By Margret Grebowicz
Feminist theorist and thinker Donna Haraway has considerably impacted idea on technological know-how, cyberculture, the surroundings, animals, and social family. This long-overdue quantity explores her effect on feminist concept and philosophy, paying specific cognizance to her newer paintings on better half species, instead of her "Manifesto for Cyborgs."
Margret Grebowicz and Helen Merrick argue that the continued fascination with, and re-production of, the cyborg has overshadowed Haraway's wide physique of labor in ways in which run counter to her personal transdisciplinary practices. Sparked by way of 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 thought, queer conception, or even technological know-how fiction. They situate Haraway's severe storytelling and "risky analyzing" practices as kinds of feminist method 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 variety 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
But this beginning is not arbitrary. It is motivated by our belief that nature is not merely one problem among others for feminism to tackle. In our earliest conversations around Haraway, we discovered a series of shared frustrations around the ways in which her work natures 23 figured (or didn’t) in feminist theory. Not only was her precyborg work rarely referred to in feminist theory outside feminist science studies, it continued to present challenges for feminist encounters with the material despite being written more than three decades ago.
But, as we show throughout the book, theorists are not the interlocutors Haraway invokes the most, and we devote the “Stories” chapter to exploring why this may be. Haraway’s use of “story” to unpack the practices and products of science is well known, as is her use of SF to signal a field in which science fictions and science facts intermingle. Critics often note Haraway’s references to and readings of science fiction—it is hard to avoid the presence of SF as inspiration for rethinking cyborgs in the manifesto or as eponymous source for the title of Modest_Witness.
While Primate Visions’ (1989b) focus on story and narrative fields inclined some to see Haraway as a radical constructionist, she was very clear about the dangers of the sorts of social constructionist position suggested by Bruno Latour’s early work (Haraway 1989b:6). Just as Haraway does not reduce the natural sciences to “relativism,” neither does her argument “claim there is no world for which people struggle to give an account, no referent in the system of signs and productions of meanings, no progress in building better accounts within traditions of practice.