As both an extra-terrestrial and a terrestrial migrant, the alien provides a critical framework to help us understand the interactions between cultures and to explore the transgressive force of travel over geographical, cultural or linguistic borders. Offering a perspective on the alien that connects to scholarship on immigration and globalization, Alien Imaginations brings together canonical and contemporary works in the literature and cinema of science fiction and transnationalism. By examining the role of the alien through the themes of language, anxiety and identity, the essays in this collection engage with authors such as H.G. Wells, Eleanor Arnason, Philip K. Dick and Yoko Tawada as well as directors such as Neill Blomkamp, James Cameron and Michael Winterbottom. Focusing on works that are European and North American in origin, the readings in this volume explore their critical intent and their potential to undermine many of the central notions of Western hegemonic discourses. Alien Imaginations reflects upon contemporary cultural imaginaries as well as the realities of migration, labor and life, suggesting models of resistance, if not utopian horizons.

This book explores how fin de siècle Britain and Britons displaced spatially-charged apprehensions about imperial decline, urban decay and unpoliced borders onto Jews from Eastern Europe migrating westwards. The myriad of representations of the ‘alien Jew’ that emerged were the product of, but also a catalyst for, a decisive moment in Britain’s legal history: the fight for the 1905 Aliens Act. Drawing upon a richly diverse collection of social and political commentary, including fiction, political testimony, ethnography, travel writing, journalism and cartography, this volume traces the shifting rhetoric around alien Jews as they journeyed from the Russian Pale of Settlement to London’s East End. By employing a unique and innovative reading of both the aliens debate and racialized discourse concerned with ‘the Jew’, Hannah Ewence demonstrates that ideas about ‘space’ and 'place’ critically informed how migrants were viewed; an argument which remains valid in today’s world.

Imagining the End provides students and general readers with contextualized examples of how the apocalypse has been imagined across all mediums of American popular culture. Detailed entries analyze the development, influence, and enjoyment of end-times narratives. Provides readers with comprehensive and contextual essays on major apocalyptic themes and subjects Examines the source of most Western apocalyptic thought, The Book of Revelation and other Biblical apocalypses, in detail Includes descriptions, analysis, and context for apocalyptic films, novels, television programs, and video games Features a reader-friendly A–Z organization, with accessibly written entries

A leading scholar explores what it means to dehumanize others—and how and why we do it. “I wouldn’t have accepted that they were human beings. You would see an infant who’s just learning to smile, and it smiles at you, but you still kill it.” So a Hutu man explained to an incredulous researcher, when asked to recall how he felt slaughtering Tutsis in Rwanda in 1994. Such statements are shocking, yet we recognize them; we hear their echoes in accounts of genocides, massacres, and pogroms throughout history. How do some people come to believe that their enemies are monsters, and therefore easy to kill? In Making Monsters David Livingstone Smith offers a poignant meditation on the philosophical and psychological roots of dehumanization. Drawing on harrowing accounts of lynchings, Smith establishes what dehumanization is and what it isn’t. When we dehumanize our enemy, we hold two incongruous beliefs at the same time: we believe our enemy is at once subhuman and fully human. To call someone a monster, then, is not merely a resort to metaphor—dehumanization really does happen in our minds. Turning to an abundance of historical examples, Smith explores the relationship between dehumanization and racism, the psychology of hierarchy, what it means to regard others as human beings, and why dehumanizing others transforms them into something so terrifying that they must be destroyed. Meticulous but highly readable, Making Monsters suggests that the process of dehumanization is deeply seated in our psychology. It is precisely because we are all human that we are vulnerable to the manipulations of those trading in the politics of demonization and violence.

This collection of essays examines the potential connections between speculative fiction and actual social change. Through a variety of approaches, the contributors explore whether consumers of science fiction and fantasy narratives can experience a real shift in their worldviews as a result of that consumption. Topics include the utopian vision of California in Ursula K. LeGuin's Always Coming Home, the changing role of women in science fiction pulp magazines, and the representation of progress and social change in popular graphic novels.

This book is an introduction to philosophy of religion from the perspective of a religiously pluralistic culture. It deals with introductory questions such as whether we can we understand, compare, and judge the insights of others and the ways in which people can speak and think about God. It introduces the classical themes of philosophy of religion - immanent and transcendent ideas of God and (im)personality; transcendence, good, and evil; religion, morality and society - using a distinction between cosmic, acosmic and theistic ideas of the divine. This introduction helps us discover differences and commonalities and thus helps further an emphatic and critical dialogue. This book explores how comparative theology and philosophy of religion can move beyond the dead-end roads of relativism and exclusivism.

Tying on case studies from late antiquity to the 21st century, this is the first volume that systematically explores the inter-relationship between fictional narratives about magic and the real-world ritual art of practicing magicians.

Unfathomably merciless and powerful, the atomic bomb has left its indelible mark on film. In Atomic Bomb Cinema, Jerome F. Shapiro unearths the unspoken legacy of the bombing of Nagasaki and Hiroshima and its complex aftermath in American and Japanese cinema. According to Shapiro, a "Bomb film" is never simply an exercise in ideology or paranoia. He examines hundreds of films like Godzilla, Dr. Strangelove, and The Terminator as a body of work held together by ancient narrative and symbolic traditions that extol survival under devastating conditions. Drawing extensively on both English-language and Japanese-language sources, Shapiro argues that such films not only grapple with our nuclear anxieties, but also offer signs of hope that humanity is capable of repairing a damaged and divided world. www.atomicbombcinema.com