Cyberfeminism as Science Fiction. Drawn in Japan
pdf (Русский)

Abstract views: 228
PDF Downloads: 97

Keywords

Cyberfeminism
Science Fiction
Future
Anime
Cyborg
Cognitive Estrangement
Social Philosophy
Practical Philosophy
Applied Philosophy
Theory of Culture

How to Cite

Afanasov, N. (2022). Cyberfeminism as Science Fiction. Drawn in Japan. Galactica Media: Journal of Media Studies, 4(1), 71-95. https://doi.org/10.46539/gmd.v4i1.248

Abstract

In the 80’s representatives of the second wave feminist theory nurtured hopes that new technologies would become an effective instrument of liberating from binary oppositions of patriarchal culture. Donna Haraway saw the potential of social transformations in cybernetic technologies. The fusion of biological, mechanical and cybernetic was to have led to the emergence of new cyborg subjectivity. It should be capable of creating its own culture as well as a new world. Later this narrative would be widely criticized, but in this optimistic form it greatly affected science fiction of the period. The author makes an attempt to present the theoretical components of cyberfeminism as science fiction that engenders cognitive estrangement. Catchy images of cyborgs were born in the performative framework of cyberfeminist theory and popular culture. They continue to affect imagination to the present day. Japanese animation stood at the vanguard of this cultural process. The article considers the visions drawn in Japan as a narrative that represents historical evolution of cyberfeminism. The end of anime’s “golden age” meant the end of a thorough work with cyberfeminism in the language of popular culture. The findings of the study reveal that cyberfeminism is a part of general theory that has subsequently become a part of global discourse of a new posthuman subject. The article emphasises the other part of the phenomenon – cyberfeminist practice – that has successfully adapted to the modern world.

https://doi.org/10.46539/gmd.v4i1.248
pdf (Русский)

References

Afanasov, N. B. (2019). Messiah in Depression: Religion, Science-Fiction and Postmodernism in Neon Genesis Evangelion. State, Religion and Church in Russia and Worldwide, 3, 124–148. https://doi.org/10.22394/2073-7203-2019-37-3-124-148 (In Russian).

Aktuganova, I. (2002, November 21) Instead of a Manifesto. Feminism as Support Point. RAAN. https://russianartarchive.net/ru/catalogue/document/D11172 (In Russian).

Aktuganova, I. (2020, April 15). On Cyberfenisms and Dead Lions. Novaya Gollandiya/New Holland Island. https://www.youtube.com/watch?v=N_Zeyxz-RJI&t=44s (In Russian).

Balsamo, A. (1996). Technologies of the Gendered Body. Reading Cyborg Women. Duke University Press.

Bare, J. (2000). The Future: “Wrapped… in That Mysterious Japanese Way”. Science Fiction Studies, 27 (1), 22–48.

Bolton, C. (2018). Interpreting Anime. University of Minnesota Press.

Braidotti, R. (2021). The Posthuman. Gaidar Institute Press. (In Russian).

Cass, J. (1999). SS Troopers: Cybernostalgia and Paul Verhoeven’s Fascist Flirtation. Studies in Popular Culture, 21 (3), 51–63.

Collier, P. (2021). The Future of Capitalism. Gaidar Institute Press. (In Russian).

Crewe, J. (1997). Transcoding the World: Haraway’s Postmodernism. Signs, 22 (4), 893–894.

Csicsery-Ronay, Ist. (1991). The SF Theory: Baudrillard and Haraway (La SF de la Théorie: Baudrillard er Haraway). Science Fiction Studies, 18 (3), 387–404.

Freedman, C. (2000). Review: Science Fiction and the Triumph of Feminism. Science Fiction Studies, 27 (2), 278–289.

Gajjala, R., & Mamidipud,i A. (1999). Cyberfeminsm, Technology, and International ‘development’. Gender and Development, 7 (2), 8–16.

Haraway, D. (1985). Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980’s. Socialist Review, 80, 65–108.

Haraway, D. (2005). Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980’s. In L. M. Bredikhina, K. Dipuell (Eds.), Gender Theory and Art. An Anthology: 1970–2000 (pp. 322–376). ROSSPEN. (In Russian).

Haraway, D. (2017). Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980’s. Ad Marginem Press. (In Russian).

Hawthorne, S., & Klein, R. (Eds.), (1999). CyberFeminism: Connectivity, Critique and Creativity. Spinifex Press.

Henthorne, T. (2011). William Gibson: A Literary Companion. McFarland & Company.

Hollinger, V. (1990). Introduction: Women in Science Fiction and Other Hopeful Monsters. Science Fiction Studies, 17 (2), 129–135.

Hui, Y. C., & Babaee, R. (2015). The Identity of Female Cyborg in William Gibson’s Neuromancer. International Journal of Comparative Literature & Translation Studies, 3 (2), 62–65. https://doi.org/10.7575/aiac.ijclts.v.3n.2p.62

Jameson, F. (2019). Postmodernism, or, the Cultural Logic of Late Capitalism. Gaidar Institute Publishing House. (In Russian).

Kungurov, D. (2020). How Anime Created and Then Killed Cyberpunk. YouTube. https://www.youtube.com/watch?v=-wmxo9zrXy0 (In Russian).

Li, Q., & Tan, E. (2019). Alita: Battle Angel – A Step in the Right Direction for Anime Adaptations. Galactica Media: Journal of Media Studies, 1 (1), 88–106. https://doi.org/10.24411/2658-7734-2019-00004

Luckhurst, R. (1991). Border Policing: Postmodernism and Science Fiction. Science Fiction Studies, 18 (3), 358–366.

Mikhel, D. V. (2002). Cyberfeminism. In A. Denisova (Ed.), Gender Concepts Thesaurus (pp. 127–128). Informatsiya – XXI vek. (In Russian).

Milkina, E. N. (2011). Cyberfeminism. Philosophical Problems of IT & Cyberspace (PhilIT&C), 2, 177–181. (In Russian).

Morse, D. E. (2007). William Gibson on the Knife-edge of a Specious Moment. In C. Yoke, C. Robinson (Eds.), The Cultural Influences of William Gibson, the “Father” of Cyberpunk Science Fiction (pp. 32–51). Edwin Mellen Press.

Napier, S. (2004). When the Machines Stop: Fantasy, Reality, and Terminal Identity in “Neon Genesis Evangelion” and “Serial experiments Lain”. Science Fiction Studies, 29 (3), 418–435.

Napier, S. (2005). Anime from Akira to Howl’s Moving Castle. Experiencing Contemporary Japanese Animation. Palgrave Macmillan.

Nesterenko, M. (2017, November 20). “That’s Obvious: there are Cyberpunks, and there are Cyberfeminists”. Alla Mitrofanova’s Reading Biography. Gorky.media. https://gorky.media/context/est-kiberpanki-a-est-kiberfeministki-eto-zhe-ochevidno/ (In Russian).

Pavlov, A. V. (2019a). Greatest Cults: New Words about Old Phenomenon. Galactica Media: Journal of Media Studies, 1 (1), 162–177. https://doi.org/10.24411/2658-7734-2019-00009 (In Russian).

Pavlov, A. V. (2019b). Postpostmodernism: How Do Social and Cultural Theories Explain Our Time. Delo Publishing House. (In Russian).

Pisarev, A. A. (2019). Conflict of Immortalities: Biopolitics of Cerebral Subject and Religious Life in Altered Carbon Series. State, Religion and Church in Russia and Worldwide, 3, 149–172. https://doi.org/10.22394/2073-7203-2019-37-3-149-172 (In Russian).

Podoroga, B. V. (2019). Poetics of Dead Body: David Cronenberg as Norman’s Brown Reader. Galactica Media: Journal of Media Studies, 1 (3), 49–70. https://doi.org/10.24411/2658-7734-2019-10024 (In Russian).

Pollock, S., Sutton, J. (1999). Women Click: Feminism and the Internet. In S. Hawthorne, R. Klein (Eds.), CyberFeminism: Connectivity, Critique and Creativity (p. 35–56). Spinifex Press.

Redmond, R. (2021). Sound Like Mysogyny: Voicing Cross-gender Roles in Anime and Discources Surrounding Female Fandom on 2 channel. Mechademia: Second Arc, 13 (2), 102–119. https://doi.org/10.5749/mech.13.2.0102

Roberts, R. (1990). Post-Modernist and Feminist Science Fiction (Le post-modernisme et la science-fiction féministe). Science Fiction Studies, 17 (2), 136–152.

Sato, K. (2004). How Information Technology Has (Not) Changed Feminism and Japanism: Cyberpunk in the Japanese Context. Comparative Literature Studies, 3 (41), 335–355. https://doi.org/10.1353/cls.2004.0037

Sdobnov, S. (2017, August 13). Donna Harraway’s “Manifesto for Cyborgs” appeared in Russian. Vedomosti. https://www.vedomosti.ru/lifestyle/articles/2017/08/14/729211-manifest-kiborgov (In Russian).

Shephard, N. (2013). What was/is cyberfeminism? Part I. LSE. https://blogs.lse.ac.uk/gender/2013/06/03/what-wasis-cyberfeminism-part-1-of-2/

Shumilova, A. Yu. (2018). Epoche of Moe and Postmodernism in Japanese Culture. In: Yu. A. Magera (Ed.), Manga in Japan and Russia. Vol. 2 (p. 26–35). Fabrika komiksov. (In Russian).

Silvio, C. (1999). Refiguring the Radical Cyborg in Mamoru Oshii’s “Ghost in the Shell”. Science Fiction Studies, 26 (1), 54–72.

Suvin, D. (1972). On the Poetics of the Science Fiction Genre. College English, 3 (34), 372–382.

Wajcman, J. (2019). Pressed for Time: The Acceleration of Life in Digital Capitalism. Delo Publishing House. (In Russian).

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.