Soft Fictions and Intimate Documents: Can Feminism Be Posthuman?

Rabinowitz, Paula

doi:10.1007/978-1-137-05194-3_8

Cited by 6 publications

(3 citation statements)

References 2 publications

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“…While undertaking this study I had the same sense of what Rabinowitz (1995, p. 101) terms 'mobility'-of moving in and out of different performances.…”

Section: Methodsmentioning

confidence: 97%

Horsetarts, Mullets and Slurries: sexual subject positions available to young women at Roseworthy College

O'Brien

1998

Discourse: Studies in the Cultural Politics of Education

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“…While undertaking this study I had the same sense of what Rabinowitz (1995, p. 101) terms 'mobility'-of moving in and out of different performances.…”

Section: Methodsmentioning

confidence: 97%

Horsetarts, Mullets and Slurries: sexual subject positions available to young women at Roseworthy College

O'Brien

1998

Discourse: Studies in the Cultural Politics of Education

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“…The term 'posthuman' has been used in connection to many different kinds of analyses, such as performative gender stereotypes (see Rabinowitz, [1995] 2000) or as queering sexual expressions (see Halberstam, [1991] 2000) or as a necessary enrichment of intersectional analysis of everyday life or court cases (see Deckha 2008) or science practices (see Barad, 2003). However as it is hopefully clear by now the present article focuses on the posthuman as a new materialist concept and as such it sees the posthuman as a figuration to think through particular instances of presence and aesthetics of experiences online.…”

Section: The Power Of the Posthumanmentioning

confidence: 99%

The Aesthetics of Posthuman Experience: The Presence of Journalistic, Citizen-generated and Drone Imagery

Blaagaard¹

2015

Westminster Papers in Culture and Communication

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In this article I argue that the meaning of presence in journalism is taking on new forms as the photographer, bystander or citizen journalist may be absent in body but remains present in digital form and interconnected with that digital techno logy. Using the reference point of new materialist concepts this entanglement is shown through what I will call the aesthetics of posthuman experience. The article proceeds to undertake a posthuman reading of three videos posted online between 2009 and 2012 of demonstrations in Greece, Iran and Poland arguing these make manifest two key lines of thinking in new materialist theories: the natureculture continuum and the materialsemiotic. Technology, hereby, is endowed with subjec tivity in continuous relation with the viewer. Employed by citizens, such drone or digital aesthetics of posthuman experience use a more nuanced mediascape beyond 'objectivity' and 'journalistic truth' for their frame of reference and for defining knowledge and reality.

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“…It is interested in our prosthetic body parts (our contact lenses, our air‐cushioned shoes), our virtual realities (home shopping, or Everquest), our science fictions (from Orwell to The Matrix ). Yet it is worth noting that many of the articles in Badmington's collection address more familiar forms of physical difference such as gender or ethnicity, and are concerned not with sci‐fi or bodily modification but with a re‐thinking of the ways in which western philosophy has fostered the illusion of a fundamental, definable “humanity.” Critics like Franz Fanon and Paula Rabinowitz challenge humanism as a white male European phenomenon which, however tacitly, regards “other” bodies—be they female, nonwhite, or otherwise different—as less than fully human 5 . Posthumanism, in other words, is not a movement or even a coherent set of ideas but a deceptively neat shorthand for a very broad range of approaches to the problem of humanism in a late modern world.…”

Section: The Office and (Post)humanismmentioning

confidence: 99%

Talking Cookie Jars and Tongue‐Tied Bodies: Posthumanism and The Office

Tinker

2009

The J of Popular Culture

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D ISCUSSIONS OF BBC TV SERIES THE OFFICE TEND TO FOCUS ON THE question of why audiences find the show funny. This analysis, however, will begin by examining the series' representation of a contemporary British working environment, and will consider the ways in which this environment shapes the identities of its inhabitants. It will then trace some of the preoccupations of The Office and its main protagonist David Brent (played by Cowriter and Director Ricky Gervais), focusing on the series' interest in human bodies, particularly those of liminal or uncertain status. The discussion that follows will demonstrate that within the imitation ''reality TV'' format of The Office, with its knowing absorption in its own artificiality, there lies a deeper questioning of ''real'' human bodies and values. 1 Finally, with all David Brent's anxieties about (post)human bodies in mind, this article will return to the question of comedy, and suggest that the different models of humor in The Office reflect divergent attitudes to the shifting status of the human form. Reality TVThe term reality TV covers a wide range of genres from fly-on-the-wall documentaries and docusoaps like Driving School to elaborate gameshows like Survivor and Big Brother. The Office falls into the hybrid, spinoff category of the spoof documentary, a drama that imitates the reality TV format, and as such it is a direct descendant of Peter Weir's The

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Soft Fictions and Intimate Documents: Can Feminism Be Posthuman?

Cited by 6 publications

References 2 publications

Horsetarts, Mullets and Slurries: sexual subject positions available to young women at Roseworthy College

Horsetarts, Mullets and Slurries: sexual subject positions available to young women at Roseworthy College

The Aesthetics of Posthuman Experience: The Presence of Journalistic, Citizen-generated and Drone Imagery

Talking Cookie Jars and Tongue‐Tied Bodies: Posthumanism and The Office

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