Jewish Fantasy Worldwide: Trends in Speculative Stories from Australia to Chile reaches beyond American fiction to reveal a spectrum of Jewish fantasy. The essays in this collection cover speculative works by Jewish artists and about Jewish characters from a broad range of national contexts, including post-Holocaust Europe, the Soviet Union, Chile, French Canada, and the Middle East. The authors consider various media including fiction, film, Youtube videos, and fan sites. For scholars and fans alike, this collection of essays will provide new perspectives on Jewish presences in speculative fiction around the world.

This volume analyzes Jewish tropes in popular science fiction ranging from Star Trek and Marvel to other prominent franchises. Sometimes the representation is subtle and thought-provoking; however, at other times, it is limited to cliche and oversimplification of characters. . The essays in this collection examine the representation of Jewish characters in films and franchises including Superman, Lord of the Rings, The Mandalorian, The Twilight Zone and more to shed light on the broad range of representations of the Jewish experience in ways popular science fiction and fantasy.

The villain's journey is rare in popular culture--most characters are fully-formed tyrants with little to no story arc. However, a few particularly epic series take the time to develop complex villains, including Star Wars, Battlestar Galactica, Smallville, Babylon 5, Game of Thrones, and Buffy the Vampire Slayer. Increasingly, villains' origin stories have found new popularity through films like Wicked, Maleficent, and Despicable Me, alongside shows starring serial killers and Machiavellian schemers. This book examines the villain's decline and subsequent struggle toward redemption, asking why these characters are willing to cross moral lines that "good" characters are not. The first half follows characters like Loki, Jessica Jones and Killmonger through the villain's journey: an inverse or twisted version of scholar Joseph Cambell's hero's journey. The remainder of this book examines the many different villainous archetypes such as the trickster, the outcast, the tyrant, or the misunderstood hero in greater detail. Written for writers, creators, fans, and mythologists, this book offers a peek into the minds of some of fiction's greatest villains.

Science fiction first emerged in the Industrial Age and continued to develop into its current form during the twentieth century. This book analyses the role Jewish writers played in the process of its creation and development. The author provides a comprehensive overview, bridging such seemingly disparate themes and figures as the ghetto legends of the golem and their influence on both Frankenstein and robots, the role of, Jewish authors and publishers in developing the first science fiction magazine in New York in the 1930s, and their later contributions to new and developing medial forms like comics film. Drawing on the historical context and the positions Jews held in the larger cultural environment, the author illustrates how themes and tropes in science fiction and fantasy relate back to the realities of Jewish life in the face of global anti-Semitism, the struggle to assimilate in America, and the hope that was inspired by the founding of Israel.

The original Star Wars trilogy famously follows Joseph Campbell's model for the hero's journey, making Luke Skywalker's story the new hero quest for a modern age. With the nine-plus film saga complete, however, new story patterns have emerged as the hero's journey is imagined over and over for characters of different ages, genders, and backgrounds. The prequels offer the plot arc of the villain's journey through Anakin. Leia and Padme, while damsels in the men's story, break out to undergo their own ordeals. The heroine's journey is exemplified by Rey and Jyn. Obi-Wan, Yoda, and Vader must accept the loss of power and fade into spirit guardians, perpetuating the lifecycle. By the sequel era, the original trio become mentors to the younger generation and finally must do the same. Meanwhile, the Mandalorian explores a different form of the quest as he transforms from immature warrior to patriarch. This book tracks the journeys of over 20 characters throughout the franchise.

Wonder Woman, Harley Quinn, Shuri, and Black Widow. These four characters portray very different versions of women: the superheroine, the abuse victim, the fourth wave princess, and the spy, respectively. In this in-depth analysis of female characters in superhero media, the authors begin by identifying ten eras of superhero media defined by the way they portray women. Following this, the various archetypes of superheroines are classified into four categories: boundary crossers, good girls, outcasts, and those that reclaim power. Modern superheroines fall under any of the categories and with the push from the feminist movement, superheroines are becoming more powerful and independent.

Star Wars defined popular, big-screen science fiction. Still, what many viewers best recall is assertive, hilarious Leia, the diminutive princess with a giant blaster who had to save them all. As the 1977 film arrived, women were marching for equality and demanding equal pay, with few onscreen role models. Leia echoed their struggle and showed them what they could be. Two more films joined in, though by the early eighties, post-feminism was pushing back and shoving the tough heroine into her pornographic gold bikini. After a sixteen-year gap, the prequels catered to a far different audience. Queen Amidala's decoy power originates in how dominated she is by her massive royal gowns. This obsession with fashion but also costuming as a girly superpower fits well with the heroines of the time. The third wavers filled the screens with glamorous, mighty girls - strong but not too strong, like the idealistic teen Ahsoka of Clone Wars. However, space colonialism, abusive romance, and sacrifice left these characters a work in progress. Finally, the sequel era has introduced many more women to fill the galaxy: Rey, Jyn, Rose, Maz, Qi'ra, Val, L3-37, Captain Phasma, Admiral Holdo, and of course General Leia. Making women the central warriors and leaders while keeping them powerful and nonsexualized emphasizes that they can share in the franchise instead of supporting male Jedi. There's also more diversity, though it's still imperfect. Hera and Sabine on the spinoff cartoon Rebels and the many girls in the new franchise Forces of Destiny round out the era, along with toys, picture books, and other hallmarks of a new, more feminist fourth wave for the franchise.

BBC's Orphan Black shattered conventions with one actress-Tatiana Maslany-playing a host of main characters. At the same time, it burst through the expectations of a crowd that anticipated male heroes and female victims. As the mighty heroines save one another and destroy the patriarchy, they're aided by supportive, gentle, even bumbling male love interests and friends. Even as the characters subvert gender expectations, they provide models that celebrate the many types of feminism through history and emerging today: Sarah, the punk feminist and protagonist, clashes with her foster-mother Siobhan, herself a veteran of radical feminism and literal combat. Housewife Alison begins as the quintessential post-feminist, while Krystal sports pink tops and high heels as a girl power icon. Cosima hails from Berkeley in her Birkenstocks and dreadlocks, the herald of second-wave lesbian feminism as she earns herself a science PhD. Beth has it all in the spirit of third-wave feminism, though her drug habits and relationship problems show the weakness of the era. M.K., hidden in her trailer yet ruling the internet as its hacker-queen, offers a new image as a fourth-wave feminist, conquering her disability through the new medium of the internet. At the same time, the science and ethics of cloning emphasizes the women's war against corporate power. Together with metafiction, allusions, symbolism, and deeper imagery, the show breaks all the barriers of gender as well as science fiction television.

The heroine's journey echoes through ancient legend, as each young woman combats her dark side and emerges stronger. Of course, this quest is also a staple of the most American of mythologies-comic books. With her fabled birth, Wonder Woman exemplifies a new female-centric creation story. After this, the lasso or Witchblade or totem necklace offers each superhero semidivine power. Batgirl, Batwoman, and Black Widow discover their great enemy is the dark mother or shadow twin-all the savagery they've rejected in themselves. On her new television show, Supergirl has a similar struggle but must also restore harmony with her closest bond of all-her sister. From Jessica Jones and Catwoman to the new superwomen of cutting-edge webcomics, each heroine must descend into the darkest place of all, not to become a warrior-hero but a savior. Thus women like Captain Marvel and Storm sacrifice all to join the ranks of true superheroes. At the same time, their earthshaking feminine powers and dazzling costumes spin the most ancient tales, offering the world an extraordinary new popular mythos.

A great deal of scholarship has focused on Joss Whedon's television and film work, which includes Buffy the Vampire Slayer, Firefly, Doctor Horrible's Sing-Along Blog, The Cabin in the Woods and The Avengers. But Whedon's work in the world of comics has largely been ignored. He created his own dystopian heroine, Fray, assembled the goofy fannish heroes of Sugarshock, and wrote arcs for Marvel's Astonishing X-Men and Runaways. Along with The Avengers, Whedon's contributions to the Marvel Cinematic Universe include script doctoring the first X-Men film, writing a ground-shaking Wonder Woman screenplay, and co-creating ABC's Agents of S.H.I.E.L.D. Today, Whedon continues the Buffy and Firefly stories with innovative comics that shatter the rules of storytelling and force his characters to grow through life-altering conflicts. This collection of new essays focuses on Whedon's comics work and its tie-ins with his film and television productions, emphasizing his auteurism in crossing over from panel to screen to panel. Essays focus on the comic inspirations and subversive tropes of the Whedonverse, as well as character changes and new interpretations.

Outlander is much more than a television romance about a World War II nurse and a Jacobite soldier in a fetching kilt. The massive book series has been categorized as a period drama, adventure saga, military history, and fantasy epic. Further, those who look deeper will find an extraordinary amount of symbolism and mythology from around the world. Enter the world of myth behind Outlander, from the Fair Folk and the Loch Ness monster to the magic and lore of standing stones and the pagan Sun Feasts that control them. Reach into the original legends of culture hero Fionn Mac Cumhaill and the prophecy of the Brahan Seer that inspire parts of the saga. Discover the meaning behind popular Outlander symbols: heather and white roses, the dragonfly in amber, Claire's blue vase and shining wedding gown, her wedding ring and pearl necklace. Throughout Claire and Jaime's journey, they're surrounded by the literature and music of the time, which likewise offer a deeper significance. Claire quotes the English romantic poets of her childhood but also the anachronistic Robbie Burns and Sir Walter Scott. Later the characters encounter wendigos and ghosts, zombies and Vodou ritual, succubae, acupuncture and astrology, and much more. All in all, the Outlander, world has much more behind it for the discerning fan to discover.

This collection of essays by scholars of diverse backgrounds explores the notion of repentance in our culture, focusing on individuals who have been excluded from society as a result of violating its laws. What must these individuals do to gain redemption and be readmitted? Amitai Etzioni argues that the lack of a well-grounded concept of civic repentance has significant negative social consequences for our society. Denying people the opportunity to regain their social standing and membership in their communities is simply unfair, and the absence of such opportunities for restoration through repentance exacts heavy social costs. The essays in this collection address these issues from a variety of perspectives and discuss possible ways of filling this void, including restorative justice, physician rehabilitation programs, and religious reconciliation rituals.

Outlander fever is sweeping the world. But what is behind the hit television drama's popularity? Is it author Diana Gabaldon's teasing posts on social media? Is it the real history reimagined? The highly emotional melodrama? Or is it the take-charge heroine and the sweet hero in a kilt? One of the show's biggest draws is its multigenre appeal. Gabaldon-whose Outlander novels form the basis of the series-has called it science fiction, fantasy, romance, historical fiction and military fiction, depending on her audience. This collection of new essays explores the series as romance, a ghost story, an epic journey, a cozy mystery, a comedy of manners, a gothic thriller and a feminist answer to Game of Thrones, and considers the source of its broad appeal.

Game of Thrones is one of the hottest series on television. However, hundreds of critics are divided on how "feminist" the show really is. Certainly, the female characters, strong and weak, embody a spectrum of archetypes - widow queens, warrior women, damsels in distress, career women, priestesses, crones, mothers, and maidens. However, the problematic area is that most play a single role without nuance - even the "strong women" have little to do besides strut about as one-note characters. This book analyses the women and their portrayals one by one, along with their historical inspirations. Accompanying issues in television studies also appear, from the male gaze to depiction of race. How these characters are treated in the series and how they treat themselves becomes central, as many strip for the pleasure of men or are sacrificed as pawns. Some nude scenes or moments of male violence are fetishised and filmed to tantalise, while others show the women's trauma and attempt to identify with the scene's female perspective. The key is whether the characters break out of their traditional roles and become multifaceted.

Over the past half-century Doctor Who has defined science fiction television. The women in the series-from orphans and heroic mothers to seductresses and clever teachers-flourish in their roles yet rarely surmount them. Some companions rescue the Doctor and charm viewers with their technical brilliance, while others only scream for rescue. The female villains are memorable, including the Rani, Cassandra and Missy. Covering all of the series-classic and new-along with Class, K9, Torchwood, Sarah Jane Adventures, novels, comics and Big Finish Audio adventures, this book examines the women archetypes in Doctor Who.

Throughout history, men have prayed to the gods and poets have interpreted the ancient myths for new audiences. But what of the women? Here, scholars examine how modern female poets take on the legends of Persephone, Helen, and Eurydice, subverting and flipping classical expectations. After essays on the works of H.D., Louise Gluck, Ruth Fainlight, Rita Dove, Silvia Plath, and many more, the collection ventures to the goddesses of other countries: Buddhist Kwan Yin, Irish Macha, Aztec Coatlicue, Hawaiian Pele, Indian Sita, Sumerian Inanna, African Yemonja, the Mexican Llorona, and many more. With sections on teaching and modern writing, there's something for every scholar in this groundbreaking new collection.

Outlander, an epic time travel adventure with plenty of history and romance, has hit cable television. And unlike many other shows, this one seems designed particularly for the women. There's a spectacle of scantily dressed men (or rather one kilted man in particular), a female narrator, and fantastic period costumes. More interestingly, both show and books address many issues most series shy away from-breast feeding, abortion, birth control. Role reversals are common as powerful Claire rescues her virginal husband Jamie from sexual abuse. The villainous Black Jack Randall even displays his genitals onscreen in a spectacle for the heroine Jenny to laugh at. On a wider level, the story considers what it means to be a capable woman in the eighteenth century versus the twentieth as Claire explores different models of strength in the two times. Likewise, Jamie comes to understand the nuances of male honor, power, and alternative sexuality through the contrasting models of Black Jack and Lord John. While most characters are white early on, the books introduce the Cherokee and the slavery question with sympathy as Jamie and Claire struggle to improve the world. As the heroes encounter all the complications of a marriage, along with life in their wider community, they make discoveries about gender that resonate with all their fans here in the modern world.

The Harry Potter phenomenon created a surge in reading with a lasting effect on all areas of culture, especially education. Today, teachers across the world are harnessing the power of the series, using it to reach out to students young and old as a gateway to more challenging literature. In fact, Rowling's books can educate with a scope far beyond English classes. They've been used to teach history, gender studies, chemistry, religion, philosophy, sociology, architecture, Latin, medieval studies, astronomy, SAT skills, and much more. Teachers of younger students use Harry and Hermione to encourage kids with disabilities or show girls the power of being brainy scientists. Enterprising instructors have their students harness the power of the new internet age by reading fanfiction, splicing video clips, or exploring Rowling's new website, Pottermore. With new scholarship, new academic conferences, and new Potter material appearing each day, one thing is certain--this series is far from over.

Fourth wave feminism has entered the national conversation and established a highly visible presence in popular media, especially in cutting-edge science fiction and fantasy films and television series. Wonder Woman, the Wasp, and Captain Marvel headline superhero films while Black Panther celebrates nonwestern power. Disney princesses value sisterhood over conventional marriage. This first of two companion volumes addresses cinema, exploring how, since 2012, such films as the Hunger Games trilogy, Mad Max: Fury Road, and recent Star Wars installments have showcased women of action. The true innovation is a product of the Internet age. Though the web has accelerated fan engagement to the point that progressivism and backlash happen simultaneously, new films increasingly emphasize diversity over toxic masculinity. They defy net trolls to provide stunning role models for viewers across the spectrum of age, gender, and nationality.

The worlds of Percy Jackson, Harry Potter, and other modern epics feature the Chosen One--an adolescent boy who defeats the Dark Lord and battles the deepest joys and sorrows of the world below awareness. Television's Buffy the Vampire Slayer represents a different kind of epic--the heroine's journey, not the hero's. This provocative study explores how Buffy blends 1990s girl power and the path of the warrior woman with the oldest of mythic traditions. It chronicles her descent into death and subsequent return like the great goddesses of antiquity. As she sacrifices her life for the helpless, Buffy experiences the classic heroine's quest, ascending to protector and queen in this timeless metaphor for growing into adulthood.

Nineteen years later . . . Even as a new generation embraces the Harry Potter novels for the first time, J.K. Rowling's world is expanding with Fantastic Beasts, Cursed Child and Pottermore. There are new mobile games, new toys and, of course, the theme parks. Meanwhile, Quidditch and the Harry Potter Alliance stretch from college to college, inspiring each generation. Fans have adapted the series into roleplaying games, parodies, musicals, films, dances, art and published fiction like Tommy Taylor or Carry On. They are also scrambling Potter with new franchises: Game of Thrones, Hunger Games, Percy Jackson, Hamilton. What else is this new generation discovering about loving Potter? Which are the best conventions, the best fanfiction and wizard rock? And, how has Potter aged and what does it still have to teach us? Fan Phenomena: Harry Potter offers Potter fans a taste of the best the fandom has to offer.

Television is entering a unique era, in which women and minorities no longer serve under white captains but take the lead--and all the other roles as well. In a brilliant new universe where the intersectional values of fourth wave feminism are becoming more widespread, fantasy and science fiction are leading the charge. Shows from Star Wars to Doctor Who are rewriting their traditional storylines to include more well-rounded and racially diverse female characters. Steven Universe, DC Legends of Tomorrow and Sense8 highlight queer characters and experiences. Dystopias like Marvel's Jessica Jones and The Handmaid's Tale show the female perspective entirely, guiding viewers from trauma to self-determination. In fantasy and horror, Wynonna Earp, Game of Thrones, Vikings, American Horror Story, Black Mirror, and The Walking Dead reveal how much the story changes with a spectrum of women reclaiming the text from white, straight, young, cisgender men. These new shows are intersectional, digital, global, critical, and political, with fan responses changing the content and cutting-edge platforms like Netflix and Hulu shaking up the format. After briefly tracing how previous waves of the feminist movement figured in television of all genres from the early 1900s onward, this collection of essays explores how these shows are breaking boundaries and offering inclusion and possibilities to all women.

Star Wars defined popular, big-screen science fiction. Still, what many viewers best recall is assertive, hilarious Leia, the diminutive princess with a giant blaster who had to save them all. As the 1977 film arrived, women were marching for equality and demanding equal pay, with few onscreen role models. Leia echoed their struggle and showed them what they could be. Two more films joined in, though by the early eighties, post-feminism was pushing back and shoving the tough heroine into her pornographic gold bikini. After a sixteen-year gap, the prequels catered to a far different audience. Queen Amidala's decoy power originates in how dominated she is by her massive royal gowns. This obsession with fashion but also costuming as a girly superpower fits well with the heroines of the time. The third wavers filled the screens with glamorous, mighty girls - strong but not too strong, like the idealistic teen Ahsoka of Clone Wars. However, space colonialism, abusive romance, and sacrifice left these characters a work in progress. Finally, the sequel era has introduced many more women to fill the galaxy: Rey, Jyn, Rose, Maz, Qi'ra, Val, L3-37, Captain Phasma, Admiral Holdo, and of course General Leia. Making women the central warriors and leaders while keeping them powerful and nonsexualized emphasizes that they can share in the franchise instead of supporting male Jedi. There's also more diversity, though it's still imperfect. Hera and Sabine on the spinoff cartoon Rebels and the many girls in the new franchise Forces of Destiny round out the era, along with toys, picture books, and other hallmarks of a new, more feminist fourth wave for the franchise.

Many are familiar with Joseph Campbell's theory of the hero's journey, the idea that every man from Moses to Hercules grows to adulthood while battling his alter-ego. This book explores the universal heroine's journey as she quests through world myth.

Numerous stories from cultures as varied as Chile and Vietnam reveal heroines who battle for safety and identity, thereby upsetting popular notions of the passive, gentle heroine.

Only after she has defeated her dark side and reintegrated can the heroine become the bestower of wisdom, the protecting queen and arch-crone.

True Blood is more than just an HBO show brimming with sex and gore, or another vampire horror story blown up by big media. Independent detective Sookie Stackhouse is following the classic heroine's journey, seen in epic myth and popular fantasy, from the quests of Isis and Demeter to the struggles of Dorothy Gale or Katniss Everdeen. Beside her, Sam, Jason, Alcide, Eric, and Bill, along with Pam, Tara, and Jessica embark on their own epic quests into darkness seeking freedom and belonging. From the show's mythic structure to the maenads, fairies, demonesses, werewolves, and vampires, True Blood swells from its ancient roots to tackle modern issues and sensibilities in a breathtaking epic...while still breaking taboos and tackling boundaries.