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Dissertations / Theses on the topic 'Cyborgs in literature'
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Mentor, Steven. "A dissertation for cyborgs : the birth of a technoscientific monster , 1948-1985 /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/9460.
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Willis, Victoria E. "From Orators to Cyborgs: The Evolution of Delivery, Performativity, and Gender." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_diss/66.
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The purpose of this project is to provide a thorough account of delivery by tracing the history and evolution of delivery from antiquity to the present day in order to expose the spread and transmission of proto-masculine ideologies through delivery. By looking at delivery from an evolutionary perspective, delivery no longer becomes a tool of rhetoric, but the technology of rhetoric, evolving over time in the same way the system of rhetoric itself has evolved. Contemporary scholarship on delivery continues to look at delivery as a tool—as the ink, the paper, the computer screen, the keyboard, the font, the hypertext, the web design, and so forth—of communication. Contemporary scholarship re-works the classical definition of delivery to fit into a contemporary context, and consequently ignores the proto-masculinity embedded into classical delivery and its spread from public speaking to all speaking situations—and the larger consequence of this approach is that proto-masculinity remains embedded and idealized.
Focusing specifically on delivery’s history and evolution into a post-human, cyborg technology demonstrates how proto-masculinity has operated within delivery and how proto-masculinity has been spread through delivery instruction. The importance of re-situating delivery within the rhetorical canons affects rhetoric as a whole because it demonstrates that not only is delivery still crucial to rhetoric, and possibly still the most important rhetorical canon, but also because it de-naturalizes the proto-masculine imperatives embedded within delivery and conveyed through delivered language performances.
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Volschenk, Jacolien. "Fusions of the feminine and technology : exploring the cyborg as subversive tool for feminist reconstructions of identity." Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/2013.
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Thesis (MA (English))--University of Stellenbosch, 2009.In this dissertation the dominant metaphor for the fusion between the feminine and technology, the cyborg, will be examined through various texts to assess the value the cyborg has for feminism as a tool to exposes the constructedness of boundaries of identity and gender, thereby enabling a reconstruction of a new feminine identity in a subversive and transgressive space. The main themes which will be addressed are those that often feature in feminist science fiction: reproduction, sexuality, the construction of identity and gender through science, culture and ideology, and the power relations between men and women. Other related concepts which will be dealt with are language, self and Other, representation and perspective. Feminist science fiction and theory attempt to destabilise conventional boundaries concerned with gender and identity and the texts which this dissertation deals with are all, to varying degrees, concerned with this destabilisation, each offering a unique perspective on feminine identity and the attempted transformation of current gender categories which will be explored in detailed analysis.
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Williams, Britni Marie. ""A Creature the Capitol Never Intended to Exist": Katniss Everdeen, Muttations, and the Mockingjay as Cyborgs in The Hunger Games Trilogy." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428258245.
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Campbell, Stuart. "Fabricating humans: From H.G. Wells' Morlock to Karel Čapek's Robot via Zamyatin's OneState & E.M. Forster's Machine." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/1867.
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This thesis traces the inter-relation between human/machine hybrid figures, imagination and “human” subjectivity through the early science fiction of H. G. Wells, Yevgeny Zamyatin’s We, E. M. Forster's “The Machine Stops” and Karel Čapek's R.U.R.. It demonstrates how the “human” operates in a state of flux, in parallel with its environment which both defines and is defined by the “human.” I argue that all four writers use social satire and machine tropes to explore and critique the effects of industrialization upon, and the tension between, society as a whole and the individual in society. I argue that in The Time Machine, When the Sleeper Wakes, The First Men in the Moon, We, and “The Machine Stops,” Wells, Zamyatin and Forster create worlds where technocratic authorities apply science to create closed-system, totalitarian states. The thesis explores how these authors privilege creativity as crucial to “human” existence and use fantasy to create future societies critical of industrialization’s dehumanization of the individual. In these early twentieth century texts, network models are interrupting the clockwork. If one applies N. Katherine Hayles’ pattern/randomness dialectic, emergent human behaviours are noise disrupting the rigid pattern of the closed-system state, causing it to assume a higher complexity. In the late twentieth century, Donna Haraway, and others, wrote against technocratic authority’s employment of network models, focusing upon cybernetics. Yet prior to World War Two, Wells, Zamyatin, Forster and Čapek also wrote against technocratic totalitarianism, centring their fiction upon mechanical engineering and the machine (rather than information theory) to create versions of industrial/mechanical man. Thus, this thesis demonstrates that Haraway’s ‘cyborg’ is an echo of these earlier industrial anti-authoritarian figures—robots. The driving force in these narratives is the realization of technocracy’s application of science to completely control the individual, eliminate diversity and facilitate totalitarianism.
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Amsberg, de Almeida Aline 1983. "A carne que resta : manifestações do híbrido na literatura de ficção científica contemporânea." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270053.
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Orientador: Márcio Orlando Seligmann SilvaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O elemento técnico e a carne se unem para formar o corpo. De acordo com os conceitos de ciborgue e de híbrido, pensados aqui como facetas do pós-humano, pretendo mapear as manifestações desse corpo em algumas obras da literatura de ficção científica publicada a partir do início dos anos 90. O recorte temporal se deve à finalização do auge do movimento conhecido como cyberpunk que, por um lado, deixou resquícios na literatura de ficção científica e, por outro, ainda não pode ser dado como terminado. Utilizo para estas reflexões principalmente as ideias de desterritorialização e reterritorialização (Deleuze e Guattari), de antropodescentrismo (Roberto Marchesini), e de hospitalidade (Jacques Derrida), além do conceito de ciborgue (Donna Haraway) e de híbrido (Bernard Andrieu). O método rizomático e alguns princípios da Teoria do Caos permitem a problematização das manifestações corporais nas obras escolhidas para o corpus. Os conceitos de "corpo", "carne" e "elemento técnico" são esboçados com a finalidade de tornar esse híbrido possível no campo conceitual e, assim, na prática de análise
Abstract: The technical element and the meat/flesh join to built the body. According to the concepts of cyborg and hybrid, here conceived as aspects of the posthuman, I intend to map the manifestations of that body in some works of literary Science Fiction (SF) published since the early 90¿s. Such a choice of the date is due to the down of the cyberpunk movement which, on one hand, left marks and residues in SF literature and, on the other, cannot be declared dead. For these thoughts I use mainly the ideas of deterritorialization and reterritorialization (Deleuze e Guattari), anthropo-decentrism (Roberto Marchesini), and hospitality (Jacques Derrida), as well as the concept of cyborg (Donna Haraway) and hybrid (Bernard Andrieu). The rhizome method and somen of the Caos Theory allow to question the bodily manifestations in the chosen corpus. The concepts of "body", "meat/flesh" and "technical element" are sketched aiming to make possible this hybrid on the conceptual field and, therefore, the analytical practice
Doutorado
Teoria e Critica Literaria
Doutora em Teoria e História Literária
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Ben-Ezzer, Tirza. "Naming the Virtual: Digital Subjects and The End of History through Hegel and Deleuze (and a maybe few cyborgs)." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1626919557257155.
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Rheeder, Elle-Sandrah. "Pathologies of vision : representations of deviant women and the cyborg body." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020319.
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This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
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Lupold, Eva Marie. "Literary Laboratories: A Cautious Celebration of the Child-Cyborg from Romanticism to Modernism." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339976082.
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Rogerson, Charles W. "Clockwork oranges : the development of the cyborg as fictional character /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487757723996083.
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Williams, Tammi Lynn. "Cyborg visions : Mitchell, Ishiguro, Winterson and the negotiation of modernity." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192959.
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The objective of this paper was to examine a selection of contemporary utopian texts by David Mitchell, Jeanette Winterson and Kazuo Ishiguro in an effort to understand how their alternative realities might address man’s amalgamation of postmodern identities. In the texts, the human protagonists attempted to cast the pastoral landscapes of their youth as sites of safety and sanctity in order to sustain their modern reality, yet their attempts to return to or embrace the pastoral were a failure in part because of the intrusion of modernity into the spaces and in part because they themselves had become modern entities. The posthumans in these texts, including cyborgs, clones and robo sapiens, were emblematic creatures that served a dual role. They were both the subservient foundation of the utopias in these stories, as well as reflections of the postmodern human condition, which was artificially reliant on religion and consumerism for its modes of identity. Each of these texts yielded one particular voice that embodied and celebrated the postmodern experience and the hybridity that is an innate part of it. These characters functioned as important models of negotiation, providing a constructive bridge to the postmodern future for humanity, whether they worked within the societal systems of their eras in order to seek change or rebelled from society, fighting the classifications that defined their identities.published_or_final_version
English Studies
Master
Master of Arts
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Burke, Alexander. ""Dae Scotsmen Dream o 'lectric Leids?" Robert Crawford's Cyborg Scotland." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3272.
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This thesis applies a Cybernetic interpretation to a selection of poetry by the Scottish Informationist poet Robert Crawford, drawn mostly from two collections: A Scottish Assembly (1990) and Sharawaggi: Poems in Scots (1990). Crawford is contextualized by observing the poetic influences of Robert Burns, John Davidson, and Hugh MacDiarmid, as well as the philosophical influence of George Elder Davie’s The Democratic Intellect. This paper argues that, in response to the Two Cultures hypothesis put forth by C. P. Snow and the widely-held belief that Scotland is irrevocably fractured, the shifting boundaries of the many disparate Scottish cultures are mediated by technologies of communication within A Scottish Assembly, updating both Scotland’s identity and its cultural canon not by merging these cultures into a single Universal Scot, but by holding them in tension—and Sharawaggi is observed as a means of grounding the languages and peoples of Scotland within the landscape.
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Proietti, Salvatore. "The cyborg, cyberspace, and North American science fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0021/NQ44558.pdf.
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Benjamin, Garfield. "The cyborg subject : parallax realities, functions of consciousness and the void of subjectivity." Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/621858.
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This thesis contributes to the fields of digital technology, consciousness studies and cultural theory by reassessing the relation of the contemporary subject to physical and digital worlds. By moving beyond the materiality of these worlds, this investigation will position the subject as a cyborg: a series of relations within consciousness that defines the reality and psychological construction of the subject across and through physical and digital perspectives. The functions of consciousness are set out as Existence, Meaning, Virtual, and Real, and their shifting relations defined in terms of physical and digital modes of consciousness. Using Slavoj Žižek's conception of parallax, applied ontologically to digital technology, and introducing a new framework for analysing consciousness as a series of relations between functions, the void of subjectivity is defined as the gap between physical and digital worlds. Within this framework the work of Gilles Deleuze and the philosophy of quantum physics are employed to negotiate a disruption of conventional reality with the Virtuality of thought and matter respectively, towards the conception of the subject as an engaged spectator. These methodological tools are developed to analyse cultural phenomena that highlight and challenge our consciousness of the relation between physical and digital worlds. Online and gallery-based digital art interventions, avatar-mediated spaces, computer games and representations of digital technology and culture in literature are examined in order to assess specific relations between functions, drawing the discussion towards the antagonism between Virtuality and Reality within the construction of the cyborg subject. Through these analyses, a critical position is established through which the contemporary subject is able to achieve the rupture of a minimal distance towards its own parallax position to confront the void of subjectivity between Virtual and Real functions of consciousness and between physical and digital modes of cyborg reality.
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Bark, Persson Anna. ""You must scare the hell out of humans" : Female masculinity, action heroes, and cyborg bodies in feminist science fiction literature." Thesis, Uppsala universitet, Centrum för genusvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-325014.
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Nilsson, Anna. "Cyborgkvinnan och korrespondenserna : Posthumanism och esoteriska inslag i Majgull Axelssons roman Aprilhäxan." Thesis, Linköpings universitet, Avdelningen för språk och litteratur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-157597.
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Syftet med studiet är att undersöka hur romanens protagonist kan läsas som en posthumanistisk karaktär, där det granskas hur hon relaterar till Haraways cyborg, men också till delar av Barads teori om agentiell materialism. En alternativ läsning utförs genom att granska karaktären utifrån ett esoteriskt perspektiv, där tonvikten ligger på andliga inslag. De två perspektiven möjliggör en läsning utifrån två till synes mycket olika synvinklar, vilka dock tycks bestå av vissagemensamma tendenser. Målet med studien blir således även att granska hur posthumanism och esoterism kan knytas samman, och hur April häxans huvudperson Desirée kan betraktas som ett center för denna sammanföring. Frågeställningarna lyder enligt följande: Hur kan huvudpersonen Desirée läsas utifrån en posthumanistisk teoribildning? Vilka esoteriska inslag manifesteras i karaktären? Vilka esoteriska inslag manifesteras i karaktären?Hur relaterar posthumanism och esoterism till varandra?
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Jones, Cassandra L. "FutureBodies: Octavia Butler as a Post-Colonial Cyborg Theorist." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1368927282.
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Potvin, Allison Leigh. "Bodies in Transition:Physical Transformation in Postmodern Russian Fiction and Visual Culture." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316111770.
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Van, der Schyff Karlien. "Screen bound/skin bound : the politics of embodiment in the posthuman age." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4139.
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Thesis (MA (English))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: The end of the second millennium saw a sudden return to corporeality, especially within feminist scholarship, where embodiment and issues surrounding the body were, for the first time, made explicit. This study examines the corporeal body in relation to technology and the impact that newly emerging virtual technologies have on our understanding of the body, not only through examining representations of the technologically modified body, but also by exploring how contemporary cultural practices produce corporeal bodies that view themselves as somehow integrated with technology. It focuses on the material artefacts of contemporary culture in relation to explicitly virtual technologies, both arguing for a return to corporeality and contesting the pervasive trope of disembodiment that characterises so-called “posthuman” age. This study thus takes one of the most popular metaphors for the relationship between the corporeal body and technology as its starting point, namely Donna Haraway’s cyborg figures. Following the publication of Haraway’s “A Manifesto for Cyborgs” (1985), the female cyborg became an icon of emancipation for many feminist scholars, who utilised Haraway’s cyborg discourse as a means of discussing the cultural practices that both construct and limit female gendered identity. Through closely examining the metaphor of Haraway’s cyborg figures in relation to cultural representations of female cyborg bodies, this study argues that, ultimately, the metaphor of the cyborg is inherently neither challenging nor liberating. It then examines the failure of the cyborg as an icon of postgenderedness in terms of its negation of the corporeal, as cyborg figures paradoxically only strengthen the same Cartesian dualism Haraway’s cyborg discourse attempts to deconstruct. It explores representations of three female cyborg figures found in contemporary popular culture to illustrate how the cyborg body’s negation of the corporeal only results in the reiteration of conventional gendered stereotypes, rather than liberation from oppressive gendered practices. Finally, this study examines the crucial interplay between the corporeal and the technological, not only when speaking of more imaginary cyborg configurations and tropes, but also when speaking of the physical reality of lived bodies and embodied experiences. By examining the increasingly embodied nature of cyberspace, this study explores possible alternatives to the figure of the hypersexualised and disembodied cyborg, through investigating new figurations with which to describe the embodied postmodern subject and his/her dependence on technology. Since the central task for a feminist ethics of embodiment would be grounded in the project of representing the female body, in such a way that it constructs autonomous women’s representations without falling prey to patriarchal, stereotypical or estranging images of women’s bodies, this study concludes with more useful methods of representing the corporeal body in relation to virtual technology through an appeal to an ethics of embodiment.
AFRIKAANSE OPSOMMING: Die einde van die tweede millennium het ‘n skielike belangstelling in beliggaamdheid ontlok, veral binne feministiese vakgeleerdheid, waar beliggaamdheid en kwessies rondom die ligaam vir die eerste keer eksplisiet gestel is. Hierdie studie ondersoek die stoflike liggaam in verhouding tot tegnologie en die invloed wat nuwe, virtuele tegnologiëe op ons begrip van die liggaam het, nie slegs deur voorstellings van die tegnologies-gemodifieërde ligaam te ondersoek nie, maar deur ook te kyk na hoe kontemporêre kulturele praktyke beliggaamde subjekte produseer wat huself op een of ander wyse as geïntegreerd met tegnologie sien. Die studie fokus op die materiële artefakte van kontemporêre kultuur in verhouding tot eksplisiet virtuele tegnologiëe. Dit bevorder ‘n terugkeer tot beliggaamdheid, terwyl dit teen die sogenaamde “postmenslike” era se mees kenmerkende troop van ontliggaamdheid argumenteer. Die studie begin dus deur een van die mees populêre metafore vir die verhouding tussen die liggaamlike en die tegnologiese te ondersoek, naamlik Donna Haraway se siborgfigure. Sedert die publikasie van Haraway se “A Manifesto for Cyborgs” (1985), het verskeie feministiese vakgeleerdes die vroulike siborg-figuur beide as ’n ikoon vir emansipasie beskou en gebruik om die kulturele praktyke wat vroulike geslagsidentiteit gelyktydig konstrueer én beperk te bespreek. Deur Haraway se siborg-figure met kulturele voorstellings van vroulike siborg-liggame te vergelyk, kom hierdie studie tot die gevolgtrekking dat die metafoor van die siborg inherent nóg uitdaagend nóg bevrydend is. Gevolglik ondersoek die studie die onbevoegdheid van die siborg-figuur as ‘n ikoon vir postgeslagtigheid in terme van die siborg-liggaam se negering van beliggaamdheid, aangesien siborg-figure op ‘n paradoksale wyse die selfde Cartesiaanse dualisme versterk wat Haraway se siborg-diskoers wou dekonstrueer. Dit ondersoek voorstellings van drie vroulike siborg-figure in kontemporêre populêre kultuur om te illustreer hoe die siborgliggaam se negering van beliggaamdheid slegs konvensionele geslagstereotipes versterk, eerder as om ons van beperkende, patriargale geslagspraktyke te bevry. Ten slotte ondersoek hierdie studie die deurslaggewende tussenspel tussen die ligaamlike en die tegnologiese, nie slegs in terme van meer denkbeeldige siborg tropes nie, maar ook in terme van die fisiese reailiteit van konkrete, beliggaamde lewenservaringe. Deur die toenemend beliggaamde kwaliteit van kiberruimtes te ondersoek, stel hierdie studie moontlike alternatiewe maniere voor om die postmoderne subjek en sy/haar afhanklikheid van tegnologie te beskryf, eerder as om op ontliggaamde en hipergeseksualiseerde siborg-figure staat te maak. Aangesien ‘n feministiese beliggaamde etiek gegrond is in ‘n projek om die vroulike liggaam op só ‘n wyse voor te stel dat patriargale, stereotipiese of vervreemdbare beelde van die vroulike liggaam vermy word, eindig hierdie studie met meer nuttige metodes om die stoflike liggaam in verhouding tot virtuele tegnologie voor te stel deur ‘n beroep tot ‘n meer beliggaamde etiek te maak.
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Weier, Sebastian [Verfasser], Sabine [Akademischer Betreuer] Broeck, and Gisela [Akademischer Betreuer] Febel. "Cyborg Black Studies : Tracing the Impact of Technological Change on the Constitution of Blackness. / Sebastian Weier. Betreuer: Sabine Broeck. Gutachter: Sabine Broeck ; Gisela Febel." Bremen : Staats- und Universitätsbibliothek Bremen, 2015. http://d-nb.info/1081765895/34.
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Sims, Christopher A. "Technology Anxiety in British and American SF: Artificial Intelligences as Catalysts for Ontological Awakening." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1335361175.
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Evans, Taylor. "Genetic Engineering as Literary Praxis: A Study in Contemporary Literature." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5200.
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This thesis considers the understudied issue of genetic engineering as it has been deployed in the literature of the late 20th century. With reference to the concept of the enlightened gender hybridity of Cyborg theory and an eye to ecocritical implications, I read four texts: Joan Slonczewski's 1986 science fiction novel A Door Into Ocean, Octavia Butler's science fiction trilogy Lilith's Brood – originally released between 1987 and 1989 as Xenogenesis – Simon Mawer's 1997 literary novel Mendel's Dwarf, and the first two books in Margaret Atwood's speculative fiction MaddAddam series: 2003's Oryx and Crake and 2009's The Year Of the Flood. I argue that the inclusion of genetic engineering has changed as the technology moves from science fiction to science fact, moving from the fantastic to the mundane. Throughout its recent literary history, genetic engineering has played a role in complicating questions of sexuality, paternity, and the division between nature and culture. It has also come to represent a nexus of potential cultural change, one which stands to fulfill the dramatic hybridity Haraway rhapsodized in her “Cyborg Manifesto” while also containing the potential to disrupt the ecocritical conversation by destroying what we used to understand as nature. Despite their four different takes on the issue, each of the texts I read offers a complex vision of utopian hopes and apocalyptic fears. They agree that, for better or for worse, genetic engineering is forever changing both our world and ourselves.ID: 031001413; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: James Campbell.; Title from PDF title page (viewed June 14, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 180-187).
M.A.
Masters
English
Arts and Humanities
English; Literary, Cultural, and Textual Studies
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Le, Gall Claire. "Fictions du posthumain : temporalité, hybridité, écriture(s)." Thesis, Brest, 2019. http://www.theses.fr/2019BRES0064.
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L’imaginaire contemporain regorge de figurations du posthumain. Robots, intelligences artificielles, êtres génétiquement modifiés ou améliorés grâce à la science, et clones, qui trouvent leurs origines en science-fiction, foisonnent à présent dans la culture populaire mainstream. Ces entités reflètent des devenirs possibles de l’humain et provoquent à la fois enthousiasme et peur, entre la vision optimiste du dépassement des limites de l’espèce humaine (comme la vieillesse, puis la mort, ou le sexe biologique) et la perspective inquiétante de la disparition de l’humain, au profit d’un posthumain radicalement autre. Cette thèse se propose d’étudier les représentations fictionnelles du posthumain dans la littérature anglo-saxonne contemporaine, dans le corpus suivant : la trilogie MaddAddam (publiée entre 2003 et 2013) de Margaret Atwood, Never Let Me Go (2005) de Kazuo Ishiguro, Cloud Atlas (2004) de David Mitchell, Accelerando (2005) et Glasshouse (2006) de Charles Stross, et The Stone Gods (2007) de Jeanette Winterson.Mettant parfois en scène une rupture temporelle entre l’avant et l’après (dans les récits de fin du monde), les fictions du posthumain se caractérisent aussi par une forme de cyclicité (convergence du passé, du présent et du futur).Hybrides, les figurations du posthumain, à l’instar du cyborg, mêlent machinique et organique et s’incarnent dans l’entre-deux, en dépassant les dualismes qui façonnent la pensée (masculin/féminin, même/autre, nature/artifice, incarnation/désincarnation).Les écritures du posthumain, nécessairement multiples, se fondent sur l’effacement, la répétition et la réécriture, sur le modèle du palimpsestePosthuman figures are plentiful in contemporary fictional works. Robots, artificial intelligence, genetically modified or augmented beings, and clones: all find their origins in science fiction, and now abound in mainstream culture. These entities embody humanity’s possible evolutions and trigger both enthusiasm and fear. On the one hand, they offer an optimistic perspective on how current human limits could be overcome (such as old age and death, or more generally biological constraints). On the other hand, they also point out the troubling possibility of humanity’s eradication, to be replaced by radically different “posthuman” beings.This dissertation focuses on the fictional representations of the posthuman in contemporary Anglo-Saxon literature in the following novels: the MaddAddam trilogy (published between 2003 and2013) by Margaret Atwood, Never Let Me Go (2005) by Kazuo Ishiguro, Cloud Atlas (2004) by David Mitchell, Accelerando (2005) and Glasshouse (2006) by Charles Stross, and The Stone Gods (2007) by Jeanette Winterson.While they are sometimes characterized by a break in temporal linearity (in postapocalyptic stories), the fictions of the posthuman are also marked by a form of cyclicity (past, present and future converge).Like the cyborg, the figures of the posthuman are hybrid and combine cybernetic or mechanical machines and biological organisms. They exist in a liminal space, and are able to go beyond the dualisms which permeate our way of thinking (male/female, same/other, natural/artificial).Writing the posthuman means considering its multiplicity, and is based on erasure, repetition and rewriting, following the model of the palimpsest
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Bilgen, Funda. "An Ecofeminist Approach To Atwood&." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12610246/index.pdf.
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This thesis analyzes the analogy between woman and nature and ecofeminist theory that emphasizes the parallelism between man's exploitation of woman and nature. It aims to make an ecofeminist analysis of three novels: Surfacing by Margaret Atwood, The Cleft by Doris Lessing and The Stone Gods by Jeanette Winterson. First, this thesis introduces the history and main principles of ecofeminist theory. These novels by different women writers investigate the embodiment of these main principles in three novels despite the fact that the same aspects of the theory can sometimes be interpreted differently in these novels. In analyzing these three novels as applications and/or the criticisms of ecofeminist theory, it was found that two theories, social ecology and Cyborg Theory, are also necessary. The later novels use ideas from these related theories alongside ecofeminist ideas. In order to undertake this analysis in each novel, this thesis also studies the assignment of determined social roles to man and woman and the duality resulting from this inequality. Next, it investigates the colonization of both nature and woman'
s body by man&
#8217
s intervention, that leads to the alienation of woman from herself and society. Furthermore, this thesis shows the exploitation process of females and nature by males who consider both as objects.
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Weise, Jillian. "Semi Semi Dash." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258477843.
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Gregersdotter, Katarina. "Watching women, falling women : Power and dialogue in three novels by Margaret Atwood." Doctoral thesis, Umeå universitet, Moderna språk, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-12676.
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This study examines the three novels Cat s Eye, The Robber Bride, and Alias Grace by Margaret Atwood. It focuses on the female characters and their relationships to each other: Their friendships are formed in a patriarchally structured environment and are therefore arenas for defending and controlling the norms of such a structure. The women continually watch each other and themselves, and through the power exercise of watching, femininity is constructed. Atwood describes acts of dialogic storytelling as a means to find options to gendered behavior.digitalisering@umu
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Olsson, Mikaela. "Att möta sig själv och att bli den Andre : En intersektionell och postkolonial analys av Marissa Meyers Cinder och Scarlet." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105107.
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This study examines power structures and oppression in the first two novels of the Lunar Chronicles by Marissa Meyer. Postcolonial theory and concepts as the Other/the other, and mimicry supplemented with an intersectional perspective are applied in the study. The study investigates how the protagonist, Cinder, is treated as a cyborg in a human world, and as a Lunar on Earth. Furthermore, it focuses on what happens when the oppressed becomes the oppressor and gains power. I conclude that the humans in Meyer’s sequel treat cyborgs in a similar way as the colonizer has treated the colonized through history. Cyborgs are suppressed due to fear from humans who neither understand cyborgs, nor have any interest to learn about them. The humans have a preconceived idea about what and who the cyborgs are and in correlation to the colonizer, the humans see no point in changing that view. Therefore, humans take the role as the Other while pushing cyborgs to become the other. In a similar way, Lunars become the Other due to their Lunar gift, which creates a power imbalance that they use to suppress people on Earth. When Cinder accesses her Lunar gift, she transforms from being the oppressed into the oppressor, and she must face the consequences of possessing such power which results in someone’s death. She realizes then that she would rather be the oppressed and be hurt herself than to be the oppressor and hurt others.
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Daniel, Juliana. "Da personagem máquina ao ciborgue em: "Zoom", "O Gravador" e "Quarto Selo (Fragmento)" de Rubem Fonseca." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14911.
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Previous issue date: 2009-09-29Secretaria da Educação do Estado de São Paulo
This dissertation propose to introduce the investigation of the character under the perspective of the relation alterity with the technology equipments in three short-stories by Ruben Fonseca: Zoom (1965); O Gravador (1965) and O quarto selo (Fragmento) (1967). The select short stories introduced an intimacy relation with the new communication technologies, in such a manner as the arrangement structure and the character gets, in this context, a new approach. It s in question the identity construction of the character and this part inside the short story, once that the other is the machine-subject. Beginning from the fundamental bakhtiniano concept the dialogue principle while alterity perception in the identity construction beyond Lévy conception about the relations between actual and virtual in technology universe, we considered the relation of the character with it s other the technological equipments in gradation that goes from virtual/simulation of the eyes and the voice throughout the camera zoom and the recorder, until the hybrid body of the real cyborg, like happens with the Exterminator in O quarto selo . However, at the same time, this other allows the character a possibility to expand itself, and it also can capture and destroy what is inherent in the human being. The technology doesn t cancel the contradictions, but, unlike, increase it them once more. We purpose, in this way, elaborate a reflection, although initial, about the function from the technological equipments to the characterization fonsequianas, aim at a reflection more wide open about the status creatures fiction in the contemporaneous period
Esta dissertação propõe o estudo da personagem sob a perspectiva de sua relação de alteridade com os aparatos tecnológicos em três contos de Rubem Fonseca: Zoom (1965), O gravador (1965) e O quarto selo (Fragmento) (1967). Os contos selecionados apresentam estreita relação com as novas tecnologias de comunicação, de modo que a estrutura composicional e a personagem ganham, nesse contexto, uma nova abordagem. Questiona-se a construção da identidade da personagem e seu papel dentro da narrativa, uma vez que o outro é o sujeito-máquina. Partindo do conceito fundamental bakhtiniano - o princípio dialógico enquanto percepção da alteridade na construção da identidade além da concepção de Lévy sobre as relações entre atual e virtual no universo das tecnologias, consideramos a relação da personagem com seu outro - os aparatos tecnológicos - numa gradação que vai da virtualização/simulação do olho e da voz por meio do zoom da câmera e do gravador, até o corpo híbrido de um verdadeiro ciborgue, como ocorre com o Exterminador em O quarto selo . Entretanto, ao mesmo tempo em que esse outro permite à personagem a possibilidade de se expandir, também pode aprisionar e destruir aquilo que é inerente ao homem. A tecnologia não anula as contradições das personagens, mas, ao contrário, acirra-as ainda mais. Objetivamos, desta forma, elaborar uma reflexão, ainda que inicial, sobre a função dos aparatos tecnológicos na caracterização das personagens fonsequianas, visando contribuir para uma reflexão mais ampla sobre o estatuto dos seres ficcionais na contemporaneidade
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Icleanu, Constantin Cristian. "The Functions of Guilt and Shame in Juan José Millás' El mundo and My Olive-Green Fridge and I: The Posthuman Identity in El púgil." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2476.
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In his celebrated 2007 novel El mundo, Juan José Millás tells the story of the development of Juanjo, a simulacrum of himself, and describes a series of negative developments that the protagonist faces in his childhood. While much has been written about Millás and the “testimonial realism” of his literary generation, little has been written about the psychological factors that influence his characters. In this paper I analyze Juanjo's development as understood from the gradation of guilt to shame, depression, and later suicidal thoughts. Because Juanjo is not able to find an appropriate mechanism of release for his guilt, he spirals into an ever-increasing psychological distress. Thus, his actions do not become an escape per se from the oppressive forces in Spain; but rather, they are mechanisms of delay caused by the subconscious effects of living under Franco's Spain during the 1950s.
Mike Wilson-Reginato's first novel El púgil, published in 2007, mixes intertextual references to music, film, and literature to craft a space for the posthuman identity. The two protagonists of El púgil—Art and his olive-green refrigerator, Hal—combine in a new cyborg-like formation. Unlike the cyborg envisioned by Donna Haraway in “A Cyborg Manifesto,” the mechanical-biological union never takes place at the corporeal level, but their union occurs in a psychological dimension within Art's hallucination. To describe the union of Art and Hal, I use Jacques Lacan's concept of the mirror stage to explain Art's adoption of a perceived superior identity and Jean Baudrillard's study of simulacra to show how this adopted identity is an imagined simulacrum. Thus, the combined image of the two characters creates a cyborg identity that erases the distance between man and machine.
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Gardner, Kelly. "The emergence and development of the sentient zombie : zombie monstrosity in postmodern and posthuman Gothic." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/23901.
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The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. The use of an epitomised zombie voice, I argue, results in the potential for the embodiment of a zombie subject. Chapter Four explores the development of this embodied zombie subject through the introduction of the Zombie Memoire narrative and examines the figure as a representation of Agamben’s Homo Sacer or ‘bare life’: though often configured as a non-sacrificial object that can be annihilated without sacrifice and consequence, the zombie, I argue, is also paradoxically inscribed in a different, Girardian economy of death that renders it as the scapegoat to the construction of a sense of the ‘human’. The final chapter of this thesis argues that both the traditional zombie and the sentient zombie function within the realm of a posthuman potentiality, one that, to varying degrees of success, attempts to progress past the restrictive binaries constructed within the overruling discourse of humanism. In conclusion, this thesis argues that while the zombie, both traditional and sentient, attempts to propose a necessary move towards a posthuman universalism, this move can only be considered if the ‘us’ of humanism embraces the potential of its own alterity.
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Kurash, Jaclyn Rose. "Mechanical Women and Sexy Machines: Typewriting in Mass-Media Culture of the Weimar Republic, 1918-1933." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440348446.
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Loick, Steffen. "Donna J. Haraway." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-220672.
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Donna J. Haraway ist eine US-amerikanische Biologin, Wissenschaftsphilosophin und Literaturwissenschaftlerin, die an den Departments History of Consciousness und Feminist Studies der University of California lehrte. In dieser Position hatte sie die erste explizit der Feministischen Theorie gewidmete Professur in den USA inne. Haraways Arbeiten bewegen sich in einem thematischen Schnittfeld von feministischer Erkenntniskritik, Cultural Studies, politischer Theorie und Biowissenschaften.
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Loick, Steffen. "Donna J. Haraway." Ludwig-Maximilians-Universität, 2013. https://ul.qucosa.de/id/qucosa%3A15408.
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Donna J. Haraway ist eine US-amerikanische Biologin, Wissenschaftsphilosophin und Literaturwissenschaftlerin, die an den Departments History of Consciousness und Feminist Studies der University of California lehrte. In dieser Position hatte sie die erste explizit der Feministischen Theorie gewidmete Professur in den USA inne. Haraways Arbeiten bewegen sich in einem thematischen Schnittfeld von feministischer Erkenntniskritik, Cultural Studies, politischer Theorie und Biowissenschaften.
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Nyström, Filip. "Organet lever! : Kropp, ting och performativitet i Erik Beckmans roman Inlandsbanan (1967)." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-140700.
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The works of Erik Beckman (1935-1995) are quite unique within the Swedish literary scene. His texts convert the experimental language of the concretists of the sixties into a new form of fabulation that undermines our understanding of what literature can be, ranging from novels and poetry to theatre pieces and radio theatre. His literary style has been discussed by critics, but the depths of it are yet to be fully explored. There is a lot to gain from combining contemporary theories of materiality and corporeality with his self-proclaimed materialistic poetics. The novel Inlandsbanan (1967) is a fragmentary account of an inland train going through Sweden, with characters coming and going in a frustrating tempo. The text is filled with word games, narrative constructs and a language that brings forth the material aspects of communication that push the boundaries of literary interpretation. This thesis examines Beckman’s novel through the lens of theoretical concepts of thingliness and corporeality developed by the likes of Judith Butler, Karen Barad, and Andrew Pickering in order to elaborate an analysis that goes beyond the surface of its experimental and materialistic use of literary language. Using bodily themes, I analyze specific passages in the novel in order to find a new understanding of its semantic functions. By doing this through the concept of performativity, not only can I identify a thematized corporeality, but beyond that a literary form and a language that problematizes the very notion of the written text as a body and highlights a material agency in literature. This method enables an interpretation of the novel that can illuminates important aspects at play that previously have not been explored.
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Carstens, Johannes Petrus. "Techno genetrix : shamanizing the new flesh : cyborgs, virtual interfaces and the vegetable matrix in SF." Diss., 2005. http://hdl.handle.net/10500/2126.
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This dissertation examines the figures of the shaman and the cyborg, arguing that both act as intermediaries between the organic world of bodies and the artificial world of culture and machines. Using the sf of Robert Holdstock, David Zindell and Kathleen Ann Goonan as starting points, new forms of embodiment in the context of the cyborg and the shaman's shared narrative of radical boundary dissolution are critically and imaginatively examined. Throughout this thesis, the works of Deleuze and Guattari, Sadie Plant, Manuel De Landa, Erik Davis, Donna Haraway, Terence McKenna, and other speculative theorists who operate at the nexus of technological culture and the shamanic imagination serve as guidelines.English Studies
M.A.
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Botha, Tanja. "Van kubermens tot kuborg: representasies van mens-masjienverhoudinge in die Afrikaanse poesie (1990-2012)." Diss., 2017. http://hdl.handle.net/10500/22688.
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In hierdie studie word die manifestasies en ontwikkelings van mens-masjien-verhoudinge in die Afrikaanse poësie vanaf 1990 tot 2012 ondersoek. Relevante uitgangspunte van die fenomenologie, posthumanisme en transhumanisme dien as teoretiese begronding om die gekompliseerde en gevarieerde aard van mens-masjien-verhoudinge in die Afrikaanse poësie te bestudeer. Die studie beoog om deur kwantitatiewe data-analise die manifestasie van tegnologiese terme en verwysings na tegnologiese objekte in Afrikaanse poësie vanaf 1990 tot 2012 te karteer. Hierbenewens word deeglike kwalitatiewe ondersoek gedoen na die verskillende representasies van mens-masjien-verhoudinge in geselekteerde Afrikaanse gedigte. Laastens word rolle en metaforiese betekenisse van digitale tegnologie in posthumane subjekte se belewing op drie tematiese vlakke ondersoek, naamlik liefde en seks, spiritualiteit en die dood.In this study the different manifestations of human-machine relationships in Afrikaans poetry between 1990 and 2012 are investigated. Relevant viewpoints from the phenomenology, posthumanism and transhumanism form part of the theoretical framework in which the often complicated and varied nature of human-machine relationships are studied. It is the goal of this study to map the manifestations of technological terms and references to technological objects in Afrikaans poetry from 1990 to 2012, utilising quantitative data analysis. Furthermore, the in-depth qualitative analysis will investigate various representations of human-machine relationships in selected Afrikaans poems. The roles and metaphorical meanings of digital technology within the experiences of posthuman subjects are investigated on three thematic levels, namely love and sex, spirituality and death.
Afrikaans and Theory of Literature
M. A. (Afrikaans)
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Cunha, António Gaspar Lopes da. "Literatura distópica no universo dos ciborgues." Master's thesis, 2020. http://hdl.handle.net/1822/67502.
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Dissertação de mestrado em Teoria da Literatura e Literaturas LusófonasA ciência e a engenharia funcionam muitas vezes como indutoras da literatura, sendo exemplo disso as narrativas distópicas nas quais os escritores se servem dos desenvolvimentos tecnocientíficos para criar um mundo ficcional que tem frequentemente o objetivo de chamar a atenção sobre o perigo desses progressos. É nesta dicotomia tecnociência-literatura que se desenvolve esta dissertação com o objetivo de colocar em evidência marcas distópicas. Para isso, as obras literárias estudadas, The Handmais’s Tale, The Testaments e Machines Like Me, foram abordadas sob o ponto de vista do esbatimento dos limiares entre géneros num ambiente “ciborguiano”, tendo como referência teórica principal o ensaio de Donna Haraway, “A Cyborgue Manifest: Science Technology, and Socialist- Feminism in the Late Twenty Century”. Nas narrativas de Margaret Atwood foi estabelecida uma sociedade distópica através de uma revolução fundamentalista em que a personagem principal, a Serva, foi criada para ser uma máquina de procriar, mas sem que fosse possível retirar-lhe efetivamente as suas características humanas, apesar da educação repressiva a que foi sujeita. No caso do ciborgue engendrado por Ian McEwan, Adam, a conceção de uma inteligência artificial em que se incorporaram as características do homo sapiens, não foi suficiente para criar um ciborgue viável que pudesse viver num mundo de homens. Em ambos os casos, tendo em conta a subjetividade das obras estudadas, a Serva e Adam encontram-se muito mais próximos do homem do que da máquina. Uma proximidade induzida pelo amor que aglutina a catástrofe presente nas narrativas. Assim, tendo em conta a análise efetuada, poder-se-á concluir que o mito do ciborgue não poderá ser usado como metáfora para o esbatimento dos limiares entre géneros, como proposto inicialmente por Donna Haraway. Isto está de acordo com os desenvolvimentos mais recentes em que a própria Donna Haraway considera que o mito do ciborgue já não é suficiente.
Science and engineering often work as inducers for literature, such as for example the dystopian narratives in which writers use technoscientific developments to create a fictional world that frequently aims to draw attention to the danger of such progress. It is in this technoscience-literature dichotomy that this dissertation is developed with the aim of highlighting dystopian marks. For this purpose, the literary works studied, The Handmais's Tale, The Testaments and Machines Like Me, were approached from the point of view of blurring the differences between genres in a “cyborg” environment, having Donna Haraway's essay as the main theoretical reference, “A Cyborgue Manifest: Science Technology, and Socialist-Feminism in the Late Twenty Century”. In Margaret Atwood's narratives a dystopian society was established through a fundamentalist revolution in which the main character, the Handmaid, was created to be a procreate machine, but without being able to effectively remove her human characteristics, despite repressive education to which it was subjected. In the case of the cyborg engineered by Ian McEwan, Adam, the conception of an artificial intelligence that incorporated the characteristics of homo sapiens, was not enough to create a viable cyborg able to live in a world of men. In both cases, taking into account the subjectivity of the works studied, the Handmaid and Adam are much closer to man than to machine. A love-induced closeness that brings together the catastrophe present in the narratives. Thus, taking into account the analysis carried out, it can be concluded that the cyborg myth cannot be used as a metaphor for blurring the gap between genders, as initially proposed by Donna Haraway. This is in line with the latest developments in which Donna Haraway herself considers that the cyborg myth is no longer enough.
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Lauzon-Dicso, Mathieu. "Reconceptualisation encyclopédique du corps cyborg dans les textes d’Élisabeth Vonarburg et de Catherine Dufour." Thèse, 2012. http://hdl.handle.net/1866/8968.
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Le cyborg est un avatar de ce que permet la science-fiction lorsqu’elle s’offre comme terrain où développer une heuristique des identités genrées. Donna Haraway, dans le Manifeste cyborg, a relevé le potentiel de liberté discursive que promettait cette figure romanesque. Il m’apparaît que, depuis sa fictionnalisation puis sa théorisation dans les années 1980 et 1990, le cyborg a muté au sein de l’entreprise science-fictionnelle littéraire.
Le Silence de la Cité d’Élisabeth Vonarburg et Le Goût de l’immortalité de Catherine Dufour présentent des personnages dont la cyborgitude problématise les questions identitaires du genre humain, à travers une écriture spécifique, affectée par les technologies. Mon analyse des procédés scripturaux s’effectue de pair avec une analyse gender, ce qui me permet de mieux saisir la fictionnalisation toujours changeante des cyborgs dans les
oeuvres de Vonarburg et de Dufour. Ces cyborgs déconstruisent les frontières des systèmes binaires traditionnels, en explorant les possibilités trans-genres et trans-espèces que permettent les métamorphoses de leurs corps excentriques. En tant que représentations
fantasmées de désirs autrement inavouables, les cyborgs science-fictionnels témoignent du malaise inhérent de couples comme homme/femme, humain/animal ou organique/artificiel.The cyborg is an avatar of what science fiction can produce as a territory where heuristics of gender identities are developed. In her Cyborg Manifesto, Donna Haraway reveals the potential of discursive liberty provided by the cyborg’s narrative figure. It appears to me that since its fictionalization as well as its theorization throughout the 1980’s and the 1990’s, the cyborg has evolved within science fiction. Élisabeth Vonarburg’s Le Silence de la Cité and Catherine Dufour’s Le Goût de l’immortalité present characters whose cyborg nature explores questions of humankind’s identities through a certain writing affected by technology. My study of these writing processes is conducted through the analysis of gender. This allows me to better understand the ever-changing fictionalization of the cyborgs found within Vonarburg’s and Dufour’s work. These cyborgs deconstruct the borders of traditional binarist systems by experimenting the trans-genders and trans-species possibilities their excentric bodies enable. As fantasized representations of desires otherwise unmentionable, the science fictional cyborgs attest the inherent uneasiness of couples such as man/woman, human/animal or organic/artificial.
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Montalti, Chiara. "Per una prospettiva cyborg della disabilità: relazioni con l’alterità, politica e futuri culturali." Doctoral thesis, 2022. http://hdl.handle.net/2158/1277905.
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La tesi si propone di problematizzare il ruolo marginale delle persone disabili nei nostri mondi socioculturali. L’analisi si articola principalmente in tre assi: la natura contestabile e relazionale della disabilità; il radicamento delle persone disabili nel tessuto sociale, politico, e culturale, registrandone e valorizzandone i contributi; l’espansione delle condizioni di vivibilità del presente e del futuro. In tale percorso mi sono concentrata su quattro temi, che si intrecciano in ognuno dei capitoli: il rapporto con le tecnologie; le relazioni di cura e assistenza (umane e non umane); la partecipazione politica e l’attivismo; le narrazioni da aggiornare sul piano immaginativo-culturale.
Sebbene i Disability Studies siano l’area di ricerca di riferimento, ho impiegato la figurazione del cyborg come uno strumento di navigazione che potesse porli in dialogo col lavoro di Donna J. Haraway, il postumanesimo e la tecnoscienza femminista: ho infatti evidenziato quali possano essere le potenzialità di tale incontro nell’esaminare proficuamente ciascuno dei temi trattati.
Nello specifico, la tesi si struttura in tre sezioni, ognuna focalizzata su un macrotema: (I) il rapporto che intercorre tra il cyborg – in senso largo – e la disabilità; (II) la relazionalità e l’apertura verso l’esterno, in termini esperienziali e politici; (III) la collocazione delle persone disabili nel futuro, tanto in ambito culturale, quanto immaginato nella fiction fantascientifica.
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The thesis critically assesses the marginal role of disabled people in our sociocultural worlds. The analysis is structured into three axes: the debatable and relational nature of disability; the rooting of disabled people in the social, political, and cultural fabric, recording and valuing their contributions; the possibility to produce livable presents and futures. In this path, I focused on four topics, intertwined in each of the chapters: the connection with technologies; the relationships of (human and non-human) care and assistance; political participation and activism; the urge to update cultural and imaginative texts.
Although Disability Studies are the research area of reference, I employed the figuration of the cyborg as a navigation tool that could put them in dialogue with the work of Donna J. Haraway, posthumanism and feminist technoscience: I have highlighted the potentiality of this conversion, to examine profitably each of the mentioned topics.
Specifically, the thesis is structured in three sections, each focused on a macro theme: (I) the association between the cyborg – in a broad sense – and disability; (II) the experience of relationality, in biographical and political terms; (III) the positioning of disabled people in the future, both in the cultural world and in science fiction.
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Favreau, Alyssa. "Galactic ecofeminism and posthuman transcendence : the tentative utopias of Octavia E. Butler's Lilith's Brood." Thèse, 2018. http://hdl.handle.net/1866/21252.
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