Titlebook: Contemporary Women’s Post-Apocalyptic Fiction; Susan Watkins Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive li

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flammable

Book 2020uman body, the maternal imaginary, time, narrativeand history, literature and the word, and the post-secular, the book?covers a wide variety of writers and addresses issues of nationality, race and?ethnicity, as well as gender and sexuality..

污點

2523-8140 t their fiction is distinctive.Covers a wide variety of writThis book examines how contemporary women novelists have successfully?transformed and rewritten the conventions of post-apocalyptic fiction. Since the?dawn of the new millennium, there has been an outpouring of writing that depicts the end

enflame

稀釋前

老巫婆

Hua Harry Li,Shan Sun,Daniel Panturueration of the relevance of ideas of traumatic repetition and haunting and their place within the maternal imaginary and the post-apocalyptic genre. This chapter examines novels including Maggie Gee’s . (1998), Julie Myerson’s . (2011), Jeanette Winterson’s . and Megan Hunter’s . (2017).

老巫婆

微粒

Science, Nature and Matter,onment and female embodiment. The chapter argues that new materialist theories, such as those of Karen Barad and Stacy Alaimo, can be connected to that project. In this fiction, writing is a complex site of intra-action between agency, matter and discourse.

RECUR

The Posthuman Body,ms to foreground the presence of matter in all these. This chapter puts Donna Haraway’s theorisation of the cyborg and the animal as companion species of humanity in conversation, or intra-action, with the novels in question. The idea of the cyborg as an apocalyptic figure, rather than one that is . to the apocalypse, is important here.

Negligible

The Maternal Imaginary,eration of the relevance of ideas of traumatic repetition and haunting and their place within the maternal imaginary and the post-apocalyptic genre. This chapter examines novels including Maggie Gee’s . (1998), Julie Myerson’s . (2011), Jeanette Winterson’s . and Megan Hunter’s . (2017).