This paper is an attempt to reinterpret sex and body in the posthuman era through focusing on Donna Haraway"s cyborg discourse. In technology, sex and body can be reconstructed by cyborg of which the essence is uncertainty. It still reveals the definite gender difference of popular culture, which is because patriarchy continues to uphold these gender differences. Haraway, however, used the cyborg as partiality, irony, intimacy, and perversity instead of the gendered body or the model of the organic family. For this reason, her cyborg has been a useful image for feminists who seek to avoid the ideological danger of recourse to an authentic female self. Furthermore, Haraway"s cyborg is named as an illegitimate, a woman, a monster itself as well as being compared with third world women of nomadic families who leave their countries or tribes of the border, and women who work for multinational enterprises. They, who left their countries or tribes, are discriminated and restored by otherness and negativity. The originalities and essentialities come to be stained, erased and replaced by non-originality which is called as the "Diaspora." Therefore, they deny to exist as their races, ethnics, or sexual ages. The cyborg mocks at the ideas of the othereness and negativity and "the only oneself." It also cultivates the way of seeing the other. It is not the omnipotent eye but the partial perspective or "diffraction" that observes the history of light in terms of Haraway"s concept. It enables one to see the issues of sex, body, race and gender anew so that it prevents the intervention of initiative as a subject. This way of vision provides more women and races with understanding of the situated knowledge by practical reading, writing, and rewriting, and admitting others" differences. This process allows a person to exist as a multiple subject and to carry out codependency.
1. 서론<BR>2. 방황하는 주체, 흩어지는 성<BR>3. 복수주체 되기<BR>4. ‘사이보그ㆍ괴물ㆍ여성ㆍ몸’ 읽기와 쓰기<BR>5. 결론<BR>인용문헌<BR>Abstract<BR>
(0)
(0)