Science Fiction, Alien Encounters, and the Ethics of Posthumanism offers a typology of alien encounters and addresses a range of texts including classic novels of alien encounter by H.G. Wells and Robert Heinlein; recent blockbusters by Greg Bear, Octavia Butler and Sheri Tepper; and experimental science fiction by Peter Watts and Housuke Nojiri.

Feminist Reconfigurings of Alien Encounters reclaims the notion of alien encounters together with strange but queerly loved companions: Vulgar slugs, diatoms (micro-algae), and familiars (spirit guides of witches). The book’s three human co-authors ask: what would it take to establish more-than-human, bio- and geo-egalitarian co-existence on a planet in trouble? This playfully crafted mixed-genre book is informed by feminist posthumanisms and co-created with a spectral community of more-than-humans who are respectfully summoned to contribute with their perspectives. In focus of the entangled artistic-philosophical-poetic investigations are questions of ethics, aesthetics, and methodologies to co-exist response-ably rather than based on modern human beliefs in exceptionalism and entitlement to sovereignty, control, and conquest of more-than-human worlds. Feminist Reconfi gurings of Alien Encounters is intended for broad global audiences of researchers, teachers, professionals, NGOs, politicians, students from undergraduate to postgraduate levels, artists, writers, activists, and artivists who are interested in entangled artistic-poetic-philosophical modes of understanding the world as well as in ecology, new feminist materialism, critical posthumanism, and questions about radically rethinking and reimagining human/more-than-human relations on Earth.

For many, Close Encounters of the Third Kind (CE3K) is not so much a movie as a religious experience. On its release in 1977, CE3K virtually redefined the science fiction film, shifting it away from spaceships, laser guns, and bug-eyed monsters into a modified form of science fiction that John Wyndham once called ‘logical fantasy’. What would it be like if extra-terrestrials made contact with people on Earth? How would it feel? Like 2001: A Space Odyssey (1968), Steven Spielberg’s primary inspiration, CE3K is concerned with mankind’s evolution towards the stars, towards a state of transcendence. But Spielberg’s vision hinges not so much on cool scientific intellect being the key to our next stage of evolution, as on the necessary development of emotional intelligence. To that end, we must regain our childlike curiosity for what lies beyond the skies, we must recover our capacity to experience wonder. Intensity of emotion is inherent to the film’s meaning, and the aim of this book is to explore this in detail. Along the way it delves into the film’s production history, explores Spielberg’s remarkable cinematic realisation of the film (including a comparison study of the three different release versions), and considers in detail how CE3K fits into the Spielberg oeuvre.

In this highly original book, Russell Blackford discusses the intersection of science fiction and humanity’s moral imagination. With the rise of science and technology in the 19th century, and our continually improving understanding of the cosmos, writers and thinkers soon began to imagine futures greatly different from the present. Science fiction was born out of the realization that future technoscientific advances could dramatically change the world. Along with the developments described in modern science fiction - space societies, conscious machines, and upgraded human bodies, to name but a few - come a new set of ethical challenges and new forms of ethics. Blackford identifies these issues and their reflection in science fiction. His fascinating book will appeal to anyone with an interest in philosophy or science fiction, or in how they interact. “This is a seasoned, balanced analysis of a major issue in our thinking about the future, seen through the lens of science fiction, a central art of our time. Everyone from humanists to technologists should study these ideas and examples. Blackford’s book is wise and savvy, and a delight to read as well.” Greg Benford, author of Timescape.

Posthuman Gothic is an edited collection of thirteen chapters, and offers a structured, dialogical contribution to the discussion of the posthuman Gothic. Contributors explore the various ways in which posthuman thought intersects with Gothic textuality and mediality. The texts and media under discussion – from I am Legend to In the Flesh, and from Star Trek to The Truman Show, transgress the boundaries of genre, moving beyond the traditional scope of the Gothic. These texts, the contributors argue, destabilise ideas of the human in a number of ways. By confronting humanity and its Others, they introduce new perspectives on what we traditionally perceive as human. Drawing on key texts of both Gothic and posthumanist theory, the contributors explore such varied themes as posthuman vampire and zombie narratives, genetically modified posthumans, the posthuman in video games, film and TV, the posthuman as a return to nature, the posthuman’s relation to classic monster narratives, and posthuman biohorror and theories of prometheanism and accelerationism. In its entirety, the volume offers a first attempt at addressing the various intersections of the posthuman and the Gothic in contemporary literature and media.

This book gathers diverse critical treatments from fifteen scholars of the posthuman and posthumanism together in a single volume.

Latin America is experiencing a boom in graphic novels that are highly innovative in their conceptual play and their reworking of the medium. Inventive artwork and sophisticated scripts have combined to satisfy the demand of a growing readership, both at home and abroad. Posthumanism and the Graphic Novel in Latin America, which is the first book-length study of the topic, argues that the graphic novel is emerging in Latin America as a uniquely powerful force to explore the nature of twenty-first century subjectivity. The authors place particular emphasis on the ways in which humans are bound to their non-human environment, and these ideas are productively drawn out in relation to posthuman thought and experience. The book draws together a range of recent graphic novels from Argentina, Brazil, Chile, Mexico and Uruguay, many of which experiment with questions of transmediality, the representation of urban space, modes of perception and cognition, and a new form of ethics for a posthuman world. Praise for Posthumanism and the Graphic Novel in Latin America '...well-referenced and… well considered - the analyses it brings are overall well-executed and insightful...' Image and Narrative, Jan 2018, vol 18, no 4