Astrid Böger - Böcker

Even though the fantastic (in its most inclusive definition) has been a part of our culture for as long as it exists, it has not been a prominent feature of European academic interest. With its inherent transgressive moment the fantastic allows for an ideal space of the cultural negotiation of political, social and physical boundaries, which should place it at the center of popular cultural research, not as is the case, at its periphery. But the commencing boom of fantastic themes in contemporary media production has facilitated a paradigmatic change in research, prompting a wide interest in the fantastic in all its forms, from fantasy to horror, from fairy tale to science fiction. This volume addresses this growing interest by reviewing the status of research on the fantastic in Europe so far and by providing a necessary outlook for the future. In the essays current trends, such as the liminality debate, as well as established discourses, as for example on genre theory, are brought together to show interested researchers a network of interdisciplinary (from literary, media and social studies) approaches towards the fantastic.

Chill and swaggering colorbent Founding Fathers have been blowing away Hamilton audiences since 2015. And there is no doubt that Lin-Manuel Miranda created an artistic monumental vessel of empowerment for people of Color whose stories have been left out. Yet, when we dig deeper into the historical evidence that Hamilton is based on, we come across a treasure trove of questions regarding the women in the musical. Was Angelica really a feminist? What is Theodosia’s connection to the duel? Did Eliza know about her husband’s affair with Maria? Were Alexander and Angelica in love? And why is Sally voiceless as the one character who is based on a person of Color? These questions are explored using a Critical Race Theory intersectional lens as well as feminist and anti-racist scholarship.