Doing Animal Studies With Androids Aliens And Ghosts

Exploring what can be learnt when literary critics in the field of animal studies temporarily direct attention away from representations of nonhuman animals in literature and towards liminal figures like androids, aliens and ghosts, this book examines the boundaries of humanness. Simultaneously, it encourages the reader both to see nonhuman animals afresh and to reimagine the terms of our relationships with them. Examining imaginative texts by writers such as Octavia Butler, Philip K. Dick, Kazuo Ishiguro, Jeanette Winterson and J. M. Coetzee, this book looks at depictions of androids that redefine traditional humanist qualities such as hope and uniqueness. It examines alien visions that unmask the racist and heteronormative roots of speciesism. And it unpacks examples of ghosts and spirits who offer posthumous visions of having-been-human that decenter anthropocentrism. In doing so, it leaves open the potential for better relationships and futures with nonhuman animals.

Exploring what can be learnt when literary critics in the field of animal studies temporarily direct attention away from representations of nonhuman animals in literature and towards liminal figures like androids, aliens and ghosts, this book examines the boundaries of humanness. Simultaneously, it encourages the reader both to see nonhuman animals afresh and to reimagine the terms of our relationships with them. Examining imaginative texts by writers such as Octavia Butler, Philip K. Dick, Kazuo Ishiguro, Jeanette Winterson and J. M. Coetzee, this book looks at depictions of androids that redefine traditional humanist qualities such as hope and uniqueness. It examines alien visions that unmask the racist and heteronormative roots of speciesism. And it unpacks examples of ghosts and spirits who offer posthumous visions of having-been-human that decenter anthropocentrism. In doing so, it leaves open the potential for better relationships and futures with nonhuman animals.

Ghost, Android, Animal challenges the notion that trauma literature functions as a healing agent for victims of severe pain and loss by bringing trauma studies into the orbit of posthumanist thought. Investigating how literary representations of ghosts, androids, and animals engage traumatic experience, this book revisits canonical texts by William Faulkner and Toni Morrison and aligns them with experimental and popular texts by Shirley Jackson, Philip K. Dick, and Clive Barker. In establishing this textual field, the book reveals how depictions of non-human agents invite readers to cross subjective and cultural thresholds and interact with the "impossible" pain of others. Ultimately, this study asks us to consider new practices for reading trauma literature that enlarges our conceptions of the human and the real.

[headline]Argues that literature has a special role to play in developing a wishful, visionary and utopian sensibility for living in a more-than-human world Instead of making readers into better people, what if fiction could help us to become better animals? On Fiction and Being a Good Animal argues that we should value fiction for its ability to envision being better human animals - less exceptional and dominating, more creaturely and familial. This book isolates wishful images that pertain to nonhuman animal life and to human-animal relationships in a range of contemporary novels, while forging fresh connections between critical animal studies, critical social theory and literary ethics. David P. Rando demonstrates that 'anthropocosmic' visions in literature help to reposition the human with and among other animals instead of at the centre and offer opportunities for shared vulnerability and communion. [bio]David P. Rando is Professor of English at Trinity University in San Antonio, Texas. His previous books include Doing Animal Studies with Androids, Aliens, and Ghosts (2023); Hope, Form, and Future in the Work of James Joyce (2022); Hope and Wish Image in Music Technology (2017); and Modernist Fiction and News (2011).

As we move through the 21st century, the importance of science fiction to the study of English Literature is becoming increasingly apparent. The Science Fiction Handbook provides a comprehensive guide to the genre and how to study it for students new to the field. In particular, it provides detailed entries on major writers in the SF field who might be encountered on university-level English Literature courses, ranging from H.G. Wells and Philip K. Dick, to Doris Lessing and Geoff Ryman. Other features include an historical timeline, sections on key writers, critics and critical terms, and case studies of both literary and critical works. In the later sections of the book, the changing nature of the science fiction canon and its growing role in relation to the wider categories of English Literature are discussed in depth introducing the reader to the latest critical thinking on the field.

Ever since the term "creative nonfiction" first came into widespread use, memoirists and journalists, essayists and fiction writers have faced off over where the border between fact and fiction lies. This debate over ethics, however, has sidelined important questions of literary form. Bending Genre does not ask where the boundaries between genres should be drawn, but what happens when you push the line. Written for writers and students of creative writing, this collection brings together perspectives from today’s leading writers of creative nonfiction, including Michael Martone, Brenda Miller, Ander Monson, and David Shields. Each writer’s innovative essay probes our notions of genre and investigates how creative nonfiction is shaped, modeling the forms of writing being discussed. Like creative nonfiction itself, Bending Genre is an exciting hybrid that breaks new ground.

Named an Outstanding Academic Title of the Year for 2013 by Choice. The self has a history. In the West, the idea of the soul entered Christianity with the Church Fathers, notably Augustine. During the Renaissance the idea of the individual attained preeminence, as in the works of Montaigne. In the 17th century, philosophers such as Descartes formulated notions of self-hood that did not require a divine foundation; in the next century, Hume grew skeptical of the self's very existence. Ideas of the self have changed markedly since the Romantic period and most scholars today regard it as at best a mental construct. First-person genres such as diaries and memoirs have provided an outlet for self-expression. Protestant diaries replaced the Catholic confessional, but secular diaries such as Pepys's may reveal yet more about the self. After Richardson, novels competed with diaries and memoirs as vehicles of self-expression, though memoirs survived and continue to thrive, while the diary has found a new incarnation in the personal blog. Writing the Self narrates the intertwined histories of the self and of self-expression through first-person literature.

Written in a clear and accurate language that students can understand, Trench's new book minimizes the number of explicitly stated theorems and definitions. Instead, he deals with concepts in a conversational style that engages students. He includes more than 250 illustrated, worked examples for easy reading and comprehension. One of the book's many strengths is its problems, which are of consistently high quality. Trench includes a thorough treatment of boundary-value problems and partial differential equations and has organized the book to allow instructors to select the level of technology desired. This has been simplified by using symbols, C and L, to designate the level of technology. C problems call for computations and/or graphics, while L problems are laboratory exercises that require extensive use of technology. Informal advice on the use of technology is included in several sections and instructors who prefer not to emphasize technology can ignore these exercises without interrupting the flow of material.