Many of us grew up exploring fascinating worlds--in books, films and, most importantly, our imaginations--places filled with mythological characters and magical landscapes where we had stunning experiences punctuated by the harmless pleasures that any child's mind can conjure. These worlds end up in our childhood fictions, which have in turn shaped countless imaginations and childhood adventures. The essays in this book attempt to comprehend the worlds of children's progressive fiction--from how they are created to how they affect readers. This book explores what happens when speculative genres (fantasy, horror, and science fiction) and imaginative spaces collide headlong with the realities and surrealities of modern childhood. It moves back and forth between Oz, Wonderland, Redwall and Fear Street, and explores series such as Nancy Drew, Inkheart, The Mortal Instruments, the Miss Peregrine series and more. Many of these works feature children who must save the day--to stop the bad guy, kill the monster, complete the quest and rescue adults--leading us to wonder if fantastic spaces in children's progressive fiction help kids prepare to save the world rather than helping them temporarily escape it.

Despite the fact that Star Trek: Deep Space Nine ended over twenty-five years ago, there has yet to be a stand-alone assessment of the series. This collection corrects that omission, examining what made Deep Space Nine so unique within the Star Trek universe, and how that uniqueness paved the way for an altogether new, entirely different vision for Star Trek. If the Star Trek slogan has always been "to boldly go where no one has gone before," then Deep Space Nine helped to bring in a new renaissance of serialized television that has become normal practice. Furthermore, Deep Space Nine ushered in critical discussions on race, gender, and faith for the franchise, science fiction television and American lives. It relished in a vast cast of supporting characters that allowed for the investigation of psychosocial relationships—from familial issues to interpersonal and interspecies conflict to regional strife—that the previous Star Trek series largely overlooked. Essays explore how Deep Space Nine became the most richly complicated "sci-fi" series in the entire Star Trek pantheon.

Girls' Series Fiction and American Popular Culture examines the ways in which young female heroines in American series fiction have undergone dramatic changes in the past 150 years, changes which have both reflected and modeled standards of behavior for America's tweens and teen girls. Though series books are often derided for lacking in imagination and literary potency, that the majority of American girls have been exposed to girls' series in some form, whether through books, television, or other media, suggests that this genre needs to be studied further and that the development of the heroines that girls read about have created an impact that is worthy of a fresh critical lens. Thus, this collection explores how series books have influenced and shaped popular American culture and, in doing so, girls' everyday experiences from the mid nineteenth century until now. The collection interrogates the cultural work that is performed through the series genre, contemplating the messages these books relay about subjects including race, class, gender, education, family, romance, and friendship, and it examines the trajectory of girl fiction within such contexts as material culture, geopolitics, socioeconomics, and feminism.

The narrative re-tellings of the life, reign, and death of the English King Edward II (reigned 1307-1327) present a unique opportunity for scholars of sexuality in the early modern era. This is because the works of authors like Christopher Marlowe, Michael Drayton, Sir Francis Hubert, Elizabeth Cary, and Richard Niccols were all inspired by the public, cultural memory fashioned from Edward's same-sex love affair with Piers Gaveston. As such, each of them presents a particular representation of and a specific discourse about male-male sexual relations in the Renaissance. In other words, what these works present is a concentrated body of literature about same-sex love in the early modern era: works that openly and frankly explore the possible origins of the love, the reasons and causes for it; works that explore the ramifications of male-male romantic relationships; works that explore the sexual politics and sociocultural dynamics of same-sex romantic partnerships; and works that describe and denote same-sex love from an English Renaissance perspective. This study looks at each of the major Renaissance texts about Edward II and examines the means through which each text understands and analyzes the nature of male-male same-sex love. From Marlowe's crafting of a lover-identity for Edward to Drayton's obsession with Marlowe's version of (gay) history; from Hubert's Augustinian construction of Edward's nature to Cary's identification with the fallen king to Niccols' inspired exemplum, what each of these works demonstrates is that the "love that dare not speak its name" would not be silenced, at least not in the case of Edward and Gaveston. When one sees the name Edward II, one also sees his same-sex loves. The correlation has become ingrained into our public recall of history. Thus, as far as the world is concerned, Edward II was-and ever will be-the gay king.

Spartacus, the Thracian gladiator turned rebel leader, endures as a near-mythic hero who fought for the oppressed against a Roman oligarchy built on the backs of slave labour. The image of Spartacus as a noble if doomed avenger is familiar and his story has been retold through history as a cautionary tale about social injustice. The series Spartacus takes a different view, with a graphically violent depiction of the man and his times and a focus on the archetype of the gladiator--the physically powerful, courageous and righteous man. This collection of new essays studies the series as an exploration of masculinity. In the world of Spartacus, men jockey for social position, question the nature of their lives, examine their relationships with women and with each other, and their roles in society and the universe. As an adaptation, the series also offers a compelling study in the composite nature of historical narrative in television and film, where key facts from original sources are seamlessly interwoven with period embellishments, presenting audiences with authentic history beside fiction that may as well be.

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.

[Much has been written about the girl sleuth in fiction, a feminist figure who embodies all the potential wit, drive and zest of girlhood. Her male counterpart, however, has received much less critical attention despite his popularity in the wider culture. This collection of twelve essays examines the boy detective and his genre from a wide variety of critical perspectives and address issues involving these young characters who stand on the cusp of manhood and boyhood, heirs to the patriarchy yet still concerned with first crushes and soda shop romances. Series explored include the Hardy Boys, Tow Swift, the Three Investigators, Christopher Cool and Tim Murphy, as well as works by Astrid Lindgren, Mark Haddon, and Joe Meno.]

This collection of essays focuses its critical sights on the figure of the girl sleuth, made famous by Nancy Drew but also characterized by other famous detectives like Cherry Ames, Trixie Belden, Linda Carlton, and even in contemporary media by Veronica Mars and Hermione Granger of the ""Harry Potter"" series (all of whom are represented in the book.) The girl sleuth is perhaps the ultimate in paradox - she is fearless but cautious; intelligent but undereducated; unbound yet always contained. She is almost impossibly feminine, perfectly appointed and impeccably dressed, yet she is also downright feminist, barging through barriers that her adult female counterparts would not get through for decades to come.And yet, in the face of the girl sleuth's paradoxical nature, solving mysteries is clearly her defining act. Fittingly, solving mysteries is what each of the authors represented in this collection strives to do, examining the questions and conundrums these girl sleuths have left in their wake as they have righted wrongs, stopped the bad guy, and saved the day.The topics include: the disputed origins of Nancy Drew and the Stratemeyer Syndicate; the firmly intertwined relationships between the Syndicate and Nancy Drew's many ghostwriters; the surprisingly distinct and evolving textual identities of the Cherry Ames series; the adaptation of the traditional girl sleuth archetype in contemporary girl detectives like Veronica Mars, Lulu Dark, and Ingrid Levin-Hill; and the ways in which Harry Potter's Hermione Granger, while a central female character in the series, is often at odds with the male-centric, fantasy-genre world of Harry Potter himself.

Few movie genres have highlighted the male body more effectively than the "sword-and-sandal" film, where the rippling torso and the bulging muscle are displayed for all to appreciate. Carrying his ubiquitously phallic sword and dressed in traditional garb calculated to highlight his magnificent physique, the sword-and-sandal hero is capable of toppling great nations, rescuing heroines, defeating monsters, and generally saving the day. Each of these essays examines the issues of masculinity and utility addressed in the sword-and-sandal genre. The contributors offer insights on a film form which showcases its male protagonists as heroic, violent, fleshy, and in the end, extremely useful.

The end of the world may be upon us, but it certainly is taking its sweet time playing out. The walkers on The Walking Dead have been "walking" for nearly a decade. There are now dozens of apocalyptic television shows and we use the "end times" to describe everything from domestic politics and international conflict, to the weather and our views of the future. This collection of new essays asks what it means to live in a world inundated with representations of the apocalypse. Focusing on such series as The Walking Dead, The Strain, Battlestar Galactica, Doomsday Preppers, Westworld, The Handmaid's Tale, they explore how the serialization of the end of the world allows for a closer examination of the disintegration of humanity--while it happens. Do these shows prepare us for what is to come? Do they spur us to action? Might they even be causing the apocalypse?

The poetry of John Donne, Andrew Marvell, George Herbert, Robert Herrick, and Richard Crashaw has fascinated critics for centuries. Ambivalently received but inescapably influential, their tradition can be traced through some of the best poets of our time. This new volume from the ""Bloom's Classic Critical Views"" series features insightful essays from the 17th and early 20th centuries that offer students of literature historical insights into these significant poets.

Representing Agency in Popular Culture: Children and Youth on Page, Screen and In-Between addresses the intersection of children's and youth's agency and popular culture. As scholars in childhood studies and beyond seek to expand understandings of agency, power, and voice in children's lives, this book places popular culture and representation as central to this endeavor. Core themes of family, gender, temporality, politics, education, technology, disability, conflict, identity, ethnicity, and friendship traverse across the chapters, framed through various film, television, literature, and virtual media sources. Here, childhood is considered far from homogeneous and the dominance of neoliberal models of agency is questioned by intersectional and intergenerational analyses. This book posits there is vast power in popular culture representations of children's agency, and interrogation of these themes through interdisciplinary lenses is vital to furthering knowledge and understanding about children's lives and within childhood studies.

Girls' Series Fiction and American Popular Culture examines the ways in which young female heroines in American series fiction have undergone dramatic changes in the past 150 years, changes which have both reflected and modeled standards of behavior for America's tweens and teen girls. Though series books are often derided for lacking in imagination and literary potency, that the majority of American girls have been exposed to girls' series in some form, whether through books, television, or other media, suggests that this genre needs to be studied further and that the development of the heroines that girls read about have created an impact that is worthy of a fresh critical lens. Thus, this collection explores how series books have influenced and shaped popular American culture and, in doing so, girls' everyday experiences from the mid nineteenth century until now. The collection interrogates the cultural work that is performed through the series genre, contemplating the messages these books relay about subjects including race, class, gender, education, family, romance, and friendship, and it examines the trajectory of girl fiction within such contexts as material culture, geopolitics, socioeconomics, and feminism.