By Margret Grebowicz
Feminist theorist and thinker Donna Haraway has considerably impacted concept on technology, cyberculture, the surroundings, animals, and social family members. This long-overdue quantity explores her effect on feminist conception and philosophy, paying specific realization to her newer 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 broad physique of labor in ways in which run counter to her personal transdisciplinary practices. Sparked via their very own own "adventures" with Haraway's paintings, the authors supply readings of her texts framed via a sequence of theoretical and political views: feminist materialism, viewpoint epistemology, radical democratic concept, queer thought, or even technological know-how fiction. They situate Haraway's severe storytelling and "risky interpreting" practices as sorts of feminist technique and realize her passionate engagement with "naturecultures" because the theoretical center using her paintings. Chapters situate Haraway as critic, theorist, biologist, feminist, historian, and stand-up comedian, exploring the entire diversity of her identities and reflecting her dedication to embodying all of those modes simultaneously.
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Extra resources for Beyond the Cyborg: Adventures with Donna Haraway
Sexuality is precisely what must remain unintelligible in order to retain its capacity to resist normativity. What would an account of animal sex that took this idea seriously look like? Butler is first of all critical of what she calls foreclosure, the tendency to decide the approach to an event prior to the event itself. ” And sex, she writes, is precisely the thing that cannot be foreclosed, schematized a priori and thus stabilized, if it is to be the site of freedom and resistance we wish it to be in feminist and especially queer politics (Butler 2004).
The Actors Are Not All Us One of the most significant consequences of thinking with naturecultures rather than dualisms is that naturecultures are made and inhabited not only for, or by, humans: “The actors are not all ‘us’” (Haraway 2004:66). It is in the sense of getting away from the fixed-nature/mutable-culture dualism and the possibility of allowing for non-human agency that Haraway argues for an “artifactual” understanding of nature—one that she clearly distinguishes from the hyper-productionism which remakes the whole world into a commodity (a move which is also the target of ecofeminism and postcolonial critique).
Neither-nor. This is not social constructionism, and it is not technoscientific, or biological determinism. It is not nature. It is not culture. It is truly about a serious historical effort to get elsewhere” (Haraway 2004:330). Thus Haraway’s use of naturecultures to foreground the impossibility of talking or thinking nature or reality in isolation and the turn to a congeries of figures and figurations as a means to “insist on the join between materiality and semiosis” (Haraway and Goodeve 2000:86).