Plugging-in and Fracturing: Becoming-Woman in Posthuman Imagination
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This paper traces the genealogical trajectory of posthuman imagination and posthuman feminism through a reading of James Tiptree, Jr.’s “The Girl Who Was Plugged In.” This novella is an early experiment in posthuman feminist thought which employs P. Burke’s technological “plugging in” as a “novum” in the sense that Darko Suvin has suggested. A precursor to cyberpunk and a poignant critique of the commodification of the female body, the novella shows its innovation in its reconfiguration of embodied subjectivity through technical mediation. P. Burke inhabiting and operating a second, artificial body does not merely anticipate later cybernetic imaginaries such as William Gibson’s matrix or the cyber brain in Ghost in the Shell; it represents a conceptual rupture that destabilizes Enlightenment assumptions about the mind and body, the naturalness of gender, and the coherence of the human subject. Tiptree’s pioneering vision is manifest in its articulation of a posthuman feminist ontology in which identity is distributed, mediated, and relationally assembled. Her work demonstrates that the posthuman turn, later theorized by Donna Haraway and Rosi Braidotti, was already being imagined within the narrative experiments of feminist SF writers of 1970s.
Abstract
This paper traces the genealogical trajectory of posthuman imagination and posthuman feminism through a reading of James Tiptree, Jr.’s “The Girl Who Was Plugged In.” This novella is an early experiment in posthuman feminist thought which employs P. Burke’s technological “plugging in” as a “novum” in the sense that Darko Suvin has suggested. A precursor to cyberpunk and a poignant critique of the commodification of the female body, the novella shows its innovation in its reconfiguration of embodied subjectivity through technical mediation. P. Burke inhabiting and operating a second, artificial body does not merely anticipate later cybernetic imaginaries such as William Gibson’s matrix or the cyber brain in Ghost in the Shell; it represents a conceptual rupture that destabilizes Enlightenment assumptions about the mind and body, the naturalness of gender, and the coherence of the human subject. Tiptree’s pioneering vision is manifest in its articulation of a posthuman feminist ontology in which identity is distributed, mediated, and relationally assembled. Her work demonstrates that the posthuman turn, later theorized by Donna Haraway and Rosi Braidotti, was already being imagined within the narrative experiments of feminist SF writers of 1970s.