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positions 10:3 © 2002 by Duke University Press positions 10:3 Winter 2002 Manifestoâ hopes that the cyborgâs transgressive combination of the organic and the mechanical will challenge the dichotomy between natural and artiï¬cial, promising to free the subject from imposed categories of biology, gender, and race.1 But at the same time, Haraway admits that the challenges to bodily integrity that the cyborg posesâfrom the bodyâs penetration by technology to the specter of its conversion into a data streamâcarry with them the threat of objectiï¬cation and coercion. There is a fear that this redeï¬nition of the human subject will end up dehumanizing us all. Given the cyborgâs split personality, it seems only natural that this theory should be applied to the mechanized bodies prevalent in Japanese animation, or anime, a genre that embodies the same dizzying mix of possibilities as Harawayâs cyborg, often undermining gender stereotypes spectacularly one moment only to fall back into sexist exploitation the next. Anime is rife with mechanized female bodies that can be read as both euphorically powerful and objectiï¬ed, commodiï¬ed, and victimized. One of the most striking of these ï¬gures is the cyborg heroine of Oshii Mamoruâs Ghost in the Shell [The Ghost
positions asia critique – Duke University Press
Published: Dec 1, 2002
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