Gender Theory in Troubled Times. Rachel Alsop

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Gender Theory in Troubled Times - Rachel Alsop


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1991). Haraway’s project is to overcome the binary between nature and culture, replacing the two terms with nature/culture, in which different elements cannot be disentangled. She was also concerned to draw attention to the complex factors which go into constituting what is to count as nature for us. Most crucially, she was concerned to undermine the supposed naturalness of certain binaries, insisting on a breaching of boundaries between human and animal and between animal and machine. Thus came her invocation of the cyborg: a creature ‘simultaneously animal and machine’ populating a world ‘ambiguously natural and crafted’ (1991: 149). In pointing to the cyborg as the figure which captures our ‘bodily reality’, Haraway is resisting any appeal to a pure nature which is supposed to constitute our bodily being. There is no clear boundary between what is natural and what is constructed. In Haraway’s picture, however, the body, along with the rest of the natural world, has what she calls ‘a trickster quality that resists categories and projects of all kinds’ (1997: 128). Nature is viewed as an agent, actively contributing to the indivisible nature/culture with which we are faced. ‘We must find another relationship to nature besides reification, possession, appropriation and nostalgia’ (Haraway 2008: 158). This other relation is to view nature as ‘a partner in the potent conversation’ (ibid.) in which we attempt to constitute it. What is so notable about Haraway’s work is the careful respect shown to the concreteness of bodily existence and to the biological narratives, alongside narratives of historical and cultural kinds.

      The nature/cultures with which Haraway concerns herself resist disentanglement into biological grounding and derived formations. Rather, they work in an interdependent way. Reflecting in a lecture on the ‘enzymes of the electro transport system … biological catalysts in energy-producing cells’, she concludes: ‘Machine, organism and human embodiment all were articulated – brought into particular co-constitutive relations – in complex ways which [were] … historically specific’ (2008: 162–3). The agency of the human, manifest in the articulation, narrative and visualizing of the process, required the agency (as Haraway calls it, in a use of the term ‘agency’ without a suggestion of intention) of the organism, and that of the machine, in ‘past and present … socio-technical histories’ (ibid.: 163). This is to recognize that our account of what we take to be nature emerges from a complex interaction of scientific investigations, cultural metaphors and the networks of technology which condition theory. Haraway’s attention to the availability of technology as influencing our theorizing is of particular interest when we are thinking about sexed differences. For it is in part the development of surgical technologies, enabling bodily changes, that facilitated, for example, the sexed categories of trans man or trans woman. Donna Haraway’s writings are centrally important in establishing not only the way culture mediates our understanding of nature but also the impossibility of maintaining any dualism of ‘nature’ and ‘culture’. The two are irrevocably intertwined. It therefore seems mistaken to treat biology as if it had disentangled the natural and the cultural and presented us with nature disentangled. Biology itself is just one form of the entanglement.

      The entanglements to which Haraway draws our attention, and which we are highlighting within the context of a project addressing sexed difference, are not simply entanglements of matter and meaning. The biological body is placed in entanglements with the bodies of other humans in varieties of kinship and other social relations. And we are in relation to animals, with the matter of the planet as a whole and all its inhabitants, which Haraway (2016) also calls kinship relations. We are entangled in economic systems, as well as within systems of meanings and the workings of the imaginary. Some of these we will address in the rest of this book.

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