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Introduction | |
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'Good Myth': Joss Whedon's Further Worlds | |
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'They Tried to Kill Us, and Here We Are': Episode and Film Guide | |
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Language and Rhetoric | |
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'But She Was Naked! And All Articulate!': The Rhetoric of Seduction in Firefly | |
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Representing the Future: Chinese and Codeswitching in Firefly | |
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'Much Madness is Divinest Sense': Firefly's 'Big Damn Heroes' and Little Witches | |
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Gender | |
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The Threat of the 'Good Wife': Feminism, Postfeminism, and Third-Wave Feminism in Firefly | |
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The Companions and Socrates: Is Inara a Hetaera? | |
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'I Aim to Misbehave': Masculinities in the 'Verse | |
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Genre | |
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'The Alliance Isn't Some Evil Empire': Dystopia in Joss Whedon's Firefly/Serenity | |
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Back to the Future: Retrofuturism, Cyberpunk, and Humanity in Firefly and Serenity | |
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Firefly's 'Out of Gas': Genre Echoes and the Hero's Journey | |
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Social and Cultural Themes | |
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Reavers and Redskins: Creating the Frontier Savage | |
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A Geopolitical Interpretation of Serenity | |
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Religion and Morality | |
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'I Do Not Hold to That': Joss Whedon and Original Sin | |
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Humanity in a 'Place of Nothin": Morality, Religion, Atheism, and Possibility in Firefly | |
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Music | |
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Music, Race, and Paradoxes of Representation: Jubal Early's Musical Motif of Barbarism in 'Objects in Space' | |
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Marching Out of Step: Music and Otherness in the Firefly/Serenity Saga | |
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Visuals | |
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Between Past and Future: Hybrid Design Style in Firefly and Serenity | |
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Deathly Serious: Mortality, Morality, and the Miseen-Scene in Firefly and Serenity | |
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Fans, Transition, and the World Outside | |
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'Can't Stop the Signal': The Resurrection/Regeneration of Serenity | |
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The Browncoats Are Coming! Firefly, Serenity, and Fan Activism | |
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Notes | |
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Works Cited | |
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Index | |