (the conclusion of the Transcendental trilogy), will be published in 2017. Michael Page's study is the first to examine the life, career, and writing of this science fiction grandmaster. Drawing on materials from Gunn's archives and from personal interviews with Gunn and providing detailed analysis and commentary on Gunn's fiction, in The Science Fiction, Scholarship, and Teaching of James Gunn Page provides a much-needed exploration of one of science fiction's important figures.

Prolific, popular and critically acclaimed, Michael Moorcock is the most important British fantasy author of his generation. His Elric of Melnibone is an iconic figure for millions of fans but Moorcock has also been a pioneer in science fiction and historical fiction. He was hailed as the central figure of the ""New Wave"" in science fiction, and has won numerous awards for his fantasy and science fiction, as well as his ""mainstream"" writing. This first full-length critical look at Moorcock's career, from the early 1960s to the present, explores the author's fictional multiverse: his fantasy tales of the ""Eternal Champion""; his experimental Jerry Cornelius novels; his hilarious science-fiction satire of his ""End of Time"" books; and his complex meditations on 20th-century history of Mother London and the Colonel Pyat tetralogy.

A prolific author, Isaac Asimov is most admired for his science fiction, including his collection of short stories I, Robot and his Robot, Empire and Foundation series novels. While each of these narratives takes place in a different fictional universe, Asimov asserted at the end of his career that he had, with his last Robot and Foundation novels, unified them into one coherent metaseries. The Encyclopedia Galactica, a compendium of all human knowledge, is prominent in the Foundation series as a key plot element but is also widely cited in the text itself. Palumbo and Sullivan's major new reference work book contains 1,000 selected excerpts from the Encyclopedia, identifying and describing all of the characters, locales, artifacts, concepts and institutions in Asimov's metaseries. The authors argue that Asimov successfully integrates the three series through the retroactive use of chaos theory, the underlying principle behind both psychohistory and Three Laws of Robotics-respectively the crucial concepts in the Foundation and Robot stories.

Speculative science fiction, with its underlying socio-political dialogue, represents an important intersection of popular culture and public discourse. As a pop culture text, the animated series Star Wars: The Clone Wars offers critical commentary on contemporary issues, marking a moment of interplay whereby author and audience come together in what Russian philosopher Mikhail Bakhtin called collaborative meaning making. This book critically examines the series as a voice in the political dialogs concerning human cloning, torture, just war theory, peace and drone warfare.

The all-new essays in this book respond to the question, How do spaces in science fiction, both built and unbuilt, help shape the relationships among humans, other animals and their shared environments? Spaces, as well as a sense of place or belonging, play major roles in many science fiction works. This book focuses especially on science fiction that includes depictions of the future that include, but move beyond, dystopias and offer us ways to imagine reinventing ourselves and our perspectives; especially our links to and views of new environments. There are ecocritical texts that deal with space/place and science fiction criticism that deals with dystopias but there is no other collection that focuses on the intersection of the two. The essays in this volume treat Shelley's Frankenstein, Capek's War with the Newts, William Morris's News from Nowhere, Le Guin's The Word for World Is Forest, Delany's Stars in My Pocket Like Grains of Sand, Philip K. Dick's Do Androids Dream of Electric Sheep?, Marge Piercy's He, She, It, Neal Stephenson's Anathem, Amitav Ghosh's Calcutta Chromosome and Cormac McCarthy's The Road.

Many believe that Robert A. Heinlein was the most important American science fiction writer of the 20th century. This is the first detailed critical examination of his entire career. It is not a biography that is being done in a two-volume work by William Patterson. Instead, this book looks at each piece of fiction (and a few pieces of sf-related nonfiction) that Heinlein wrote, chronologically by publication, in order to consider what each contributes to his overall accomplishment. The aim is to be fair, to look clearly at the strengths and weaknesses of the writings that have inspired generations of readers and writers.

Reversing a common science fiction cliche, Farscape follows the adventures of the human astronaut John Crichton after he is shot through a wormhole into another part of the universe. Here Crichton is the only human being, going from being a member of the most intelligent species on our planet to being frequently considered mentally deficient by the beings he encounters in his new environment. Crichton befriends a group of beings from various species attempting to escape from imprisonment aboard a living spaceship. The series, which broke many of the so-called ""rules"" of science fiction, follows Crichton's attempts to survive in worlds that are often hostile to him and his friends. Their adventures centre on each being's attempt to find a way home. The essays in this volume explore themes running throughout the series, such as good and evil, love and sex, and what it means to be a hero, as well as the various characters populating the series, including the villains and even the ship itself.

Lois McMaster Bujold has won a shelf full of awards--Hugos, Nebulas, and others--for both her science fiction and fantasy writing. She is one of the most respected names in the field, always delivering polished, thoughtful, and well-crafted writing. She consistently addresses great issues and problems on a human level, where they are faced by quirky, prickly, and very real characters, and her exploration of the theory of reader-response is an important critical contribution. Yet there has been a surprising dearth of serious critical writing about her output--in part because she resists neat and easy classification by genre, politics, or subject matter. This collection of fresh essays aims to correct that situation by presenting a variety of critical perspectives addressing many aspects of her writing. Attention is given to both her Miles Vorkosigan science fiction series and her Chalion and Sharing Knife fantasy series, as well as the books that fall outside these series.

This book is a collection of new essays, with the general objective of filling a gap in the literature about sex and science fiction. Although some work has been published, none of it is recent. The essays herein explore the myriad ways in which authors writing in the genre, regardless of format (e.g., print, film, television, etc.), envision very different beings expressing this most fundamental of human behaviors. ""Science fiction"" can be translated into ""real unreality."" More than a genre like fantasy, which creates entirely new realms of possibility, science fiction constructs its possibilities from what is real, from what is, indeed, possible, or conceivably so. This collection, then, looks to understand and explore the ""unreal reality,"" to note ways in which our culture's continually changing and evolving mores of sex and sexuality are reflected in, dissected by, and deconstructed through the genre of science fiction.

From Doctor Who in the 1960s, to the more recent Heroes and Lost a select group of television series with strong elements of fantasy has achieved cult status. Focusing on eight such series, this work analyzes what makes these programs unique, and what they have in common. Examination of the interaction between the series' creators, studios and fans provides further insight into the series' lasting impact. Included are assessments of the strategies used to promote the series' appeal; an explanation of "transmedia" storytelling and its influence on the television fantasy genre; evaluations of how viewers have shaped cult texts and how greater audience acceptance encouraged creators to develop challengingly complex long-form dramas; and descriptions of changes within broadcasting that have enabled "telefantasy" to transcend niche status and enjoy prominence and popularity.

Examining how we interpret Welshness today, this volume brings together fourteen essays that examine the range of representations of Welsh mythology, folklore, and ritual in popular culture. Topics covered include the twentieth-century fantasy fiction of Evangeline Walton, the Welsh presence in the films of Walt Disney, Welshness in folk music, non-animated film and postmodern literature. Together, these interdisciplinary essays explore the ways that Welsh motifs have proliferated in this age of cultural cross-pollination, spreading worldwide the myths of one small British nation.

This study provides a fascinating look at the various ways in which 20th-century fantasy writers have used Welsh Celtic mythology and folklore in their work. Following the theories formulated by such scholars as John Vickery and Joseph Campbell, the use of Celtic materials by each of the authors is discussed from a mythology-in-literature perspective. Sullivan presents an extensive accounting of the Celtic material used and explores the primary ways in which the authors incorporate it into their fiction, both structurally and thematically. Sullivan identifies and analyzes the nature and extent of Welsh Celtic influence on subsequent cultures and their literatures, and he considers some of the previous attempts to evaluate this influence. The appendixes provide valuable background materials, including critical commentary on the Welsh collection of myths, legends, folktales, and beliefs that are of major importance in the work of the six authors represented. Also included are extensive bibliographies of primary and secondary sources. Illuminating reading for students and scholars of mythology, modern fantasy, and children's literature, this book sheds new light on the Welsh influence in literature and opens paths for further research.

Science and science fiction have become inseparable-with common stories, interconnected thought experiments, and shared language. This reference book lays out that relationship and its all-but-magical terms and ideas. Those who think seriously about the future are changing the world, reshaping how we speak and how we think. This book fully covers the terms that collected, clarified and crystallized the futurists' ideas, sometimes showing them off, sometimes slowing them down, and sometimes propelling them to fame and making them the common currency of our culture. The many entries in this encyclopedic work offer a guided tour of the vast territories occupied by science fiction and futurism. In his Foreword, David Brin says, "Provocative and enticing? Filled with 'huh!' moments and leads to great stories? That describes this volume."

This book explores how contemporary fantastic fiction by women writers responds to the past and imagines the future. The first two chapters look at revisionist rewritings of fairy tales and historical texts; the third and fourth focus on future-oriented narratives including dystopias and space fiction. Writers considered include Margaret Atwood, Octavia E. Butler, Angela Carter, Ursula K. Le Guin, Doris Lessing, and Jeanette Winterson, among others. The author argues that an analysis of how past and future are understood in women's fantastic fictions brings to light an ""ethics of becoming"" in the texts-a way of interrupting, revising and remaking problematic power structures that are tied to identity markers like class, gender and race. The book reveals how fantastic fiction can be read as narratives of disruption that enable the creation of an ethics of becoming.

Australia has been a frequent choice as the location for narratives about the end of the world in science fiction and speculative works, ranging from pre-colonial apocalyptic maps to key literary works from the last fifty years. This critical volume explores the role of Australia in both apocalyptic literature and film. Topics covered include On the Beach and Mad Max, as well as children's literature, Indigenous writing, and cyberpunk. The text explores how apocalypse is used to undermine complacency, foretell environmental disasters, critique colonization, and act as a protest for minority groups. Australian apocalypse imagines Australia at the ends of the world, geographically and psychologically, but also proposes spaces of hope for the future.]