Embodied VulnerAbilities in Literature and Film includes a collection of essays exploring the ways in which recent literary and filmic representations of vulnerability depict embodied forms of vulnerability across languages, media, genres, countries, and traditions in the late 20th and early 21st centuries. The volume gathers 12 chapters penned by scholars from Japan, the USA, Canada, and Spain which look into the representation of vulnerability in human bodies and subjectivities. Not only is the array of genres covered in this volume significant— from narrative, drama, poetry, (auto)documentary, or film— in fiction and nonfiction, but also the varied cultural and linguistic coordinates of the literary and filmic texts scrutinized—from the USA, Canada, Spain, France, the Middle East, to Japan. Readers who decide to open the cover of this volume will benefit from becoming familiar with a relatively old topic— that of vulnerability— from a new perspective, so that they can consider the great potential of this critical concept anew.

Subversion and Conformity of Literary Collage: Between Cut and Glue fills a gap in the current scholarship on literary collage, by addressing how different the interpretations of the concept are, depending on the author who uses the concept and the material and writers surveyed. The book studies writers who employed literary collage during the twentieth and twenty-first centuries, some whose works have been intensely analyzed from this perspective (William S. Burroughs and Walter Benjamin), but also some whose collage-writing style has recently been investigated by writers, being usually placed under the umbrella term of artist books (Stelio Maria Martini).

Resistant Reproductions asks why narratives of pregnancy and abortion emerged in the early twentieth century and what kinds of stories these narratives conveyed. Is it only once pregnancy becomes plannable that it becomes a story worth telling? Abortion is often considered resistant and feminist, while pregnancy is considered domestic and conventional. How can readings of literary narratives challenge this reductive binary? Resistant Reproductions, the first book-length study of both pregnancy and abortion in British culture, addresses these questions by examining pregnancy narratives, including abortion narratives, in British fiction and film from 1907 to 1967. Fiction became a way for writers to explore what new possibilities of reproductive control would mean for the individual, yet there was also much anxiety about who would have control: individuals or the state. While exploring intimate personal experiences of pregnancy and abortion, Resistant Reproductions also asks how literary narratives used reproductive plots to address political issues of gender, class, and eugenics.

Reading Digital Fiction offers the first comprehensive and systematic theoretical, methodological, and analytical examination of digital fiction from a cognitive and empirical perspective. Proposing the new concept of “medial reading”, it argues for the centrality of an audience’s interest in, awareness of and/or attention to the medium in which a text is produced and received, and which we argue should be applied to reader data across media. The book analyses and theorises five generations of digital fiction and their reading including hypertext fiction, hypermedia fiction, narrative video games, app fiction, and virtual reality. It showcases medium- and platform-specific methods of qualitative reader response research across a variety of contexts and settings from screen-based and embodied interaction to gallery installation, and from reading group and individual interview to think-aloud methodologies. The book thus addresses the unique affordances of digital fiction reading by designing and reporting on new empirical studies focusing on hypertextuality, interactivity, immersion, as well as medium-specific forms of textual “you”, ontological ambiguity, reader orientation and empathy. In so doing, the book refines, critiques, and expands cognitive, transmedial, and empirical narratology and stylistics by placing the reader of these new narratives front and centre.

On a slow autumn afternoon, an atmospheric physicist working at the Malta Weather Station receives a surprising email from a colleague working in the United Kingdom: something troubling has apparently been detected during one of their research flights. The ensuing meteorological mystery is the starting point for the science fiction novella The Clouds. Alongside the novella, this book features three essays written by the same author that discuss in a more explicit and conventional way three philosophical ideas showcased in The Clouds: the expressive use of fictional games within fictional worlds; the possibility for existential meaning within simulated universes; and the unnatural narratological trope of "unhappening." With its unique format, this book is a fresh reflection on the mediatic form of philosophy and a compelling argument for the philosophical value of fiction.

This interdisciplinary collection focuses on recent adaptations, both experimental and popular, that put hybridity, transtextuality, and transmediality at play. It reframes adaptation in terms of the transmedia concept of "world-building," which accurately captures the complexity and multidirectionality of contemporary scattered and ubiquitous practices of adaptation. The Editors argue that the process of moving stories or their elements across different media platforms and repurposing them for new uses results in the production of hybrid transtextualities. The book demonstrate how hybrid textualities augment narrative and literary forms as goals of their world-building, finding unexpected sites of cross-pollination, expansion, and appropriation in spoken-word and dance performance, (auto)biographical comics, advertising, Chinese Kun opera, and popular song lyrics. This yoking of hybridity and transmediality yields not only diversified and often commercialized aesthetic forms but also enables the emergence a unique cultural space in-between, a mezzaterra capable of addressing current political issues and mobilizing broader audiences

Through attending to the nonhuman, E. M. Forster’s Material Humanism: Queer Matters places Forster’s fiction in conversation with contemporary debates concerned with the intersection of neomaterialism, environmental humanities and queer ecology. The book revisits Forster’s liberal humanism from a materialist perspective by focusing on humans’ embodied activities in artificial and natural environments. By examining the everyday embodied experiences of characters, the book thus brings to the fore insignificant and sometimes overlooked aspects in Forster’s fiction. It also places importance on the texts’ treatment of queer intimacy as an embodied experience that can transcend sexual desire. The book acknowledges nonhuman agency as central to our understanding of queerness in Forster’s texts and studies the representation of formless matters such as dust as a way through which Forster’s ecological concerns arise by linking the fate of oppressed humans with oppressed nonhuman others.