Since the 1927 release of Fritz Lang’s pioneer film Metropolis, science fiction cinema has largely been regarded a Western genre. In Simultaneous Worlds, Jennifer L. Feeley and Sarah Ann Wells showcase authors who challenge this notion by focusing on cinemas and cultures, from Cuba to North Korea, not traditionally associated with science fiction. This collection introduces films about a metal-eating monster who helps peasants overthrow an exploitative court, an inflatable sex doll who comes to life, a desert planet where matchsticks are more valuable than money, and more. Simultaneous Worlds is the first volume to bring a transnational, interdisciplinary lens to science fiction cinema. Encountering some of the best emerging and established voices in the field, readers will become immersed in discussions of well-known works such as the Ghost in the Shell franchise and Neill Blomkamp’s District 9 alongside lesser-known but equally fascinating works by African, Asian, European, and South American filmmakers. Divided into five parts that cover theoretical concerns such as new media economies, translation, the Global South, cyborgs, and socialist and postsocialist cinema, these essays trace cinema’s role in imagining global communities and power struggles. Considering both individual films and the broader networks of production, distribution, and exhibition, Simultaneous Worlds illustrates how film industries across the globe take part in visualizing the perils of globalization and technological modernity. Ultimately, this book opens new ways of thinking about world cinema and our understanding of the world at large.

The World Multiple, as a collection, is an ambitious ethnographic experiment in understanding how the world is experienced and generated in multiple ways through people’s everyday practices. Against the dominant assumption that the world is a single universal reality that can only be known by modern expert science, this book argues that worlds are worlded—they are socially and materially crafted in multiple forms in everyday practices involving humans, landscapes, animals, plants, fungi, rocks, and other beings. These practices do not converge to a singular knowledge of the world, but generate a world multiple—a world that is more than one integrated whole, yet less than many fragmented parts. The book brings together authors from Europe, Japan, and North America, in conversation with ethnographic material from Africa, the Americas, and Asia, in order to explore the possibilities of the world multiple to reveal new ways to intervene in the legacies of colonialism, imperialism, and capitalism that inflict damage on humans and nonhumans. The contributors show how the world is formed through interactions among techno-scientific, vernacular, local, and indigenous practices, and examine the new forms of politics that emerge out of them. Engaged with recent anthropological discussions of ontologies, the Anthropocene, and multi-species ethnography, the book addresses the multidimensional realities of people’s lives and the quotidian politics they entail.

Edward Grant describes the extraordinary range of themes, ideas, and arguments that constituted scholastic cosmology for approximately five hundred years, from around 1200 to 1700. Primary emphasis is placed on the world as a whole, what might lie beyond it, and the celestial region, which extended from the Moon to the outermost convex surface of the cosmos.

Mark J.P. Wolf’s study of imaginary worlds theorizes world-building within and across media, including literature, comics, film, radio, television, board games, video games, the Internet, and more. Building Imaginary Worlds departs from prior approaches to imaginary worlds that focused mainly on narrative, medium, or genre, and instead considers imaginary worlds as dynamic entities in and of themselves. Wolf argues that imaginary worlds—which are often transnarrative, transmedial, and transauthorial in nature—are compelling objects of inquiry for Media Studies. Chapters touch on: a theoretical analysis of how world-building extends beyond storytelling, the engagement of the audience, and the way worlds are conceptualized and experienced a history of imaginary worlds that follows their development over three millennia from the fictional islands of Homer’s Odyssey to the present internarrative theory examining how narratives set in the same world can interact and relate to one another an examination of transmedial growth and adaptation, and what happens when worlds make the jump between media an analysis of the transauthorial nature of imaginary worlds, the resulting concentric circles of authorship, and related topics of canonicity, participatory worlds, and subcreation’s relationship with divine Creation Building Imaginary Worlds also provides the scholar of imaginary worlds with a glossary of terms and a detailed timeline that spans three millennia and more than 1,400 imaginary worlds, listing their names, creators, and the works in which they first appeared.

From celebrated gardens in private villas to the paintings and sculptures that adorned palace interiors, Venetians in the sixteenth century conceived of their marine city as dotted with actual and imaginary green spaces. This volume examines how and why this pastoral vision of Venice developed. Drawing on a variety of primary sources ranging from visual art to literary texts, performances, and urban plans, Jodi Cranston shows how Venetians lived the pastoral in urban Venice. She describes how they created green spaces and enacted pastoral situations through poetic conversations and theatrical performances in lagoon gardens; discusses the island utopias found, invented, and mapped in distant seas; and explores the visual art that facilitated the experience of inhabiting verdant landscapes. Though the greening of Venice was relatively short lived, Cranston shows how the phenomenon had a lasting impact on how other cities, including Paris and London, developed their self-images and how later writers and artists understood and adapted the pastoral mode. Incorporating approaches from eco-criticism and anthropology, Green Worlds of Renaissance Venice greatly informs our understanding of the origins and development of the pastoral in art history and literature as well as the culture of sixteenth-century Venice. It will appeal to scholars and enthusiasts of sixteenth-century history and culture, the history of urban landscapes, and Italian art.

This work focuses on the conception of God of the medieval Jewish philosopher and legal scholar, Hasdai Crescas (1340-1410/11). It demonstrates that Crescas’ God is infinitely creative and good and explores the parallel that Crescas implicitly draws between God as creator and legislator.