By Margret Grebowicz
Feminist theorist and thinker Donna Haraway has considerably impacted proposal on technology, cyberculture, the surroundings, animals, and social family members. This long-overdue quantity explores her impact on feminist thought and philosophy, paying specific recognition to her more moderen paintings on significant other 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 large physique of labor in ways in which run counter to her personal transdisciplinary practices. Sparked through their very own own "adventures" with Haraway's paintings, the authors provide readings of her texts framed through a sequence of theoretical and political views: feminist materialism, viewpoint epistemology, radical democratic concept, queer idea, or even technological know-how fiction. They situate Haraway's severe storytelling and "risky examining" practices as types of feminist technique and realize her passionate engagement with "naturecultures" because the theoretical middle using her paintings. Chapters situate Haraway as critic, theorist, biologist, feminist, historian, and stand-up comedian, exploring the total diversity of her identities and reflecting her dedication to embodying all of those modes simultaneously.
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Additional info for Beyond the Cyborg: Adventures with Donna Haraway
All these dualisms—nature/culture, human/ nonhuman, natural/social, sex/gender—are, for Haraway “different faces of the same question” (Haraway and Goodeve 2000:106). From this stance emerges a number of challenges for feminist practice and politics. natures 33 First, the epistemological split between science and culture, which then underwrites the positions of realism and constructivism. Second, the sex/ gender split, which has facilitated so much of post-second-wave feminist cultural discourse.
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).
Definitely not agape. (Haraway 2003:99) Haraway’s political philosophy depends on the claim that humans and dogs (and many other animals) are semiotic agents in the production of naturecultures. The central role played by nonreproductive sex play is crucial to her position, which seeks to undermine the notion that animals are programmed by nature while humans are not (or that humans are animals only insofar as they are programmed by nature). She denaturalizes animal sex at the same moment that she endows the dogs with not just desire but sexual agency: “they invented this game” (Haraway 2003:100).