A timely dethroning of the human subject and embracing of a new kind of existence, in this book Christine Daigle highlights the affirmative potential of vulnerability amidst unprecedented times of more-than-human crises. By bringing together traditions as diverse as feminist materialist philosophy, phenomenology, and affect theory, Daigle convincingly pleas for the radical embracing of a shared posthumanist vulnerability. Posthuman Vulnerability fills a significant theoretical gap - whilst feminism has explored the affirming power of vulnerability, it's been from a very human-centric viewpoint. In posing a feminist and posthuman take on vulnerability, Daigle is bridging traditions in a totally original and much needed way.
This timely book examines the rise of posthumanism as both a material condition and a developing philosophical-ethical project in the age of cloning, gene engineering, organ transplants and implants. Nayar first maps the political and philosophical critiques of traditional humanism, revealing its exclusionary and ‘speciesist’ politics that position the human as a distinctive and dominant life form. He then contextualizes the posthumanist vision which, drawing upon biomedical, engineering and techno-scientific studies, concludes that human consciousness is shaped by its co-evolution with other life forms, and our human form inescapably influenced by tools and technology. Finally the book explores posthumanism’s roots in disability studies, animal studies and bioethics to underscore the constructed nature of ‘normalcy’ in bodies, and the singularity of species and life itself. As this book powerfully demonstrates, posthumanism marks a radical reassessment of the human as constituted by symbiosis, assimilation, difference and dependence upon and with other species. Mapping the terrain of these far-reaching debates, Posthumanism will be an invaluable companion to students of cultural studies and modern and contemporary literature.
Contributions by Torsten Caeners, Phoebe Chen, Mathieu Donner, Shannon Hervey, Angela S. Insenga, Patricia Kennon, Maryna Matlock, Ferne Merrylees, Lars Schmeink, Anita Tarr, Tony M. Vinci, and Donna R. White For centuries, humanism has provided a paradigm for what it means to be human: a rational, unique, unified, universal, autonomous being. Recently, however, a new philosophical approach, posthumanism, has questioned these assumptions, asserting that being human is not a fixed state but one always dynamic and evolving. Restrictive boundaries are no longer in play, and we do not define who we are by delineating what we are not (animal, machine, monster). There is no one aspect that makes a being human—self-awareness, emotion, artistic expression, or problem-solving—since human characteristics reside in other species along with shared DNA. Instead, posthumanism looks at the ways our bodies, intelligence, and behavior connect and interact with the environment, technology, and other species. In Posthumanism in Young Adult Fiction: Finding Humanity in a Posthuman World, editors Anita Tarr and Donna R. White collect twelve essays that explore this new discipline's relevance in young adult literature. Adolescents often tangle with many issues raised by posthumanist theory, such as body issues. The in-betweenness of adolescence makes stories for young adults ripe for posthumanist study. Contributors to the volume explore ideas of posthumanism, including democratization of power, body enhancements, hybridity, multiplicity/plurality, and the environment, by analyzing recent works for young adults, including award-winners like Paolo Bacigalupi's Ship Breaker and Nancy Farmer's The House of the Scorpion, as well as the works of Octavia Butler and China Miéville.
Problematic assumptions which see humans as special and easily defined as standing apart from animals, plants, and microbiota, both consciously and unconsciously underpin scientific investigation, arts practice, curation, education, and research across the social sciences and humanities. This is the case particularly in those traditions emerging from European and Enlightenment philosophies. Posthumanism disrupts these traditional humanist outlooks and interrogates their profound shaping of how we see ourselves, our place in the world, and our role in its protection. In Posthumanism in Practice, artists, researchers, educators, and curators set out how they have developed and responded to posthumanist ideas across their work in the arts, sciences, and humanities, and provide examples and insights to support the exploration of posthumanism in how we can think, create, and live. In capturing these ideas, Posthumanism in Practice shows how posthumanist thought can move beyond theory, inform action, and produce new artefacts, effects, and methods that are more relevant and more useful for the incoming realities for all life in the 21st century.
This volume explores the potential of the concept of the creaturely for thinking and writing beyond the idea of a clear-cut human-animal divide, presenting innovative perspectives and narratives for an age which increasingly confronts us with the profound ecological, ethical and political challenges of a multispecies world. The text explores written work such as Samuel Beckett’s Worstward Ho and Michel Foucault's The Order of Things, video media such as the film "Creature Comforts" and the video game Into the Dead, and photography. With chapters written by an international group of philosophers, literary and cultural studies scholars, historians and others, the volume brings together established experts and forward-thinking early career scholars to provide an interdisciplinary engagement with ways of thinking and writing the creaturely to establish a postanthropocentric sense of human-animal relationality.
Ghost, Android, Animal challenges the notion that trauma literature functions as a healing agent for victims of severe pain and loss by bringing trauma studies into the orbit of posthumanist thought. Investigating how literary representations of ghosts, androids, and animals engage traumatic experience, this book revisits canonical texts by William Faulkner and Toni Morrison and aligns them with experimental and popular texts by Shirley Jackson, Philip K. Dick, and Clive Barker. In establishing this textual field, the book reveals how depictions of non-human agents invite readers to cross subjective and cultural thresholds and interact with the "impossible" pain of others. Ultimately, this study asks us to consider new practices for reading trauma literature that enlarges our conceptions of the human and the real.
OCEANS attends to the inextricable human and nonhuman agencies that affect and are affected by the sea and its running currents within contemporary art and visual culture. Oceans cover more than 70 percent of the Earth’s surface, dividing and connecting humans, who carry saltwater in their blood, sweat and tears. They also represent a powerful nonhuman force, rising, flooding, heating and raging in unprecedented ways as the climate crisis unfolds. Artists have envisioned the sea as a sublime wilderness, home to mythical creatures and bizarre species, a source of life and death, a site of new beginnings and tragic endings, both wondrous and disastrous. From migration to melting ice caps, the sea is omnipresent in international news and politics, leaking into popular culture and proliferating in recent art and exhibitions. This anthology gathers artists and writers to address the ocean not only as a theme but as a major agent of artistic and curatorial methods. Artists surveyed include Bas Jan Ader, Eileen Agar, John Akomfrah, Heba Y. Amin, Shuvinai Ashoona, Betty Beaumont, Leopold & Rudolf Blaschka, Heidi Bucher, Marcus Coates, Tacita Dean, Chris Dobrowolski, Léuli Eshrāghi, Ellen Gallagher, Ayesha Hameed, Barbara Hepworth, Klara Hobza, Isuma, Brian Jungen, Tania Kovats, Sonia Levy, Armin Linke, Lani Maestro, Ana Mendieta, Kasia Molga, Eleanor Morgan, Wangechi Mutu, Saskia Olde Wolbers, Jean Painlevé and Geneviève Hamon, Allan Sekula, Shimabuku, Ahren Warner, Christine & Margaret Wertheim, Alberta Whittle Writers include Stacy Alaimo, Bergit Arends, Erika Balsom, Karen Barad, Rachel Carson, Mel Y. Chen, T.J. Demos, Marion Endt-Jones, Kodwo Eshun, Paul Gilroy, Stefano Harney, Epeli Hau’ofa, Donna Haraway, Eva Hayward, Stefanie Hessler, Luce Irigaray, Zakiyyah Iman Jackson, Celina Jeffery, Melody Jue, Max Liboiron, Lana Lopesi, Chus Martínez, Jules Michelet, Fred Moten, Astrida Neimanis, Celeste Olalquiaga, Ralph Rugoff, John Ruskin, Marina Warner, Jan Verwoert
Opening with the statement “The anthropocene is no time to set things straight,” Stacy Alaimo puts forth potent arguments for a material feminist posthumanism in the chapters that follow. From trans-species art and queer animals to naked protesting and scientific accounts of fishy humans, Exposed argues for feminist posthumanism immersed in strange agencies and scale-shifting ethics. Including such divergent topics as landscape art, ocean ecologies, and plastic activism, Alaimo explores our environmental predicaments to better understand feminist occupations of transcorporeal subjectivity. She puts scientists, activists, artists, writers, and theorists in conversation, revealing that the state of the planet in the twenty-first century has radically transformed ethics, politics, and what it means to be human. Ultimately, Exposed calls for an environmental stance in which, rather than operating from an externalized perspective, we think, feel, and act as the very stuff of the world.
Connecting Renaissance humanism to the variety of “critical posthumanisms” in twenty-first-century literary and cultural theory, Renaissance Posthumanism reconsiders traditional languages of humanism and the human, not by nostalgically enshrining or triumphantly superseding humanisms past but rather by revisiting and interrogating them. What if today’s “critical posthumanisms,” even as they distance themselves from the iconic representations of the Renaissance, are in fact moving ever closer to ideas in works from the fourteenth to the seventeenth century? What if “the human” is at once embedded and embodied in, evolving with, and de-centered amid a weird tangle of animals, environments, and vital materiality? Seeking those patterns of thought and practice, contributors to this collection focus on moments wherein Renaissance humanism looks retrospectively like an uncanny “contemporary”—and ally—of twenty-first-century critical posthumanism.
American ecopoetries of migration explore the conflicted relationships of mobile subjects to the nonhuman world and thus offer valuable environmental insight for our current age of mass mobility and global ecological crisis. In Ecopoetic Place-Making, Judith Rauscher analyzes the works of five contemporary American poets of migration, drawing from ecocriticism and mobility studies. The poets discussed in her study challenge exclusionary notions of place-attachment and engage in ecopoetic place-making from different perspectives of mobility, testifying to the potential of poetry as a means of conceptualizing alternative environmental imaginaries for our contemporary world on the move.
