Space is a central topic in cultural and narrative theory today, although in most cases theory assumes Newtonian absolute space. However, the idea of a universal homogeneous space is now obsolete. Black holes, multiple dimensions, quantum entanglement, and spatio-temporal distortions of relativity have passed into culture at large. This book examines whether narrative can be used to represent these "impossible" spaces. Impossible topologies abound in ancient mythologies, from the Australian Aborigines' "dream-time" to the multiple-layer universe of the Sumerians. More recently, from Alice's adventures in Wonderland to contemporary science fiction's obsession with black holes and quantum paradoxes, counter-intuitive spaces are a prominent feature of modern and postmodern narrative. With the rise and popularization of science fiction, the inventiveness and variety of impossible narrative spaces explodes. The author analyses the narrative techniques used to represent such spaces alongside their cultural significance. Each chapter connects narrative deformation of space with historical problematic of time, and demonstrates the cognitive and perceptual primacy of narrative in representing, imagining and apprehending new forms of space and time. This book offers a comprehensive analysis of the connection between narratology, cultural theory, science fiction, and studies of place.

This handbook is the first-of-its-kind comprehensive overview of fantasy outside the Anglo-American hegemony. While most academic studies of fantasy follow the well-trodden path of focusing on Tolkien, Rowling, and others, our collection spotlights rich and unique fantasy literatures in India, Australia, Italy, Greece, Poland, Russia, China, and many other areas of Europe, Asia, and the global South. The first part focuses on the theoretical aspects of fantasy, broadening and modifying existing definitions to accommodate the global reach of the genre. The second part contains essays illuminating specific cultures, countries, and religious or ethnic traditions. From Aboriginal myths to (self)-representation of Tibet, from the appropriation of the Polish Witcher by the American pop culture to modern Greek fantasy that does not rely on stories of Olympian deities, and from Israeli vampires to Talmudic sages, this collection is an indispensable reading for anyone interested in fantasy fiction and global literature. 

Space is a central topic in cultural and narrative theory today, although in most cases theory assumes Newtonian absolute space. However, the idea of a universal homogeneous space is now obsolete. Black holes, multiple dimensions, quantum entanglement, and spatio-temporal distortions of relativity have passed into culture at large. This book examines whether narrative can be used to represent these "impossible" spaces. Impossible topologies abound in ancient mythologies, from the Australian Aborigines' "dream-time" to the multiple-layer universe of the Sumerians. More recently, from Alice's adventures in Wonderland to contemporary science fiction's obsession with black holes and quantum paradoxes, counter-intuitive spaces are a prominent feature of modern and postmodern narrative. With the rise and popularization of science fiction, the inventiveness and variety of impossible narrative spaces explodes. The author analyses the narrative techniques used to represent such spaces alongside their cultural significance. Each chapter connects narrative deformation of space with historical problematic of time, and demonstrates the cognitive and perceptual primacy of narrative in representing, imagining and apprehending new forms of space and time. This book offers a comprehensive analysis of the connection between narratology, cultural theory, science fiction, and studies of place.

Why do Israelis dislike fantasy? Put so bluntly, the question appears frivolous. But in fact, it goes to the deepest sources of Israeli historical identity and literary tradition. Uniquely among developed nations, Israel's origin is in a utopian novel, Theodor Herzl's 'Altneuland' (1902), which predicted the future Jewish state. Jewish writing in the Diaspora has always tended toward the fantastic, the mystical, and the magical. And yet, from its very inception, Israeli literature has been stubbornly realistic. The present volume challenges this stance. Originally published in Hebrew in 2009, it is the first serious, wide-ranging, and theoretically sophisticated exploration of fantasy in Israeli literature and culture. Its contributors jointly attempt to contest the question posed at the beginning: why do Israelis, living in a country whose very existence is predicated on the fulfillment of a utopian dream, distrust fantasy?

One of the most astounding aftershocks of the collapse of the Soviet Union was the massive immigration of Russian Jews to Israel. Today, Russian speakers constitute one-sixth of Israel's total population. No other country in the world has absorbed such a prodigious number of immigrants in such a short period. The implications of this phenomenon are immense both locally (given the geopolitical situation in the Middle East) and globally (as multicultural and multiethnic states become the rule rather than the exception). For a growing number of immigrants worldwide, the experience of living across different cultures, speaking different languages, and accommodating different--and often incompatible--identities is a daily reality. This reality is a challenge to the scholar striving to understand the origin and nature of cultural identity. Languages can be learned, economic constraints overcome, social mores assimilated. But identity persists through generations, setting immigrants and their children apart from their adoptive country. The story of the former Russians in Israel is an illuminating example of this global trend. The Russian Jews who came to Israel were initially welcomed as prodigal sons coming home. Their connection to their "historical motherland" was seemingly cemented not only by their Jewish ethnicity, but also by a potent Russian influence upon Zionism. The first Zionist settlers in Palestine were mostly from Russia and Poland, and Russian literature, music, and sensibility had had a profound effect upon the emerging Hebrew culture. Thus, it seemed that while facing the usual economic challenges of immigrations, the "Russians," as they came to be known, would have littleproblem acclimatizing in Israel. The reality has been quite different, marked by mutual incomprehension and cultural mistranslation. While achieving a prominent place in Israeli economy, the Russians in Israel have faced discrimination and stereotyping. And their own response to Israeli culture and society has largely been one of rejection and disdain. If Israel has failed to integrate the newcomers, the newcomers have shown little interest in being integrated. Thus, the story of the post-Soviet Jews in Israel illustrates a general phenomenon of cultural divergence, in which history carves different identities out of common stock. Besides marking a turning point in the development of Israel, it belongs to the larger picture of the contemporary world, profoundly marked by the collapse of the catastrophic utopias of Nazism and Communism. And yet this story has not adequately been dealt with by the academy. There have been relatively few studies of the Russian immigration to Israel and none that situates the phenomenon in a cultural, rather than purely sociological, context. Elana Gomel's book, The Pilgrim Soul: Being Russian in Israel, is an original and exciting investigation of the Russian community in Israel. It analyzes the narratives through which Russian Jewry defines itself and connects them to the legacy of Soviet history. It engages with such key elements of the Russian-Israeli identity as the aversion from organized religion, the challenge of bilingualism, the cult of romantic passion, and even the singular fondness for science fiction. It provides factual information on the social, economic, and political situation of the Russians in Israel but relates the data to an overallinterpretation of the community's cultural history. At the same time, the book goes beyond the specificity of its subject by focusing on the theoretical issues of identity formation, historical trauma, and utopian disillusionment. The Pilgrim Soul is an important book for all collections in cultural studies, ethnic and immigrant studies, Israeli studies, and Soviet studies. It will appeal to a variety of readers interested in the issues of immigration, multiculturalism, and identity formation.

The Anthropocene and the Undead describes how our experience of an increasingly erratic environment and the idea of the undead are more closely linked than the obvious zombie horde signaling the end of the world. In fact, as described here, much of how we understand the anthropocene both conceptually and in practice involves undead entities from the past that will not die, undead traumas that rise up and consume the world, and undead temporalities that can never end. fifteen original essays by cultural and anthropological experts such as Kyle William Bishop, Nils Bubandt, Johan Hoeglund, and Steffen Hantke, among others, study the nature of humanity's ongoing complicated relationship to the environment via the concept of the undead. In doing so, The Anthropocene and the Undead sheds invaluable light on adjacent concepts such as the Capitalocene, Necrocene, Disanthropocene, Post-anthropocene, and the Symbiocene to trace real and imagined trajectories of our more-than-human selves into undead and undying futures.

The Poetics of Genre in the Contemporary Novel investigates the role of genre in the contemporary novel: taking its departure from the observation that numerous contemporary novelists make use of popular genre influences in what are still widely considered to be literary novels, it sketches the uses, the work, and the value of genre. It suggests the value of a critical look at texts' genre use for an analysis of the contemporary moment. From this, it develops a broader perspective, suggesting the value of genre criticism and taking into view traditional genres such as the bildungsroman and the metafictional novel as well as the kinds of amalgamated forms which have recently come to prominence. In essays discussing a wide range of authors from Steven Hall to Bret Easton Ellis to Colson Whitehead, the contributors to the volume develop their own readings of genre's work and valence in the contemporary novel.

Are we living in a post-temporal age? Has history come to an end? This book argues against the widespread perception of postmodern narrativity as atemporal and ahistorical, claiming that postmodernity is characterized by an explosion of heterogeneous narrative "timeshapes" or chronotopes.
Chronological linearity is being challenged by quantum physics that implies temporal simultaneity; by evolutionary theory that charts multiple time-lines; and by religious and political millenarianism that espouses an apocalyptic finitude of both time and space. While science, religion, and politics have generated new narrative forms of apprehending temporality, literary incarnations can be found in the worlds of science fiction.
By engaging classic science-fictional conventions, such as time travel, alternative history, and the end of the world, and by situating these conventions in their cultural context, this book offers a new and fresh perspective on the narratology and cultural significance of time.

Through the lens of science fiction, this book investigates representations of time in postmodernism. Are we living in a post-temporal age? Has history come to an end? This book argues against the widespread perception of postmodern narrativity as atemporal and a historical, claiming that postmodernity is characterized by an explosion of heterogeneous narrative 'timeshapes' or chronotopes. Chronological linearity is being challenged by quantum physics that implies temporal simultaneity; by evolutionary theory that charts multiple time-lines; and by religious and political millenarianism that espouses an apocalyptic finitude of both time and space. While science, religion, and politics have generated new narrative forms of apprehending temporality, literary incarnations can be found in the worlds of science fiction. By engaging classic science-fictional conventions, such as time travel, alternative history, and the end of the world, and by situating these conventions in their cultural context, this book offers a new and fresh perspective on the narratology and cultural significance of time.