By Margret Grebowicz
Feminist theorist and thinker Donna Haraway has considerably impacted notion on technological know-how, cyberculture, the surroundings, animals, and social relatives. This long-overdue quantity explores her effect on feminist idea and philosophy, paying specific cognizance to her more moderen paintings on better half species, instead of her "Manifesto for Cyborgs."
Margret Grebowicz and Helen Merrick argue that the continuing fascination with, and re-production of, the cyborg has overshadowed Haraway's vast physique of labor in ways in which run counter to her personal transdisciplinary practices. Sparked by means of their very own own "adventures" with Haraway's paintings, the authors supply readings of her texts framed via a chain of theoretical and political views: feminist materialism, perspective epistemology, radical democratic concept, queer thought, or even technology fiction. They situate Haraway's severe storytelling and "risky analyzing" practices as sorts of feminist method and realize her passionate engagement with "naturecultures" because the theoretical center riding her paintings. Chapters situate Haraway as critic, theorist, biologist, feminist, historian, and slapstick comedian, exploring the whole variety of her identities and reflecting her dedication to embodying all of those modes simultaneously.
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Extra info for Beyond the Cyborg: Adventures with Donna Haraway
Accordingly, as we can see in her deliberate mystification of the sex play between Willem and Cayenne, Haraway’s demand that we consider animals as sexual agents is precisely a move away from any straightforward intelligibility of their practices. And, in keeping with Haraway’s account of posthuman hermeneutic agency, Butler describes these unintelligible places as sites from which a different kind of claim can be made. “These are not precisely places where one can choose to hang out, subject positions one might opt to occupy.
These two poles are not in a relationship of symmetry, because the first is always privileged as recognizably political, while the second is often accused of appearing to be apolitical. Why, under the present conditions, does the very prospect of “becoming political” depend on our ability to operate within that discursively instituted binary and not to ask, and endeavor not to know, that the sexual field is forcibly constricted through accepting those terms? . To become political, to act and speak in ways that are recognizably political, is to rely on a foreclosure of the very political field that is not subject to political scrutiny.
This is, after all just one story about the naturalcultural formulation of humans—one that, at any rate, is rendered irrelevant as it becomes clear that the only humanity to survive will be irrevocably changed through enforced sharing and trade with the alien. The Oankali-human constructs will need new stories that cannot help but avoid the “sacred image, the sign of the same” (Haraway 1989b:380). Where others see flawed utopias, biological essentialism, or a dystopian figuring of colonialist powers,7 Haraway sees “survival stories” and hopeful kinships.