Reconfiguring Human, Nonhuman and Posthuman in Literature and Culture

The time has come for human cultures to seriously think, to severely conceptualize, and to earnestly fabulate about all the nonhuman critters we share our world with, and to consider how to strive for more ethical cohabitation. Reconfiguring Human, Nonhuman and Posthuman in Literature and Culture tackles this severe matter within the framework of literary and cultural studies. The emphasis of the inquiry is on the various ways actual and fictional nonhumans are reconfigured in contemporary culture – although, as long as the domain of nonhumanity is carved in the negative space of humanity, addressing these issues will inevitably clamor for the reconfiguration of the human as well

Subject to Change: Democracy, Disidentification, and the Digital

Radical democratic politics in the digital age is characterized by the widespread emergence of participatory spaces generated by state actors and social movements. These new formats of citizen engagement are situated in the context of social inequalities and discrimination of marginalized identities. To counter this problem, feminist debates in democratic theory associated with the term “difference democracy” advocate a politics of presence through physically embodied representation of marginalized groups, providing visibility in the space of appearance. This strategy, however, entails essentializing tendencies as subjects are judged by their physical appearance rather than the content they utter, a problem described as the “dilemma of difference”. This thesis seeks ways out of the dilemma of difference by advancing both freedom and equality in participatory spaces. It explores the relations of freedom and equality that are described as competing values in the democratic paradox. To make the freedom to explore the multiple self compatible with the equality facilitated through the presence of the marginalized, the thesis engages with a range of radical democratic perspectives. To the established participatory, deliberative, and agonistic approaches it adds feminist and transformative perspectives. On these grounds, it develops the concept of a politics of becoming, which is seen as part of a progressive strategy of systemic transformation. Inspired by queer and gender theory, the politics of becoming reinterprets presence as the performative act of self-constitution. To enlarge the free spaces of the subject to change, the thesis suggests radical democratic practices of disidentification through anonymity that affords the opportunity to reject hegemonic identity interpellations and contributes to a democratization of self-constitution. Drawing on new materialist thought allows for an interpretation of both spatial configurations and the subject as agentic assemblages. Anonymity and other modes of disidentification enable an interruption of such assemblages and reassemble spaces and the self. Digital means of communication provide new affordances for identity expressions. The emerging cyborgian subjects reassemble identity and reconfigure the space of appearance. This results in a new politics of presence that expresses embodied difference but still provides freedom for the subject to change

Animating Aesthetics: Pixar and Digital Culture

In the pre-digital age of cinema, animated and live-action film shared a technological basis in photography and they continue to share a basis in digital technology. This fact limits the capacity for technological inquiries to explain the persistent distinction between animated and live-action film, especially when many scholars in film and media studies agree that all moving image media are instances of animation. Understanding the distinction in aesthetic terms, however, illuminates how animation reflexively addresses aesthetic experience and its function within contexts of technological, environmental, and socio-cultural change. “Animating Aesthetics: Pixar and Digital Culture” argues that the aesthetics that perpetuate the idea of animation as a distinct mode in a digital media environment are particularly evident in the films produced by Pixar Animation Studios. As the first studio to produce a fully computer-generated animated film, Pixar has had a large and lasting influence on the standardization of computer animation. Rather than relegate animation to the domain of children’s entertainment or obfuscate its distinction from live action film, this critical study of Pixar demonstrates how its films build on an aesthetic tradition that interrogates nature, challenges epistemological stability, and explores the effects of technological change. This study includes investigations into the uncanny integrity of digital commodities in the Toy Story films, the technological sublime in Monsters, Inc., the exceptionality of the fantastic in The Incredibles, and sensorial disruption in Ratatouille. Each chapter explores aesthetic experience and how it operates as a contested domain in which norms and values are challenged, reconfigured, but also reproduced. Overall, this dissertation demonstrates how popular animated media can engage contemporary philosophical questions about how we know the world, how we understand technology and our environment, and, finally, how aesthetics are fundamental to humanistic inquiry and critical thought

Reading Mutant Narratives : The Bodily Experientiality of Contemporary Ecological Science Fiction

Reading Mutant Narratives explores how narratives of environmental and personal transformation in contemporary ecological science fiction can develop more-than-human modes of embodied experience. More specifically, it attends to the conflicted yet potentially transformative experientiality of "mutant narratives". Mutant narratives are viewed as uneasy hybrids of human-centered and posthumanist science fiction that contain potential for ecological understanding. Drawing on narrative studies and empirical reading studies, the dissertation begins from the premise that in suitable conditions, reading fiction may give rise to experiential change. The study traces and describes experiential changes that take place while reading works of science fiction. The bodily, subjective and historical conditions of reading are considered alongside the generic contexts and narrative features of the fictional works studied. As exemplary cases of mutant narratives, the study foregrounds the work of three American science fiction authors known for their critiques of anthropocentrism and for their articulations of more-than-human ecologies: Greg Bear, Paolo Bacigalupi, and Jeff VanderMeer. While much of contemporary fiction naturalizes embodied experience and hides their own narrative strategies, mutant narratives have the potential to defamiliarize readers’ notions of bodies and environments while also estranging their embodied experience of reading fiction. As a theoretical contribution to science fiction studies, the study considers such a readerly dynamic in terms of "embodied estrangement". Building on theoretical and practical work done in both embodied cognitive and posthumanist approaches to literature, the study shows how engagements with fictional narratives can, for their part, shape readers’ habitual patterns of feeling and perception. These approaches are synthesized into a method of close reading, "performative enactivism", that helps to articulate bodily, environmental, and more-than-human aspects of readerly engagement. Attending to such experiential aspects integrates ecological science fiction more deeply into the contemporary experiential situation of living with radical environmental transformation.Reading Mutant Narratives keskittyy ekologista kriisiä käsitteleviin "mutanttikertomuksiin" ja niille tyypilliseen kokemuksellisuuteen. Mutanttikertomukset ovat tieteisfiktiivisiä kertomuksia, joissa ihmiskeskeiset ja posthumanistiset piirteet yhdistyvät ja antavat lukijalle mahdollisuuksia ekologiseen ymmärrykseen. Esimerkkeinä mutanttikertomuksista tutkimus nostaa esiin kolmen yhdysvaltalaisen tieteiskirjailijan, Greg Bearin, Paolo Bacigalupin ja Jeff VanderMeerin, teoksia. Nämä teokset asettavat ihmisen osaksi ekologisia, evolutiivisia ja teknologisia vuorovaikutussuhteita, joissa myös ihmisruumiit ja ruumiillinen kokemus muuttavat muotoaan. Väitöskirja tutkii siis, kuinka tieteisfiktiiviset kertomukset ympäristöllisestä ja kokemuksellisesta muutoksesta voivat kehittää ruumiillista kokemusta. Kertomuksentutkimukseen ja empiiriseen lukijatutkimukseen tukeutuen tutkimus lähtee oletuksesta, että sopivissa olosuhteissa kirjallisuuden lukeminen voi edesauttaa kokemuksellisia muutoksia. Tutkimus tarkastelee tieteisfiktion lukemista eletyn ruumiillisen kokemuksen tasolla. Lukukokemuksen analyysissa otetaan huomioon sekä lukijan ruumiillinen, subjektiivinen ja historiallinen tilanne että luettujen teosten kytkeytyminen romaanikerronnan ja tieteisfiktion lajityypin perinteisiin. Suuri osa nykykirjallisuudesta esittää ruumiillisen kokemuksen luonnollisena ja kätkee oman kerronnallisen vaikutusvaltansa, mutta mutanttikertomusten kerronnalliset keinot saattavat outouttaa lukijoiden ruumiillista kokemusta suhteessa sekä elettyyn ympäristöön että kirjallisuuteen itseensä. Tieteisfiktion tutkimuksen käsitteistöä uudistaen väitöskirja kutsuu tällaista lukemisen dynamiikkaa "ruumiilliseksi vieraannuttamiseksi". Lukukokemuksen analyysien avulla tutkimus esittää, kuinka kirjallisuuden lukeminen ohjaa osaltaan lukijoiden tunne- ja havaintotottumusten muotoutumista. Se tuo yhteen ruumiillis-kognitiivisia ja posthumanistisia lähestymistapoja kirjallisuudentutkimukseen ja muotoilee "performatiivis-enaktiivisen" lähilukemisen metodin, joka auttaa sanallistamaan lukukokemuksen ruumiillisia, ympäristöllisiä ja ei-inhimilliseen kurovia puolia. Ruumiillisen kokemuksellisuuden syventäminen tämän metodin avulla tuo ekologisen tieteisfiktion tiiviimmin osaksi globaalin ympäristömuutoksen kokemuksellista tilannetta

Maurice Merleau-Ponty, Marshall McLuhan and Communication Ethics: The Taming of Americanitis

In 1880 neurologist George Miller Beard identified the diagnosis of neurasthenia. Popularly referred to as Americanitis, Beard treated an increasing number of people for symptoms of anxiety, malaise and gastric discomfort. Per Beard, the illness resulted from the rapidly changing mechanical landscape of modernity. Similarly, contemporary Media Ecology literature suggests that Americanitis continues amidst our current digital moment. Manifest as narcissistically anxious nervous exhaustion, digital Americanitis results due to technological encouragement of existential and communicative closure, thereby negatively implicating the human condition, human communication and communication ethics practices. As such, this project considers Marshall McLuhan’s Media Ecology to examine the communicative phenomena of Americanitis. Based on affable grounding assumptions as well as calls in recent literature, McLuhan’s work is read through the presently underrepresented Media Ecology scholarly approach of existential phenomenology. In particular, this Merleau-Pontean existential phenomenological reading enhances understanding of the implicit theory of human communication and communication ethics informing McLuhan’s Media Ecology criticism. Once elucidated, McLuhan’s theoretical assumptions, aims and ends comport with theoretical dimensions of Merleau-Ponty’s existential phenomenology to reveal how and why technology encourages our digital Americanitis. When placed into conversation, the two thinkers also offer possible responses to our ills – approaches to “taming” Americanitis

I, Posthuman:embodying entangled subjectivities in gaming

We live in an era where the fundamental principles of what it means to be human are being reconsidered and reconceptualised, and we are moving towards a more entangled and relational understanding of the human’s ontology. The “boundaries” of what constitute a human as separate from both its surroundings and human and non-human others are being problematised. How do you separate “the human” from its contexts? In an age where advanced technology often constitutes these contexts, how can you separate the human from technology? Whilst we have always been entangled, today this occurs in a context that is more technologically driven, and this has provoked further debate on the status of the “posthuman”. This PhD thesis is concerned with what it means and how feels to be posthuman, by exploring how posthuman subjectivities are enabled and embodied. What we are capable of doing emerges contextually: it is profoundly dependent on our environments. In my view of the posthuman, the stable “human” self is disrupted, giving way to a subjectivity where our interactions in the world are more intra-active. But how might we consider the emergence of posthuman subjectivities in more depth? I suggest using a particular example of posthuman subjectivity, the MMORPG avatargamer, to demonstrate how the humanistically separated entities of “avatar” and “gamer” can provide a context to explore how “other” and “self” are not ontologically distinct. In doing so, I ask: what specific practices enable or provoke this ontological entanglement? Engaging in an autoethnographic inquiry, I use my intra-action with my avatar Etyme in the MMORPG World of Warcraft as one example of posthuman subjectivity. This methodology in itself is intriguing to explore the multiplicity of selves we experience, and negotiates the humanistic overthrows of “selfhood” whilst experiencing the self as entangled. Through my construct of the posthuman, where the human cannot be meaningfully separated from its environment, we are nevertheless still drawn to speak of an “I” and have a desire to understand ourselves as independent agents. However, the fieldnotes analysed in this thesis disrupt the “I”, and instead reflect on the shifting sense of self with and through an entity that is experienced as both me-and-not-me. Whilst an autoethnographic posthumanism might seem contradictory, I argue that it is a fundamental step in acknowledging our humanistic tendencies and beginning to reflexively engage with, and critique, these ideals. To do so, this thesis “posthumanises” traditionally humanistic constructs: acting and empathy. To widen this concept further, a third analytic re-interrogates different aspects of subject formation to consider how these too could be “posthumanised”. This suggests a broader application of posthumanism, demonstrating how previous notions of mastery, autonomy, and individuality can be critiqued and destabilised in order to view our practices and “selves” as emergent and entwined