Advances in science and technology no longer change how we live, they determine it. In the not-too-distant future, techno-scientific developments may make individuals stronger, smarter, healthier and more productive--but to what end? Addressing this question, speculative fiction has created an abundance of transhuman characters, protagonists with extraordinary strength, intelligence or abilities. Often they are antiheroes, openly rejecting--or rejected by--society and acting on immoral or extreme principles that challenge readers to approve, condemn, excuse or explain. This study explores the antihero of speculative fiction as a paradoxical blend of human and transhuman. These protagonists illustrate the dynamics of individual, techno-scientific and societal norms, and blur distinctions between human and machine, biology and technology, right and wrong. Fictional works covered include Mary Shelley's Frankenstein (1818), Olaf Stapledon's Odd John (1935), Alfred Bester's The Stars My Destination (1956), William Gibson's Neuromancer (1986), Alan Moore and Dave Gibbons' Watchmen (1986-1987), Richard Morgan's trilogy (Altered Carbon, 2001, Broken Angels, 2003 and Woken Furies 2005) and Black Man (2007).

Black Bodies and Transhuman Realities: Scientifically Modifying the Black Body in Posthuman Literature and Culture makes a series of valuable contributions to ongoing dialogues surrounding posthuman blackness and Afro-transhumanism. The collection explores the Black body (self) in the context of transhuman realities from a variety of literary and artistic perspectives. These points of view convey the cultural, political, social, and historical implications that frame the space of Black embodiment, functioning as sites of potentiality and pointing toward the possibility of a transcendental Black subjectivity. In this book, many questions concerning the transformation of the Black body are presented as parallels to philosophical and religious inquiries that have traditionally been addressed from a hegemonic viewpoint. The chapters demonstrate how literature, based on its historical and social contexts, contributes to broader thought about Black transcendence of subjectivity in a posthuman framework, exploring interpretations of the “old” and visions of the “new” human.

Advances in science and technology no longer change how we live, they determine it. In the not-too-distant future, techno-scientific developments may make individuals stronger, smarter, healthier and more productive--but to what end? Addressing this question, speculative fiction has created an abundance of transhuman characters, protagonists with extraordinary strength, intelligence or abilities. Often they are antiheroes, openly rejecting--or rejected by--society and acting on immoral or extreme principles that challenge readers to approve, condemn, excuse or explain. This study explores the antihero of speculative fiction as a paradoxical blend of human and transhuman. These protagonists illustrate the dynamics of individual, techno-scientific and societal norms, and blur distinctions between human and machine, biology and technology, right and wrong. Fictional works covered include Mary Shelley's Frankenstein (1818), Olaf Stapledon's Odd John (1935), Alfred Bester's The Stars My Destination (1956), William Gibson's Neuromancer (1986), Alan Moore and Dave Gibbons' Watchmen (1986-1987), Richard Morgan's trilogy (Altered Carbon, 2001, Broken Angels, 2003 and Woken Furies 2005) and Black Man (2007).

Transhumanisms and Biotechnologies in Consumer Society offers new, critical perspectives on the impact of 'life-enhancing' technological advancements on consumer identity positions and market evolutions. Technoprogressive innovations that include body modification technologies and reproductive technologies have enabled people to transcend bodily constraints. In parallel, they provoke necessary, critical interrogation around human capabilities, technological possibilities, gender equality, feminism, personal identity, bioethics, markets and morality. The contributions in this book re-evaluate these topics and elucidate some of the vexed relationships between consumers of biotechnologies and markets they consider restrictive or misleading. Secondly, by illustrating consumers’ questioning of and resistance to biomedical, market imperatives, they highlight how the notion of consumer sovereignty, consumer influence over markets, has now advanced into novel forms of consumer activism made manifest through contemporary health justice movements. The chapters in this book also uncover profoundly personal consumer accounts on coping with and managing bodies-in-transition, focusing on illness, self-perception, survivorship and the vicissitudes of these corporeal experiences. This book will allow readers to understand how accelerated technological market changes are being experienced and creatively countered at the societal and individual level. The chapters in this book were originally published as a special issue of Journal of Marketing Management.

The Routledge Companion to Gender and Science Fiction is the first large-scale reference work of its kind, critically assessing the relations of gender and genre in science fiction (SF) especially—but not exclusively—as explored in speculative art by women and LGBTQ+ artists across the world. This global volume builds upon the traditions of interdisciplinary inquiry by connecting established topics in gender studies and science fiction studies with emergent ideas from researchers in different media. Taken together, they challenge conventional generic boundaries; provide new ways of approaching familiar texts; recover lost artists and introduce new ones; connect the revival of old, hate-based politics with the increasing visibility of imagined futures for all; and show how SF stories about new kinds of gender relations inspire new models of artistic, technoscientific, and political practice. Their chapters are grouped into five conversations—about the history of gender and genre, theoretical frameworks, subjectivities, medias and transmedialities, and transtemporalities—that are central to discussions of gender and SF in the current moment. A range of both emerging and established names in media, literature, and cultural studies engage with a huge diversity of topics including eco-criticism, animal studies, cyborg and posthumanist theory, masculinity, critical race studies, Indigenous futurisms, Black girlhood, and gaming. This is an essential resource for students and scholars studying gender, sexuality, and/or science fiction.

While much of the scholarship on superhero narratives has focused on the heroes themselves, Batman’s Villains and Villainesses: Multidisciplinary Perspectives on Arkham’s Souls takes into view the depiction of the villains and their lives, arguing that they often function as proxies for larger societal and philosophical themes. Approaching Gotham’s villains from a number of disciplinary backgrounds, the essays in this collection highlight how the villains’ multifaceted backgrounds, experiences, motivations, and behaviors allow for in-depth character analysis across varying levels of social life. Through investigating their cultural and scholarly relevance across the humanities and social sciences, the volume encourages both thoughtful reflection on the relationship between individuals and their social contexts and the use of villains (inside and outside of Gotham) as subjects of pedagogical and scholarly inquiry.

Stories of vampires, werewolves, zombies, witches, goblins, mummies, and other supernatural creatures have existed for time immemorial, and scary stories are among the earliest types of fiction ever recorded. Historical Dictionary of Horror Literature is an invaluable aid in studying horror literature, including influential authors, texts, terms, subgenres, and literary movements. This book contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 400 cross-referenced entries covering authors, subgenres, tropes, awards, organizations, and important terms related to horror. Historical Dictionary of Horror Literature is an excellent resource for students, researchers, and anyone wanting to know more about horror literature.

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PHILOSOPHY/POP CULTURE “The contributors to Battlestar Galactica and Philosophy strive to make things relevant to fans of the show, and they put their information out in a way that is accessible to folks who wouldn't know Heidegger from Heineken.” Green Man Review, Spring 2009 "The writers are well versed in their subjects...The book is most effective at making the reader rethink what they thought they knew." Neo-opsis What’s the point of living after your world has been destroyed? This is one of many questions raised by the Sci-Fi Channel’s critically acclaimed series Battlestar Galactica. More than just an action-packed “space opera,” each episode offers a dramatic character study of the human survivors and their Cylon pursuers as they confront existential, moral, metaphysical, theological, and political crises. This volume addresses some of the key questions to which the Colonials won’t find easy answers, even when they reach Earth: Are Cylons persons? Is Baltar’s scientific worldview superior to Six’s religious faith? Can Starbuck be free if she has a special destiny? Is it ethical to cut one’s losses and leave people behind? Is collaboration with the enemy ever the right move? Is humanity a “flawed creation?” Should we share the Cylon goal of “transhumanism?” Is it really a big deal that Starbuck’s a woman?