Poshumanas Y Distopicas

The memoir of a precocious Spanish girl. Atthe age of 11, a woman-friend of her father is so charmedby her, she suggests her husband tutor the girl. Whereupon the girl seduces the husband. The book waspublished in 1945 in Spain and this is its first appearancein English.

It includes introductions to the life and work of female authors who are not very well known in the Anglophone world due to the lack of translations of their works. This critical work with a feminist focus will provide a helpful framework for undergraduate and postgraduate students in the UK and US. A wide-ranging bibliography will be of great assistance to those looking to pursue research on the fantastic or on any of the specific writers and texts. This book is endorsed by the British Academy as part of the project Gender and the Fantastic in Hispanic Studies, and by an established international network, namely the Grupo de Estudios sobre lo Fantástico, based in the Universidad Autónoma de Barcelona.

The fantastic has been particularly prolific in Hispanic countries during the twentieth and twenty-first centuries, largely due to the legacy of short-story writers as well as the Latin-American boom that presented alternatives to the model of literary realism. While these writers’ works have done much to establish the Hispanic fantastic in the international literary canon, women authors from Spain and Latin America are not always acknowledged, and their work is less well known to readers. The aim of this critical anthology is to render Hispanic female writers of the fantastic visible, to publish a representative selection of their work, and to make it accessible to English-speaking readers. Five short stories are presented by five key authors. They attest to the richness and diversity of fantastic fiction in the Spanish language, and extend from the early twentieth to the twenty-first century, covering a range of nationalities, cultural references and language specificities from Spain, Mexico, Puerto Rico and Argentina.

A Laboratory of Her Own gathers diverse voices to address women's interaction with STEM fields in the context of Spanish cultural production. This volume focuses on the many ways the arts and humanities provide avenues for deepening the conversation about how women have been involved in, excluded from, and represented within the scientific realm. While women's historic exclusion from STEM fields has been receiving increased scrutiny worldwide, women within the Spanish context have been perhaps even more peripheral given the complex sociocultural structures emanating from gender norms and political ideologies dominant in nineteenth- and twentieth-century Spain. Nonetheless, Spanish female cultural producers have long been engaged with science and technology, as expressed in literature, art, film, and other genres. Spanish arts and letters offer diverse representations of the relationships between women, gender, sexuality, race, and STEM fields. A Laboratory of Her Own studies representations of a diverse range of Spanish women and scientific cultural products from the late nineteenth through the twenty-first centuries. STEM topics include the environment, biodiversity, temporal and spatial theories, medicine and reproductive rights, neuroscience, robotics, artificial intelligence, and quantum physics. These scientific themes and other issues are analyzed in narratives, paintings, poetry, photographs, science fiction, medical literature, translation, newswriting, film, and other forms.

An analysis of contemporary violence as the new commodity of today's hyper-consumerist stage of capitalism. “Death has become the most profitable business in existence.” —from Gore Capitalism Written by the Tijuana activist intellectual Sayak Valencia, Gore Capitalism is a crucial essay that posits a decolonial, feminist philosophical approach to the outbreak of violence in Mexico and, more broadly, across the global regions of the Third World. Valencia argues that violence itself has become a product within hyper-consumerist neoliberal capitalism, and that tortured and mutilated bodies have become commodities to be traded and utilized for profit in an age of impunity and governmental austerity. In a lucid and transgressive voice, Valencia unravels the workings of the politics of death in the context of contemporary networks of hyper-consumption, the ups and downs of capital markets, drug trafficking, narcopower, and the impunity of the neoliberal state. She looks at the global rise of authoritarian governments, the erosion of civil society, the increasing violence against women, the deterioration of human rights, and the transformation of certain cities and regions into depopulated, ghostly settings for war. She offers a trenchant critique of masculinity and gender constructions in Mexico, linking their misogynist force to the booming trade in violence. This book is essential reading for anyone seeking to analyze the new landscapes of war. It provides novel categories that allow us to deconstruct what is happening, while proposing vital epistemological tools developed in the convulsive Third World border space of Tijuana.

This book offers a definition of the fantastic that establishes it as a discourse in constant intertextual relation with the construct of reality. In establishing the definition of the fantastic, leading scholar David Roas selects four central concepts that allow him to chart a fairly clear map of this terrain: reality, the impossible, fear, and language. These four concepts underscore the fundamental issues and problems that articulate any theoretical reflection on the fantastic: its necessary relationship to an idea of the real, its limits, its emotional and psychological effects on the receiver and the transgression of language that is undertaken when attempting to express what is, by definition, inexpressible as it is beyond the realms of the conceivable. By examining such concepts, the book explores multiple perspectives that are clearly interrelated: from literary and comparative theory to linguistics, via philosophy, science and cyberculture.

Techno-heaven or techno-hell? If you believe many scientists working in the emerging fields of twenty-first-century technology, the future is blissfully bright. Initially, human bodies will be perfected through genetic manipulation and the fusion of human and machine; later, human beings will completely shed the shackles of pain, disease, and even death, as human minds are downloaded into death-free robots whereby they can live forever in a heavenly "posthuman" existence. In this techno-utopian future, humanity will be saved by the godlike power of technology. If you believe the authors of science fiction, however, posthuman evolution marks the beginning of the end of human freedom, values, and identity. Our dark future will be dominated by mad scientists, rampaging robots, killer clones, and uncontrollable viruses. In this timely new book, Daniel Dinello examines "the dramatic conflict between the techno-utopia promised by real-world scientists and the techno-dystopia predicted by science fiction." Organized into chapters devoted to robotics, bionics, artificial intelligence, virtual reality, biotechnology, nanotechnology, and other significant scientific advancements, this book summarizes the current state of each technology, while presenting corresponding reactions in science fiction. Dinello draws on a rich range of material, including films, television, books, and computer games, and argues that science fiction functions as a valuable corrective to technological domination, countering techno-hype and reflecting the "weaponized, religiously rationalized, profit-fueled" motives of such science. By imaging a disastrous future of posthuman techno-totalitarianism, science fiction encourages us to construct ways to contain new technology, and asks its audience perhaps the most important question of the twenty-first century: is technology out of control?

First Published in 2002. It is easy to see that we are living in a time of rapid and radical social change. It is much less easy to grasp the fact that such change will inevitably affect the nature of those disciplines that both reflect our society and help to shape it. Yet this is nowhere more apparent than in the central field of what may, in general terms, be called literary studies. ‘New Accents’ is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change. To stretch rather than reinforce the boundaries that currently define literature and its academic study.

"Does it seem reasonable to you that a Regency continues—into an Emperor's thirtieth year " "No, m'lord," Shoka said. "Not to us, either. Not to many of us. We were ready to make that objection—when lord Gitu overran Yijang and Hua.... Assassinations, elsewhere. Hired killers. Bands of mercenaries traveling under imperial orders. The Emperor'sseal, and the Regent's orders. How do we stop such a thing How do we prevent it—when every lord able to lead is apprehended, assassinated, when they strip us of men, even boys out of the fields—go to Saukendar, some said. Go to Saukendar. They urged me to send to you. This time he has to listen, they said. But if I had sent—and Ghita had known—you understand—" Reidi gave an uncomfortable twitch of the shoulders. His horse shifted again. "I had no true hope that you'd come. You'd indicated to the villagers—that you had no wish to hear from anyone. That you would refuse any such petitions—" "You were watching me." "It's my village, m'lord—as the Regent pointed out to me again and again, and threatened my life should you leave that mountain. Of course the word came to me. I tried to get a messenger down the road to you when I knew you'd left Mon.... We believed you'd come back to deal with Ghita and his partisans." Shoka felt cold, cold all the way to the bones. "There are men ready to follow you, lord Saukendar. There are men who've committed their lives to this— We didn't know the hour. We only believed. Now you've come back ..." "It's gripping drama, tightly focussed and inexorable as Taizu herself. Read The Paladin and you'll never settle for another ordinary sword-wielding female." —Faren Miller LOCUS At the publisher's request, this title is sold without DRM (Digital Rights Management)