In this article I explore how mythopoeic Young Adult (YA) fantasy offers examples of living and being an adolescent female body that challenge the dominant, hegemonic discourses dictating the adolescent girl's appearance in the West's imagesaturated culture. I begin by establishing the features of mythopoeic YA fantasy, before looking at Daine in Tamora Pierce's Immortals quartet and Cinder(ella) in Marissa Meyer's The Lunar Chronicles. Daine's shape-shifting body and Cinder's cybernetic one offer bodily change as an integral part of the (adolescent female) body, as opposed to the fixed perfection required by the fantasy femininity on offer in popular culture, including print, televisual, and social media. Employing a reading of touch in order to explore the multiplicity that is available on, and through, these bodies, I question the representational economy dominating the hegemonic discursive construction of the adolescent girl.
The Adolescent Female Body in YA Fantasy
This issue of Screen Bodies features a Screen Shots section focusing on screening disability, including essays on new disability documentaries, vacillation and the dis/abled male body—especially as it plays out in Fred Zimmerman’s 1950 film The Men—and questions of masquerade and representations of Richard III on stage and screen. It also includes general essays on “undoing” gender through complicity and subversion, the rise in the importance of the haptic in Japanese society, culture, and filmmaking in the 1920s, and an investigation of uncertainty and the “generosity paradox” with regard to gender, sexuality, and ability in cyborg cinema.
The Clone in Deryn Rees-Jones' Quiver and Donna Haraway's 'A Cyborg Manifesto'
Rees-Jones' Quiver and Donna Haraway's 'A Cyborg Manifesto' explore how different mythologies of being can emancipate women from and create a dialogue with ordinary female reproduction. Haraway and Rees-Jones use advances in reproductive and mechanical technologies to imagine new modes of being which are not simply products of the imagination, but a recycling of images and debates of concern to women and feminists. In Test-Tube Women: What Future for Motherhood?, Rita Arditti, Renate Duelli Klein and Shelley Minden ask a pertinent question: '[e]ach time a new technological development is hailed the same question arises: is this liberation or oppression in a new guise?' Both Haraway and Rees-Jones explore the rise of new technologies in relation to gender and maternity and gauge the emancipatory or oppressive possibilities.
Gerrit K. Roessler
This article examines Ulrich Horstmann's science fiction radio play Die Bunkermann-Kassette (The Bunker Man Cassette, 1979), in which the author frames fears and anxieties surrounding a potential nuclear conflict during the Cold War as apocalyptic self-annihilation of the human race. Radio, especially radio drama, had a unique role in capturing the historical imaginaries and traumatic experiences surrounding this non-event. Horstmann's radio drama and the titular cassette tape become sound artifacts that speak to the technological contexts of their time, while their acoustic content carries the past sounds into the present. In the world of the play, these artifacts are presented in a museum of the future, which uses the possibilities of science fictional imagination and speculation to create prosthetic memories of the Cold War. The article suggests that these memories are cyborg memories, because the listener is a fully integrated component of radio technology that makes these memories and recollections of imagined events possible in the first place.
Heike Weber and Gijs Mom
The final months of 2014 have seen many critical events in respect to mobility: Apple introduced its Apple Watch, a cyborg technology that adds a novel, substantially corporeal layer to our “always on” connectedness—what Sherry Turkle has termed the “tethered self.”1 Moreover, it is said to revolutionize mobile paying systems, and it might finally implement mobile body monitoring techniques into daily life.2 Ebola is terrorizing Africa and frightening the world; its outbreak and spread is based on human mobility, and researchers are calling for better control and quantifi cation of human mobility in the affected regions to contain the disease.3 Even its initial spread from animals to humans may have had its origin in human transgressions beyond traditional habitats, by intruding into insular bush regions and using the local fruit bats as food. Due to global mobility patterns, the viral passenger switched transport modes, from animal to airplane. On the other hand, private space fl ight suff ered two serious setbacks in just one week when the Antares rocket of Orbital Sciences, with supplies for the International Space Station and satellites on board, exploded, and shortly after, SpaceShipTwo crashed over the Mojave Desert. Th ese catastrophic failures ignited wide media discussion on the challenges, dangers, and signifi cance of space mobility, its ongoing commercialization and privatization, and, in particular, plans for future manned space travel for “tourists.”4
Faith in Machine or Man?
Jan Martijn Meij
Lovelock (JL)—and many other tech utopians—dismiss the doomsday predictions and argue that cyborgs are the planet's best hope in undoing the constant heating of the Earth. Others, such as Bill McKibben (BM) are more skeptical and argue that not only is this
Embodiment Technologies in Science/Fiction
in relation to the digital or synthetic body and cyborg cinema by drawing together insights from across these different paradigms of thought. Transhumanism, Synthetic Biology, and Enhancement Technologies Science fiction confronts the threats
Joseph Bristley and Elizabeth Turk
concerns with how bodies can be organically transformed are used to elicit differences between their ontologies and those of transhumanists who valorize ‘cyborgs and man-machine merging’ (100) as a means to achieve human immortality. Chapter Three examines
Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer
up the first section of the book deal with the overarching topic of monstrous genesis. In the opening chapter, Alistair Brown draws comparisons between Donna Haraway’s cyborg and Ambroise Paré’s monsters as a product of nature and their contemporary
’ Positionings on the (Post-)Yugoslav Wars and Each Other (1991–2000)” (PhD diss., University of Amsterdam, 2014). 2 Donna Haraway, “Situated Knowledges: The Science Question in Feminism and the Privilege of the Partial Perspective,” in Simians, Cyborgs and