Kirjahaku

This fascinating study is the first to examine the history of gender and science fiction and the first to discuss science fiction pulp magazines' images of women, as well as postmodernism and feminist science fiction. Robin Roberts begins with Shelley's Frankenstein, in which a female alien appears, and continues through H. G. Wells, the 1950s pulp science fiction magazines, Doris Lessing and feminist utopias, and the new generation of science fiction writers, including Joan Vinge, Sheila Finch, Vonda McIntyre, Ursula Le Guin, and Octavia Butler.

Boldly going where no one has gone before, Robin Roberts forges intriguing links between feminist politics and theory and the second Star Trek series, Star Trek: The Next Generation. This lively discussion shows how science fiction's ability to make the familiar strange allows Star Trek to expose and comment on entrenched attitudes toward gender roles and feminist issues. By having aliens or sexually neutral beings enact female dominance or passivity, experience pregnancy or maternity, or suffer rape or abortion, Star Trek provides viewers with a new perspective on these experiences and an antidote to explicit and implicit cultural biases. Roberts maintains that the relevance of Star Trek: The Next Generation to feminist issues accounts as no other factor can for the program's huge following of female fans. The incisive and innovative readings in Sexual Generations provide food for thought about how the final frontier can clarify pressing questions of our own space and time.

The first woman to win the Hugo award (given annually by the World Science Fiction convention) and the Nebula award (given annually by the Science Fiction Writers of America), Anne McCaffrey has invented many worlds of science fiction that have made her work enormously popular. Her series The Dragonriders of Pern has become one of the most widely read series in science fiction history. This is the first complete critical study of her work. It examines all of her novels to date, both individual and series, and reveals why she deserves the critical recognition and popularity her works have received. Roberts explores the range and complexity of her novels and the recurrent themes that have attracted so many young adults to her work: the heroine as outsider, the need for tolerance and the acceptance of difference, the importance of living harmoniously with nature, and the value of art and literature. McCaffrey's contributions to science fiction are many, including the creation of scientifically engineered dragons, brain ships, and scientifically explained mental powers such as telepathy and telekinesis. Roberts shows how McCaffrey's extrapolation of science raises social issues and causes us to think about the future. Each chapter in this study deals with an individual novel or series and features sections on genre, plot, theme, and character development. In addition, Roberts defines and applies a variety of theoretical approaches to the works—feminist, Marxist, environmental, psychoanalytic, and mythic—to widen the reader's perspective on the works. The study also features a chapter on McCaffrey's life, including an interview with the author, and a chapter defining the science fiction genre and McCaffrey's place in it. A complete bibliography of McCaffrey's fiction and bibliography of reviews and criticism complete the work. Because of her great popularity among teenagers and adults, this study is a necessary purchase by secondary schools and public libraries.

The supernatural has become extraordinarily popular in literature, television, and film. Vampires, zombies, werewolves, witches, and wizard have become staples of entertainment industries, and many of these figures have received extensive critical attention. But one figure has remained in the shadows – the female ghost. Inherently liminal, often literally invisible, the female ghost has nevertheless appeared in all genres. Subversive Spirits: The Female Ghost in British and American Popular Culture brings this figure into the light, exploring her cultural significance in a variety of media from 1926 to 2014. Robin Roberts argues that the female ghost is well worth studying for what she can tell us about feminine subjectivity in cultural contexts. Subversive Spirits examines appearances of the female ghost in heritage sites, theater, Hollywood film, literature, and television in the United States and the United Kingdom. What holds these disparate female ghosts together is their uncanny ability to disrupt, illuminate, and challenge gendered assumptions. As with other supernatural figures, the female ghost changes over time, especially responding to changes in gender roles. Roberts’s analysis begins with comedic female ghosts in literature and film and moves into horror by examining the successful play The Woman in Black and the legend of the weeping woman, La Llorona. Roberts then situates the canonical works of Maxine Hong Kingston and Toni Morrison in the tradition of the female ghost to explore how the ghost is used to portray the struggle and pain of women of color. Roberts further analyzes heritage sites that use the female ghost as the friendly and inviting narrator for tourists. The book concludes with a comparison of the British and American versions of the television hit Being Human, where the female ghost expands her influence to become a mother and savior to all humanity.

The supernatural has become extraordinarily popular in literature, television, and film. Vampires, zombies, werewolves, witches, and wizard have become staples of entertainment industries, and many of these figures have received extensive critical attention. But one figure has remained in the shadows--the female ghost. Inherently liminal, often literally invisible, the female ghost has nevertheless appeared in all genres. Subversive Spirits: The Female Ghost in British and American Popular Culture brings this figure into the light, exploring her cultural significance in a variety of media from 1926 to 2014. Robin Roberts argues that the female ghost is well worth studying for what she can tell us about feminine Subjectivity in cultural contexts.Subversive Spirits examines appearances of the female ghost in heritage sites, theater, Hollywood film, literature, and television in the United States and the United Kingdom. What holds these disparate female ghosts together is their uncanny ability to disrupt, illuminate, and challenge gendered assumptions. As with other supernatural figures, the female ghost changes over time, especially responding to changes in gender roles.Roberts's analysis begins with comedic female ghosts in literature and film and moves into horror by examining the successful play The Woman in Black and the legend of the weeping woman, La Llorona. Roberts then situates the canonical works of Maxine Hong Kingston and Toni Morrison in the tradition of the female ghost to explore how the ghost is used to portray the struggle and pain of women of color. Roberts further analyzes heritage sites that use the female ghost as the friendly and inviting narrator for tourists. The book concludes with a comparison of the British and American versions of the television hit Being Human, where the female ghost expands her influence to become a mother and savior to all humanity.

The story of the astounding Whiz Kids told by Hall-of-Famer Robin Roberts

The 1950 Phillies unexpectedly captured the hearts and imaginations for Philadelphians. A young upstart team -- in fact, the youngest major league baseball team ever fielded -- they capped a Cinderella season by winning the pennant from the heavily favored Brooklyn Dodgers in Ebbets Field on the last day of the season. It was the first National League pennant for the team since 1915. With that dramatic victory the 1950 Phillies went into the history books, known forever as the Whiz Kids. This inspiring era in Phillies history comes alive with the personal reflections of Robin Roberts, a Hall of Famer and arguably the best right-handed pitcher in Phillies history. Roberts recounts the moves, the trades, and the developments that put this young and talented team together. Co-author C. Paul Rogers III interviewed many of the other players from that memorable season, and even manager Eddie Sawyer. Their recollections, accompanied by more than 80 black-and-white photographs, offer an uncommon look at what went into building the extraordinary Whiz Kids. Rich with anecdotes never before published from players like Hall-of-Famer Richie Ashburn, Bubba Church, Andy Seminick, Curt Simmons, Del Ennis, Dick Sisler, Russ Meyer, and many others, this book relives the success of the Whiz Kids in all their glory.

Queen Latifah's lyrics tout female superiority. Salt 'n Pepa energize with eroticism. Julie Brown's unsettling version of a campus queen dethrones the mainstream icon. Martina McBride's song of liberation gives new meaning to Independance Day. Today in the music video industry such women artists have assumed a remarkable and refreshing new presence. Although many popular videos have been condemned for sexism, the medium has experienced a striking change. Both in repertoires and in performances the politics of feminism has moved to the front row. More and more, women are being presented as strong and positive. Ladies First takes a close look at this exciting phenomenon and shows how both on and off screen strong females have assumed larger roles in the industry. Whether their songs are country, rock, or rap, the ladies of contemporary music video continue to assert, confront, and challenge. Demolishing stereotypes, today's singers expose the flawed images that have restricted women. They condemn male dominance. They assert the right of women to be sexual and to express sexuality. In country music, they rely on the power of sincerity and storytelling. In rap songs they self-promote, reach out, and give uplift. Their lyrics are skillful, clever, and infectiously appealing, and their inviting sense of humor makes a large audience embrace them and their messages.