#85 = Volume 28, Part 3 = November 2001
Doing It for Ourselves: Two Feminist Cyber-Readers
How can I say it? That we are women from the start. That we
don’t need to be produced by them, named by them, made sacred or profane by
them. That this has already happened, always already happened, without their
labors. And that their history constitutes the locus of our exile.—Luce
Irigaray, "When Our Lips Speak Together" (The Gendered Cyborg
Jenny Wolmark, ed. Cybersexualities: A Reader on Feminist
Theory, Cyborgs and Cyberspace. Edinburgh: Edinburgh UP, 1999. viii + 374
pp. Distributed by Columbia UP. $75.00 hc; $25.00 pbk.
Gill Kirkup, Linda Janes, Kathryn Woodward, Fiona Hovenden,
eds. The Gendered Cyborg: A Reader. Routledge: London and New York (in
association with The Open University), 2000. xiv + 333 pp. $85.00 hc; $27.99 pbk.
Here are two generous and stimulating collections that will be
of interest to researchers and teachers in a variety of cognate areas. With
relatively little overlap, each assembles a broad selection of essays and
excerpts from longer works that, taken together, have participated significantly
not only in the ongoing project of feminist criticism of science fiction but
also, more broadly, in a whole range of feminist science studies and feminist
cultural studies of science developed since the mid-1980s. They provide an
excellent introduction to the tangle of questions and issues raised by
contemporary technoculture’s theoretical constructions of nature, science,
subjectivity, bodies, and genders. Collectively, the various essays and excerpts
reprinted in Cybersexualities and The Gendered Cyborg comprise a
complex and wide-ranging exploration of existing techno-representations. And
many of them suggest (at least the possibilities of) different, more inclusive,
and more critically self-aware representations.
Is there so much material out there dealing with what is
sometimes termed cybertheory, and specifically feminist cybertheory, that we
already require editors to sift, collate, and collect it? In brief, yes. In our
previous issue of SFS #84, 28:2 [July 2001], we noted a feminist website that lists
resources on cyberfeminism, technoculture, gender and science, and new media
designed by sidney eve matrix of the University of Minnesota. If you take a look
at this impressive site (at<htttp:www.tx.umn.edu/~matri001>), you will
find an overwhelming amount of material to sift through, including journals,
full-length studies, edited collections, articles, links to other websites,
conference reports, and calls for papers. In other words, feminist cybertheory
is a large, convoluted, and constantly expanding critical field. Collections
such as Cybersexualities and The Gendered Cyborg are invaluable
guides through some of its more significant pathways.
For readers with a particular interest in science fiction,
Jenny Wolmark’s Cybersexualities is the more immediately relevant of
the two, and for this reason I will discuss its contents in some detail. Many
readers will already be familiar with Wolmark’s Aliens and Others: Science
Fiction, Feminism and Postmodernism (1993), one of the best full-length
studies of science fiction to appear in the 1990s.1 Her present
collection, produced as a sourcebook for scholars and students, reprints
seventeen articles originally published between 1988 and 1995 and arranges them
in three sections: "Technology, Embodiment and Cyberspace," "Cybersubjects:
Cyborgs and Cyberpunks," and "Cyborg Futures." These strands are
tied together through Wolmark’s detailed general introduction, as well as
through her very useful introductions to the individual sections.
Wolmark’s stated aim is to "chart some of the key
issues" arising from the intersections of cultural theory, feminist theory,
cyborgs, and cyberspace; and she organizes Cybersexualities around
"two related but distinct metaphors, that of cyberspace, and the cyborg"
(1).2 She also discusses in some detail the two texts that anchor her
selections. The first, not at all surprisingly, is Donna Haraway’s "A
Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the
1980s" (1985), that vastly influential discussion about feminism,
technology, and affinity politics that remains so central to so many of the
ongoing debates in cybertheory. The second, again not so suprisingly, is William
Gibson’s Neuromancer (1984), the quintessential cyberpunk novel that
introduced the term cyberspace into popular discourse. Neuromancer
continues to function as an exemplary text in any discussion of how science
fiction imaginatively represents our "information-saturated
Wolmark’s introduction of these two lode-star texts
emphasizes how each has become situated at the intersections of contemporary
feminist theory, cultural theory, and science fiction. Feminist theory has been
debating the relative merits of Haraway’s "Manifesto" from a wide
variety of perspectives almost since the moment of its first appearance, and
these debates frequently intersect with science fiction, the imaginative locale
where most of our cyborgs still reside. For many readers, part of the attraction
of the "Manifesto" is its recognition of the imaginative significance
of contemporary sf to lived culture, as well as Haraway’s identification of
writers like Joanna Russ, Samuel R. Delany, and Octavia Butler as
"theorists for cyborgs" (173). As a work of fiction, Neuromancer
is the apotheosis of noir sf, tough, cool, and savvy. Its fictionalized
construction of our present-day information society and its imaginative
representation of a cyberspace that every day seems closer to actualization have
attracted debate, resistance, and rethinking of a particularly rich variety. If
Gibson gave us "cyberspace," Haraway’s "Manifesto"
encouraged us to recognize his characters as cyborgs. Gibson too is a theorist
for cyborgs, even if his are not quite the postgender cyborgs envisioned by
Haraway as one hopeful response to the apocalyptically-minded project of
masculinist science. Since both the cyborg and cyberspace imaginatively
influence our current notions about the body and embodiment, each has provided a
richly rewarding trope through which to think about subjects, bodies, genders,
and sexualities as they develop and play out in real-world technoculture.
Wolmark’s first section, "Technology, Embodiment and
Cyberspace," reprints five essays and one excerpt that explore questions
about embodiment, particularly female embodiment. The first two, Mary Ann Doane’s
"Technophilia: Technology, Representation, and the Feminine" (1990)
and Claudia Springer’s "The Pleasure of the Interface" (1991), both
turn to science fiction as a central cultural production through which to
develop their arguments. Doane combines film theory and psychoanalysis to
examine the vexed representations of the feminine, specifically the maternal
feminine, in a range of sf films, from Metropolis (1926) to Alien (1979)
to Blade Runner (1982), demonstrating how these films displace their (masculinist)
anxieties about technology onto the maternal body. She concludes that these
films manifest "both a nostalgia for and a terror of the maternal function,
both linking it to and divorcing it from the idea of the machine woman"
(31). Springer’s essay looks at the contradictions and complexities of erotic
desire as constructed through and experienced by cyborgs and techno-bodies in a
range of sf texts, including novels, comics, and films.3 Not
surprisingly, she argues that the cyborg’s potential for disrupting gender
categories has rarely been fulfilled, since, "despite its willingness to
relinquish other previously sacrosanct categories, patriarchy continues to
uphold gender difference" (41).4
The next essay is Zoë Sofia’s "Virtual Corporeality: A
Feminist View" (1992), an informative examination of the gendered
differences in how women and men "interface" with computer
technologies. In the course of her study, Sofia draws on philosopher of
technology Don Ihde’s taxonomy of human-technology-world interactions, as
developed in his Technology and the Lifeworld: From Garden to Earth
(1990). Alluquère Rosanne Stone’s "Will the Real Body Please Stand Up?
Boundary Stories about Virtual Cultures" (1991) is a kind of ethnography, a
series of "stories" that suggest some of the implications of gender
differences for how individuals negotiate their experiences in virtual
communities. For her, this kind of study is "an entry point into a search
for ... an apparatus for the production of community and an apparatus for the
production of body" (87) "in a time in which technology and organism
are collapsing, imploding into each other" (93).
The fifth essay in this section is Sadie Plant’s "The
Future Looms: Weaving Women and Cybernetics" (1995), an exemplary statement
by one of today’s leading cyberfeminists, an optimistic and celebratory
manifesto for the emancipatory possibilities for women of contemporary
information technologies. While Plant’s work, tending as it does toward an
unconvincing essentialism in its construction of "women" and "the
feminine," is contentious even within the field of feminist cyberstudies,
there is no denying the attractions of her utopian constructions of female
cyber-embodiment and cyber-empowerment. Wolmark closes this section with an
excerpt from Elizabeth Grosz’s Space, Time and Perversion (1991), a
dense and broadly psychoanalytic exploration of the potential differences
arising from gender construction in our human experiences of space and time. As
Wolmark points out, such experiential differences have rarely been taken into
account in discussions about developments in science and technology. And as
Grosz concludes, "[W]ithout questioning basic notions of space and time,
the inherent masculinity of the ‘hard sciences’ and of philosophical
speculation will proliferate under the banner of the human. Women, once again,
may be granted no space or time of their own" (134).
The essays in Wolmark’s second section, "Cybersubjects:
Cyborgs and Cyberpunks," will be of particular interest to students of
science fiction, addressing as they do representations of embodiment and gender
difference in sf literature and film. Anne Balsamo’s "Reading Cyborgs
Writing Feminism" (1988) is an evaluation of the cyborg figure as it
appears in a range of popular-culture materials.5 Balsamo usefully
identifies the imaginative investments that have resulted in the hardbodied
cyborgs of films such as The Terminator (1984) and Robocop (1987).
She also argues convincingly for the radical potential of the female cyborg
figure: "Female cyborgs embody cultural contradictions which strain the
technological imagination. Technology isn’t feminine, and femininity isn’t
rational" (149). While demonstrating some of the limitations of Haraway’s
optimistic rendering of the cyborg as exemplary figure of resistant feminist
politics, Balsamo nevertheless defends the undeniable potential for feminism of
a technofigure that can challenge the "fundamental terms and binarisms"(155)
that continue to shore up oppressive systems of power and knowledge. Following
Balsamo’s is one of N. Katherine Hayles’s most interesting essays, one that
I cannot recommend too highly. "The Life Cycle of Cyborgs: Writing the
Posthuman" (1993) is an incisive look at the power of narrative to
construct versions of techno-subjectivity that function as preliminary
statements about our incipient real-world existence as posthumans. Along the
way, Hayles develops detailed readings of the gendered cyborgs and tangled webs
of production and reproduction in Bernard Wolfe’s anti-utopian masterpiece, Limbo
(1952), John Varley’s "Press Enter" (1986), and C.J. Cherryh’s Cyteen
(1988). Hayles convincingly demonstrates (as do the other essays that are
collected here) how many of the stories we are currently telling ourselves about
ourselves "reveal the gendered constructions that carry sexual politics
into the realm of the posthuman" (172).
"The Life Cycle of Cyborgs" is followed by my own
relatively early study of cyberpunk, "Cybernetic Deconstructions: Cyberpunk
and Postmodernism" (1990), in which I identify some features of cyberpunk’s
postmodernity and argue that its blurring of the conventionally well-defined
boundaries between the human and the technological "makes cyberpunk a
particularly relevant form of science fiction for the post-industrial
present" (176). All I should say here is that, in spite of expressing a
perhaps too-optimistic faith in cyberpunk’s potential for emancipatory
narrative, I also call attention to the yet-more-radical potential of postmodern
feminist science fiction in its deconstruction of the unified hero-subject of
conventional sf. A much less complaisant reading of cyberpunk is undertaken by
Nicola Nixon in "Cyberpunk: Preparing the Ground for Revolution or Keeping
the Boys Satisfied?" (1992).6 Looking back at the feminist sf of
the 1970s and 1980s, Nixon makes a strong case both for the radical importance
of this feminist writing in its (re)insertion of gender into the generic sf
project and for the limitations of classic cyberpunk in its own representations
of gender. Her striking critique of the language and imagery used by cyberpunk
writers to figure the matrix as a particularly feminine space into which console
cowboys "jack in" at their peril recalls Doane’s earlier work on the
horrors of the maternal realm evinced in some sf films. Nixon’s attention to
the historical and political context in which cyberpunk developed makes her
essay a particularly useful one for students of "the Movement."
The final esssays in this second section are Thomas Foster’s
"Meat Puppets or Robopaths? Cyberpunk and the Question of Embodiment"
(1993) and Wolmark’s "The Postmodern Romances of Feminist Science
Fiction" (1995). Foster’s study is a rare meditation on gender by a
self-identified "white male critic" (209). It looks back to Haraway’s
"Manifesto" and reads possibilities in cyberpunk and the cyborg figure
that are, unfortunately, always also at risk of ideological recontainment.
Foster does demonstrate, however, how a serious intellectual engagement with the
Harawayan cyborg means that "the unmarked, universal position of the white,
middle-class male subject no longer seems available, and [that] we therefore
have access only to partial perspectives, not a generally human one" (212).
His discussion of sf novels by writers such as Laura Mixon and Samuel R. Delany
also suggests the potential for cyberpunk to redefine the construction of
masculinity as well as to be appropriated by subjectivities other than those of
standard white male hacker-heroes. Wolmark’s "Postmodern Romances"
pays particular attention to how "the narrative fantasies of popular
romance fiction" are rewritten in feminist sf "to offer fantasies of
female pleasure and power," especially through the cyborg figures that
people the landscapes of these fictions (230). Wolmark reads a range of feminist
texts, including Elizabeth Hand’s baroque and challenging Winterlong
(1990) and Emma Bull’s feminist cyberpunk novel, Bone Dance (1991). She
concludes by calling attention to how these texts re-examine and redefine
conventional ideas about female subjectivity and female desire. As she does in Aliens
and Others, Wolmark situates the work of feminist sf writers in opposition
to "the kind of cultural pessimism that is a noticeable feature of the
accounts of postmodern culture provided by both Fredric Jameson and Jean
The third section in Cybersexualities, "Cyborg
Futures," reprints five essays: Chela Sandoval’s "New Sciences:
Cyborg Feminism and the Methodology of the Oppressed" (1995); Jennifer
González’s "Envisioning Cyborg Bodies: Notes from Current Research"
(1995); Kathleen Woodward’s "From Virtual Cyborgs to Biological Time
Bombs: Technocriticism and the Material Body" (1994); Donald Morton’s
"Birth of the Cyberqueer" (1995); and Haraway’s "The Promises
of Monsters: A Regenerative Politics for Inappropriate/d Others" (1992).
This section materially broadens the context for considering questions about
subjectivity, identity, hybridity, and politics in the world of global
capitalism and multinational corporate power. It also includes discussions about
some of the differences that inevitably intersect with gender difference, such
as those having to do with history, sexuality, race, class, and age. Woodward’s
essay, for example, is a timely reminder of the powerful technologies displaced
from public consciousness by the glitz of the information revolution,
specifically those gathered under the rubric of biotechnology. Morton’s essay
on the "cyberqueer," however, is for me the least useful contribution
to this very strong collection. Morton appropriates the terminology of
cybertheory in order to construct a version of the queer subject—the "cyberqueer"—that,
in his analysis, threatens the project of more conventional gay and lesbian
politics. I found this essay to be an unconvincing construction of queer theory
as a form of apolitical and "ludic postmodernism" (295) and, as such,
only tangentially relevant to Wolmark’s overall project. Also worth noting is
Wolmark’s decision not to include Haraway’s much-reprinted
"Manifesto." Instead, she concludes Cybersexualities with a
dense yet diffuse article by Haraway that further develops the figure of the
cyborg in the context of the work of politicized communities and the (re)construction
of "nature" as a political category. Haraway continues to interact,
even if only glancingly, with the science fiction imagination, describing her
project in this essay as "the roughest sketch for travel ... to a science
fictional, speculative factual, SF place called, simply, elsewhere" (314).
It is in this third section on "Cyborg Futures" that
Cybersexualities most obviously intersects with the essays and excerpts
collected in The Gendered Cyborg. Like Wolmark’s collection, The
Gendered Cyborg is primarily designed to be used as a reader. It contains a
series of set readings (nineteen selections originally published between 1980
and 1998) for a sixteen-week course, "Gender, Technology and
Representation: Women, Machines and Cyborgs," which forms a module in the
British Open University’s M.A. in Cultural and Media Studies. As its
co-publication by Routledge suggests, however, this is a collection whose
relevance definitely exceeds its use as a course reader. In their preliminary
introduction, the editors explain that The Gendered Cyborg "brings
together, in a way consistent with feminist scholarship and women’s/gender
studies, writings from three different disciplines: cultural studies, the social
studies of science and technology, and gender theory" (xiv). What ties the
various writings in this diverse collection together is their individual focus,
developed from varying perspectives and through a range of discourses, on the
figure of the cyborg and on a related figure, "its companion the
monster" (xiv). As the editors conclude in their brief introduction,
"There is no doubt that the relationship between human beings and
technoscience systems and artifacts is changing in a revolutionary way, and will
continue to do so for some years yet. But the impact of this for women, as a
category and as embodied individuals, is not clear" (xiv).
Gill Kirkup and her co-editors divide their collection into
four sections (the second of which is of particular interest in the context of
sf studies): "Representing Gender in Technoscience," "Alien
M/others: Representing the Feminine in Science Fiction Film,"
"Representing Reproduction: Reproducing Representation," and
"Refractions (Women, Technology and Cyborgs)." Among the highlights of
the first section is Londa Schiebinger’s "Taxonomy for Human Beings"
(1993), a fascinating historical examination of the ways in which unquestioned
gender assumptions have indelibly marked the construction of "mammal"
as a taxonomic class. She points out, for instance, how "within Linnaean
terminology, a female characteristic (the lactating mamma) ties humans to
brutes, while a traditionally male characteristic (reason) marks our
separateness" (16). Schiebinger goes on to demonstrate how race inevitably
intersects with gender in the Western scientific project, reporting in some
detail on the infamous case of Sarah Bartmann, the "Hottentot Venus,"
who in 1810 was brought from South Africa to Europe where her body became the
object of an intense and prurient scientific scrutiny. Also collected in this
first section is an excerpted version of Haraway’s "Manifesto for Cyborgs."
Given the fact that The Gendered Cyborg is, first and foremost, a course
reader, the editors’ decision to include an accessible version of the
"Manifesto" is a good one, although, unfortunately, this version
leaves out the discussions of sf and sf writers of the full-length version. This
first section concludes with Jennifer González’s "Envisioning Cyborg
Bodies: Notes from Current Research" (1995), collected also in Cybersexualities,
and Nina Lykke’s "Between Monsters, Goddesses and Cyborgs" (1996),
an examination of the sometimes fraught yet pressing work of feminist science
Kirkup et al’s section on "Alien M/others"
examines the construction of the feminine in some contemporary science fiction
films.8 This section, not surprisingly perhaps, contains two essays
also collected by Wolmark, Mary Ann Doane’s "Technophilia: Technology,
Representation, and the Feminine" and Anne Balsamo’s "Reading
Cyborgs Writing Feminism." It also includes Barbara Creed’s "Alien
and the Monstrous-Feminine," a study of abjection and the
"monstrous-feminine" in the Alien films,9 as well as
an excerpt from the best full-length study of sf film published to date, Vivian
Sobchack’s Screening Space: The American Science Fiction Film (1987).
The latter is taken from Sobchack’s concluding remarks in Screening Space
about the necessity to invent "new modes" of sf film capable of "represent[ing]
our ‘real’ position as individuals and collective subjects in late
capitalism and yet empower us to act and struggle against its constraints."
Sobchack sees signs of potential "generic reconstruction" in feminist
sf cinema such as Lizzie Borden’s 1993 film Born in Flames (146).
Part three of The Gendered Cyborg collects essays that
examine some of the theoretical and political complexities of reproductive
technologies. As the editors point out in their introduction to this section,
"Reproductive technologies offer a particular illustration of the
interrelationship between gender, technoscience and representation" as
these relationships play out within the field of "the natural" (161).
Among the essays in this section are Rosalind Pollack Petchesky’s "Foetal
Images: The Power of Visual Culture in the Politics of Reproduction"
(1987), which maps the complex debate about the ethics of fetal imaging in
obstetrics; Dion Farquhar’s "(M)other Discourses" (1996), an attempt
to develop a feminist approach to reproductive technologies "that avoids
the simplifications and binary evasions of both liberal and fundamentalist
discourses" (210) and that introduces the notion of "cyborg
families" as a potential challenge to essentialist ideas about
"natural" families; and another essay by Haraway, "The Virtual
Speculum in the New World Order" (1997), an exploration of ideas about
reproductive freedom, the construction of the fetus as subject in some
sociocultural discourses, and, more broadly, the ethical obligations of all
individuals involved in the study of science.
The final section in The Gendered Cyborg collects five
excerpted readings, four of which concentrate specifically on concerns around
technology. The fifth, which introduces the section, is a brief poetic
meditation by Luce Irigaray, "When Our Lips Speak Together" (1980),
that argues for the importance of a feminine symbolic and a feminine language.
Although it predates some of the other essays in this volume by almost two
decades, Irigaray’s writing nevertheless provides an illuminating perspective
on the work of these later pieces: "How to say this? The language we know
is so limited...." (263; ellipsis in original). The other pieces in this
last section include an excerpt from Sadie Plant’s "On the Matrix:
Cyberfeminist Simulations" (1996), an essay about feminist empowerment
through technology that relies, in part, on readings of Mary Shelley, Pat
Cadigan, and Misha; and from Evelynn M. Hammonds’s "New Technologies of
Race" (1997), a study that examines some of the complexities around current
constructions of race and that looks at instances of computer morphing (as in,
for example, Michael Jackson’s "Black and White" video) that seem
still be be involved in the "old debate about miscegenation and citizenship
in the United States" (306).
Reading through these collections more or less in one fell
swoop left me feeling like some kind of cyborg-Cortez. If not exactly
"silent upon a peak in Darien," I was certainly full of "wild
surmise" and, even if only temporarily, at a loss for words. Reading them
also left me uneasy and dissatisfied. These negative reactions have nothing to
do with the excellent results of these two editorial projects and everything to
do with the uncertainties and anxieties of early twenty-first-century feminism
and its frequently vexed interactions with the promises and threats of
contemporary science and technology. These two collections are part of an
absolutely essential feminist response to such developments and they will
continue to be relevant for a long time, given that technoculture shows no signs
of winding down its own projects any time soon.
My epigraph by Luce Irigaray hardly seems like the stuff of
which cybertheory is made. But Irigaray’s eloquent expression of desire for a
feminine and feminist space within the symbolic order, a space from which women
might articulate their own lives, helps to set the scene for contemporary
feminism’s increasing attention to the cultures of science and technology. It
seems certain that, if women do not undertake the kinds of examinations of
discourse, gender, sexuality, embodiment, and representation collected in Cybersexualities
and The Gendered Cyborg, no one else will do it for us. The science
project presents itself to the world as a universal project. It will not speak
for its Others, whom it does not recognize in their differences. For this
reason, women must take an active role in shaping that project, so that
"their history" may eventually cease to "constitute the locus of
our exile." Or, to recall Elizabeth Grosz’s words, so that we may come to
experience both space and time of our own.
1. See my review-essay, "Utopia, Science, Postmodernism,
and Feminism," in SFS #63, 21:2 (July 1994): 232-37.
2. In her discussion of the intersections of feminism and
postmodernism in Aliens and Others, Wolmark borrows from Laura Kipnis the
term "shared theoretical moment" to identify the often contradictory
and troubled relationship between the two terms, and to maintain a sense of
their differences while also exploring their sites of convergence (20). In a
similar fashion, her approach to the range of interests and positions
represented by various strands in feminist theory, cultural theory, and the
imaginative constructions of cyborgs and cyberspace is once again to emphasize
intersections and "shared" agendas, rather than to suggest any easy
alliances among these large and often contradictory cultural projects.
3. This essay forms part of Springer’s full-length study, Electronic
Eros: Bodies and Desire in the Postindustrial Age (1996).
4. Springer’s discussion, like Doane’s, bases itself in
part upon Andreas Huyssen’s "The Vamp and the Machine," an important
study of the woman-as-robot in modernist cultural production. Huyssen’s essay
makes an appearance in many of the pieces in Cybersexualities, including
Wolmark’s own essay on feminist sf’s "postmodern romances."
5. A revised version of this essay appears as part of Balsamo’s
longer study, Technologies of the Gendered Body: Reading Cyborg Women
(1996). See my review-essay, "The Technobody and its
Discontents," in SFS #71,
24:1 (March 1997): 124-32, which also includes a discussion of Springer’s Electronic
6. Nixon’s essay originally appeared in SFS #57, 19:2
(July 1992): 219-35.
7. Lykke’s essay originally appeared in an anthology she
co-edited with Rose Braidotti, Between Monsters, Goddesses and Cyborgs:
Feminist Confrontations with Science, Medicine and Cyberspace. The six
essays that comprise the second section of Lykke’s collection, "Monsters:
Biomedical Bodygames," are particularly significant for their critical
feminist examinations of some of the issues surrounding contemporary
reproductive technologies. For a wide-ranging collection of essays about
feminist work in the sciences and about the feminist science project in general,
see Muriel Lederman and Ingrid Bartsch’s The Gender and Science Reader.
8. It becomes evident after reading through these two volumes
that for feminist scholars in general, as for most of the general population,
science fiction as a category encompasses more film and television than it does
9. See also Creed’s full-length study, The
Monstrous-Feminine: Film, Feminism, Pyschoanalysis.
Balsamo, Anne. Technologies of the Gendered Body: Reading
Cyborg Women. Durham, NC: Duke UP, 1996.
Creed, Barbara. The Monstrous-Feminine: Film, Feminism,
Pyschoanalysis. New York: Routledge, 1993.
Grosz, Elizabeth. Space, Time and Perversion. New York:
Haraway, Donna. "A Cyborg Manifesto: Science, Technology,
and Socialist-Feminism in the 1980s." 1985. Rev. as "A Cyborg
Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth
Century." Simians, Cyborgs, and Women: The Reinvention of Nature.
New York: Routledge, 1991. 149-81.
Huyssen, Andreas. "The Vamp and the Machine: Technology
and Sexuality in Fritz Lang’s Metropolis." 1981-82. After the
Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana
UP, 1986. 65-81.
Ihde, Don. Technology and the Lifeworld: From Garden to
Earth. Bloomington: Indiana UP, 1990.
Lederman, Muriel, and Ingrid Bartsch, eds. The Gender and
Science Reader. New York: Routledge, 2001.
Lykke, Nina, and Rose Braidotti, eds. Between Monsters,
Goddesses and Cyborgs: Feminist Confrontations with Science, Medicine and
Cyberspace. London: Zed, 1996.
Springer, Claudia. Electronic Eros: Bodies and Desire in
the Postindustrial Age. Austin: U of Texas P, 1996.
Wolmark, Jenny. Aliens and Others: Science Fiction,
Feminism and Postmodernism. Hemel Hempstead, Herts: Harvester Wheatsheaf,
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