{"id":120,"date":"2012-06-04T07:42:17","date_gmt":"2012-06-04T13:42:17","guid":{"rendered":"http:\/\/www.fantastic-arts.org\/jfa\/?page_id=120"},"modified":"2021-05-11T14:48:32","modified_gmt":"2021-05-11T20:48:32","slug":"title-index","status":"publish","type":"page","link":"http:\/\/www.fantastic-arts.org\/jfa\/view-indices-and-lists\/title-index\/","title":{"rendered":"Title Index"},"content":{"rendered":"\n

Journal of the Fantastic in the Arts<\/strong><\/p>\n\n\n\n

Title Index<\/strong><\/p>\n\n\n\n

The following is a comprehensive index, sorted by title, of volumes 1.1 through 30.1<\/strong><\/p>\n\n\n\n

#<\/a><\/u> A<\/a><\/u> B<\/a><\/u> C<\/a><\/u> D<\/a><\/u> E<\/a><\/u> F<\/a><\/u> G<\/a><\/u> H<\/a><\/u> I<\/a><\/u> J<\/a><\/u> K<\/a><\/u> L<\/a><\/u> M<\/a><\/u> N<\/a><\/u> O<\/a><\/u> P<\/a><\/u> Q<\/a><\/u> R<\/a><\/u> S<\/a><\/u> T<\/a><\/u> U<\/a><\/u> V<\/a><\/u> W<\/a><\/u> X<\/a><\/u> Y<\/a><\/u> Z<\/a><\/u><\/p>\n\n\n\n

#<\/strong><\/p>\n\n\n\n

\u201c1920\u2019s Yellow Peril Science Fiction: Political Appropriations of the Asian Racial \u2018Alien.\u2019\u201c Carter F. Hanson. JFA<\/em> 6.4 (1995): 312-29.<\/p>\n\n\n\n

\u201c2001: A Space Odyssey<\/em>: A Transcendental Trans-locution.\u201d Suparno Banerjee. JFA<\/em> 19.1 (2008): 39-50.<\/p>\n\n\n\n

A<\/strong><\/p>\n\n\n\n

\u201cAbraham Rothberg\u2019s The Sword of the Golem<\/em>: The Use of the Fantastic in Defense of Judaism.\u201d Peter G. Christensen. JFA<\/em> 7.2\/3 (1995): 163-76.<\/p>\n\n\n\n

\u201cAn Account of a Lost Geography: \u2018Of Beleriand and Its Realms\u2019.\u201d Cami D. Agan. JFA<\/em> 30.1 (2019): 85-102.<\/p>\n\n\n\n

\u201cAdapting Revelation: Good Omens<\/em> as Comic Corrective.\u201d Amy Lea Clemons. JFA<\/em> 28.1 (2017): 86-101.<\/p>\n\n\n\n

\u201cAdulthood\u2019s Beginning: From Centered Oneness to Centerless Manyness in Greg Bear\u2019s Forge of God <\/em>and Anvil of Stars<\/em>. Tim Wolf. JFA<\/em> 8.1 (1997): 78-98.<\/p>\n\n\n\n

\u201cThe Aesthetics of Risk in Dawn of the Dead<\/em> and 28 Days Later<\/em>.\u201d Jordan S. Carroll. JFA<\/em> 23.1 (2012): 40-59.<\/p>\n\n\n\n

\u201c\u2018Ainulindal\u00eb\u2019: Tolkien\u2019s Commitment to an Aesthetic Ontology.\u201d Roger C. Schlobin. JFA<\/em> 11.3 (2000): 257-65.<\/p>\n\n\n\n

\u201cThe Alchemy of Love in A Fine and Private Place<\/em>.\u201d Joel N. Feimer. JFA<\/em> 1.3 (1988): 69-78.<\/p>\n\n\n\n

\u201cAlex Proyas\u2019s I, Robot<\/em>: Much More Faithful to Asimov Than You Think.\u201d Donald Palumbo. JFA<\/em> 22.1 (2011): 60-74.<\/p>\n\n\n\n

\u201cAliss<\/em> by Patrick Sen\u00e9cal: The Narrative Metalepsis as an Instrument of the Uncanny in Contemporary Fantastic Fiction.\u201d Clotilde Landais. JFA<\/em> 28.1 (2017): 236-252.<\/p>\n\n\n\n

\u201cAllegory Versus Bounce: Tolkien\u2019s Smith of Wootton Major<\/em>.\u201d Verlyn Flieger and T. A. Shippey. JFA<\/em> 12.2 (2001): 186-200.<\/p>\n\n\n\n

\u201cAll Those Big Machines: The Theme Science Fiction Does Not Discuss.\u201d Brian Aldiss. JFA<\/em> 7.1 (1995): 83-91.<\/p>\n\n\n\n

\u201cAlternate Historians: Newt, Kingers, Harry, and Me.\u201d Tom Shippey. JFA<\/em> 8.1 (1997): 15-33.<\/p>\n\n\n\n

\u201cAlternative Dystopia: Science, Power, and Fundamentalism in Rimi B. Chatterjee\u2019s Signal Red<\/em>.\u201d Suparno Banerjee. JFA<\/em> 20.1 (2009): 24-41.<\/p>\n\n\n\n

\u201cAmbiguous Villains and Fairy-Tale Monsters in Kelly Link\u2019s \u2018The Cinderella Game\u2019.\u201d Christy Williams. JFA<\/em> 29.1 (2018): 68-85.<\/p>\n\n\n\n

\u201cAmerican Gothic: Tales of the Supernatural in Prime Time TV.\u201d B. R. Smith. JFA<\/em> 14.1 (2003): 77-85.<\/p>\n\n\n\n

\u201cThe American Jeremiad and Star Trek<\/em>\u2019s Puritan Legacy.\u201d Lincoln Geraghty. JFA<\/em> 14.2 (2003): 228-45.<\/p>\n\n\n\n

\u201cThe American Pratchett? Muck and Modality in George R.R. Martin\u2019s Song of Ice and Fire.\u201d Joseph Young. JFA<\/em> 27.2 (2016): 290-308.<\/p>\n\n\n\n

\u201cAn Analogous Adversary: The Old Dispensation in The Lion, The Witch, and The Wardrobe<\/em>.\u201d Kathryn Walls. JFA<\/em> 28.2 (2017): 202-18.<\/p>\n\n\n\n

\u201cAndrea Hairston: An Introduction.\u201d Jen Gunnels. JFA<\/em> 22.3 (2011): 322-25.<\/p>\n\n\n\n

\u201cAndrogyny: The Search for Wholeness in Karoline von G\u00fcnderrode and Heinrich von Kleist: Christa Wolf\u2019s Novel Kein Ort. Nirgends<\/em>.\u201d Edith Borchardt and Jennifer Wright. JFA<\/em> 11.3 (2000): 245-56.<\/p>\n\n\n\n

\u201cThe Angel as a Fantasy Figure in Classic and Contemporary Film.\u201d Marcelaine Wininger Rovano. JFA<\/em> 5.3 (1993): 58-74.<\/p>\n\n\n\n

\u201cAnguished Shouts and Their Religious Echoes: Octavia Butler\u2019s Kindred<\/em> in the Religious Studies Classroom (Octavia Butler as Public Intellectual [ICFA-21 Panel]).\u201d Jennifer Rycenga. JFA<\/em> 11.2 (1998): 185-89.<\/p>\n\n\n\n

\u201cApocalypse and Alienation in Javier Negrete\u2019s Nox perpetua<\/em>.\u201d Dale Knickerbocker. JFA<\/em> 15.4 (2004): 288-308.<\/p>\n\n\n\n

\u201cApocalyptic Horror.\u201d Tina Pippin. JFA<\/em> 8.2 (1997): 198-217.<\/p>\n\n\n\n

\u201cAn Appreciation: Virgil Finlay.\u201d Bob Gray. JFA<\/em> 2.1 (1989): 47.<\/p>\n\n\n\n

\u201cArt, Cosmic Horror, and the Fetishizing Gaze in the Fiction of H. P. Lovecraft.\u201d Vivian Ralickas. JFA<\/em> 19.3 (2008): 297-316.<\/p>\n\n\n\n

\u201cThe Art of Patricia McKillip\u2019s: Music and Magic.\u201d Faye Ringel. JFA<\/em> 16.3 (2005): 178-90.<\/p>\n\n\n\n

\u201cThe Art of Randy Elliot.\u201d Bob Gray. JFA<\/em> 3.2 (1991): 22-23.<\/p>\n\n\n\n

\u201cArthur C. Clarke\u2019s Rendezvous with Rama<\/em>: Agent of Evolution.\u201d Timothy C. Miller. JFA<\/em> 9.4 (1998): 336-44.<\/p>\n\n\n\n

\u201cArthur Schnitzler\u2019s Traumnovelle<\/em> and Stanley Kubrick\u2019s Eyes Wide Shut<\/em>: The Structure of Fantasy Then and Now.\u201d Edith Borchardt. JFA<\/em> 12.1 (2001): 4-17.<\/p>\n\n\n\n

\u201cThe Artifact as Icon in Science Fiction.\u201d Gary K. Wolfe. JFA<\/em> 1.1 (1988): 51-70.<\/p>\n\n\n\n

\u201cThe Artisan in Modern Fantasy.\u201d Roger C. Schlobin. JFA<\/em> 6.4 (1995): 285-94.<\/p>\n\n\n\n

\u201cAsimov\u2019s Crusade against Bigotry: The Persistence of Prejudice as a Fractal Motif in the Robot\/Empire\/Foundation Metaseries.\u201d Donald Palumbo. JFA<\/em> 10.1 (1999): 43-63.<\/p>\n\n\n\n

\u201cAspects of the Fantastic in Roddy Doyle\u2019s A Star Called Henry<\/em>: Deconstructing Romantic Nationalism.\u201d Janis Dawson. JFA<\/em> 12.2 (2001): 168-85.<\/p>\n\n\n\n

\u201cAssumptions of Reality: Low Fantasy, Magical Realism, and the Fantastic.\u201d Greer Watson. JFA<\/em> 11.2 (1998): 164-72.<\/p>\n\n\n\n

\u201cAttack of the Living Dead Virus: The Metaphor of Contagious Disease in Zombie Movies.\u201d Cecilia Petretto. JFA<\/em> 17.1 (2006): 21-32.<\/p>\n\n\n\n

\u201cAt the End of the World: Australian Adolescent Literature and Apocalypse.\u201d Roslyn Weaver. JFA<\/em> 17.2 (2006): 155-68.<\/p>\n\n\n\n

\u201cAuthenticity, Ethnography, and Colonialism in Philip K. Dick\u2019s The Man in the High Castle<\/em>.\u201d Tim Evans. JFA<\/em> 21.3 (2010): 386-93.<\/p>\n\n\n\n

\u201cAutocannibalistic Tradition and the Individual Talent: An Interview with Sean Stewart.\u201d Alex Irvine. JFA<\/em> 10.3 (1999): 262-75.<\/p>\n\n\n\n

B<\/strong><\/p>\n\n\n\n

\u201cBack to the Basics: Re-examining Stoker\u2019s Sources for Dracula<\/em>.\u201d Elizabeth Miller. JFA<\/em> 10.2 (1999): 187-96.<\/p>\n\n\n\n

\u201cThe Back-up Plan, Guardianship, and Disguise: Interrelated Fractal Motifs in Asimov\u2019s Robot\/Empire\/Foundation Metaseries.\u201d Donald Palumbo. JFA<\/em> 10.3 (1999): 286-307.<\/p>\n\n\n\n

\u201cBakhtin\u2019s Chronotype and the Fantastic: Gautier\u2019s \u2018Jettatura\u2019 and \u2018Arria Marcella.\u2019\u201d Grant Crichfield. JFA<\/em> 4.3 (1991): 25-39.<\/p>\n\n\n\n

\u201cBaptizing the Imagination: The Fantastic as the Subversion of Fundamentalism.\u201d Mara E. Donaldson. JFA<\/em> 8.2 (1997): 185-97.<\/p>\n\n\n\n

\u201cThe Beckoning Fair Ones: Some Thoughts on Muses.\u201d Elizabeth Hand. JFA<\/em> 15.3 (2004): 192-207.<\/p>\n\n\n\n

\u201cBeowulf<\/em>, Tolkien, and Epic Epiphanies.\u201d E. L. Risden. JFA<\/em> 9.3 (1998): 192-99.<\/p>\n\n\n\n

\u201cBereshith and Ainulindal\u00eb: Allegoresis and Exegesis in Tension.\u201d Norman K. Swazo. JFA<\/em> 16.4 (2006): 302-19.<\/p>\n\n\n\n

\u201cBetween the \u2018Deaths\u2019 of Science Fiction: A Skeptical View of the Possibility for Anti-Genres.\u201d Andrew M. Butler. JFA<\/em> 15.3 (2004): 208-16.<\/p>\n\n\n\n

\u201c\u2018Beyond the Bounds of Reverie?\u2019 Another Look at the Dreams in Frankenstein<\/em>.\u201d Jonathan C. Glance. JFA<\/em> 7.4 (1996): 30-47.<\/p>\n\n\n\n

\u201cBeyond the Mountains of Madness: Lovecraftian Cosmic Horror and Posthuman Creationism in Ridley Scott\u2019s Prometheus<\/em> (2012).\u201d David McWilliam. JFA<\/em> 26.3 (2015): 531-45.<\/p>\n\n\n\n

\u201cThe Birth of a Fantastic World: C. S. Lewis\u2019s The Magician\u2019s Nephew<\/em>.\u201d C. N. Manlove. JFA<\/em> 1.1 (1988): 71-84.<\/p>\n\n\n\n

\u201cThe \u2018Black Frost\u2019 Reception of Kurt Vonnegut\u2019s Fantastic Novel Breakfast of Champions<\/em> (1973).\u201d Donald E. Morse. JFA<\/em> 11.2 (1998): 143-53.<\/p>\n\n\n\n

\u201cBodies in Cyberspace.\u201d Brooks Landon. JFA<\/em> 12.2 (2001): 201-12.<\/p>\n\n\n\n

\u201cThe Body of the Work of the Body: Physio-Textuality in Contemporary Horror.\u201d Michael J. Collins. JFA<\/em> 5.3 (1993): 28-35.<\/p>\n\n\n\n

\u201cBook as Mirror, Mirror as Book: The Significance of the Looking-glass in Contemporary Revisions of Fairy Tales.\u201d Veronica L. Schanoes. JFA<\/em> 20.1 (2009): 5-23.<\/p>\n\n\n\n

\u201cBorderlands: The Who, What, When, Where, and Why of the Interstitial Arts.\u201d Helen Pilinovsky. JFA<\/em> 15.3 (2004): 240-42.<\/p>\n\n\n\n

\u201cBoth Sides of the Gate: Patriarchy in Sheri S. Tepper\u2019s The Gate to Women\u2019s Country<\/em>.\u201d Shiloh Carroll. JFA<\/em> 19.1 (2008): 25-38.<\/p>\n\n\n\n

\u201cBram Stoker and the London Stage.\u201d Stephanie Moss. JFA<\/em> 10.2 (1999): 124-32.<\/p>\n\n\n\n

\u201cBridging World and Story: Patricia McKillip\u2019s Reluctant Heroes.\u201d Christine Mains. JFA<\/em> 16.1 (2005): 37-48.<\/p>\n\n\n\n

\u201cA Brief Editor\u2019s Note.\u201d W. A. Senior. JFA<\/em> 13.3 (2003): 214.<\/p>\n\n\n\n

\u201cBringing Chaos to Order: Vonnegut Criticism at Century\u2019s End.\u201d Donald E. Morse. JFA<\/em> 10.4 (2000): 395-408.<\/p>\n\n\n\n

\u201cBuilding Castles in the Air: (De)Construction in Howl\u2019s Moving Castle<\/em>.\u201d David Rudd. JFA<\/em> 21.2 (2010): 257-70.<\/p>\n\n\n\n

\u201cBut Not the Blackness of Space: The Brother from Another Planet<\/em> as Icon from the Underground.\u201d Melba Joyce Boyd. JFA<\/em> 2.2 (1989): 95-107.<\/p>\n\n\n\n

\u201c\u2018But what does it all mean?\u2019: Religious Reality as a Political Call in the Chronicles of Narnia”.\u201d Lily Glasner. JFA 25.1 (2014): 54-77.<\/p>\n\n\n\n

\u201cBut Who Is Rose Cotton?\u2014Love and Romance in The Lord of the Rings<\/em>.\u201d Charles W. Nelson. JFA<\/em> 3.3 (1994): 6-20.<\/p>\n\n\n\n

\u201cBy Burro and by Beagle<\/em>: Geographical Journeys through Time in Latin America.\u201d Rachel Haywood Ferreira. JFA<\/em> 18.2 (2007): 166-86.<\/p>\n\n\n\n

C<\/strong><\/p>\n\n\n\n

\u201cCanada\u2019s Mutant Body: Nationalism and (Super) Multiculturalism in Alpha Flight vs. the X-Men.\u201d Anna F. Peppard. JFA<\/em> 26.2 (2015): 311-32.<\/p>\n\n\n\n

\u201cCanary Fever.\u201d John Clute. JFA<\/em> 15.3 (2004): 217-27.<\/p>\n\n\n\n

\u201cA Carnival of Apes: A Bakhtinian Perspective on Twelve Monkeys<\/em>.\u201d Carrol Fry and J. Robert Craig. JFA<\/em> 13.1 (2002): 3-12.<\/p>\n\n\n\n

\u201cCeltic Myth and English-Language Fantasy Literature: Possible New Directions.\u201d C. W. Sullivan, III. JFA<\/em> 10.1 (1999): 88-96.<\/p>\n\n\n\n

\u201cA Century of Draculas.\u201d James Craig Holte. JFA<\/em> 10.2 (1999): 109-15.<\/p>\n\n\n\n

\u201cChangeling Self, Changing Other: Patricia McKillip\u2019s The Changeling Sea<\/em> as Feminist Fairy Tale.\u201d Ann F. Howey. JFA<\/em> 18.1 (2007): 42-60.<\/p>\n\n\n\n

\u201cThe Changing Shape of a Shape-Shifter: The French-Canadian Loup-garou<\/em>.\u201d Amy J. Ransom. JFA<\/em> 26.2 (2015): 251-75.<\/p>\n\n\n\n

\u201cChanging the World: Faces of Rebellion in Suzanne Collins\u2019s Hunger Games Trilogy.\u201d Caroline E. Jones. JFA<\/em> 27.2 (2016): 225-47.<\/p>\n\n\n\n

\u201cCharacter, the Fantastic, and the Failure of Contemporary Literary Theory.\u201d Roger C. Schlobin. JFA<\/em> 13.3 (2003): 258-70.<\/p>\n\n\n\n

\u201cChildren of a Darker God: A Taxonomy of Deep Horror Fiction and Film and Their Mass Popularity.\u201d Roger C. Schlobin. JFA<\/em> 1.1 (1988): 25-50.<\/p>\n\n\n\n

\u201cChildren Stranded \u2018Among These Dark Satanic Mills\u2019: The Child\u2019s Response to Evil in Fantasies from Four Different Countries.\u201d Marilyn Jurich. JFA<\/em> 13.3 (2003): 271-81.<\/p>\n\n\n\n

\u201c\u2018Chops,\u2026Cheese, New Bread, Gret Swills of Beer\u2019: Food and Home in Kenneth Grahame\u2019s The Wind in the Willows<\/em>.\u201d C. W. Sullivan, III. JFA<\/em> 15.2 (2005): 144-52.<\/p>\n\n\n\n

\u201cThe Circle and the Cross: Womanhood, Manhood, and Cultural Destruction in Prophetic African Literature.\u201d Alexis Brooks de Vita. JFA<\/em> 21.3 (2010): 413-35.<\/p>\n\n\n\n

\u201cCircumcising Dracula.\u201d Jeffrey Weinstock. JFA<\/em> 12.1 (2001): 90-102.<\/p>\n\n\n\n

\u201cThe City from the Inside: Poe\u2019s Urban Fiction.\u201d Jules Zanger. JFA<\/em> 3.2 (1991): 29-36.<\/p>\n\n\n\n

\u201cClosure and Power in Salem\u2019s Lot<\/em>.\u201d Joe Sutliff Sanders. JFA<\/em> 10.2 (1999): 142-54.<\/p>\n\n\n\n

\u201cCoda: Criticism in the Age of Borges.\u201d Rob Latham. JFA<\/em> 1.4 (1988): 87-94.<\/p>\n\n\n\n

\u201c\u2018Coldtonguecoldhamcoldbeefpickledgherkinsaladfrenchrollscress-sandwichespottedmeatgingerbeerlemonadesodawater….\u2019: Fantastic Foods in the Books of Kenneth Grahame, Jerome K. Jerome, H. E. Bates, and Other Bakers of the Fantasy England.\u201d Peter Hunt. JFA<\/em> 7.1 (1995): 5-22.<\/p>\n\n\n\n

\u201cCoin: Money and the Gift Mentality in The Song of Ice and Fire.\u201d Anca Rosu. JFA<\/em> 29.2 (2018): 242-65.<\/p>\n\n\n\n

\u201cColin Milburn: An Introduction.\u201d Stina Attebery. JFA<\/em> 27.1 (2016): 26-27.<\/p>\n\n\n\n

\u201cCollage as Critique and Invention in the Fiction of William S. Burroughs and Kathy Acker.\u201d Rob Latham. JFA<\/em> 5.3 (1993): 46-57.<\/p>\n\n\n\n

\u201cCollections: Indiana University\u2019s Lilly Library.\u201d Kelly Searsmith. JFA<\/em> 16.4 (2006): 390-94.<\/p>\n\n\n\n

\u201cCollections: University of South Florida Library and Special Collections.\u201d Kelly Searsmith. JFA<\/em> 17.4 (2007): 414-16.<\/p>\n\n\n\n

\u201cColonial Ignorance and World Construction: On Albert Wendt\u2019s Black Rainbow and The Adventures of Vela.\u201d John Rieder. JFA<\/em> 29.3 (2018): 336-54.<\/p>\n\n\n\n

\u201cComic Book Realism: Form and Genre in Junot D\u00edaz\u2019s The Brief Wondrous Life of Oscar Wao<\/em>.\u201d Daniel Bautista. JFA<\/em> 21.1 (2010): 41-53.<\/p>\n\n\n\n

\u201cComputer Fictions: Narratives of the Machinic Phylum.\u201d John Johnston. JFA<\/em> 8.4 (1997): 443-63.<\/p>\n\n\n\n

\u201cThe Concept of the Divided Self in Harlan Ellison\u2019s \u2018I Have No Mouth and I Must Scream\u2019 and \u2018Shatterday.\u2019\u201c Joseph Francavilla. JFA<\/em> 6.2\/3 (1994): 107-25.<\/p>\n\n\n\n

\u201cConfessions of the Unemployed\u201d [poem]. Marilyn Jurich. JFA<\/em> 2.4 (1990): 6.<\/p>\n\n\n\n

\u201cConjunctions 39<\/em> and Liminal Fantasy.\u201d Farah Mendlesohn. JFA<\/em> 15.3 (2004): 228-39.<\/p>\n\n\n\n

\u201cConnie Willis: An Introduction.\u201d Gary K. Wolfe. JFA<\/em> 22.3 (2011): 313-14.<\/p>\n\n\n\n

\u201cConsidering Fantasy in the Bible: The Elusive Presence of the Unerasable Trace.\u201d Conard Carroll. JFA<\/em> 8.2 (1997): 124-50.<\/p>\n\n\n\n

\u201cThe Contamination of the Fairy Tale, or the Changing Nature of the Grimms\u2019s Fairy Tale.\u201d Jack Zipes. JFA<\/em> 11.1 (2000): 77-93.<\/p>\n\n\n\n

\u201cContemporary Fantasy\u2019s Foliate Face: An Interview with Charles Vess.\u201d Kelly Searsmith. JFA<\/em> 17.2 (2006): 105-22.<\/p>\n\n\n\n

\u201cContemporary Photography and the Technological Sublime, or, Can There Be a Science Fiction Photography?\u201d Roger Luckhurst. JFA<\/em> 19.2 (2008): 181-95.<\/p>\n\n\n\n

\u201cContemporary Women Writers and the \u2018New Evil\u2019: The Vampires of Anne Rice and Suzy McKee Charnas.\u201d Maureen King. JFA<\/em> 5.3 (1993): 75-84.<\/p>\n\n\n\n

\u201cConvention Un-done: Un Lun Dun<\/em>\u2019s Unchosen Heroine and Narrative (Re)Vision.\u201d Cassandra Bausman. JFA 25.1 (2014): 28-53.<\/p>\n\n\n\n

\u201cA Conversation about Fantasy with Ursula K. Le Guin and Brian Attebery.\u201d Monty Vierra and Kristi Austin, eds. and transcr. JFA<\/em> 17.4 (2007): 371-82.<\/p>\n\n\n\n

\u201cA Conversation with Constance Penley.\u201d Constance Penley and Karen Hellekson. JFA<\/em> 24.3 (2013): 410-17.<\/p>\n\n\n\n

\u201c\u2018Cosmic Horror\u2019 and the Question of the Sublime in Lovecraft.\u201d Vivian Ralickas. JFA<\/em> 18.3 (2007): 364-98.<\/p>\n\n\n\n

\u201cCourteous, Humble and Helpful: Sam as Squire Figure in The Lord of the Rings<\/em>.\u201d Charles W. Nelson. JFA<\/em> 2.1 (1989): 53-63.<\/p>\n\n\n\n

\u201cThe Craving for Meaning: Explicit Allegory in the Non-Implicit Age.\u201d Roger C. Schlobin. JFA<\/em> 5.1 (1992): 3-12.<\/p>\n\n\n\n

\u201cCritical Theory, Academia, and Interstitiality.\u201d Veronica Schanoes. JFA<\/em> 15.3 (2004): 243-47.<\/p>\n\n\n\n

\u201cCritics in the Gulag.\u201d Carl B. Yoke. JFA<\/em> 1.2 (1988): 3-4.<\/p>\n\n\n\n

\u201cCrowning the King: Harry Potter and the Construction of Authority.\u201d Farah Mendlesohn. JFA<\/em> 12.3 (2001): 287-308.<\/p>\n\n\n\n

\u201cCub Scouts Don\u2019t Have Heavy Artillery.\u201d Carl B. Yoke. JFA<\/em> 2.4 (1990): 2-5.<\/p>\n\n\n\n

\u201cCultural Imperialism and the Ends of Empire: Iain M. Banks\u2019s Look to Windward<\/em>.\u201d Sherryl Vint. JFA<\/em> 18.1 (2007): 83-98.<\/p>\n\n\n\n

\u201cCultural Negotiation in Science Fiction Literature and Film.\u201d Brian Attebery. JFA<\/em> 11.4 (2001): 346-58.<\/p>\n\n\n\n

\u201cCultural Palimpsests: Terry Pratchett\u2019s New Fantasy Heroes.\u201d Gideon Haberkorn. JFA<\/em> 18.3 (2007): 319-39.<\/p>\n\n\n\n

\u201cThe Cybernetic (City) State: Terminal Space Becomes Phenomenal.\u201d Scott Bukatman. JFA<\/em> 2.2 (1989): 43-63.<\/p>\n\n\n\n

D<\/strong><\/p>\n\n\n\n

\u201cDanger and Compulsion in The Wind in the Willows<\/em>, or Toad and Hyde Together at Last.\u201d Roger C. Schlobin. JFA<\/em> 8.1 (1997): 34-41.<\/p>\n\n\n\n

\u201cDan Simmons\u2019s The Terror<\/em>, Inuit \u2018Legend,\u2019 and the Embodied Horrors of History.\u201d Derek J. Thiess. JFA<\/em> 29.2 (2018): 222-41.<\/p>\n\n\n\n

\u201cDark Matters: Mapping Science Fiction on the Extreme Metal Continuum.\u201d Pawe\u0142 Frelik,. JFA<\/em> 24.2 (2013): 289-309.<\/p>\n\n\n\n

\u201cA Darwinian Eden: Science and Myth in Kurt Vonnegut\u2019s Gal\u00e1pagos<\/em>.\u201d Leonard Mustazza. JFA<\/em> 3.2 (1991): 55-65.<\/p>\n\n\n\n

\u201cDaughters of Eurydice in Absentia: The Feminine Heroic Quest for Presence in Houskeeping<\/em>.\u201d Lale Davidson. JFA<\/em> 4.4 (1991): 19-36.<\/p>\n\n\n\n

\u201cDecadence and Anguish: Edgar Allan Poe\u2019s Influence on R\u00e9jean Ducharme.\u201d V. A. Harger-Grinling and A. Thoms. JFA<\/em> 1.2 (1988): 5-12.<\/p>\n\n\n\n

\u201cDecadence, Dandyism, and Aestheticism inThe Vampire Chronicles<\/em>.\u201d James Bell. JFA<\/em> 17.3 (2006): 284-93.<\/p>\n\n\n\n

\u201cThe Decentered Absolute: Significance in the Postmodern Fantastic.\u201d Peter Malekin. JFA<\/em> 1.4 (1988): 9-18.<\/p>\n\n\n\n

\u201cDeconstructing Deconstruction: Chimeras of Form and Content in Samuel R. Delany.\u201d William M. Schuyler, Jr. JFA<\/em> 1.4 (1988): 67-76.<\/p>\n\n\n\n

\u201cDeconstructing the Peach: James and the Giant Peach<\/em> as Post-Modern Fairy Tale.\u201d Eve Tal. JFA<\/em> 14.2 (2003): 265-76.<\/p>\n\n\n\n

\u201cDefining Irrealism: Scientific Development and Allegorical Possibility.\u201d Dean Swinford. JFA<\/em> 12.1 (2001): 77-89.<\/p>\n\n\n\n

\u201cDe\/Reconstructing the \u2018I\u2019: PostFANTASTICmodernist Poetry.\u201d Patrick D. Murphy. JFA<\/em> 1.4 (1988): 39-48.<\/p>\n\n\n\n

\u201cDesacralization of Image and Confusion of Sexuality in the Disney Studio\u2019s Beauty and the Beast<\/em>.\u201d Martha A. Bartter. JFA<\/em> 9.1 (1998): 55-68.<\/p>\n\n\n\n

\u201cDestiny Manifesto (Octavia Butler as Public Intellectual [ICFA-21 Panel]).\u201d Toni Francis. JFA<\/em> 11.2 (1998): 179-81.<\/p>\n\n\n\n

\u201cDevil\u2019s Advocates.\u201d Simon Bacon. JFA<\/em> 28.1 (2017): 123-28.<\/p>\n\n\n\n

\u201cDevil\u2019s Advocates.\u201d Veronica Schanoes. JFA<\/em> 28.1 (2017): 4-5.<\/p>\n\n\n\n

\u201cThe Devil\u2019s Discourse: The Meeting of Allegory and the Fantastic.\u201d Virginia M. Marino. JFA<\/em> 8.3 (1997): 331-46.<\/p>\n\n\n\n

\u201cDialectical \u2018Complexifications\u2019: The Centrality of Mary Malone, Dust, and the Mulefa<\/em> in Philip Pullman\u2019s His Dark Materials.\u201d Rebekah Fitzsimmons. JFA<\/em> 22.2 (2011): 212-33.<\/p>\n\n\n\n

\u201cDialogic Narration and Ambivalent Utopian Hope in Lessing\u2019s Shikasta<\/em> and Le Guin\u2019s Always Coming Home<\/em>.\u201d Carol Franko. JFA<\/em> 2.3 (1990): 23-33.<\/p>\n\n\n\n

\u201cDie Elixiere des Teufels <\/em>: E. T. A. Hoffmann\u2019s House of Mirrors.\u201d Allienne R. Becker. JFA<\/em> 9.2 (1998): 117-30.<\/p>\n\n\n\n

\u201cDifferent and Equal Together: SF Satire in District 9<\/em>.\u201d Andrea Hairston. JFA<\/em> 22.3 (2011): 326-46.<\/p>\n\n\n\n

\u201cThe Disappointed Bridge: Textual Hauntings in Joyce\u2019s Ulysses<\/em>.\u201d Jeffrey A. Weinstock. JFA<\/em> 8.3 (1997): 347-69.<\/p>\n\n\n\n

\u201cDisaster Fantasies: Byron as a Poet of the Fantastic.\u201d Mervyn Nicholson. JFA<\/em> 2.4 (1990): 110-32.<\/p>\n\n\n\n

\u201cDiscovering the Machine in You: The Literary Social and Religious Implications of Neal Stephenson\u2019s Snow Crash<\/em>.\u201d Daniel Grassian. JFA<\/em> 12.3 (2001): 250-67.<\/p>\n\n\n\n

\u201cDisney World: A Plastic Monument to Death: From Rabelais to Disney.\u201d Ilaria Serra. JFA<\/em> 14.4 (2004): 459-70.<\/p>\n\n\n\n

\u201cDisorienting Encounters: Magical Realism and American Literature on the Vietnam War.\u201d Steffen Hantke. JFA<\/em> 12.3 (2001): 268-86.<\/p>\n\n\n\n

\u201cDisrupted Expectations: Young\/old Protagonists in Diana Wynne Jones\u2019s Novels.\u201d Deborah Kaplan. JFA<\/em> 21.2 (2010): 197-209.<\/p>\n\n\n\n

\u201cDiversity and Difference: Cosmopolitanism and The Lord of the Rings<\/em>.\u201d Helen Young. JFA<\/em> 21.3 (2010): 351-65.<\/p>\n\n\n\n

\u201cThe Door to Lilith\u2019s Cave: Memory and Imagination in Jane Yolen\u2019s Holocaust Novels.\u201d Ellen R. Weil. JFA<\/em> 5.2 (1993): 90-104.<\/p>\n\n\n\n

\u201cDorothy Parker, Primeval, Little Nell, Robert Heinlein, Emma Thompson, Reports of My Death, Shakespeare, and Other Thoughts on Comedy.\u201d Connie Willis. JFA<\/em> 22.3 (2011): 315-21.<\/p>\n\n\n\n

\u201cThe Double and Doubling in Modern and Postmodern Art.\u201d Cris Hassold. JFA<\/em> 6.2\/3 (1994): 253-74.<\/p>\n\n\n\n

\u201cThe Double-edged Nature of Neil Gaiman\u2019s Ironical Perspectives and Liminal Fantasies.\u201d Sandor Klapcsik. JFA<\/em> 20.2 (2009): 193-209.<\/p>\n\n\n\n

\u201cDoubles and Doubling in the Arts.\u201d Gordon E. Slethaug. JFA<\/em> 6.2\/3 (1994): 100-06.<\/p>\n\n\n\n

\u201cDragonsaver: The Female Hero in Barbara Hambly\u2019s Dragonsbane<\/em>.\u201d Patricia Monk. JFA<\/em> 4.4 (1991): 60-81.<\/p>\n\n\n\n

\u201cDragons I Have Known and Loved. Laurence Yep.\u201d JFA<\/em> 21.3 (2010): 384-85.<\/p>\n\n\n\n

\u201c\u2018Dreaming Real\u2019: The Conquest of Psiberspace?\u201d Andy Sawyer. JFA<\/em> 9.4 (1998): 268-83.<\/p>\n\n\n\n

\u201cDreaming the Role: Acting and the Structure of Imagination.\u201d Craig Turner. JFA<\/em> 7.4 (1996): 16-29.<\/p>\n\n\n\n

\u201cDream Textures of the Popol Vuh<\/em>.\u201d Luis O. Arata. JFA<\/em> 7.4 (1996): 74-83.<\/p>\n\n\n\n

\u201cDream Visions and Stream-of-Consciousness: The Conscious and Unconscious Search for Meaning.\u201d Evelyn Jaffe Schreiber. JFA<\/em> 7.4 (1996): 4-15.<\/p>\n\n\n\n

\u201cDualism and Mirror Imagery in Anglo-Saxon Riddles.\u201d Gwendolyn A. Morgan. JFA<\/em> 5.1 (1992): 74-85.<\/p>\n\n\n\n

\u201cDubya\u2019s Game: Motive Utiliarianism and the Doctrine of Preemption.\u201d David Wheat. JFA<\/em> 17.3 (2006): 266-83.<\/p>\n\n\n\n

\u201cDwarf Resistance in Communist Poland: Fantastic-Ridiculous Dwarf Aesthetic as Political Subversion in the Orange Alternative Movement and the Movie Kingsize<\/em>.\u201d Marek Oziewicz. JFA<\/em> 22.3 (2011): 363-76.<\/p>\n\n\n\n

E<\/strong><\/p>\n\n\n\n

\u201cEchoes of Influence: Music, Social Power, and the Law in Speculative Fiction.\u201d John Garrison. JFA<\/em> 17.4 (2007): 321-33.<\/p>\n\n\n\n

\u201cThe Ecological System of Stephen King\u2019s The Dark Half.<\/em>\u201d Edwin F. Casebeer. JFA<\/em> 6.2\/3 (1994): 126-42.<\/p>\n\n\n\n

\u201cEdge of Darkness<\/em> as Transhuman Thriller.\u201d Joe Sanders. JFA<\/em> 5.4 (1993): 83-91.<\/p>\n\n\n\n

\u201cEditor\u2019s Foreword.\u201d Carl B. Yoke. JFA<\/em> 8.1 (1997): 1.<\/p>\n\n\n\n

\u201cEditor\u2019s Introduction.\u201d W. A. Senior. JFA<\/em> 10.1 (1999): 1-3.<\/p>\n\n\n\n

\u201cEditor\u2019s Note.\u201d W. A. Senior. JFA<\/em> 14.1 (2003): 2-3.<\/p>\n\n\n\n

\u201c\u00c9douard Glissant\u2019s La L\u00e9zarde<\/em>: Between the Magical Surreal and the Fantastic.\u201d Christiane Szeps. JFA<\/em> 15.4 (2004): 358-68.<\/p>\n\n\n\n

\u201cEdward James: An Introduction, by Neil Easterbrook.\u201d Neil Easterbrook. JFA<\/em> 29.1 (2018): 4-6.<\/p>\n\n\n\n

\u201cThe Efrafran Hunt for Immortality in Watership Down<\/em>.\u201d Charles A. Meyer. JFA<\/em> 6.1 (1993): 71-87.<\/p>\n\n\n\n

\u201cEleanor Cameron: The Theory and Practice of Fantasy.\u201d Brian Attebery. JFA<\/em> 16.2 (2005): 96-109.<\/p>\n\n\n\n

\u201cElectric Nature: (Re)Constructing Wilderness in Do Androids Dream of Electric Sheep?\u201d Aaron Cloyd. JFA<\/em> 26.1 (2015): 76-91.<\/p>\n\n\n\n

\u201c\u2018Eliminate All Other Factors\u2019: Fantastic Hesitation in Arthur Conan Doyle\u2019s Hound of the Baskervilles<\/em>.\u201d John Pennington. JFA<\/em> 15.2 (2005): 132-43.<\/p>\n\n\n\n

\u201cThe Ellison Personae: Author, Storyteller, Narrator.\u201d Ellen R. Weil. JFA<\/em> 1.3 (1988): 27-36.<\/p>\n\n\n\n

\u201cThe End of the World in American History and Fantasy: The Trumpet of the Judgment.\u201d Donald E. Morse. JFA<\/em> 13.1 (2002): 33-46.<\/p>\n\n\n\n

\u201cEnlightened Sense of Wonder? Sublimity and Rationality in Asimov\u2019s Foundation Series.\u201d Jari K\u00e4kel\u00e4. JFA<\/em> 22.2 (2011): 171-91.<\/p>\n\n\n\n

\u201cEpics in Three Parts.\u201d Edward James. JFA<\/em> 29.1 (2018): 7-17.<\/p>\n\n\n\n

\u201cEpisteme-ology of Science Fiction.\u201d Kevin Alexander Boon. JFA<\/em> 11.4 (2001): 359-74.<\/p>\n\n\n\n

\u201cErotic and Existential Paradoxes of the Golem: Marge Piercy\u2019s He, She and It<\/em>.\u201d Diane Sautter. JFA<\/em> 7.2\/3 (1995): 255-68.<\/p>\n\n\n\n

\u201cEstablishing the Canon of Weird Fiction.\u201d S. T. Joshi. JFA<\/em> 14.3 (2003): 333-41.<\/p>\n\n\n\n

\u201cEverything Slipping Away: John Wyndham\u2019s The Day of the Triffids<\/em>.\u201d C. N. Manlove. JFA<\/em> 4.1 (1991): 29-53.<\/p>\n\n\n\n

\u201cEvolutionary Architecture and the Construction of Cruelty: The Building as Symbiotic Monster in La torre y el jardin.\u201d Jos\u00e9 Mar\u00eda Mantero. JFA<\/em> 27.3 (2016): 392-410.<\/p>\n\n\n\n

\u201cExorcising a Theater Myth: S. Ansky\u2019s The Dybbuk<\/em>.\u201d Irene Eynat-Confino. JFA<\/em> 11.1 (2000): 14-23.<\/p>\n\n\n\n

\u201cThe Exorcist<\/em>: Deep Horror?\u201d Robert F. Geary. JFA<\/em> 5.4 (1993): 55-63.<\/p>\n\n\n\n

\u201cExtraordinary Pasts: Steampunk as a Mode of Historical Representation.\u201d Margaret Rose. JFA<\/em> 20.3 (2009): 319-33.<\/p>\n\n\n\n

\u201c\u2018The Eyes in the Trees\u2019: Transculturation and Magical Realism in Barbara Kingsolver\u2019s The Poisonwood Bible<\/em>.\u201d Kathy Weese. JFA<\/em> 17.1 (2006): 4-20.<\/p>\n\n\n\n

F<\/strong><\/p>\n\n\n\n

\u201cFabulous Historians: Ursula Le Guin and Ang\u00e9lica Gorodischer.\u201d Patrick O\u2019Connor. JFA<\/em> 16.2 (2005): 128-41.<\/p>\n\n\n\n

\u201cFacing Change (Octavia Butler as Public Intellectual [ICFA-21 Panel]).\u201d Jane Caputi. JFA<\/em> 11.2 (1998): 175-78.<\/p>\n\n\n\n

\u201cThe Fading of the World: Tolkien\u2019s Ecology and Loss in The Lord of the Rings<\/em>.\u201d Chris Brawley. JFA<\/em> 18.3 (2007): 292-307.<\/p>\n\n\n\n

\u201c\u2018The Fairies\u2019 Christmas\u2019: Elements of the Fantastic in Irish Political Cartoons of the Home Rule Movement.\u201d Joel A. Hollander. JFA<\/em> 8.1 (1997): 42-54.<\/p>\n\n\n\n

\u201c\u2018False Pretences\u2019 and the \u2018Real Show\u2019: Identity, Performance, and the Nature of Fiction in Conrad\u2019s Fate<\/em>.\u201d Caroline Webb. JFA<\/em> 21.2 (2010): 221-32.<\/p>\n\n\n\n

\u201cFamily Magic: Invisibility in Jamaica Kincaid\u2019s Lucy<\/em>.\u201d Patricia Harkins. JFA<\/em> 4.3 (1991): 53-68.<\/p>\n\n\n\n

\u201cLa fantasia y la CF como espacios de libertad.\u201d Daina Chaviano. JFA<\/em> 15.1 (2004): 12-19.<\/p>\n\n\n\n

\u201cFantastic Illustrations to Dante\u2019s Inferno<\/em>: Romantic and Contemporary Visions.\u201d Francine A. Koslow. JFA<\/em> 2.4 (1990): 133-43.<\/p>\n\n\n\n

\u201cThe Fantastic in Holocaust Literature: Writing and Unwriting the Unbearable.\u201d Michael P. Yogev. JFA<\/em> 5.2 (1993): 32-48.<\/p>\n\n\n\n

\u201cFantastic Polyvalence beyond Dichotomies: The Snow Queen<\/em> and The Snow Child<\/em>.\u201d Alexandra Berlina. JFA<\/em> 26.2 (2015): 236-50.<\/p>\n\n\n\n

\u201cThe Fantastic Powers of the Other Sex: Male Mothers in Fantastic Fiction.\u201d David Greven. JFA<\/em> 14.3 (2003): 301-17.<\/p>\n\n\n\n

\u201cFantastic Tropes in The Folk of the Air<\/em>.\u201d Don Riggs. JFA<\/em> 1.3 (1988): 79-86.<\/p>\n\n\n\n

\u201cFantasy and Mimesis in Doctor Faustus<\/em>.\u201d Sally A. Bartlett. JFA<\/em> 5.3 (1993): 18-27.<\/p>\n\n\n\n

\u201cFantasy and the Gospels: Theological and Ideological Implications.\u201d George Aichele, Jr. JFA<\/em> 8.2 (1997): 170-84.<\/p>\n\n\n\n

\u201cFantasy Music: Epic Soundtracks, Magical Instruments, Musical Metaphysics.\u201d Isabella van Elferen. JFA<\/em> 24.1 (2013): 4-24.<\/p>\n\n\n\n

\u201cFantasy\u2019s Reconstruction of Narrative Conventions.\u201d Brian Attebery. JFA<\/em> 1.1 (1988): 85-98.<\/p>\n\n\n\n

\u201cF. Scott Fitzgerald\u2019s \u2018One Trip Abroad\u2019: A Metafantasy of the Divided Self.\u201d Marc Baldwin. JFA<\/em> 4.3 (1991): 69-78.<\/p>\n\n\n\n

\u201cFaust and the \u2018Death of Man.\u2019\u201d Robert Lublin. JFA<\/em> 24.2 (2013): 211-30.<\/p>\n\n\n\n

\u201cThe Female Hero in Science Fiction and Fantasy: \u2018Carrier-Bag\u2019 to \u2018No-Road.\u2019\u201c Sue Fisher Vaughn. JFA<\/em> 4.4 (1991): 82-96.<\/p>\n\n\n\n

\u201cThe Feminine as Fantastic.\u201d Cris Hassold. JFA<\/em> 3.1 (1990): 29-40.<\/p>\n\n\n\n

\u201cThe Feminist and the Vampire: Constructing Postmodern Bodies.\u201d Sylvia Kelso. JFA<\/em> 8.4 (1997): 472-87.<\/p>\n\n\n\n

\u201cThe Femivore: An Unnamed Archetype.\u201d Roger C. Schlobin. JFA<\/em> 2.1 (1989): 89-97.<\/p>\n\n\n\n

\u201cFictional Cultures in Postmodern Art.\u201d Dorothy Joiner. JFA<\/em> 1.4 (1988): 59-66.<\/p>\n\n\n\n

\u201cFictionalized Romantics: Byron, Shelley, Keats as Characters in Contemporary Genre Fiction.\u201d Atara Stein. JFA<\/em> 13.4 (2003): 379-88.<\/p>\n\n\n\n

\u201cThe Fiction of Privacy: Fantasy and the Past.\u201d Guy Gavriel Kay. JFA<\/em> 20.2 (2009): 240-47.<\/p>\n\n\n\n

\u201cFifty Years On: Animal Farm<\/em> Gets Under the Skin.\u201d Virginia Harger-Grinling and Chantal Jordan. JFA<\/em> 14.2 (2003): 246-54.<\/p>\n\n\n\n

\u201cFilms, Film Fantasies, and Fantasies: Manipulating Reality and the Self in Kiss of the Spider Woman<\/em>.\u201d Leonard G. Heldreth. JFA<\/em> 3.4 (1994): 93-106.<\/p>\n\n\n\n

\u201cFive Patterns of the Fantastic in an Arabic Saga.\u201d Hani Al-Raheb. JFA<\/em> 5.4 (1993): 42-54.<\/p>\n\n\n\n

\u201cFood Fantasies in George R. R. Martin.\u201d Anca Rosu. JFA<\/em> 24.3 (2013): 446-66.<\/p>\n\n\n\n

\u201cForeword: The Rumpelstiltskin Factor.\u201d Jane Yolen. JFA<\/em> 5.2 (1993): 11-13.<\/p>\n\n\n\n

\u201cFor Love or for Money: The Concept of Loyalty in the Works of Patricia McKillip.\u201d Christine Mains. JFA<\/em> 16.3 (2005): 219-32.<\/p>\n\n\n\n

\u201cThe Fractured Whole: The Fictional World of Harlan Ellison.\u201d Peter Malekin. JFA<\/em> 1.3 (1988): 21-26.<\/p>\n\n\n\n

\u201cFrankenstein Revisited: Doris Lessing\u2019s The Fifth Child<\/em>.\u201d Norma Rowen. JFA<\/em> 2.3 (1990): 41-49.<\/p>\n\n\n\n

\u201cFrankenstein<\/em> without Frankenstein: The Iron Giant<\/em> and the Absent Creator.\u201d T. S. Miller. JFA<\/em> 20.3 (2009): 385-405.<\/p>\n\n\n\n

\u201cFred Botting: An Introduction, by Anya Heise-von der Lippe.\u201d JFA<\/em> 30.1 (2019): 4.<\/p>\n\n\n\n

\u201cFrom Folklore to Fantasy: The Living Dead, Metamorphoses, and Other Strange Things.\u201d Merja Lepp\u00e4lahti. JFA<\/em> 29.2 (2018): 179-200.<\/p>\n\n\n\n

\u201cFrom Genie to Efreet.\u201d Anne E. Duggan. JFA<\/em> 26.1 (2015): 113-35.<\/p>\n\n\n\n

\u201cFrom Golem to Plastisex: An Analytical Survey of Spanish American Fantastic Literature.\u201d Ksenija Bilbija. JFA<\/em> 7.2\/3 (1995): 201-14.<\/p>\n\n\n\n

\u201cFrom Gollum to Gandalf: The Guide Figures in J. R. R. Tolkien\u2019sThe Lord of the Rings<\/em>.\u201d Charles W. Nelson. JFA<\/em> 13.1 (2002): 47-61.<\/p>\n\n\n\n

\u201cFrom the Marketplace to the Classroom: A Teratological Trio.\u201d Jeffrey Andrew Weinstock. JFA<\/em> 27.3 (2016): 494-504.<\/p>\n\n\n\n

\u201cFrom Panel to Page: Queer Superhero Iconography in the Poetry of \u00c1lvaro Tato and the Narrative of Llu\u00eds Fern\u00e0ndez.\u201d Michael P. Harrison. JFA<\/em> 22.3 (2011): 347-62.<\/p>\n\n\n\n

\u201cFrom Parody to Paradox: Jacques Cazotte and the Emergence of the Fantastic.\u201d Markus Muller. JFA<\/em> 15.4 (2004): 320-45.<\/p>\n\n\n\n

\u201cFrom Pathos to Tragedy: The Two Versions of The Fly<\/em>.\u201d Mary Ferguson Pharr. JFA<\/em> 2.1 (1989): 37-46.<\/p>\n\n\n\n

\u201cFrom Peter Rabbit to Watership Down<\/em>: There and Back Again to the Arcadian Ideal.\u201d John Pennington. JFA<\/em> 3.2 (1991): 66-80.<\/p>\n\n\n\n

\u201cFrom Trickery to Discovery: Trajectories of Science Fiction Film.\u201d Brooks Landon. JFA<\/em> 2.2 (1989): 3-9.<\/p>\n\n\n\n

\u201c\u2018From Zoo. To Bot.\u2019: (De)Composition in Jim Crace\u2019s Being Dead<\/em>.\u201d Jim Byatt. JFA<\/em> 25.2-3 (2014): 276-292. [247-63]<\/p>\n\n\n\n

\u201cThe Future is Fey: Toward a Posthuman Dramaturgy with Caryl Churchill\u2019s The Skriker<\/em>.\u201d <\/em>Kelli Shermeyer. JFA<\/em> 30.1 (2019): 52-67.<\/p>\n\n\n\n

G<\/strong><\/p>\n\n\n\n

\u201cGame as Fantasy in Crucifixion Drama.\u201d Tanya Gardiner-Scott. JFA<\/em> 3.3 (1994): 50-61.<\/p>\n\n\n\n

\u201cThe Games People Play.\u201d Gabriela Steinke. JFA<\/em> 21.2 (2010): 187-96.<\/p>\n\n\n\n

\u201cGender and Ethnicity in Post-Apocalyptic Suburbia.\u201d Robert Yeates. JFA<\/em> 27.3 (2016): 411-434.<\/p>\n\n\n\n

\u201cGender, Fantasy, and the Authority of Tradition.\u201d Brian Attebery. JFA<\/em> 7.1 (1995): 51-60.<\/p>\n\n\n\n

\u201cGenetic Experimentation: Mad Scientists and the Beast.\u201d Faye J. Ringel. JFA<\/em> 2.1 (1989): 64-75.<\/p>\n\n\n\n

\u201cThe Ghost-Father in 1980s Heavy Metal.\u201d Joshua Hjalmer Lind. JFA<\/em> 24.2 (2013): 275-88.<\/p>\n\n\n\n

\u201cGhosts of the Past and Present: Hauntology and the Spanish Civil War in Guillermo del Toro\u2019s The Devil\u2019s Backbone<\/em>.\u201d Anne E. Hardcastle. JFA<\/em> 15.2 (2005): 119-31.<\/p>\n\n\n\n

\u201cGirl, Implicated: The Child in the Labyrinth in the Fantastic.\u201d Greer Gilman. JFA<\/em> 19.2 (2008): 199-203.<\/p>\n\n\n\n

\u201cGoddess on the Hearth: The Archetypal Significance of the Cat in Modern Fantasy.\u201d Patricia Monk. JFA<\/em> 12.3 (2001): 309-21.<\/p>\n\n\n\n

\u201cThe Goddess Restored.\u201d Victoria Sharpe. JFA<\/em> 9.1 (1998): 36-45.<\/p>\n\n\n\n

\u201cThe God in the Pentagram: Religion and Spirituality in Modern Fantasy.\u201d Sylvia Kelso. JFA<\/em> 18.1 (2007): 61-82.<\/p>\n\n\n\n

\u201cGolem and Robot: The Search for Connections.\u201d Norma Comrada. JFA<\/em> 7.2\/3 (1995): 244-54.<\/p>\n\n\n\n

\u201cThe Golem and the Garland of Letters in Borges and Broch.\u201d Evans Lansing Smith. JFA<\/em> 7.2\/3 (1995): 177-90.<\/p>\n\n\n\n

\u201cGolem \u2013 Frankenstein \u2013 Golem of Your Own.\u201d Jane P. Davidson. JFA<\/em> 7.2\/3 (1995): 228-43.<\/p>\n\n\n\n

\u201cThe Golem on the Operatic Stage: Nature\u2019s Warning.\u201d Walter A. Strauss. JFA<\/em> 7.2\/3 (1995): 191-200.<\/p>\n\n\n\n

\u201cGrail, Groundhog, Godgame: Or, Doing Fantasy.\u201d John Clute. JFA<\/em> 10.4 (2000): 330-37.<\/p>\n\n\n\n

\u201cGreen Reading: Tolkien, Leopold, and the Land Ethic.\u201d Lucas P. Niiler. JFA<\/em> 10.3 (1999): 276-85.<\/p>\n\n\n\n

\u201cGreer Gilman: An Introduction.\u201d Faye Ringel. JFA<\/em> 19.2 (2008): 196-98.<\/p>\n\n\n\n

\u201cThe Grotesque in the Early Works of Gregory Gillespie.\u201d Larry D. Lutschmansingh. JFA<\/em> 3.1 (1990): 41-56.<\/p>\n\n\n\n

\u201cGuest Editor\u2019s Afterword.\u201d C. W. Sullivan, III. JFA<\/em> 5.3 (1993): 99.<\/p>\n\n\n\n

\u201cGuest Editor\u2019s Foreword.\u201d C. W. Sullivan, III. JFA<\/em> 7.1 (1995): 3-4.<\/p>\n\n\n\n

\u201cGuest Editor\u2019s Introduction.\u201d J. Robert Craig. JFA<\/em> 14.1 (2003): 4-6.<\/p>\n\n\n\n

\u201cGuest Editor\u2019s Introduction.\u201d J. Robert Craig. JFA<\/em> 13.3 (2003): 215-17.<\/p>\n\n\n\n

\u201cGuest Introduction.\u201d Roger C. Schlobin. JFA<\/em> 5.3 (1993): 3-4.<\/p>\n\n\n\n

\u201cGuests in Conversation: An Interview with Holly Black.\u201d Anelise Farris. JFA<\/em> 28.1 (2017): 27-30.<\/p>\n\n\n\n

\u201cGuests in Conversation: An Interview with Joan Slonczewski.\u201d Derek J. Thiess. JFA<\/em> 27.1 (2016): 21-25.<\/p>\n\n\n\n

\u201cGuy Gavriel Kay: An Introduction.\u201d Gary K. Wolfe. JFA<\/em> 20.2 (2009): 238-39.<\/p>\n\n\n\n

\u201cGyges\u2019s Ring: Invisibility in Plato, Tolkien, and Lope de Vega.\u201d Frederick A. de Armas. JFA<\/em> 3.4 (1994): 120-38.<\/p>\n\n\n\n

H<\/strong><\/p>\n\n\n\n

\u201cHacking the Scientific Imagination.\u201d Colin Milburn. JFA<\/em> 27.1 (2016): 28-46.<\/p>\n\n\n\n

\u201c\u2018Half Fish, Half Woman\u2019: Annette Kellerman, Mermaids, and Eco-Aquatic Revisioning.\u201d Peter Mortensen. JFA<\/em> 29.2 (2018): 201-21.<\/p>\n\n\n\n

\u201cA Half-Naked Muscleman in Trunks: Charles Atlas, Superheroes, and Comic Book Masculinity.\u201d Richard Landon. JFA<\/em> 18.2 (2007): 200-16.<\/p>\n\n\n\n

\u201c\u2018The Halls of Waiting\u2019: Death and Afterlife in Middle-earth.\u201d Charles W. Nelson. JFA<\/em> 9.3 (1998): 200-11.<\/p>\n\n\n\n

\u201cHandling the Handbook.\u201d Amy J. Ransom. JFA<\/em> 27.1 (2016): 89-95.<\/p>\n\n\n\n

\u201cThe Harmony of Reality and Fantasy: The Fantastic in Irish Drama.\u201d Csilla Bertha. JFA<\/em> 4.3 (1991): 2-24.<\/p>\n\n\n\n

\u201cHarvey Kurtzman\u2019s MAD<\/em>: Subversion and Fantasy.\u201d M. Thomas Inge. JFA<\/em> 17.2 (2006): 123-39.<\/p>\n\n\n\n

\u201cHayy ibn Yaqzan<\/em> by Abu ibn Tufayl: An Arabic Mowgli.\u201d Philip Jos\u00e9 Farmer. JFA<\/em> 3.3 (1994): 72-78.<\/p>\n\n\n\n

\u201cThe Heart of Harry Angstrom: Dream Visions in Updike\u2019s Rabbit Tetralogy.\u201d Lawrence R. Broer. JFA<\/em> 7.4 (1996): 84-101.<\/p>\n\n\n\n

\u201cHeidegger, Psychoanalysis, and Haunted Wells in M. R. James\u2019s Stories.\u201d Andrew Hock Soon Ng. JFA<\/em> 22.2 (2011): 192-211.<\/p>\n\n\n\n

\u201cHeinlein Criticism and the Scribner\u2019s Juveniles.\u201d C. W. Sullivan, III. JFA<\/em> 17.2 (2006): 169-80.<\/p>\n\n\n\n

\u201cThe Heterotopian Qualities of the Fantasy Worlds in J. K. Rowling\u2019s Harry Potter Books and Cassandra Clare\u2019s The Mortal Instruments.\u201d Eva Opperman. JFA<\/em> 29.3 (2018): 402-21.<\/p>\n\n\n\n

\u201c\u2018He Was Torn to Pieces with a Bear\u2019: Grotesque Unity in The Winter\u2019s Tale<\/em>.\u201d Kevin Crawford. JFA<\/em> 10.3 (1999): 206-30.<\/p>\n\n\n\n

\u201cHigh Duty and Savage Delight: The Ambiguous Nature of Violence in Dracula<\/em>.\u201d Katie Harse. JFA<\/em> 10.2 (1999): 116-23.<\/p>\n\n\n\n

\u201cHigher Verisimilitude and the Weirdness of the Universe: An Interview with Robert Charles Wilson.\u201d Graham J. Murphy. JFA<\/em> 20.2 (2009): 210-20.<\/p>\n\n\n\n

\u201c\u2018Hiro\u2019 of the Platonic: Neal Stephenson\u2019s Snow Crash<\/em>.\u201d Carl Boehm. JFA<\/em> 14.4 (2004): 394-408.<\/p>\n\n\n\n

\u201cHoldings Project: The Harry Ransom Humanities Research Center at the University of Texas at Austin.\u201d Bryan D. Dietrich. JFA<\/em> 16.3 (2005): 263-64.<\/p>\n\n\n\n

\u201cHoldings Project: The University of Illinois at Urbana-Champaign.\u201d Kelly Searsmith. JFA<\/em> 16.2 (2005): 170-72.<\/p>\n\n\n\n

\u201cHoldings Report: University of Iowa.\u201d Joe Sutliff Sanders. JFA<\/em> 16.3 (2005): 265.<\/p>\n\n\n\n

\u201cHolly Black: An Introduction.\u201d Brian Attebery. JFA<\/em> 28.1 (2017): 26.<\/p>\n\n\n\n

\u201cA Holocaust Education in Reverse: Stephen King\u2019s \u2018The Summer of Corruption: Apt Pupil.\u2019\u201d Leon Stein. JFA<\/em> 5.2 (1993): 60-79.<\/p>\n\n\n\n

\u201cHonor-bound: Self and Other in the Honor Culture of Robin Hobb\u2019s Soldier Son Series.\u201d Siobhan Carroll. JFA<\/em> 18.3 (2007): 308-18.<\/p>\n\n\n\n

\u201cHorrifying \u2018Boredom\u2019 in Michael Crichton\u2019s Fictions.\u201d James Whitlark. JFA<\/em> 13.3 (2003): 226-38.<\/p>\n\n\n\n

\u201cThe Horror! The Horror! The Appropriation, and Reclamation, of Native American Mythology.\u201d Joe Nazare. JFA<\/em> 11.1 (2000): 24-51.<\/p>\n\n\n\n

\u201cHow Do You Get into This Line of Work, Mister Buonarroti?\u201d Carl B. Yoke. JFA<\/em> 3.4 (1994): 80-83.<\/p>\n\n\n\n

\u201cHow Frankenstein\u2019s Monster Became a Music Lover.\u201d James Wierzbicki. JFA<\/em> 24.2 (2013): 246-63.<\/p>\n\n\n\n

\u201cHow Should a Science Fiction Story Begin?\u201d Brian Stableford. JFA<\/em> 12.3 (2001): 322-37.<\/p>\n\n\n\n

\u201cH. P. Lovecraft, Too Much Sex and Not Enough: Alan Moore\u2019s Playfully Repressive Hypothesis.\u201d Adam Kozaczka. JFA<\/em> 26.3 (2015): 489-511.<\/p>\n\n\n\n

\u201cHumankind and Reality: Illusion and Self-Deception in Peter S. Beagle\u2019s Fiction.\u201d Richard C. West. JFA<\/em> 1.3 (1988): 47-54.<\/p>\n\n\n\n

\u201cThe Hybridization of Genres: Reaping the Whirlwind.\u201d Helen Pilinovsky. JFA<\/em> 15.3 (2004): 189-91.<\/p>\n\n\n\n

I<\/strong><\/p>\n\n\n\n

\u201c\u2018I am humanity\u2019: Posthumanism and Embodiment in Rick Yancey\u2019s The 5th Wave Series.\u201d Lars Schmeink. JFA<\/em> 28.3 (2017): 344-67.<\/p>\n\n\n\n

\u201c\u2018If America Goes On Breeding Men Like That\u2019: Dracula\u2019s<\/em> Quincey Morris Problematized.\u201d James R. Simmons. JFA<\/em> 12.4 (2002): 425-36.<\/p>\n\n\n\n

\u201c\u2018If I Had to Write with a Pen\u2019: Readership and Bram Stoker\u2019s Diary Narrative.\u201d Susan M. Cribb. JFA<\/em> 10.2 (1999): 133-41.<\/p>\n\n\n\n

\u201c\u2018I have to figure out who I am\u2019: Embodied Self, Time, and the Ethics of Adolescence in David Levithan\u2019s Every Day<\/em>.\u201d Mathieu Donner. JFA<\/em> 28.3 (2017): 402-24.<\/p>\n\n\n\n

\u201cIlluminating the Ghost Light: Final Acts in the Theater of Fritz Leiber.\u201d Gerald Adair. JFA<\/em> 12.4 (2002): 364-81.<\/p>\n\n\n\n

\u201cIlluminating the Occult: W. B. Yeats in Nick Bantock\u2019s Griffin and Sabine Series.\u201d Therese-M. Meyer. JFA<\/em> 21.1 (2010): 5-25.<\/p>\n\n\n\n

\u201cThe Image of the Vampire in the Struggle for Societal Power: Dan Simmons\u2019s Children of the Night<\/em>.\u201d Joona Smitherman Trapp. JFA<\/em> 10.2 (1999): 155-62.<\/p>\n\n\n\n

\u201cImpertinent Miracles at the British Museum: Egyptology and Edwardian Fantasies for Young People.\u201d Karen Sands-O\u2019Connor. JFA<\/em> 19.2 (2008): 224-37.<\/p>\n\n\n\n

\u201c\u2018I\u2019m Telling You Stories\u2026.Trust Me\u2019: Gender, Desire, and Identity in Jeanette Winterson\u2019s Historical Fantasies.\u201d Jana L. French. JFA<\/em> 10.3 (1999): 231-52.<\/p>\n\n\n\n

\u201cIn and Out of the Labyrinth: Myth and Minotaur in MacDonald Harris\u2019s Bull Fire<\/em> and Steven Sherrill\u2019s The Minotaur Takes a Cigarette Break<\/em>.\u201d Sondra F. Swift. JFA<\/em> 17.3 (2006): 255-65.<\/p>\n\n\n\n

\u201cIndigenous Scientific Literacies in Nalo Hopkinson\u2019s Ceremonial Worlds.\u201d Grace Dillon. JFA<\/em> 18.1 (2007): 23-41.<\/p>\n\n\n\n

\u201cInfinite Monstrosity: Justice, Terror, and Trauma in Frankenstein in Baghdad<\/em>.\u201d Fred Botting. JFA<\/em> 30.1 (2019): 6-24.<\/p>\n\n\n\n

\u201cIn Search of Creative Solitude in Modern Fantasy: An Essay on the Fascination with Evil.\u201d Roger C. Schlobin. JFA<\/em> 3.2 (1991): 5-13.<\/p>\n\n\n\n

\u201cIn Search of the Not-One.\u201d Gwendolyn Morgan. JFA<\/em> 4.4 (1991): 3-8.<\/p>\n\n\n\n

\u201cInsects and Automata in Hoffmann, Balzac, Carter, and del Toro.\u201d Eric White. JFA<\/em> 19.3 (2008): 363-78.<\/p>\n\n\n\n

\u201c\u2018Inspired…by Philip K. Dick\u2019: Ambiguity, Deception, and Illusion in Total Recall<\/em>.\u201d Donald E. Palumbo. JFA<\/em> 4.1 (1991): 69-80.<\/p>\n\n\n\n

\u201cInternal Allusions and Recurring Mysteries in Asimov\u2019s Robot\/Empire\/Foundation Metaseries.\u201d Donald Palumbo. JFA<\/em> 13.2 (2002): 134-42.<\/p>\n\n\n\n

\u201cInterpolation and Invisibility: From Herodotus to Cervantes\u2019s Don Quixote<\/em>.\u201d Frederick A. de Armas. JFA<\/em> 4.2 (1991): 8-28.<\/p>\n\n\n\n

\u201cInterstitial Arts: An Interview with Delia Sherman.\u201d Helen Pilinovsky. JFA<\/em> 15.3 (2004): 248-50.<\/p>\n\n\n\n

\u201cInto the Woods: A Writer\u2019s Journey Through Fairy Tale and Fantasy.\u201d Terri Windling. JFA<\/em> 28.1 (2017): 33-45.<\/p>\n\n\n\n

\u201cIntroduction.\u201d Brian Attebery. JFA<\/em> 18.2 (2007): 149-51.<\/p>\n\n\n\n

\u201cIntroduction.\u201d Charlie Butler. JFA<\/em> 21.2 (2010): 159-61.<\/p>\n\n\n\n

\u201cIntroduction.\u201d Christine Mains. JFA<\/em> 16.3 (2005): 175-77.<\/p>\n\n\n\n

\u201cIntroduction.\u201d Charles A. Meyer. JFA<\/em> 6.1 (1993): 3-6.<\/p>\n\n\n\n

\u201cIntroduction.\u201d Dorothy Joiner. JFA<\/em> 3.1 (1990): 2-4.<\/p>\n\n\n\n

\u201cIntroduction.\u201d Nicholas Ruddick. JFA<\/em> 2.3 (1990): 2-4.<\/p>\n\n\n\n

\u201cIntroduction.\u201d W. A. Senior. JFA<\/em> 10.3 (1999): 203-05.<\/p>\n\n\n\n

\u201cIntroduction.\u201d W. A. Senior. JFA<\/em> 10.2 (1999): 107-08.<\/p>\n\n\n\n

\u201cIntroduction.\u201d W. A. Senior. JFA<\/em> 9.3 (1998): 173-74.<\/p>\n\n\n\n

\u201cIntroduction: Adapting to Adaptations.\u201d Brian Attebery. JFA<\/em> 24.3 (2013): 394-98.<\/p>\n\n\n\n

\u201cIntroduction: All Canons Blazing.\u201d W. A. Senior. JFA<\/em> 12.4 (2002): 61-63.<\/p>\n\n\n\n

\u201cIntroduction: The Backlist, Academics, and Electronic Publishing.\u201d Brian Attebery. JFA<\/em> 22.2 (2011): 149-52.<\/p>\n\n\n\n

\u201cIntroduction: Beagle and Ellison: A Special Issue.\u201d Gary K. Wolfe. JFA<\/em> 1.3 (1988): 3-6.<\/p>\n\n\n\n

\u201cIntroduction: Bereshit bara Elohim: A Survey of the Genesis and Evolution of the Golem.\u201d Maureen T. Krause. JFA<\/em> 7.2\/3 (1995): 113-36.<\/p>\n\n\n\n

\u201cIntroduction: A Bibliographical Note on Harry Potter.\u201d W. A. Senior. JFA<\/em> 17.1 (2006): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Big Phanta versus Home Cures.\u201d Brian Attebery. JFA<\/em> 27.2 (2016): 201-03.<\/p>\n\n\n\n

\u201cIntroduction: The Botnet\/Zombie Army: Cyber-Terrorism.\u201d W. A. Senior. JFA<\/em> 17.3 (2006): 207-10.<\/p>\n\n\n\n

\u201cIntroduction: Canada and Other Ambiguous Spaces.\u201d Brian Attebery. JFA<\/em> 26.2 (2015): 232-35.<\/p>\n\n\n\n

\u201cIntroduction: Collections, Depositories, and Archives.\u201d W. A. Senior. JFA<\/em> 13.1 (2002): 1-2.<\/p>\n\n\n\n

\u201cIntroduction: Conferring, Convening, Conversing, Communing.\u201d Brian Attebery. JFA<\/em> 20.2 (2009): 169-72.<\/p>\n\n\n\n

\u201cIntroduction: Critical Networks.\u201d Brian Attebery. JFA<\/em> 27.3 (2016): 389-391.<\/p>\n\n\n\n

\u201cIntroduction: Cultural Work.\u201d Brian Attebery. JFA<\/em> 21.1 (2010): 1-4.<\/p>\n\n\n\n

\u201cIntroduction: Defending the Fantastic\u2014Redux.\u201d W. A. Senior. JFA<\/em> 15.2 (2005): 97-100.<\/p>\n\n\n\n

\u201cIntroduction: \u2018Did You Know that Paul McCartney Had a Band Before Wings.\u2019\u201c Carl B. Yoke. JFA<\/em> 3.2 (1991): 2-4.<\/p>\n\n\n\n

\u201cIntroduction: Dream and Narrative Space.\u201d Yuan Yuan. JFA<\/em> 7.4 (1996): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Elegy.\u201d Sarah Juliet Lauro. JFA<\/em> 25.2-3 (2014): 242-51. [213-22]<\/p>\n\n\n\n

\u201cIntroduction: Epic Fantasy.\u201d Brian Attebery. JFA<\/em> 29.1 (2018): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Etymological Whimsy.\u201d W. A. Senior. JFA<\/em> 8.3 (1997): 279-80.<\/p>\n\n\n\n

\u201cIntroduction: Everything Old is New Again.\u201d Brian Attebery. JFA<\/em> 28.2 (2017): 199-201.<\/p>\n\n\n\n

\u201cIntroduction: Fantastic Empires.\u201d Brian Attebery. JFA<\/em> 26.1 (2015): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: The Fantastic in College and University Honors Programs.\u201d W. A. Senior. JFA<\/em> 13.4 (2003): 332-34.<\/p>\n\n\n\n

\u201cIntroduction: The Fantastic in (Some of) the Arts.\u201d Brian Attebery. JFA<\/em> 22.1 (2011): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: The Fantastic Ridiculous.\u201d Brian Attebery. JFA<\/em> 22.3 (2011): 310-12.<\/p>\n\n\n\n

\u201cIntroduction: Fantastic Science\/Scientific Fantasy.\u201d Brian Attebery. JFA<\/em> 27.1 (2016): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Fantasy and Oral Tradition.\u201d Brian Attebery. JFA<\/em> 29.2 (2018): 175-78.<\/p>\n\n\n\n

\u201cIntroduction: Fantasy and the Bible.\u201d Tina Pippin and George Aichele. JFA<\/em> 8.2 (1997): 113-15.<\/p>\n\n\n\n

\u201cIntroduction: Fantasy as Testimony.\u201d Gary K. Wolfe. JFA<\/em> 5.2 (1993): 3-10.<\/p>\n\n\n\n

\u201cIntroduction: Fear and Fantasy.\u201d Brian Attebery. JFA<\/em> 19.1 (2008): 1-4.<\/p>\n\n\n\n

\u201cIntroduction: The Form of the Content of the Form.\u201d Brian Attebery. JFA<\/em> 20.3 (2009): 315-18.<\/p>\n\n\n\n

\u201cIntroduction: Frank Herbert\u2019s Prescience: Dune and the Modern World.\u201d W. A. Senior. JFA<\/em> 17.4 (2007): 317-20.<\/p>\n\n\n\n

\u201cIntroduction: Gigaquestions.\u201d W. A. Senior. JFA<\/em> 11.3 (2000): 233-35.<\/p>\n\n\n\n

\u201cIntroduction: Goblins.\u201d W. A. Senior. JFA<\/em> 13.2 (2002): 110-13.<\/p>\n\n\n\n

\u201cIntroduction: Happy Anniversaries.\u201d Brian Attebery. JFA<\/em> 30.1 (2019): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: In Praise of Anticlimaxes.\u201d Brian Attebery. JFA<\/em> 23.1 (2012): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Le Guin\u2019s \u2018Omelas\u2019: Issues of Genre.\u201d W. A. Senior. JFA<\/em> 15.3 (2004): 186-88.<\/p>\n\n\n\n

\u201cIntroduction: Lovecraft Now.\u201d Carl Sederholm and Jeffrey Andrew Weinstock. JFA<\/em> 26.3 (2015): 444-49.<\/p>\n\n\n\n

\u201cIntroduction: Mirror, Mirror on the Wall.\u201d Carl B. Yoke. JFA<\/em> 9.2 (1998): 87-92.<\/p>\n\n\n\n

\u201cIntroduction: \u2018More Fantasy Crap,\u2019 or, Why We Fight.\u201d Brian Attebery. JFA<\/em> 19.3 (2008): 293-96.<\/p>\n\n\n\n

\u201cIntroduction: Muggling On.\u201d W. A. Senior. JFA<\/em> 10.4 (2000): 327-29.<\/p>\n\n\n\n

\u201cIntroduction: Next Year in Mondath.\u201d Brian Attebery. JFA<\/em> 18.3 (2007): 289-91.<\/p>\n\n\n\n

\u201cIntroduction: Not-Mundane Not-Science-Fiction.\u201d Brian Attebery. JFA<\/em> 20.1 (2009): 1-4.<\/p>\n\n\n\n

\u201cIntroduction: Octavia Butler as Public Intellectual (ICFA-21 Panel).\u201d William Covino. JFA<\/em> 11.2 (1998): 173-74.<\/p>\n\n\n\n

\u201cIntroduction: Of Goddesses.\u201d C. W. Sullivan, III, and Kathryn Fladenmuller. JFA<\/em> 9.1 (1998): 1-2.<\/p>\n\n\n\n

\u201cIntroduction: On Conference Publications.\u201d W. A. Senior. JFA<\/em> 12.2 (2001): 145-46.<\/p>\n\n\n\n

\u201cIntroduction: On Editing a Journal.\u201d W. A. Senior. JFA<\/em> 14.4 (2004): 391-93.<\/p>\n\n\n\n

\u201cIntroduction: One Ring to Rule Them All.\u201d W. A. Senior. JFA<\/em> 11.1 (2000): 5-7.<\/p>\n\n\n\n

\u201cIntroduction: On Language, with a Nod to William Safire.\u201d W. A. Senior. JFA<\/em> 12.3 (2001): 247-49.<\/p>\n\n\n\n

\u201cIntroduction: On Psi Powers.\u201d H. L. Drake. JFA<\/em> 9.4 (1998): 257-67.<\/p>\n\n\n\n

\u201cIntroduction: Orwellian Shadows.\u201d W. A. Senior. JFA<\/em> 17.2 (2006): 101-04.<\/p>\n\n\n\n

\u201cIntroduction: Overview of AfterLives: What\u2019s next for Humanity?\u201d Kyle Bishop. JFA<\/em> 25.2-3 (2014): 252-54. [223-25]<\/p>\n\n\n\n

\u201cIntroduction: The Politics of Fantasy.\u201d W. A. Senior. JFA<\/em> 15.1 (2004): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Race and the Fantastic.\u201d Brian Attebery. JFA<\/em> 21.3 (2010): 334-37.<\/p>\n\n\n\n

\u201cIntroduction: Reading the Body, Reading (YA) Fiction.\u201d Mathieu Donner. JFA<\/em> 28.3 (2017): 339-43.<\/p>\n\n\n\n

\u201cIntroduction: Re-examining Classics: Teaching Science Fiction.\u201d W. A. Senior. JFA<\/em> 15.4 (2004): 285-87.<\/p>\n\n\n\n

\u201cIntroduction: Reinhabiting Fantasy.\u201d Brian Attebery. JFA<\/em> 25.1 (2014): 1-2.<\/p>\n\n\n\n

\u201cIntroduction: Scholarship and Context.\u201d W. A. Senior. JFA<\/em> 16.1 (2005): 1-2.<\/p>\n\n\n\n

\u201cIntroduction: S-F or Fantasy?\u201d W. A. Senior. JFA<\/em> 11.2 (1998): 130-32.<\/p>\n\n\n\n

\u201cIntroduction: An SF Scenario: The Reality of 2005.\u201d W. A. Senior. JFA<\/em> 16.2 (2005): 83-85.<\/p>\n\n\n\n

\u201cIntroduction:\u201d Should we poke it with a stick?\u201d: Approaches to Fantastic Performance.\u201d Jen Gunnels and Isabella van Elferen. JFA<\/em> 24.2 (2013): 184-87.<\/p>\n\n\n\n

\u201cIntroduction: Solid Science.\u201d W. A. Senior. JFA<\/em> 12.1 (2001): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Some Notes on \u2018the Abyss\u2019: The Rhetoric of the Fantastic.\u201d W. A. Senior. JFA<\/em> 16.4 (2006): 273-76.<\/p>\n\n\n\n

\u201cIntroduction: A Special Issue for a More Than Special Writer.\u201d Brian Attebery. JFA<\/em> 21.2 (2010): 158.<\/p>\n\n\n\n

\u201cIntroduction: The Starbucks Tree.\u201d W. A. Senior. JFA<\/em> 14.3 (2003): 298-300.<\/p>\n\n\n\n

\u201cIntroduction: Tales of Fa\u00ebry and Wonder.\u201d Brian Attebery. JFA<\/em> 28.1 (2017): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Techniques of Transport.\u201d Brian Attebery. JFA<\/em> 24.1 (2013): 1-3.<\/p>\n\n\n\n

\u201cIntroduction: Theories of\/and Fantastic Literature.\u201d Rob Latham. JFA<\/em> 8.4 (1997): 395-97.<\/p>\n\n\n\n

\u201cIntroduction: Theorizing the Fantastic.\u201d Brian Attebery. JFA<\/em> 29.3 (2018): 333-35.<\/p>\n\n\n\n

\u201cIntroduction: Value Added.\u201d Brian Attebery. JFA<\/em> 19.2 (2008): 169-72.<\/p>\n\n\n\n

\u201cIntroduction: What Are Dreams For?\u201d Brian Attebery. JFA<\/em> 18.1 (2007): 1-4.<\/p>\n\n\n\n

\u201cIntroduction: When the Hungarian Literary Theorist, Gy\u00f6rgyi Luk\u00e1cs Met the American Science Fiction Writer, Wayne Mark Chapman.\u201d Donald E. Morse. JFA<\/em> 11.4 (2001): 342-45.<\/p>\n\n\n\n

\u201cIntroduction: Where Have All the Monsters Gone?\u201d W. A. Senior. JFA<\/em> 14.2 (2003): 214-16.<\/p>\n\n\n\n

\u201cInventing, Revising, and Reinventing Women: Feminism and the Fantastic in the Novellas of Steven Millhauser.\u201d Katherine Weese. JFA<\/em> 26.2 (2015): 333-52.<\/p>\n\n\n\n

\u201cIsaiah: Dreams and Nightmares, Fantasy and Horror.\u201d Peter D. Miscall. JFA<\/em> 8.2 (1997): 151-69.<\/p>\n\n\n\n

\u201cIstvan Csicsery-Ronay, Jr.: An Introduction.\u201d Rob Latham. JFA<\/em> 26.1 (2015): 4.<\/p>\n\n\n\n

\u201c\u2018I was a Ghetto Nerd Supreme\u2019: Science Fiction, Fantasy, and Latina\/o Futurity in Junot D\u00edaz\u2019s The Brief Wondrous Life of Oscar Wao<\/em>.\u201d Joy Sanchez-Taylor. JFA<\/em> 25.1 (2014): 93-106.<\/p>\n\n\n\n

\u201c\u2018I Will Play No Games with You\u2019: Riddlery, Narrative and Ethics in The Riddle-Master\u2019s Game.\u201d Kerrie Le Lievre. JFA<\/em> 16.3 (2005): 233-45.<\/p>\n\n\n\n

J<\/strong><\/p>\n\n\n\n

\u201cJames Morrow: An Introduction.\u201d Kathryn Hume. JFA<\/em> 27.1 (2016): 4-5.<\/p>\n\n\n\n

\u201cThe JFA<\/em> Forum on SF Film.\u201d Brooks Landon, ed. Includes commentaries by: Vivian Sobchack, Howard Waldrop, Frank McConnell, Thomas Doherty, Lewis Shiner, Algis Budrys, K. C. d\u2019Alessandro, Frederik Pohl, John Shirley, Dennis Lynch, Melba Joyce Boyd, George Zebrowski, Eric S. Rabkin, Scott Bukatman, James Gunn, Ellen Draper, Rob Latham, George Slusser, Constance Penley, and Harlan Ellison. JFA<\/em> 2.2 (1989): 10-41.<\/p>\n\n\n\n

\u201cJoan Slonczewski: An Introduction.\u201d Sherryl Vint. JFA<\/em> 27.1 (2016): 18-20.<\/p>\n\n\n\n

\u201cJohn Gardner\u2019s Grendel<\/em>: A Story Retold and Transformed in the Process.\u201d Marie Nelson. JFA<\/em> 18.3 (2007): 340-63.<\/p>\n\n\n\n

\u201cJohn Kessel: A Biased Introduction, by Andy Duncan.\u201d JFA<\/em> 30.1 (2019): 25-28.<\/p>\n\n\n\n

\u201cJoseph Addison: The First Critic of the Fantastic.\u201d David Sandner. JFA<\/em> 11.1 (2000): 52-61.<\/p>\n\n\n\n

\u201cJoss Whedon\u2019s Dollhouse<\/em> and Joss Whedon\u2019s Dollhouse.\u201d Scott Rogers. JFA<\/em> 22.2 (2011): 153-70.<\/p>\n\n\n\n

\u201cJournal of the Fantastic in the Arts.\u201d Marshall B. Tymn. JFA<\/em> 1.1 (1988): 3-4.<\/p>\n\n\n\n

\u201cJ. R. R. Tolkien\u2019s Creative Ethic and Its Finnish Analogues.\u201d Matthew R. Bardowell. JFA<\/em> 20.1 (2009): 91-108.<\/p>\n\n\n\n

\u201cJ. R. R. Tolkien: The \u2018Monstrous\u2019 in the Mirror.\u201d Daniel Timmons. JFA<\/em> 9.3 (1998): 229-46.<\/p>\n\n\n\n

\u201cJustinus Kerner\u2019s Seherin von Prevorst<\/em>: A Parapsychological Psychodrama.\u201d Lee B. Jennings. JFA<\/em> 9.4 (1998): 303-12.<\/p>\n\n\n\n

K<\/strong><\/p>\n\n\n\n

\u201cKafka\u2019s Sister.\u201d Brian W. Aldiss, JFA<\/em> 3.2 (1991): 14-21.<\/p>\n\n\n\n

\u201cKalpavigyan and Imperial Technoscience: Three Nodes of an Argument.\u201d Boddhisattva Chattopadhyay. JFA<\/em> 28.1 (2017): 102-22.<\/p>\n\n\n\n

\u201cKenneth Morris: The Milestone in Welsh Celtic Fantasy Fiction.\u201d C. W. Sullivan, III. JFA<\/em> 16.2 (2005): 142-51.<\/p>\n\n\n\n

\u201cKeynote Address: Diana Wynne Jones.\u201d Nicholas Tucker. JFA<\/em> 21.2 (2010): 162-68.<\/p>\n\n\n\n

\u201cKing Arthur and the Massacre of the May Day Babies: A Story Told by Sir Thomas Malory, Later Retold by John Steinbeck, Mary Stewart, and T. H. White.\u201d Marie Nelson. JFA<\/em> 11.3 (2000): 266-81.<\/p>\n\n\n\n

\u201cKnowing and Geography in Octavia Butler, Ursula K. Le Guin and Maureen McHugh.\u201d Alice Jenkins. JFA<\/em> 16.4 (2006): 320-34.<\/p>\n\n\n\n

\u201cKurt Vonnegut\u2019s Fantastic Faces.\u201d Peter Reed. JFA<\/em> 10.1 (1999): 77-87.<\/p>\n\n\n\n

L<\/strong><\/p>\n\n\n\n

\u201c\u2018The Lady of Shalott\u2019 as Paradigm in Patricia McKillip\u2019s The Tower at Stony Wood<\/em>.\u201d Martha Hixon. JFA<\/em> 16.3 (2005): 191-205.<\/p>\n\n\n\n

\u201cThe Last of the Just<\/em>: Lifting Moloch to Heaven.\u201d Jules Zanger. JFA<\/em> 5.2 (1993): 49-59.<\/p>\n\n\n\n

\u201cLaurence Yep: An Introduction. Amy Branam.\u201d JFA<\/em> 21.3 (2010): 366-83.<\/p>\n\n\n\n

\u201cLavinia: A Woman Reinvents Herself in Fact and\/or Fiction.\u201d Sandra Lindow. JFA<\/em> 20.2 (2009): 221-37.<\/p>\n\n\n\n

\u201cLeakings: Reappropriating Science Fiction\u2014The Case of Kurt Vonnegut.\u201d B\u00e9nyei Tam\u00e1s. JFA<\/em> 11.4 (2001): 432-53.<\/p>\n\n\n\n

\u201cThe Legacy of Mack Reynolds.\u201d Curtis C. Smith. JFA<\/em> 5.4 (1993): 73-82.<\/p>\n\n\n\n

\u201cLessing and the Sacred City.\u201d Lois A. Marchino. JFA<\/em> 2.3 (1990): 34-40.<\/p>\n\n\n\n

\u201c\u2018Life Is a Hideous Thing\u2019: Primate-Geniture in H. P. Lovecraft\u2019s \u2018Arthur Jermyn.\u2019\u201c Bennett Lovett-Graff. JFA<\/em> 8.3 (1997): 370-88.<\/p>\n\n\n\n

\u201cLight and Space in the Open Air: James Turrell\u2019s Roden Crater Project<\/em>.\u201d Craig Adcock. JFA<\/em> 3.1 (1990): 57-68.<\/p>\n\n\n\n

\u201cThe Literary Spoof Paper: An Overview.\u201d Mariano Mart\u00edn Rodr\u00edguez. JFA<\/em> 28.2 (2017): 253-70.<\/p>\n\n\n\n

\u201cLittle Red Riding Hood Meets the Werewolf: Genre and Gender Tensions in Neil Jordan\u2019s The Company of Wolves<\/em>.\u201d Sara Martin. JFA<\/em> 12.1 (2001): 18-33.<\/p>\n\n\n\n

\u201cLittle Sister Is Watching You: Archer\u2019s Goon<\/em> and 1984<\/em>.\u201d Kyra Jucovy. JFA<\/em> 21.2 (2010): 271-89.<\/p>\n\n\n\n

\u201cLiving as a Zombie in Media is the Only Way to Survive.\u201d Mark Deuze. JFA<\/em> 25.2-3 (2014): 307-323. [278-294]<\/p>\n\n\n\n

\u201cLoces Genii<\/em>: Urban Settings in the Fantasy of Peter Beagle, Martha Wells, and Barbara Hambley.\u201d Sylvia Kelso. JFA<\/em> 13.1 (2002): 13-32.<\/p>\n\n\n\n

\u201cLois McMaster Bujold: Feminism and \u2018The Gernsback Continuum\u2019 in Recent Women\u2019s SF.\u201d Sylvia Kelso. JFA<\/em> 10.1 (1999): 17-29.<\/p>\n\n\n\n

\u201cLondon Urban Fantasy: Places in History.\u201d Stefan Ekman. JFA<\/em> 29.3 (2018): 380-401.<\/p>\n\n\n\n

\u201cLong Live Gonzo: An Introduction to Rudy Rucker.\u201d Rob Latham. JFA<\/em> 16.1 (2005): 3-5.<\/p>\n\n\n\n

\u201cLord of the Monsters: Minstrelsy Redux: King Kong, Hip Hop, and the Brutal Black Buck.\u201d Andrea Hairston. JFA<\/em> 18.2 (2007): 187-99.<\/p>\n\n\n\n

\u201cThe Lord of the Rings<\/em>\u2019 Interlace: From Tolkien to Tarot.\u201d Emily E. Auger. JFA<\/em> 19.3 (2008): 317-30.<\/p>\n\n\n\n

\u201cThe Lord of the Rings<\/em>\u2019 Interlace: Tolkien\u2019s Narrative and Lee\u2019s Illustrations.\u201d Emily E. Auger. JFA<\/em> 19.1 (2008): 70-93.<\/p>\n\n\n\n

\u201cThe Lost Worlds of Arthur Conan Doyle\u2019s Professor Challenger Series.\u201d Conor Reid. JFA<\/em> 28.2 (2017): 271-89.<\/p>\n\n\n\n

\u201cLovecraft in Quebec: Transcultural Fertilization and Esther Rochon\u2019s Reevaluation of the Powers of Horror.\u201d Amy J. Ransom. JFA<\/em> 26.3 (2015): 450-468.<\/p>\n\n\n\n

\u201cThe Loveliness of Decay: Rotting Flesh, Literary Matter, and Dead Media.\u201d Jesse Stommel. JFA 25.2-3 (2014): 361-75. [332-46]<\/p>\n\n\n\n

\u201cLoving Death: The Meaning of Male Sexual Impotence in Vampire Literature.\u201d Lloyd Worley. JFA<\/em> 2.1 (1989): 25-36.<\/p>\n\n\n\n

\u201cLucifer: A Fantastic Figure.\u201d Judith Lee. JFA<\/em> 8.2 (1997): 218-34.<\/p>\n\n\n\n

\u201cLuxuriant and Prurient Chaos: Life\u2019s a Fantasy on Primrose Lane.\u201d Roderick McGillis. JFA<\/em> 14.2 (2003): 255-64.<\/p>\n\n\n\n

M<\/strong><\/p>\n\n\n\n

\u201cMadame Dracula: The Life of Emily Gerard.\u201d Lokke Heiss. JFA<\/em> 10.2 (1999): 174-86.<\/p>\n\n\n\n

\u201cMagical Realism: The (R)evolution of Santer\u00eda and Hispanic Hagiography in Cuba.\u201d Rafael Ocasio. JFA<\/em> 8.2 (1997): 235-43.<\/p>\n\n\n\n

\u201cMagic as an Alternative to Science.\u201d William M. Schuyler, Jr. JFA<\/em> 9.2 (1998): 104-16.<\/p>\n\n\n\n

\u201cMagic or Make-Believe? Acquiring the Conventions of Witches and Witchcraft.\u201d Greer Watson. JFA<\/em> 6.4 (1995): 341-59.<\/p>\n\n\n\n

\u201cThe Magic(s) of Stephen Brust.\u201d Wayne A. Chandler. JFA<\/em> 9.2 (1998): 157-65.<\/p>\n\n\n\n

\u201cMannerism and the Macabre in H. P. Lovecraft\u2019s Dunsanian \u2018Dream-Quest.\u2019\u201c Peter Goodrich. JFA<\/em> 15.1 (2004): 37-48.<\/p>\n\n\n\n

\u201cThe Many Roads of Oz: An Existential Reading of Maguire\u2019s \u2018Wicked Witch of the West\u2019.\u201d Sean Ferrier-Watson. JFA<\/em> 28.2 (2017): 219-35.<\/p>\n\n\n\n

\u201cMargaret Atwood\u2019s The Handmaid\u2019s Tale<\/em>: Echoes of Orwell.\u201d Earl Ingersoll. JFA<\/em> 5.4 (1993): 64-72.<\/p>\n\n\n\n

\u201cMaria Nikolajeva: An Introduction.\u201d Michael Levy. JFA<\/em> 20.2 (2009): 182-83.<\/p>\n\n\n\n

\u201cMary, Jane, and Me.\u201d <\/em>John Kessel. JFA<\/em> 30.1 (2019): 29-39.<\/p>\n\n\n\n

\u201cMasculinity, Visibility, and the Vampire Literary Tradition in What We Do in the Shadows<\/em>.\u201d Ildik\u00f3 Limp\u00e1r. JFA<\/em> 29.2 (2018): 266-88.<\/p>\n\n\n\n

\u201cMasks in the Forest: The Dynamics of Surface and Depth in Robert Holdstock\u2019s Mythago Cycle.\u201d K\u00e1lm\u00e1n Matolcsy. JFA<\/em> 17.4 (2007): 350-70.<\/p>\n\n\n\n

\u201cThe Master and Margarita<\/em>: A Fantasy of Redemption.\u201d Jonathan Ludwig. JFA<\/em> 13.2 (2002): 153-68.<\/p>\n\n\n\n

\u201cMaybe They\u2019re Phasing Us In: Re-mapping Fantasy Tropes in the Face of Gender, Race, and Sexuality.\u201d Nalo Hopkinson. JFA<\/em> 18.1 (2007): 99-107.<\/p>\n\n\n\n

\u201cMedieval Dragon-lore in Middle-earth.\u201d Jonathan Evans. JFA<\/em> 9.3 (1998): 175-91.<\/p>\n\n\n\n

\u201cMedieval Literature and Modern Fantasy: Toward a Common Metaphysics.\u201d W. A. Senior. JFA<\/em> 3.3 (1994): 32-49.<\/p>\n\n\n\n

\u201cMen in Love: The Fantasizing of Bram Stoker and Edvard Munch.\u201d Suzanna Nyberg. JFA<\/em> 8.4 (1997): 488-502.<\/p>\n\n\n\n

\u201cThe Merrill Collection.\u201d Sherryl Vint. JFA<\/em> 15.1 (2004): 91-93.<\/p>\n\n\n\n

\u201cMervyn Peake: The Relativity of Perception.\u201d Tanya Gardiner-Scott. JFA<\/em> 1.2 (1988): 13-24.<\/p>\n\n\n\n

\u201cMetafiction and the Gnostic Quest in The Man in the High Castle<\/em>.\u201d Howard Canaan. JFA<\/em> 12.4 (2002): 382-405.<\/p>\n\n\n\n

\u201cMetafiction in the Comics: The Sensational She-Hulk<\/em>.\u201d Donald Palumbo. JFA<\/em> 8.3 (1997): 310-30.<\/p>\n\n\n\n

\u201cMichael Aurbach: Final Portraits<\/em>.\u201d Dorothy Joiner. JFA<\/em> 3.1 (1990): 69-79.<\/p>\n\n\n\n

\u201cMichael Dorsey\u2019s Beauty Parlor Series: Historical Permanence.\u201d Paul Grootkerk. JFA<\/em> 3.1 (1990): 15-28.<\/p>\n\n\n\n

\u201cMiddleton\u2019s The Witch<\/em>: Witchcraft and the Domestic Female Hero.\u201d James R. Keller. JFA<\/em> 4.4 (1991): 37-59.<\/p>\n\n\n\n

\u201cMillhauser, S\u00fcskind, and the Postmodern Promise.\u201d Douglas Fowler. JFA<\/em> 1.4 (1988): 77-86.<\/p>\n\n\n\n

\u201c\u2018Misery Is Manifold\u2019: Bereavement in the Tales of Edgar Allan Poe.\u201d Samantha Stobert. JFA<\/em> 11.3 (2000): 282-93.<\/p>\n\n\n\n

\u201cThe Mistaken Mistake: Permutations of the Golem Legend.\u201d Mike Pinsky. JFA<\/em> 7.2\/3 (1995): 215-27.<\/p>\n\n\n\n

\u201cA Modern Instance: Magic, Imagination, and Power.\u201d John Crowley. JFA<\/em> 12.2 (2001): 147-56.<\/p>\n\n\n\n

\u201cThe Monomyth and Chaos Theory: \u2018Perhaps We Should Believe in Magic.\u2019\u201c Donald Palumbo. JFA<\/em> 12.1 (2001): 34-76.<\/p>\n\n\n\n

\u201cThe Monomyth in Back to the Future<\/em>: Science Fiction Film Comedy as Adolescent Wish-Fulfillment Fantasy.\u201d Donald Palumbo. JFA<\/em> 17.1 (2006): 60-76.<\/p>\n\n\n\n

\u201cThe Monomyth in Daniel Keyes\u2019s Flowers for Algernon<\/em>: Keyes, Campbell, and Plato.\u201d Donald Palumbo. JFA<\/em> 14.4 (2004): 427-46.<\/p>\n\n\n\n

\u201cMonster Mishmash: Iconicity and Intertextuality in Tobe Hooper\u2019s The Texas Chain Saw Massacre<\/em>.\u201d Larrie Dudenhoeffer. JFA<\/em> 19.1 (2008): 51-69.<\/p>\n\n\n\n

\u201c\u2018More Than Human\u2019: The Queer Occult Explorer of the Fin-de-Si\u00e8cle.\u201d Mark De Cicco. JFA<\/em> 23.1 (2012): 4-24.<\/p>\n\n\n\n

\u201cMorgan and the M\u00f3rrighan.\u201d Nancy O. M. Dickson. JFA<\/em> 9.1 (1998): 24-35.<\/p>\n\n\n\n

\u201cMothers, Monsters, Maturation: Female Evil in Beowulf<\/em>.\u201d Gwendolyn A. Morgan. JFA<\/em> 4.1 (1991): 54-68.<\/p>\n\n\n\n

\u201cMourning the Human: Working Through Trauma and the Posthuman Body in Lev Grossman\u2019s The Magicians Trilogy.\u201d Tony M. Vinci. JFA<\/em> 28.3 (2017): 368-87.<\/p>\n\n\n\n

\u201cMovements in Space: Science Fiction, Dance, and the Politics of Performance.\u201d Adam Guzkowski. JFA<\/em> 24.2 (2013): 231-45.<\/p>\n\n\n\n

\u201cMrs. Todd\u2019s (Pastoral) Shortcut.\u201d Fred Porcheddu. JFA<\/em> 19.1 (2008): 5-24.<\/p>\n\n\n\n

\u201cMurray Tinkleman: An Appreciation.\u201d Bob Gray. JFA<\/em> 2.2 (1989): 64.<\/p>\n\n\n\n

\u201cMusical Fusion in the Works of Olaf Stapledon: A Matrix of Storms and Stars.\u201d Richard D. Burbank. JFA<\/em> 16.4 (2006): 350-68.<\/p>\n\n\n\n

\u201cMutants, Metaphor, and Marginalism: What X-actly Do the X-Men Stand For?\u201d P. Andrew Miller. JFA<\/em> 13.3 (2003): 282-90.<\/p>\n\n\n\n

\u201cMystical vs. Realistic Influences in Isaac Bashevis Singer\u2019s In My Father\u2019s Court<\/em>.\u201d Lillian Schanfield. JFA<\/em> 11.2 (1998): 133-42.<\/p>\n\n\n\n

\u201cMyth and Anti-Myth in Angela Carter\u2019s The Passion of New Eve<\/em>.\u201d Maria Aline Seabra Ferreira. JFA<\/em> 9.4 (1998): 284-302.<\/p>\n\n\n\n

\u201cThe Mythology of the \u2018Ainulindal\u00eb\u2019: Tolkien\u2019s Creation of Hope.\u201d Elizabeth A. Whittingham. JFA<\/em> 9.3 (1998): 212-28.<\/p>\n\n\n\n

N<\/strong><\/p>\n\n\n\n

\u201cNalo Hopkinson: An Introduction.\u201d Rob Latham. JFA<\/em> 21.3 (2010): 338.<\/p>\n\n\n\n

\u201cNarrativium and Lies-to-Children: \u2018Palatable Instruction\u2019 in The Science of Discworld<\/em>.\u201d Andy Sawyer. JFA<\/em> 13.1 (2002): 62-81.<\/p>\n\n\n\n

\u201cNative Sons: Regionalism in the Work of Nathaniel Hawthorne and Stephen King.\u201d Tony Magistrale. JFA<\/em> 2.1 (1989): 76-86.<\/p>\n\n\n\n

\u201cNature\u2019s Nightmare: The Inner World of Hauptmann\u2019s Flagman Thiel<\/em>.\u201d Donald H. Crosby. JFA<\/em> 1.2 (1988): 25-34.<\/p>\n\n\n\n

\u201cThe New Age Mage: Merlin as Contemporary Occult Icon.\u201d Peter Goodrich. JFA<\/em> 5.1 (1992): 42-73.<\/p>\n\n\n\n

\u201cNew Hero: Metafictive Female Heroism in Fire and Hemlock<\/em>.\u201d Ren\u00e9 Fleischbein. JFA<\/em> 21.2 (2010): 233-45.<\/p>\n\n\n\n

\u201cThe New Schlobin Collection at East Carolina University.\u201d Aaron R. Carpenter. JFA<\/em> 16.3 (2005): 266-67.<\/p>\n\n\n\n

\u201cNews from Somewhere: A Case for Romance-Tradition Fantasy\u2019s Reformist Poetic.\u201d Kelly Searsmith. JFA<\/em> 11.1 (2000): 62-76.<\/p>\n\n\n\n

\u201cNike Sulway: An Introduction, by Brian Attebery.\u201d JFA<\/em> 30.1 (2019): 40-41.<\/p>\n\n\n\n

\u201cNnedi Okorafor: Exploring the Empire of Girls\u2019 Moral Development.\u201d Sandra Lindow. JFA<\/em> 28. 1 (2017): 46-69.<\/p>\n\n\n\n

\u201c\u2018The Northern Thing\u2019 Reconsidered.\u201d C. W. Sullivan, III. JFA<\/em> 3.3 (1994): 21-31.<\/p>\n\n\n\n

\u201cNot All Fangs Are Phallic: Female Film Vampires.\u201d James Craig Holte. JFA<\/em> 10.2 (1999): 163-73.<\/p>\n\n\n\n

\u201c\u2018Not So Very Blue, after All\u2019: Resisting the Temptation to Correct Charles Perrault\u2019s \u2018Bluebeard.\u2019\u201d Nicholas Ruddick. JFA<\/em> 15.4 (2004): 346-57.<\/p>\n\n\n\n

\u201cThe Novel as Nightmare: Decentering the Self in Bram Stoker\u2019s Dracula<\/em>.\u201d Matthew C. Brennan. JFA<\/em> 7.4 (1996): 48-59.<\/p>\n\n\n\n

O<\/strong><\/p>\n\n\n\n

\u201cOctavia Butler in the Classroom (Octavia Butler as Public Intellectual [ICFA-21 Panel]).\u201d Frances Chelland. JFA<\/em> 11.2 (1998): 182-84.<\/p>\n\n\n\n

\u201c\u2018On a More Meaningful Scale\u2019: Marketing Utopia in Watchmen<\/em>.\u201d Graham J. Murphy. JFA<\/em> 28.1 (2017): 70-85.<\/p>\n\n\n\n

\u201cOne More Time: The Conclusion of Alan Garner\u2019s The Owl Service<\/em>.\u201d C. W. Sullivan III. JFA<\/em> 9.1 (1998): 46-54.<\/p>\n\n\n\n

\u201cOn This Enchanted Ground: Reflections of a Cold War Childhood in Russell Hoban\u2019s Riddley Walker<\/em> and Walter M. Miller\u2019s A Canticle for Leibowitz<\/em>.\u201d Amanda Cockrell. JFA<\/em> 15.1 (2004): 20-36.<\/p>\n\n\n\n

\u201cOn Visual Tropes as Expressions of the Psyche in Roman Polanski\u2019s The Tenant<\/em>.\u201d J. Robert Craig. JFA<\/em> 9.2 (1998): 131-41.<\/p>\n\n\n\n

\u201c\u2018Only We Have Perished\u2019: Karel \u010capek\u2019s R.U.R. <\/em>and the Catastrophe of Humankind.\u201d Nicholas Anderson. JFA<\/em> 25.2-3 (2014): 255-75. [226-46]<\/p>\n\n\n\n

\u201cThe Ontological Task of the Hero in Philip K. Dick\u2019s The Cosmic Puppets<\/em>.\u201d Christopher Sims. JFA<\/em> 29.1 (2018): 41-67.<\/p>\n\n\n\n

\u201cOrchids in a Cage: Political Myths and Social Reality in East German Science Fiction (1949-1989).\u201d Usch Kiausch. JFA<\/em> 11.4 (2001): 375-94.<\/p>\n\n\n\n

\u201c\u2018Orc Talk\u2019: Soviet Linguistics in Tolkien\u2019s Middle-Earth.\u201d David Ashford. JFA<\/em> 29.1 (2018): 26-40.<\/p>\n\n\n\n

\u201cOrr Else? The Protagonists of Le Guin\u2019s The Lathe of Heaven<\/em>.\u201d Carl D. Malmgren. JFA<\/em> 9.4 (1998): 313-23.<\/p>\n\n\n\n

\u201cOur Ladies of Perpetual Hell: Witches and Fantastic Virgins in Margaret Atwood\u2019s Cat\u2019s Eye<\/em>.\u201d Julie Brown. JFA<\/em> 4.3 (1991): 40-52.<\/p>\n\n\n\n

\u201cOur Zombies, Ourselves: Exiting the Foucauldian Universe in George A. Romero\u2019s Land of the Dead<\/em>.\u201d June Pulliam. JFA<\/em> 20.1 (2009): 42-56.<\/p>\n\n\n\n

\u201cOverture: What Was Postmodernism?\u201d Lance Olsen. JFA<\/em> 1.4 (1988): 3-8.<\/p>\n\n\n\n

P<\/strong><\/p>\n\n\n\n

\u201cParadigms of Colonization: Exploring Themes of Imperialism in Guy Gavriel Kay\u2019s Tigana<\/em>.\u201d Diana Pharaoh Francis. JFA<\/em> 13.2 (2002): 114-33.<\/p>\n\n\n\n

\u201cParanormal Romance: Secrets of the Female Fantastic.\u201d Lee Tobin-McClain. JFA<\/em> 11.3 (2000): 294-306.<\/p>\n\n\n\n

\u201cThe Parsifal<\/em> Influence in the Work of Jean Delville.\u201d Catherine Morris Westcott. JFA<\/em> 3.1 (1990): 5-14.<\/p>\n\n\n\n

\u201cThe Passion of the Phallus and Angela Carter\u2019s The Passion of New Eve<\/em>.\u201d Lenora Ledwon. JFA<\/em> 5.4 (1993): 26-41.<\/p>\n\n\n\n

\u201cThe Pathological Machine: Dark City<\/em>\u2019s Translation of Schreber\u2019s Memoirs<\/em>.\u201d David H. Wilson. JFA<\/em> 15.2 (2005): 153-64.<\/p>\n\n\n\n

\u201cPatristic Demonology and Lovecraft\u2019s \u2018From Beyond.\u2019\u201d Peter Dendle. JFA<\/em> 8.3 (1997): 281-93.<\/p>\n\n\n\n

\u201c\u2018The Pattern That Connects\u2019: Asymmetry, God, and Meaning in Russell Hoban\u2019s Pilgermann<\/em>.\u201d Gene Doty. JFA<\/em> 8.2 (1997): 116-23.<\/p>\n\n\n\n

\u201cPerforming the Technologies of Gender: Representations of Television in Science Fiction by Women.\u201d Jane Donawerth. JFA<\/em> 18.2 (2007): 152-65.<\/p>\n\n\n\n

\u201cPeter Jackson\u2019s The Hobbit<\/em>: A Beautiful Disaster.\u201d Marek C. Oziewicz. JFA<\/em> 27.2 (2016): 248-69.<\/p>\n\n\n\n

\u201c\u2018Peter Straub and John Crowley in Conversation.\u2019 ICFA 26, March 18, 2005. Moderated by Gary K. Wolfe.\u201d Sherryl Vint, ed. and transcr. JFA<\/em> 16.1 (2005): 49-61.<\/p>\n\n\n\n

\u201cPeter Straub and Transcendental Horror.\u201d Gary K. Wolfe and Amelia Beamer. JFA<\/em> 18.2 (2007): 217-31.<\/p>\n\n\n\n

\u201cPeter Straub\u2019s Shadowland<\/em>: The Initiation of a Magician.\u201d Edwin F. Casebeer. JFA<\/em> 9.2 (1998): 93-103.<\/p>\n\n\n\n

\u201c\u03a6antasticon: The First Hellenic Conference on the Fantastic.\u201d Dimitra Nikolaidu. JFA<\/em> 26.2 (2015): 436-38.<\/p>\n\n\n\n

\u201cPhantasy and Deconstruction.\u201d Karen Michalson. JFA<\/em> 2.4 (1990): 95-108.<\/p>\n\n\n\n

\u201cPhoenix Rising: Like Dracula from the Grave.\u201d Carl B. Yoke. JFA<\/em> 2.1 (1989): 2-3.<\/p>\n\n\n\n

\u201cPiano Guts and Other Mothers: Staging Fantasy in David Greenspan and Stephin Merritt\u2019s Musical Adaptation of Neil Gaiman\u2019s Coraline<\/em>.\u201d Tanya Dean. JFA<\/em> 24.2 (2013): 264-74.<\/p>\n\n\n\n

\u201cPictures at an Exhibition.\u201d Bob Canino. JFA<\/em> 3.2 (1991): 48.<\/p>\n\n\n\n

\u201cPictures in the Fire: An Interview with Peter Straub.\u201d John C. Tibbetts. JFA<\/em> 22.3 (2011): 377-94.<\/p>\n\n\n\n

\u201c\u2018A place I have never seen\u2019: Possibility, Genre, Politics, and China Mi\u00e9ville\u2019s The Scar<\/em>.\u201d Benjamin J. Robertson. JFA<\/em> 27.1 (2016): 68-88.<\/p>\n\n\n\n

\u201cPlaying Games With the Great Old Ones: Ritual, Play, and Joking within the Cthulhu Mythos Fandom.\u201d Justin Mullis. JFA<\/em> 26.3 (2015): 512-30.<\/p>\n\n\n\n

\u201cPlaying the Gedanken Game: Some Observations on Literary Thought-Experiments.\u201d James Morrow. JFA<\/em> 27.1 (2016): 6-17.<\/p>\n\n\n\n

\u201cPlaying with Power: The Science of Magic in Interactive Fantasy.\u201d Scott D. Vander Ploeg and Kenneth Phillips. JFA<\/em> 9.2 (1998): 142-56.<\/p>\n\n\n\n

\u201c\u2018Plots within Plots…Patterns within Patterns\u2019: Chaos-Theory Concepts and Structures in Frank Herbert\u2019s Dune Novels.\u201d Donald Palumbo. JFA<\/em> 8.1 (1997): 55-77.<\/p>\n\n\n\n

\u201cPoem as Sign in The Lord of the Rings<\/em>.\u201d Rebecca Ankeny. JFA<\/em> 16.2 (2005): 86-95.<\/p>\n\n\n\n

\u201cThe Politics (If Any) of Fantasy.\u201d Brian Attebery. JFA<\/em> 4.1 (1991): 7-28.<\/p>\n\n\n\n

\u201c\u2018Poof! Now You See Me, Now You Don\u2019t.\u2019\u201c Carl B. Yoke. JFA<\/em> 4.2 (1991): 2-7.<\/p>\n\n\n\n

\u201cThe Pornography of Genre, or the Genre of Pornography.\u201d Neil Gaiman. JFA <\/em>24.3 (2013): 401-07.<\/p>\n\n\n\n

\u201cThe Postcolonial Fantastic as New Ground of Invention: Reading Carole McDonnell\u2019s \u2018Lingua Franca.\u2019\u201c Heather Snell. JFA<\/em> 20.3 (2009): 350-62.<\/p>\n\n\n\n

\u201cPostmodern Fantasy and Postmodern Biblical Studies: A (Science) Fictive Review of Lance Olsen and Samuel Delany.\u201d Fred. W. Burnett. JFA<\/em> 8.2 (1997): 244-74.<\/p>\n\n\n\n

\u201cPostmodern Narrative and the Limits of Fantasy.\u201d Lance Olsen. JFA<\/em> 1.1 (1988): 99-110.<\/p>\n\n\n\n

\u201cPost-Vampire: The Politics of Drinking Humans and Animals in Buffy the Vampire Slayer<\/em>, Twilight<\/em>, and True Blood<\/em>.\u201d Laura Wright. JFA<\/em> 25.2-3 (2014): 376-94. [347-65]<\/p>\n\n\n\n

\u201cThe Power of Myth and Rabbit Survival in Richard Adams\u2019s Watership Down<\/em>.\u201d Charles A. Meyer. JFA<\/em> 3.4 (1994): 139-50.<\/p>\n\n\n\n

\u201cThe Power of Symbols and the Failure of Virtue: Catholicism in Stephen King\u2019s Salem\u2019s Lot<\/em>.\u201d Leonard Mustazza. JFA<\/em> 3.4 (1994): 107-19.<\/p>\n\n\n\n

\u201cPower Plays: Paradigms of Power in The Pinhoe Egg<\/em> and The Merlin Conspiracy<\/em>.\u201d Martha P. Hixon. JFA<\/em> 21.2 (2010): 169-86.<\/p>\n\n\n\n

\u201cThe Powers of Dracula<\/em>.\u201d Robert F. Geary. JFA<\/em> 4.1 (1991): 81-91.<\/p>\n\n\n\n

\u201c\u2018Present\u2019-ly Safe: The Anthropocentricism of Time in H. P. Lovecraft\u2019s Fiction.\u201d Kurt Fawver. JFA<\/em> 20.2 (2009): 248-61.<\/p>\n\n\n\n

\u201cThe Pressures of History and Fiction in Geoff Ryman\u2019sWas<\/em>.\u201d Howard Canaan. JFA<\/em> 13.3 (2003): 218-25.<\/p>\n\n\n\n

\u201cProfusion Sublime and Fantastic: Robert Holdstock\u2019s Mythago Wood<\/em>.\u201d Marek Oziewicz. JFA<\/em> 19.1 (2008): 94-111.<\/p>\n\n\n\n

\u201cProtecting the Island: Narrative Continuance in Lost<\/em>.\u201d Elizabeth Berkebile McManus. JFA<\/em> 22.1 (2011): 4-23.<\/p>\n\n\n\n

\u201cPsi and Technology in Science Fiction.\u201d Susan Stratton. JFA<\/em> 9.4 (1998): 324-35.<\/p>\n\n\n\n

\u201cPsychohistory and Chaos Theory: The \u2018Foundation Trilogy\u2019 and the Fractal Structure of Asimov\u2019s Robot\/Empire\/Foundation Metaseries.\u201d Donald Palumbo. JFA<\/em> 7.1 (1995): 23-50.<\/p>\n\n\n\n

\u201cPursuit, Willfulness, and the Strangeness of Strangers.\u201d <\/em>Nike Sulway\/ JFA<\/em> 30.1 (2019): 42-51.<\/p>\n\n\n\n

\u201cPutting a Red Nose on the Text: Play and Performance in the Postmodern Fantastic.\u201d Ralph Yarrow. JFA<\/em> 1.4 (1988): 19-28.<\/p>\n\n\n\n

\u201cPutting the Pieces Together: Information Theory, Neuromancer<\/em>, and Science Fiction.\u201d Nicholas Ruddick. JFA<\/em> 3.4 (1994): 84-92.<\/p>\n\n\n\n

Q <\/strong><\/p>\n\n\n\n

\u201cQuestion and Answer for Ian McDonald.\u201d Jerome Winter and Ian McDonald. JFA<\/em> 26.1 (2015): 27-36.<\/p>\n\n\n\n

R<\/strong><\/p>\n\n\n\n

\u201cRace and Black Humor: From a Planetary Perspective.\u201d Takayuki Tatsumi. JFA<\/em> 21.3 (2010): 439-54.<\/p>\n\n\n\n

\u201cRace Matters: People of Color, Ideology, and the Politics of Erasure and Reversal in Ursula Le Guin\u2019s The Left Hand of Darkness<\/em> and Mary Doria Russell\u2019s The Sparrow<\/em>.\u201d Jamil Khader. JFA<\/em> 16.2 (2005): 110-27.<\/p>\n\n\n\n

\u201cRaising Arizona<\/em>: Not Quite Ozzie and Harriet Meet the Biker from Hell.\u201d Joe Sanders. JFA<\/em> 6.2\/3 (1994): 217-33.<\/p>\n\n\n\n

\u201cRava\u2019s Golem.\u201d David M. Honigsberg. JFA<\/em> 7.2\/3 (1995): 137-45.<\/p>\n\n\n\n

\u201cReading Hoffmann: Mythmaking and Uncanniness in Jean Lorrain\u2019s Monsieur de Phocas<\/em>.\u201d  <\/em>Elisa Segnini. JFA <\/em>24.1 (2013): 61-82.<\/p>\n\n\n\n

\u201cReading the Cyborg in Mary Shelley\u2019s Frankenstein<\/em>.\u201d Sarah Canfield Fuller. JFA<\/em> 14.2 (2003): 217-27.<\/p>\n\n\n\n

\u201cReading Tolkien in Chinese.\u201d Eric Reinders. JFA<\/em> 25.1 (2014): 3-27.<\/p>\n\n\n\n

\u201cReady or Not, Here We Come: Metaphors of the Martian Megatext from Wells to Robinson.\u201d Thomas J. Morrissey. JFA<\/em> 10.4 (2000): 372-94.<\/p>\n\n\n\n

\u201cReality, Fiction, and Wu<\/em> in The Man in the High Castle<\/em>.\u201d Jianjiong Zhu. JFA<\/em> 5.3 (1993): 36-45.<\/p>\n\n\n\n

\u201cRealizing Fantastic Trickster Liberations in Gerald Vizenor\u2019s Griever: An American Monkey King in China<\/em>.\u201d Timothy R. Fox. JFA<\/em> 20.1 (2009): 70-90.<\/p>\n\n\n\n

\u201cThe Realm of Revealing: The Technological Double in the Modern Science Fiction Film.\u201d J. P. Telotte. JFA<\/em> 6.2\/3 (1994): 234-52.<\/p>\n\n\n\n

\u201cRecent Trends in the Contemporary American Fairy Tale.\u201d Jack Zipes. JFA<\/em> 5.1 (1992): 13-41.<\/p>\n\n\n\n

\u201cRediscovery and Exploration: The Legend of Prince Madoc ap Owain Gwynedd.\u201d Robin Calfee-Moye. JFA<\/em> 5.3 (1993): 85-97.<\/p>\n\n\n\n

\u201cThe Refinement of \u2018Crude Allegory\u2019: Eugenic Themes and Genotypic Horror in the Weird Fiction of H. P. Lovecraft.\u201d Mitch Frye. JFA<\/em> 17.3 (2006): 237-54.<\/p>\n\n\n\n

\u201cRefusing to Smile for the Patriarchy: Jessica Jones as Feminist Killjoy.\u201d Shana MacDonald. JFA<\/em> 30.1 (2019): 68-84.<\/p>\n\n\n\n

\u201cReligion, Monstrosity, and the Sovereign Decision in Blish\u2019s A Case of Conscience<\/em>.\u201d Derek Thiess. JFA<\/em> 19.3 (2008): 331-48.<\/p>\n\n\n\n

\u201cReligious Satire in Rushdie\u2019s Satanic Verses<\/em>.\u201d Hani Al-Raheb. JFA<\/em> 6.4 (1995): 330-40.<\/p>\n\n\n\n

\u201cA Reluctant Ambassador from the Planet of Midnight.\u201d Nalo Hopkinson. JFA<\/em> 21.3 (2010): 339-50.<\/p>\n\n\n\n

\u201cResources for the Study of American Fantasy Literature Through 1998.\u201d Roger C. Schlobin. JFA<\/em> 10.4 (2000): 409-39.<\/p>\n\n\n\n

\u201cRevisiting Doris Lessing: A Checklist for Critical Studies, 1962-1988.\u201d Marshall Tymn, ed. JFA<\/em> 2.3 (1990): 50-62.<\/p>\n\n\n\n

\u201c\u2018Revolutionizing Reality\u2019: The Irish Fantastic.\u201d Donald E. Morse. JFA<\/em> 8.1 (1997): 2-14.<\/p>\n\n\n\n

\u201cRhetoric and Death in Thelma and Louise<\/em>: Notes Toward a Logic of the Fantastic.\u201d David Metzger. JFA<\/em> 4.4 (1991): 9-18.<\/p>\n\n\n\n

\u201cRings, Belts, and a Bird\u2019s Nest: Invisibility in German Literature.\u201d David B. Dickens. JFA<\/em> 4.2 (1991): 29-48.<\/p>\n\n\n\n

\u201c\u2018The Riotous Conflagration of Beauteous Language\u2019: Flowery Style, Defamiliarization, and Empathic Imagination in Epic Fantasy.\u201d Matthew Oliver. JFA<\/em> 29.3 (2018): 355-79.<\/p>\n\n\n\n

\u201cRising Like Old Corpses: Stephen King and the Horrors of Time-Past.\u201d Leonard G. Heldreth. JFA<\/em> 2.1 (1989): 5-13.<\/p>\n\n\n\n

\u201c\u2018\u201crituals\u201d footprints ankle-deep in stone\u2019: The Irrelevancy of Setting in the Fantastic.\u201d Roger C. Schlobin. JFA<\/em> 11.2 (1998): 154-63.<\/p>\n\n\n\n

\u201cRoger Luckhurst: An Introduction.\u201d Sherryl Vint. JFA<\/em> 19.2 (2008): 178-80.<\/p>\n\n\n\n

\u201cRuptured Bodies and Invaded Grains: Biotechnology as Bioviolence in Indian Science Fiction.\u201d Suparno Banerjee. JFA<\/em> 26.1 (2015): 58-75.<\/p>\n\n\n\n

\u201cRuskin Bond\u2019s \u2018Whispering in the Dark\u2019: A Fantastic Quest for Identity.\u201d Debashis Bandyopadhyay. JFA<\/em> 21.3 (2010): 394-412.<\/p>\n\n\n\n

S<\/strong><\/p>\n\n\n\n

\u201cSaturnalia and Sanctuary: The Role of the Tale in Watership Down<\/em>.\u201d John G. Peters. JFA<\/em> 6.1 (1993): 51-62.<\/p>\n\n\n\n

\u201cSchizoid Android: Cybernetics and the Mid-Sixties Novels of Philip K. Dick.\u201d N. Katherine Hayles. JFA<\/em> 8.4 (1997): 419-42.<\/p>\n\n\n\n

\u201cScience Fictional Assemblages: SF and Postcolonialism?\u201d Malisa Kurtz. JFA<\/em> 26.1 (2015): 37-57.<\/p>\n\n\n\n

\u201cScience Fiction and Fantastic Literature as Realms of Freedom.\u201d Daina Chaviano. JFA<\/em> 15.1 (2004): 4-11.<\/p>\n\n\n\n

\u201cScience-Fiction and Fantasy Film Criticism: The Case of Lucas and Spielberg.\u201d Andrew Gordon. JFA<\/em> 2.2 (1989): 81-94.<\/p>\n\n\n\n

\u201cScience Fiction and Fantasy Research Collection, Cushing Memorial Library.\u201d Texas A&M University. Catherine Coker and Hal W. Hall. JFA<\/em> 19.1 (2008): 150-54.<\/p>\n\n\n\n

\u201cScience Fiction and the Imperial Audience.\u201d Istvan Csicserny-Ronay, Jr. JFA<\/em> 26.1 (2015): 7-18.<\/p>\n\n\n\n

\u201cThe Science Fiction Dream.\u201d Geoff Ryman. JFA<\/em> 18.2 (2007): 232-46.<\/p>\n\n\n\n

\u201cScience, Religion and Magic in James Blish\u2019s After Such Knowledge\u2019 Sequence.\u201d Rowland Wymer. JFA<\/em> 24.1 (2013): 25-40.<\/p>\n\n\n\n

\u201cThe Search for a Quantum Ethics: Michael Frayn\u2019s Copenhagen and Other Recent British Science Plays.\u201d Nick Ruddick. JFA<\/em> 11.4 (2001): 415-31.<\/p>\n\n\n\n

\u201cThe Second Vampire: filles fatales<\/em> in J. Sheridan Le Fanu\u2019s Carmilla<\/em> and Anne Rice\u2019s Interview with the Vampire<\/em>.\u201d Gabriella J\u00f6nsson. JFA<\/em> 17.1 (2006): 33-48.<\/p>\n\n\n\n

\u201c\u2018Seeing\u2019 Invisibility: Or Invisibility as Metaphor in Thomas Berger\u2019s Being Invisible<\/em>.\u201d Edgar L. Chapman. JFA<\/em> 4.2 (1991): 65-93.<\/p>\n\n\n\n

\u201cSeek the Gnarl.\u201d Rudy Rucker. JFA<\/em> 16.1 (2005): 6-20.<\/p>\n\n\n\n

\u201cA Select Bibliography of Patricia McKillip\u2019s Fiction.\u201d Christine Mains. JFA<\/em> 16.3 (2005): 246-48.<\/p>\n\n\n\n

\u201cSelf-Referentiality in Gene Wolfe\u2019s \u2018Seven American Nights.\u2019\u201d George Aichele, Jr. JFA<\/em> 3.2 (1991): 37-47.<\/p>\n\n\n\n

\u201cThe Self-Weird World: Problems of Being as the Fantastic Invasion in Small-press Speculative Fiction.\u201d Darin Bradley. JFA<\/em> 18.1 (2007): 5-22.<\/p>\n\n\n\n

\u201cShakespearean Reincarnations: An Intertextual Reading of J. G. Ballard\u2019s \u2018The Ultimate City.\u2019\u201c Umberto Rossi. JFA<\/em> 20.3 (2009): 363-84.<\/p>\n\n\n\n

\u201cShakespeare in Discworld: Witches, Fantasy, and Desire.\u201d Kristin Noone. JFA<\/em> 21.1 (2010): 26-40.<\/p>\n\n\n\n

\u201cShamanism in a Threatened World: Doris Lessing\u2019s Briefing for a Descent into Hell<\/em>.\u201d Nancy Corson Carter. JFA<\/em> 2.3 (1990): 5-13.<\/p>\n\n\n\n

\u201cShamanistic Mythmaking: From Civilization to Wilderness in Watership Down<\/em>.\u201d John Pennington. JFA<\/em> 6.1 (1993): 34-50.<\/p>\n\n\n\n

\u201cShapeshifters and Skinwalkers: The Writer\u2019s Curse of Negative Capability.\u201d Dan Simmons. JFA<\/em> 8.4 (1997): 398-418.<\/p>\n\n\n\n

\u201cShapeshifting in Caryl Churchill\u2019s The Skriker<\/em>.\u201d Graham Wolfe. JFA<\/em> 22.2 (2011): 234-56.<\/p>\n\n\n\n

\u201cShaping Self Through Spontaneous Oral Narration in Richard Adams\u2019s Watership Down<\/em>.\u201d Kathleen Anderson. JFA<\/em> 6.1 (1993): 25-33.<\/p>\n\n\n\n

\u201cThe Shared Universe: An Experiment in Speculative Fiction.\u201d Patricia Monk. JFA<\/em> 2.4 (1990): 7-46.<\/p>\n\n\n\n

\u201c\u2018Sick of Count Dracula\u2019: Scott, Carter, Rice and the Response to Stoker\u2019s Authority.\u201d Katie Harse. JFA<\/em> 13.3 (2003): 250-57.<\/p>\n\n\n\n

\u201cThe Significance of Myth in Watership Down<\/em>.\u201d Joan Bridgman. JFA<\/em> 6.1 (1993): 7-24.<\/p>\n\n\n\n

\u201cSlaying the Dragon Within: Andre Norton\u2019s Female Heroes.\u201d Carl B. Yoke. JFA<\/em> 4.3 (1991): 79-92.<\/p>\n\n\n\n

\u201cSnatching Victory from the Jaws of Defeat: Twenty Fractal Variations on a Theme in the Conclusions of Asimov\u2019s Robot\/Empire\/Foundation Metaseries.\u201d Donald Palumbo. JFA<\/em> 12.4 (2002): 406-16.<\/p>\n\n\n\n

\u201cSocial Robotics: Constructing the Ideal Woman from Used Ideological Parts.\u201d Diana Pharaoh Francis. JFA<\/em> 7.1 (1995): 92-101.<\/p>\n\n\n\n

\u201cSolar Mythology in George MacDonald\u2019s \u2018Little Daylight\u2019 and \u2018The Day Boy and the Night Girl.\u2019\u201c John Pennington. JFA<\/em> 10.3 (1999): 308-20.<\/p>\n\n\n\n

\u201c\u2018Some Longing and at the Same Time Some Deadly Fear\u2019: Victorian Masochism and Dracula.\u201d Gabriel A. Rieger. JFA<\/em> 17.1 (2006): 49-59.<\/p>\n\n\n\n

\u201cSomeone Else\u2019s Dream? An Approach to Twentieth-Century Fantastic Fiction.\u201d Smadar Shiffman. JFA<\/em> 13.4 (2003): 352-67.<\/p>\n\n\n\n

\u201cSomething Hungry This Way Comes: Terrestrial and Ex-terrestrial Feline Feeding Patterns and Behavior.\u201d Fiona Kelleghan. JFA<\/em> 10.4 (2000): 338-52.<\/p>\n\n\n\n

\u201c\u2018A Sort of Mouse-Person\u2019: Radicalizing Gender in The Witches<\/em>.\u201d Jennifer Mitchell. JFA<\/em> 23.1 (2012): 25-39.<\/p>\n\n\n\n

\u201cThe Speaking Dead in Sir Amadace and the White Knight<\/em>.\u201d Patricia Harkins. JFA<\/em> 3.3 (1994): 62-71.<\/p>\n\n\n\n

\u201cSpectral Witnesses: The Doubled Voice in Martin Amis\u2019s Time\u2019s Arrow<\/em>, Toni Morrison\u2019s Beloved<\/em> and Wim Wenders\u2019s Wings of Desire<\/em>.\u201d Michael Trussler. JFA<\/em> 14.1 (2003): 28-50.<\/p>\n\n\n\n

\u201c\u2018Spells of Darkness\u2019: Invisibility in The White Witch of Rosehall<\/em>.\u201d JFA<\/em> 4.2 (1991): 49-64.<\/p>\n\n\n\n

\u201cStaging Everyday Ghosts: Conor McPherson\u2019s Shining City<\/em>.\u201d Graham Wolfe. JFA<\/em> 24.2 (2013): 188-210.<\/p>\n\n\n\n

\u201cStand Fast.\u201d Steven Erikson. JFA<\/em> 29.1 (2018): 21-25.<\/p>\n\n\n\n

\u201cStarting Your Journey in the Past, Speculating in Time and Place: Daphne du Maurier\u2019s The House on the Strand<\/em>, \u2018Split Second,\u2019 and the Engaged Fiction of Time Travel.\u201d Gina Wisker. JFA<\/em> 24.3 (2013): 467-82.<\/p>\n\n\n\n

\u201cStasis and Chaos: Some Popular Dynamics of Popular Genres.\u201d Gary K. Wolfe. JFA<\/em> 10.1 (1999): 4-16.<\/p>\n\n\n\n

\u201cThe State vs. Buttgereit and Ittenbach: Censorship and Subversion in German No-Budget Horror Film.\u201d Kai-Uwe Werbeck. JFA<\/em> 27.3 (2016): 435-51.<\/p>\n\n\n\n

\u201cStephen King\u2019s Fiction and the Legacy of Poe.\u201d Burton R. Pollin. JFA<\/em> 5.4 (1993): 2-25.<\/p>\n\n\n\n

\u201cSteven Erikson: An Introduction, by A. P. Canavan.\u201d A. P. Canavan. JFA<\/em> 29.1 (2018): 18-20.<\/p>\n\n\n\n

\u201c\u2018Sticky\u2019 Identities: Race, Gender, and Sexuality in Nalo Hopkinson\u2019s The Chaos<\/em>.\u201d Kristen Shaw. JFA<\/em> 28.3 (2017): 425-50.<\/p>\n\n\n\n

\u201cStraddling Genres: McKillip and the Landscape of the Female Hero-Identity.\u201d Sharon Emmerichs. JFA<\/em> 16.3 (2005): 206-18.<\/p>\n\n\n\n

\u201cStructural and Psychological Aspects of the Spider Woman Symbol in Kiss of the Spider Woman<\/em>.\u201d Philippa B. Yin. JFA<\/em> 1.2 (1988): 65-82.<\/p>\n\n\n\n

\u201cStructural Complexity in Doris Lessing\u2019s Canopus Novels.\u201d Barbara Dixson. JFA<\/em> 2.3 (1990): 14-22.<\/p>\n\n\n\n

\u201cThe Structure of Magical Revolutions.\u201d Helgard Fischer. JFA<\/em> 21.2 (2010): 246-56.<\/p>\n\n\n\n

\u201cThe Stuff That Dreams Are Made Of: Interpreting Dreams in Salman Rushdie\u2019s The Satanic Verses<\/em>.\u201d Brunda Moka-Dias. JFA 7.4 (1996): 60-73.<\/p>\n\n\n\n

\u201cSubversive Metropolis: The Grotesque Body in the Phantasmic Urban Landscape.\u201d Darja Malcolm-Clarke. JFA<\/em> 17.2 (2006): 140-54.<\/p>\n\n\n\n

\u201cSuicide and the Absurd: The Influence of Jean-Paul Sartre\u2019s and Albert Camus\u2019s Existentialism on Stephen R. Donaldson\u2019s The Chronicles of Thomas Covenant the Unbeliever.\u201d Benjamin Laskar. JFA<\/em> 14.4 (2004): 409-26.<\/p>\n\n\n\n

\u201cSuperman: Myth through the Christ and the Revelation.\u201d Carl Boehm. JFA<\/em> 11.3 (2000): 236-44.<\/p>\n\n\n\n

\u201cThe Survival of the Goddess in Marie de France and Marion Zimmer Bradley.\u201d Don Riggs. JFA<\/em> 9.1 (1998): 15-23.<\/p>\n\n\n\n

\u201cSurviving the Survivor: Art Spiegelman\u2019s Maus<\/em>.\u201d Joan Gordon. JFA<\/em> 5.2 (1993): 80-89.<\/p>\n\n\n\n

\u201cSutpen\u2019s Sentient House.\u201d David L. Coss. JFA<\/em> 15.2 (2005): 101-18.<\/p>\n\n\n\n

\u201cSymbolic Settings in Science Fiction: H. G. Wells, Ray Bradbury, and Harlan Ellison.\u201d Joe Patrouch. JFA<\/em> 1.3 (1988): 37-46.<\/p>\n\n\n\n

\u201cThe Symbolic Versus the Fantastic: The Example of an Hungarian Painter.\u201d Csilla Bertha. JFA<\/em> 6.4 (1995): 295-311.<\/p>\n\n\n\n

\u201cA Syntax of Symbols in the Representation of Death and Dreams: Death as Simultaneity in Siesta and Jacob\u2019s Ladder.\u201d Sharon Sieber. JFA<\/em> 14.1 (2003): 86-101.<\/p>\n\n\n\n

T<\/strong><\/p>\n\n\n\n

\u201cTakayuki Tatsumi: An Introduction.\u201d Stefan Hall. JFA<\/em> 21.3 (2010): 436-38.<\/p>\n\n\n\n

\u201cTaking the Bite out of the Vagina Dentata: Latin American Women Authors\u2019 Fantastic Transformation of the Feline Fatale.\u201d Anne Connor. JFA<\/em> 24.1 (2013): 41-60.<\/p>\n\n\n\n

\u201cTales of Old Prague: Of Ghettos, Passover, and the Blood Libel.\u201d Terri Frongia. JFA<\/em> 7.2\/3 (1995): 146-62.<\/p>\n\n\n\n

\u201cTales Your Mother Never Told You: Aliens and the Horrors of Motherhood.\u201d Susan Yunis and Tammy Ostrander. JFA<\/em> 14.1 (2003): 68-76.<\/p>\n\n\n\n

\u201cTalking the Talk, Walking the Walk: The Role of Discourse in John Haldeman\u2019s \u2018The Monster\u2019 and Lucius Shepard\u2019s \u2018Delta Sly Honey.\u2019\u201c Tim Blackmore. JFA<\/em> 6.2\/3 (1994): 191-202.<\/p>\n\n\n\n

\u201c\u2018Ta\u2019mey Dun, Bommey Dun\u2019 (Great Deeds, Great Songs): The Klingon Opera U<\/em> as Ethnodramaturgical Performance.\u201d Jen Gunnels. JFA<\/em> 23.1 (2012): 60-81.<\/p>\n\n\n\n

\u201cThe Taming of the Dragon in Twentieth Century Picture Books.\u201d Tina L. Hanlon. JFA<\/em> 14.1 (2003): 7-27.<\/p>\n\n\n\n

\u201cTanith Lee\u2019s Werewolves Within: Reversals of Gothic Tradition.\u201d Lillian M. Heldreth. JFA<\/em> 2.1 (1989): 15-23.<\/p>\n\n\n\n

\u201cThe Technology of Race: White Supremacy and Scientifiction.\u201d Taylor Evans. JFA<\/em> 27.1 (2016): 47-67.<\/p>\n\n\n\n

\u201cTechnology, Technophobia and Gynophobia in Gonzalo Torrente Ballester\u2019s Quiz\u00e1 nos lleve el viento al infinito<\/em>.\u201d Dale Knickerbocker. JFA<\/em> 10.4 (2000): 353-71.<\/p>\n\n\n\n

\u201cTechnophobia and the Cyborg Menace: Buffy Summers as Neo-Human Avatar.\u201d Kyle Bishop. JFA<\/em> 19.3 (2008): 349-62.<\/p>\n\n\n\n

\u201c\u2018Tel art plus divin que humain\u2019: The Reality of Fantasy in Ronsard\u2019s Poetic Practice.\u201d Donald Gilman. JFA<\/em> 1.2 (1988): 35-48.<\/p>\n\n\n\n

\u201cTelepathy and Cosmic Horror in Olaf Stapledon\u2019s The Flames<\/em>.\u201d Jonathan Goodwin. JFA<\/em> 25.1 (2014): 78-92.<\/p>\n\n\n\n

\u201cTen Questions for Kij Johnson.\u201d Kij Johnson and Brian Attebery. JFA<\/em> 24.3 (2013): 421-25.<\/p>\n\n\n\n

\u201cTepper\u2019s \u2018Chinanga\u2019: A Parable of Deconstruction.\u201d Robert A. Collins. JFA<\/em> 8.4 (1997): 464-71.<\/p>\n\n\n\n

\u201cTerminal Films.\u201d Steen Christiansen. JFA<\/em> 25.2-3 (2014): 293-306. [264-77]<\/p>\n\n\n\n

\u201cTerri Windling: An Introduction.\u201d Brian Attebery. JFA<\/em> 28.1 (2017): 31-32.<\/p>\n\n\n\n

\u201cTertiary Reality in Children\u2019s Fantasy.\u201d Greer Watson. JFA<\/em> 14.3 (2003): 350-66.<\/p>\n\n\n\n

\u201cTextual Doubling and Divided Selves: The Strange Case of Dr. Jekyll and Mary Reilly.\u201d John Pennington. JFA<\/em> 6.2\/3 (1994): 203-16.<\/p>\n\n\n\n

\u201cTheater for the Fin-du-Millennium: Playing (at) the End.\u201d Veronica Hollinger. JFA<\/em> 1.4 (1988): 29-38.<\/p>\n\n\n\n

\u201cTheorizing the Fantastic: Editing Fantastic Literature: A Critical Reader<\/em> and the Six Stages of Fantasy Criticism.\u201d David Sandner. JFA<\/em> 16.4 (2006): 277-301.<\/p>\n\n\n\n

\u201cThere Goes the Neighborhood: Chaotic Apocalypse and Monstrous Genesis in H. P. Lovecraft\u2019s \u2018The Street,\u2019 \u2018The Horror at Red Hook,\u2019 and \u2018He.\u2019\u201c Jay McRoy. JFA<\/em> 13.4 (2003): 335-51.<\/p>\n\n\n\n

\u201cThere\u2019s No Place Like Home: Simulating Postmodern America in The Wizard of Oz <\/em>and Blue Velvet<\/em>.\u201d Rob Latham. JFA<\/em> 1.4 (1988): 49-58.<\/p>\n\n\n\n

\u201cThinking Blind.\u201d Steven Shaviro. JFA<\/em> 25.2-3 (2014): 343-60. [314-31]<\/p>\n\n\n\n

\u201c\u2018This Rough Magic I Here Abjure\u2019: Shakespeare\u2019s The Tempest<\/em> and the Fairy-Tale Body.\u201d Duke Pesta. JFA<\/em> 15.1 (2004): 49-60.<\/p>\n\n\n\n

\u201cThreshold\u2019s Crossed and Boundaries Broken? A Kristevan Insight into Ian Irvine\u2019s Quartet, The View from the Mirror<\/em>.\u201d Kate Simons. JFA<\/em> 13.4 (2003): 368-78.<\/p>\n\n\n\n

\u201cTime and Totalitarianism.\u201d Maria Nikolajeva. JFA<\/em> 20.2 (2009): 184-92.<\/p>\n\n\n\n

\u201cThe Time Quartet as Madeleine L\u2019Engle\u2019s Theology.\u201d Marek Oziewicz. JFA<\/em> 17.3 (2006): 211-36.<\/p>\n\n\n\n

\u201c\u2018To goon on pilgrimages\u2019: A Special Issue on Modern Fantasy and Medieval Literature.\u201d W. A. Senior. JFA<\/em> 3.3 (1994): 3-5.<\/p>\n\n\n\n

\u201cTolkien and the Telling of a Traditional Narrative.\u201d C. W. Sullivan, III. JFA <\/em>7.1 (1995): 75-82.<\/p>\n\n\n\n

\u201cA Toss of the Dice: Writers, Readers, and Role-Playing Games.\u201d Gene Doty. JFA<\/em> 14.1 (2003): 51-67.<\/p>\n\n\n\n

\u201cTouching the Night Sky: \u2018Progressing\u2019 the Fifties in Strange Adventures and Mystery in Space.\u201d Albert Wendland. JFA<\/em> 13.4 (2003): 389-402.<\/p>\n\n\n\n

\u201cToward a Taxonomy of Fantasy.\u201d Farah Mendlesohn. JFA<\/em> 13.2 (2002): 169-83.<\/p>\n\n\n\n

\u201cTranscending Monstrous Flesh: A Revision of the Hero\u2019s Mythic Quest.\u201d Crystal L. O\u2019Leary. JFA<\/em> 13.3 (2003): 239-49.<\/p>\n\n\n\n

\u201cTransreal Nostalgia in a Time of Singularity.\u201d Damien Broderick. JFA<\/em> 16.1 (2005): 21-36.<\/p>\n\n\n\n

\u201cTransvestites and Transformations, Or Take It Off and Get Real: Queneau\u2019s Zazie dans le m\u00e9tro<\/em>.\u201d Patricia Str\u00fcebig. JFA<\/em> 1.2 (1988): 49-64.<\/p>\n\n\n\n

\u201cTrauma and Becoming-Art in Gregg Araki\u2019s Mysterious Skin<\/em> and Asia Argento\u2019s The Heart Is Deceitful above All Things<\/em>.\u201d Tom O\u2019Connor. JFA<\/em> 21.1 (2010): 54-76.<\/p>\n\n\n\n

\u201cA Tribute to IAFA Founder Robert A. Collins.\u201d Carol McGuirk, Rob Latham, Bill Senior, and Judith Collins McCormick. JFA<\/em> 20.2 (2009): 173-81.<\/p>\n\n\n\n

\u201cTripping the Light Fantastic with Th\u00e9odore de Banville.\u201d Walter Gershuny. JFA<\/em> 10.3 (1999): 253-61.<\/p>\n\n\n\n

\u201cThe Trolls of Fiction: Ogres or Warm Fuzzies?\u201d Jennifer Eastman Attebery. JFA<\/em> 7.1 (1995): 61-74.<\/p>\n\n\n\n

\u201c\u2018The True North Strong and Free\u2019: National Evolution and Race in Early English-Canadian Utopian Fiction.\u201d Allan Weiss. JFA<\/em> 26.2 (2015): 292-310.<\/p>\n\n\n\n

\u201cTwilight\u2019s Heteronormative Reversal of the Monstrous: Utopia and the Gothic Design.\u201d Kelly Budruweit. JFA<\/em> 27.2 (2016): 270-89.<\/p>\n\n\n\n

\u201cTwo Forms of Metafantasy.\u201d George Aichele, Jr. JFA<\/em> 1.3 (1988): 55-68.<\/p>\n\n\n\n

U<\/strong><\/p>\n\n\n\n

\u201cThe Uncrossable Evolutionary Gulfs of Algernon Blackwood.\u201d Greg Conley. JFA<\/em> 24.3 (2013): 426-45.<\/p>\n\n\n\n

\u201cThe University of Minnesota Libraries.\u201d Sherryl Vint. JFA<\/em> 16.3 (2005): 268-70.<\/p>\n\n\n\n

\u201cUp-to-date with a Vengeance: Modern Monsters in Bram Stoker\u2019s Dracula <\/em>and Margaret Oliphant\u2019s \u2018The Secret Chamber.\u2019\u201c David Sandner. JFA<\/em> 8.3 (1997): 294-309.<\/p>\n\n\n\n

\u201cUrban Fantasy: A Literature of the Unseen.\u201d Stefan Ekman. JFA<\/em> 27.3 (2016): 452-69.<\/p>\n\n\n\n

\u201cUseful Play: Historicization in Alan Moore\u2019s Supreme<\/em> and Warren Ellis\/John Cassaday\u2019s Planetary<\/em>.\u201d Orion Ussner Kidder. JFA<\/em> 21.1 (2010): 77-96.<\/p>\n\n\n\n

\u201cUses of the Fantastic in the Literature of the Holocaust.\u201d Judith B. Kerman. JFA<\/em> 5.2 (1993): 14-31.<\/p>\n\n\n\n

\u201cThe US-Japan Security Alliance and Blood: The Last Vampire<\/em>.\u201d Neal Baker. JFA<\/em> 13.2 (2002): 143-52.<\/p>\n\n\n\n

\u201cUtopia\u2019s Timing: Saturn, Jupiter and Michelangelo\u2019s David<\/em>.\u201d Don Riggs. JFA<\/em> 14.3 (2003): 342-49.<\/p>\n\n\n\n

V<\/strong><\/p>\n\n\n\n

\u201cVacationing in Zombieland<\/em>: The Classical Functions of the Modern Zombie Comedy.\u201d Kyle William Bishop. JFA<\/em> 22.1 (2011): 24-38.<\/p>\n\n\n\n

\u201cThe Vampire\u201d [poem]. Jim Doyle. JFA<\/em> 2.1 (1989): 4.<\/p>\n\n\n\n

\u201cThe Vampire and\/as the Alien.\u201d Veronica Hollinger. JFA<\/em> 5.3 (1993): 5-17.<\/p>\n\n\n\n

\u201cVariations on the Double Motif in Ventriloquist Films: The Great Gabbo<\/em>, Dead of Night<\/em>, and Magic<\/em>.\u201d Leonard G. Heldreth. JFA<\/em> 3.2 (1991): 81-94.<\/p>\n\n\n\n

\u201cVernor Vinge: An Introduction.\u201d Joe Haldeman. JFA<\/em> 19.2 (2008): 173-74.<\/p>\n\n\n\n

\u201cVideo, Science Fiction, and the Cinema of Surveillance.\u201d Thomas Doherty. JFA<\/em> 2.2 (1989): 69-79.<\/p>\n\n\n\n

\u201cVirtual Poltergeists and Memory: The Question of Ahistoricism in William Gibson\u2019s Neuromancer<\/em> (1984).\u201d Amy Novak. JFA<\/em> 11.4 (2001): 395-414.<\/p>\n\n\n\n

\u201cVisions of Monstrosity: Lovecraft, Adaptation and the Comic Arts.\u201d Rebecca Janicker. JFA<\/em> 26.3 (2015): 469-88.<\/p>\n\n\n\n

\u201cVoice Lessons: The Seductive Appeal of Vocal Control in Frank Herbert\u2019s Dune<\/em>.\u201d Robert L. Mack. JFA<\/em> 22.1 (2011): 39-59.<\/p>\n\n\n\n

W<\/strong><\/p>\n\n\n\n

\u201cWas Zilla Right?: Fantasy and Truth.\u201d Brian W. Aldiss. JFA<\/em> 1.1 (1988): 7-24.<\/p>\n\n\n\n

\u201cThe Watchers: Tales of Tomorrow<\/em> on Television.\u201d John Tibbetts. JFA<\/em> 19.3 (2008): 379-98.<\/p>\n\n\n\n

\u201cWatership Down<\/em>: A Genre Study.\u201d Robert Miltner. JFA<\/em> 6.1 (1993): 63-70.<\/p>\n\n\n\n

\u201c\u2018We All Go a Little Mad Sometimes, Haven\u2019t You?\u2019: Alterity and Self-Other Mirroring in Horror Film and Criticism.\u201d Frank Burke. JFA<\/em> 2.4 (1990): 74-94.<\/p>\n\n\n\n

\u201c\u2018We Are All Abnegation Now\u2019: Suffering Agency in the Divergent Series.\u201d Jonathan Alexander and Jasmine Lee. JFA<\/em> 28.31 (2017): 388-401.<\/p>\n\n\n\n

\u201cWhat Dreams Sound Like: Forbidden Planet<\/em> and the Electronic Musical Instrument.\u201d Nicholas Laudadio. JFA<\/em> 17.4 (2007): 334-49.<\/p>\n\n\n\n

\u201cWhat Future for Fantasy?\u201d Vernor Vinge. JFA<\/em> 19.2 (2008): 175-77.<\/p>\n\n\n\n

\u201cWhat Screams Are Made Of: Representing Cosmic Fear in H. P. Lovecraft\u2019s \u2018Pickman Model.\u2019\u201c Carl Sederholm. JFA<\/em> 16.4 (2006): 335-49.<\/p>\n\n\n\n

\u201cWhat\u2019s Wrong With Medievalism? Tolkien, the Strugatsky Brothers, and the Question of the Ideology of Fantasy.\u201d Irina Ruppo Malone. JFA<\/em> 27.2 (2016): 204-224.<\/p>\n\n\n\n

\u201cWhat to Expect When You Are Expecting (a Vampire): Reading the Vampire Child.\u201d Lisa Nev\u00e1rez. JFA<\/em> 26.1 (2015): 92-112.<\/p>\n\n\n\n

\u201cWhen Coyote Leaves the Res: Incarnations of the Trickster from Wile E. to Le Guin.\u201d Amanda Cockrell. JFA<\/em> 10.1 (1999): 64-76.<\/p>\n\n\n\n

\u201cWhen Curiosity Gets the Better of Us: The Atomic Bomb in The Magician\u2019s Nephew<\/em>.\u201d Kathryn Walls. JFA<\/em> 20.3 (2009): 334-49.<\/p>\n\n\n\n

\u201cWhere Can Wonder Take Us?\u201d Cristina Bacchilega. JFA<\/em> 28.1 (2017): 6-23.<\/p>\n\n\n\n

\u201cWhere Theory Meets Science Fiction: The Conjoining of Traditional Fantasy with Theoretical Structures in Samuel R. Delany\u2019s Nev\u00e8r\u00ffon Series, Or: The Tale of The Iron Ring.\u201d Darren Danylyshen. JFA<\/em> 12.2 (2001): 157-67.<\/p>\n\n\n\n

\u201c\u2018Who Am I, Really?\u2019 Myths of Maturation in Lois McMaster Bujold\u2019s Vorkosigan Series.\u201d Martha A. Bartter. JFA<\/em> 10.1 (1999): 30-42.<\/p>\n\n\n\n

\u201cWho Are the Dead?\u201d Nina Auerbach. JFA<\/em> 11.1 (2000): 8-13.<\/p>\n\n\n\n

\u201cWho\u2019s Got the Goddess?\u201d Verlyn Flieger. JFA<\/em> 9.1 (1998): 3-14.<\/p>\n\n\n\n

\u201c\u2018Why don\u2019t you be a tiger?\u2019: The Performative, Transformative, and Creative Power of the Word in the Universes of Diana Wynne Jones.\u201d Debbie Gascoyne. JFA<\/em> 21.2 (2010): 210-20.<\/p>\n\n\n\n

\u201cWilliam Blake and the Personal Epic Fantastic.\u201d E. L. Risden. JFA<\/em> 14.2 (2003): 417-24.<\/p>\n\n\n\n

\u201c\u2018With a tale he cometh to you\u2019: A Phenomenological Journey to the Center of Story.\u201d Hugh Crago. JFA<\/em> 29.3 (2018): 422-44.<\/p>\n\n\n\n

\u201cThe Wind Took Your Answer Away.\u201d Harland Ellison. JFA<\/em> 1.3 (1988): 7-20.<\/p>\n\n\n\n

\u201cThe Witch as Double: Feminist Doubles in German Literature and Irmtrand Morgner\u2019s Amanda<\/em>.\u201d Barbara Mabee. JFA<\/em> 6.2\/3 (1994): 166-90.<\/p>\n\n\n\n

\u201cWithin a Circle of Silver.\u201d Carl B. Yoke. JFA<\/em> 4.1 (1991): 3-6.<\/p>\n\n\n\n

\u201cWithin the Door: Portal-Quest Fantasy in Gaiman and Mi\u00e9ville.\u201d Daniel Baker. JFA<\/em> 27.3 (2016): 470-93.<\/p>\n\n\n\n

\u201cWitnessing the \u2018Unwitnessed\u2019 in Steven Erikson\u2019s The Malazan Book of the Fallen.\u201d Peter Melville. JFA<\/em> 26.2 (2015): 276-91.<\/p>\n\n\n\n

\u201cWolf in Professor\u2019s Clothing: J. K. Rowling\u2019s Werewolf as Educator.\u201d Brent Stypczynski. JFA<\/em> 20.1 (2009): 57-69.<\/p>\n\n\n\n

\u201cWolves, Witches, and Werewolves.\u201d Jane P. Davidson. JFA<\/em> 2.4 (1990): 47-68.<\/p>\n\n\n\n

\u201cA Woman\u2019s a Two-Faced,\u2019 or the Doppelg\u00e4ngerin<\/em> Unveiled.\u201d Marilyn Jurich. JFA<\/em> 6.2\/3 (1994): 143-65.<\/p>\n\n\n\n

\u201cThe Word for World Is Story: Syncretic Fantasy as Healing Ritual in Thomas King\u2019s Green Grass, Running Water<\/em>.\u201d Greg Bechtel. JFA<\/em> 19.2 (2008): 204-23.<\/p>\n\n\n\n

\u201cWords for Worlds: SF into Spanish.\u201d Marcial Souto. JFA<\/em> 15.1 (2004): 61-66.<\/p>\n\n\n\n

\u201cThe Worlds of the Fantastic Other in Postmodern English Fiction.\u201d Martin Horstkotte. JFA<\/em> 14.3 (2003): 318-32.<\/p>\n\n\n\n

\u201cW. R. Kinsella\u2019s Postmodern, Metafictional Fantasy Shoeless Joe<\/em>.\u201d Donald E. Morse. JFA<\/em> 15.4 (2004): 309-19.<\/p>\n\n\n\n

\u201cWriting Rage, Truth and Consequences.\u201d Nnedi Okorafor. JFA<\/em> 26.1 (2015): 21-26.<\/p>\n\n\n\n

\u201cWriting the Possessed Child in British Culture: James Herbert\u2019s Shrine<\/em>.\u201d Adrian Schober. JFA<\/em> 14.4 (2004): 447-58.<\/p>\n\n\n\n

X<\/strong><\/p>\n\n\n\n

Y<\/strong><\/p>\n\n\n\n

\u201cThe Year\u2019s Best Scholarship in Fantastic Literature in the Arts.\u201d Marshall B. Tymn, ed. JFA<\/em> 2.3 (1990): 63-128.<\/p>\n\n\n\n

\u201c\u2018You Have Grown Very Much\u2019: The Scouring of the Shire and the Novelistic Aspects of The Lord of the Rings<\/em>.\u201d Nicholas Birns. JFA<\/em> 23.1 (2012): 82-101.<\/p>\n\n\n\n

Z<\/strong><\/p>\n\n\n\n

\u201cZombie Republic: Property and the Propertyless Multitude in Romero\u2019s Dead Films and Kirkman\u2019s The Walking Dead<\/em>.\u201d Dawn Keetley. JFA<\/em> 25.2-3 (2014): 324-42. [295-313]<\/p>\n","protected":false},"excerpt":{"rendered":"

Journal of the Fantastic in the Arts Title Index The following is a comprehensive index, sorted by title, of volumes 1.1 through 30.1 # A B C D E F G H I J K L M N O P Q R S T U V W X Y Z # \u201c1920\u2019s Yellow Peril Science […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":89,"menu_order":20,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":{"footnotes":""},"class_list":["post-120","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/120","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/comments?post=120"}],"version-history":[{"count":10,"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/120\/revisions"}],"predecessor-version":[{"id":1715,"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/120\/revisions\/1715"}],"up":[{"embeddable":true,"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/pages\/89"}],"wp:attachment":[{"href":"http:\/\/www.fantastic-arts.org\/jfa\/wp-json\/wp\/v2\/media?parent=120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}