Animacies

Rethinks the criteria governing agency and receptivity, health and toxicity, productivity and stillness

Gender and Environment in Science Fiction focuses on the variety of ways that gender and “nature” interact in science fiction films and fictions, exploring questions of different realities and posing new ones. Science fiction asks questions to propose other ways of living. It asks what if, and that question is the basis for alternative narratives of ourselves and the world we are a part of. What if humans could terraform planets? What if we could create human-nonhuman hybrids? What if artificial intelligence gains consciousness? What if we could realize kinship with other species through heightened empathy or traumatic experiences? What if we imagine a world without oil? How are race, gender, and nature interrelated? The texts analyzed in this book ask these questions and others, exploring how humans and nonhumans are connected; how nonhuman biologies can offer diverse ways to think about human sex, gender, and sexual orientation; and how interpretive strategies can subvert the messages of older films and written texts.

If art, science, and the humanities have shared one thing, it was their common engagement with constructions and representations of the human. Under the pressure of new contemporary concerns, however, we are experiencing a “posthuman condition”; the combination of new developments-such as the neoliberal economics of global capitalism, migration, technological advances, environmental destruction on a mass scale, the perpetual war on terror and extensive security systems- with a troublesome reiteration of old, unresolved problems that mean the concept of the human as we had previously known it has undergone dramatic transformations. The Posthuman Glossary is a volume providing an outline of the critical terms of posthumanity in present-day artistic and intellectual work. It builds on the broad thematic topics of Anthropocene/Capitalocene, eco-sophies, digital activism, algorithmic cultures and security and the inhuman. It outlines potential artistic, intellectual, and activist itineraries of working through the complex reality of the 'posthuman condition', and creates an understanding of the altered meanings of art vis-à-vis critical present-day developments. It bridges missing links across disciplines, terminologies, constituencies and critical communities. This original work will unlock the terms of the posthuman for students and researchers alike.

In Animate Planet Kath Weston shows how new intimacies between humans, animals, and their surroundings are emerging as people attempt to understand how the high-tech ecologically damaged world they have made is remaking them, one synthetic chemical, radioactive isotope, and megastorm at a time. Visceral sensations, she finds, are vital to this process, which yields a new animism in which humans and "the environment" become thoroughly entangled. In case studies on food, water, energy, and climate from the United States, India, and Japan, Weston approaches the new animism as both a symptom of our times and an analytic with the potential to open paths to new and forgotten ways of living.

The concept of 'animacy' concerns the fundamental and cognitive question of the extent to which we recognize and express living things as saliently human-like or animal-like. In Animacy and Reference Mutsumi Yamamoto pursues two main objectives: First, to establish a conceptual framework of animacy, and secondly, to explain how the concept of animacy can be reflected in the use of referential expressions. Unlike previous studies on the subject focussing on grammatical manifestations, Animacy and Reference sheds light upon the conceptual properties of animacy itself and its reflection in referential processes. For the research of this study the author focussed on languages that show completely different tendencies. As a result, English and Japanese 'parallel corpora' are analysed yielding salient observations and opening intriguing discussions.

Doing theology requires dissension and tenacity. Dissension is required when scriptural texts, and the colonial bodies and traditions (read: Babylon) that capitalize upon those, inhibit or prohibit “rising to life.” With “nerves” to dissent, the attentions of the first cluster of essays extend to scriptures and theologies, to borders and native peoples. The title for the first cluster — “talking back with nerves, against Babylon” — appeals to the spirit of feminist (to talk back against patriarchy) and RastafarI (to chant down Babylon) critics. The essays in the second cluster — titled “persevering with tenacity, through shitstems” — testify that perseverance is possible, and it requires tenacity. Tenacity is required so that the oppressive systems of Babylon do not have the final word. These two clusters are framed by two chapters that set the tone and push back at the usual business of doing theology, inviting engagement with the wisdom and nerves of artists and poets, and two closing chapters that open up the conversation for further dissension and tenacity. Doing theology with dissension and tenacity is unending.

In Wild Things Jack Halberstam offers an alternative history of sexuality by tracing the ways in which wildness has been associated with queerness and queer bodies throughout the twentieth century. Halberstam theorizes the wild as an unbounded and unpredictable space that offers sources of opposition to modernity's orderly impulses. Wildness illuminates the normative taxonomies of sexuality against which radical queer practice and politics operate. Throughout, Halberstam engages with a wide variety of texts, practices, and cultural imaginaries—from zombies, falconry, and M. NourbeSe Philip's Zong! to Maurice Sendak's Where the Wild Things Are and the career of Irish anticolonial revolutionary Roger Casement—to demonstrate how wildness provides the means to know and to be in ways that transgress Euro-American notions of the modern liberal subject. With Wild Things, Halberstam opens new possibilities for queer theory and for wild thinking more broadly.

How relevant is the distinction between living and non-living entities in the grammar of languages? This first typological comprehensive study of animacy will immerse you into the realm of this category, its theoretical implications and pervasive effects on inflectional morphology.