This volume addresses its reader after Covid, a time when the distinction between "the fantastic" or "the virtual" and "the real" was blurred and what man would have thought to be a part of an American science fiction movie, became a real experience. A viral attack blocking life globally and a half online life experience thereafter... While each essay, in their specific contexts, explores "the nonhuman bodies", it should be once again noted that this volume was inspired by all of the inhabitants of the World that are inevitably connected by geographical relation and physical interaction as well as through collective traumas incorporated into individual stories. The essays in this volume focus on the relationship between human and nonhuman bodies while offering in-depth analyses and various insights on their specific subjects, exploring transformed contexts, literary traditions, and genres, guided by rich theoretical engagements with posthumanism, ecocriticism, and digital humanities. As our writers' essays speak to one another, the whole collection reflects on the notion of "connection" within the universe.

The essays in this volume engage with questions concerning the relationships between fictional texts and environmental issues in their various articulations, and offer critical readings that display the theoretical diversity in the current reconsiderations of the place of human in relation to nature and the environment. Written by scholars working in separate yet closely related disciplines in the field of humanities, the essays present analyses of literary and cultural texts, performed with the critical tools provided by studies in ecology, ecofeminism, urban studies, posthumanism and animal studies as well as genre-specific approaches.

Inci Bilgin Tekin's study offers a comparative perspective on two very challenging contemporary female playwrights, Liz Lochhead and Cherrie Moraga, and their Scottish and Chicanese adaptations of myths -- such as the Greek Medea and Oedipus or the Mayan Popul Vuh -- which address ethnic, racial, gender, and hierarchical oppression. Her book incorporates postcolonial and feminist readings of Lochhead's and Moraga's plays while it also explores different mythologies on the background. Bilgin Tekin not only introduces an original point of view on Liz Lochhead's and Cherrie Moraga's plays as adaptations or rewrites, but also calls attention to the non-canonized Scottish, Aztec, and Mayan mythologies. Following an innovative approach, she discusses the question in which ways Lochhead's and Moraga's adaptations of myths are challenges to the canon and further suggests a feminist version of Augusto Boal's Theatre of the Oppressed.The study appeals to readers of mythology, drama, and comparative literature. Those interested in postcolonial and feminist theories will also gain valuable new insights.

The 20th Century was witness to a rise in African American Drama as it introduced many prominent figures such as Amiri Baraka, Ed Bullins and August Wilson. However, its distinctness lies in the flourishing of a female canon led by Alice Childress and Lorainne Hansberry in mid 1900's, which is continued today in the works of many contemporary dramatists such as Adrienne Kennedy and Ntozake Shange, who have taken on the task of giving voice to the two times suppressed black woman. Among these playwrights, Ntozake Shange has been the most strikingly original one since her search for identity is integrated into her writing in terms of both content and form. While she experiments on the smallest segments of her individual and collective self, her writing transcends over rules of language as well as genre. It does not suffice to say her writing reflects a search for identity as what she experiences is a quest for authenticity...

This study aims at examining the contemporary stage adaptations of "Othello" by the four noteworthy contemporary playwrights Ann Marie MacDonald, Djanet Sears, Paula Vogel and Toni Morrison, while discussing their plays both within and outside the framework of Adaptation Studies. Drawing on postcolonial and feminist theories along with psychoanalytical theories and theories of adaptation, this book explores the adaptive levels, contexts and strategies of the four women playwrights in revising "Othello". The anxiety of canonization that the contemporary women playwrights experience, is also addressed as an issue parallel to their authorial relations with Shakespeare. In the hands of contemporary women playwrights, "Othello" thematically makes a call for new contemporary women's perspectives and technically provides an everlasting space for further feminist adaptations, already becoming a signifier of the signification process itself.