Star Trek has transcended science fiction through its use of elements that have crucial roles in classical utopian tradition. New technologies change a civilization, a miniature society unfolds on a spaceship, and an android teaches humanity. Star Trek has been answering many questions about our own world for 50+ years, and since the days of Captain Kirk, the franchise has become one of the world's best-known cultural phenomena. This book documents what the Star Trek franchise has in common with classic utopias. Chapters analyze how technology changes society and how the Federation embodies utopian ideals. Also explored are the political relations among alien species that reflect past and present conflicts in our real world and how the Borg resembles an anti-utopian society.
What we can learn from a Renaissance nowhere In 1516, a book was published in Latin with the enigmatic Greek-derived word as its title. Utopia—which could mean either “good-place” or “no-place”—gives a traveler’s account of a newly discovered island somewhere in the New World where the inhabitants enjoy a social order based purely on natural reason and justice. As the traveler describes the harmony, prosperity, and equality found there, a dramatic contrast is drawn between the ideal community he portrays and the poverty, crime, and often frightening political conditions of 16th century Europe. Written by Sir Thomas More (1477–1535)—then a rising intellectual star of the Renaissance and ultimately the advisor and friend of Henry VIII who was executed for his devoutly Catholic opposition to the king—Utopia is as complex as its author. In the form of a Platonic dialogue, Utopia explores topics such as money, property, crime, education, religious tolerance, euthanasia, and feminism. Claimed as a paean to communism (Lenin had More’s name inscribed on a statue in Moscow) as often as it has been seen as a defense of traditional medieval values, Utopia began the lineage of utopian thinkers who use storytelling to explore new possibilities for human society—and remains as relevant today as when it was written in Antwerp 500 years ago. Explore the issues like feminism, euthanasia, and equality through Renaissance eyes Early communist tract or a defense of medieval values? You decide. Peer inside the enigmatic mind of the man who dared stand up to Henry VIII Appreciate the postmodern possibilities of Platonic dialogue Part of the bestselling Capstone Classics series edited by Tom Butler-Bowdon, this edition features an introduction from writer, economist, and historian Niall Kishtainy.
Dennis Kelly explores Kelly’s unusual career path and sheds light on his eclectic approach to the arts, characterised by a refusal to write texts that people can fit within neat categories. This is the first monograph on Kelly’s work for stage and screen and brings to light his essential contribution to contemporary British drama and his huge range of work including his rise to international fame with Matilda the Musical. Drawing on Kelly’s published and unpublished texts, his work in production, reviews, original interviews with directors, actors and with Kelly himself as well as critical theory, Dennis Kelly examines and reappraises key motifs in his work such as his preoccupation with violence, the complex relationship between the individual and the community or his emphasis on storytelling. It also offers new insights into overlooked aspects of Kelly’s work by setting out to explore his traumatic narratives and his post-romanticism. In keeping with Kelly’s wish never to repeat himself, this study offers multiple critical entries into his plays, television series and films, drawing on moral and political philosophy, trauma studies, studies in humour, feminist theory and film studies. Part of the Routledge Modern and Contemporary Dramatist series, Dennis Kelly is addressed to students and scholars in Drama, Theatre and Performance as well as theatre practitioners and offers in-depth analysis of one of the most unique and challenging voices in contemporary British playwriting and screenwriting.
This collection of essays offers global perspectives on feminist utopia and dystopia in speculative literature, film, and art, working from a range of intersectional approaches to examine key works and genres in both their specific cultural context and a wider, global, epistemological, critical background. The international, diverse contributions, including a Foreword by Gregory Claeys, draw upon posthumanism, speculative realism, speculative feminism, object-oriented ontology, new materialisms, and post-Anthropocene studies to propose alternative perspectives on gender, environment, as well as alternate futures and pasts rendered in fiction. Instead of binary divisions into utopia vs dystopia, the collection explores genres transcending this dichotomy, scrutinising the oeuvre of both established and emerging writers, directors, and critics. This is a rich and unique collection suitable for scholars and students studying feminist literature, media cultural studies, and women’s and gender studies.
Shortlisted for The TaPRA David Bradby Monograph Prize 2023 As the first full-length study to analyse utopian plays in Western drama from antiquity to the present, Utopian Drama: In Search of a Genre offers an illuminating appraisal of the objectives of utopianism as manifested in drama through the ages, and carefully ascertains the added value that live performance brings to the persuasion of utopian thought. Siân Adiseshiah scrutinises the distinctive intervention of utopian drama through its examination alongside the utopian prose tradition – in this way, the book establishes new ways of approaching utopian aesthetics and new ways of interpreting utopian drama. This book provides fresh understandings of the generic features of utopian plays, identifies the gains of establishing a new genre, and ascertains ways in which this genre functions as political theatre. Referring to over 40 plays, of which 18 are examined in detail, Utopian Drama traces the emergence of the utopian play in the Western tradition from ancient Greek Comedy to experimental contemporary work. Works discussed in detail include plays by Aristophanes, Margaret Cavendish, George Bernard Shaw, Howard Brenton, Claire MacDonald, Cesi Davidson, and Mojisola Adebayo. As well as offering extended attention to the work of these playwrights, the book reflects on the development of utopian drama through history, notes the persistent features, tropes, and conventions of utopian plays, and considers the implications of their registration for both theatre studies and utopian studies.
Slow to rise in the literary world, Octavia Estelle Butler cultivated musings on earth's future, reaching massive critical acclaim in the process. This companion will complement book club discussions and classroom lessons for the closest possible readings of Butler's science fiction and her texts on racism and pollution. A maven of speculative fiction so prescient that it hovers between tocsin and prophecy, Butler survives through her print stories, essays, novels and musings on individualism and compromise. This book guides the reader on a variety of Butler pieces, from her most obscure titles to her historical entries and pieces that speculate upon science, metaphysics, linguistics, psychology, writing and religion. The text serves as a guide through the depths of Octavia Butler's works and reinforces the reasons for which her name so often appears on reading lists for higher learning.
Revolutionary and writer: how do they fit together in one person’s work? Using literary texts from French, German, Russian and American pro-revolutionary writers, Sheila Delany examines the synergy of politics and rhetoric, art and social commitment. The writers she considers gave voice to the hopes of their time. Some led the events in person as well as through their writing; others worked to build a movement. Marx, Engels, Lenin, Trotsky, Luxemburg, Mao, Sylvain Maréchal, Boris Lavrenov, Bertolt Brecht and others are here: consummate rhetoricians all, not necessarily on the same page politically but for the revolutions of their day.