One of the key questions facing Gothic Studies today is that of its migration into and out of its once familiar generic or symbolic modes of representation. The BBC series In the Flesh addresses these concerns against the background of a neoliberal medical culture in which pharmaceutical treatments have become powerful tools of socio-economic normalization, either through inducing passivity or in heightening productivity, generating chemically adapted biomachines tuned to think and produce. But the pharmakon has always been a risky form (...) of normalization, its poisonous mechanisms threatening to undo its helpful patterns by stealth. This essay discusses the pharmacological and medical contexts of the series in which zombies are subjected to medical management and normalized as “PDS sufferers,” thereby locating In the Flesh in terms of an already gothicized neoliberal pharmacology of everyday life. It also enquires how the proximity of the symbolic pharmacology of the series to neoliberal medical discourses and practices actually challenges traditional representational patterns of the Gothic and whether the Gothic can still have a role as an alternative cure to society’s ills. (shrink)

This thesis is a contribution to feminist laboratory studies and a critical engagement with the natural sciences, or more precisely research on the biochemical workings and deadly relations of Alzheimer’s disease emanating from a year of field work in a Drosophila fly lab. The natural sciences have been a point of fascination within the field of gender studies for decades. Such sciences produce knowledge on what gets to count as nature and natural, healthy or sick, normal or not, and they (...) have done it with great societal authority and impact throughout European modernity. However, feminist technoscience scholars argue that science and knowledge is socially produced, and political too. Concepts such as nature, animal, human, body, sex, and life itself are not simply given natural realities but phenomena processed through the naturecultures of the laboratory. Situated within such theoretical and methodological approaches, this thesis wonders how scientific facts about Alzheimer’s disease are made in the lab today. What kinds of realities, bodies and ethico-political concerns are enacted? Who gets to live and who gets to die in everyday laboratory practices? Theoretically, the thesis is grounded, particularly, within Karen Barad’s agential realism and posthumanist performativity, and as such it accounts for human and nonhuman entanglements through which AD is performed in the lab in relational ways. In other words, the thesis explores how AD is enacted in the bodies of transgenic fruit flies, as these flies embody the disease, live and die with it. Last but not least, the thesis explores the materialities of death, dying, embodiment and biological waste in a biochemistry lab as constitutive parts of the produced knowledge about AD. (shrink)

Alzheimer’s disease is emerging into public view in unprecedented ways. Foremost among these is the embodied form of elderly men and women appearing in commercial imagery for patient advocacy groups or pharmaceutical advertisements, but scientific imagery also seeps into the visual media cultures that surround us. The recent reconfiguration of Alzheimer’s disease is due to expanding ageing populations, an aggressive biopharmaceutical industry becoming a fast-growing material-semiotic realm that is providing powerful images of both gendered and racialized embodiment. Such a visual, (...) and yet highly material, realm is in need of feminist interventions, engaging with the images and ideas that circulate around ageing, medicine, human and non-human embodiment. From a non-representationalist and posthumanist perspective identified as feminist visual studies of technoscience, the authors seek to further the discussion in the direction of understanding the ‘scattered ontologies’ of Alzheimer’s — in laboratory practice, the realm of medical media and in commercial appeals to coherent individuality and human cognition — as gendered domains of figural reality and performative matter. (shrink)

Based on an ethnographic study of fingerprint and DNA evidence practices in the Swedish judicial system, this article analyses the materialization of forensic evidence. It argues that forensic evidence, while popularly understood as firmly rooted in materiality, is inseparably technoscientific and cultural. Its roots in the material world are entangled threads of matter, technoscience and culture that produce particular bodily constellations within and together with a particular sociocultural context. Forensic evidence, it argues further, is co-materialized with crimes as well as (...) with particular bodily and social constellations. Consequently, the article suggests that an analysis of how forensic evidence is produced can contribute to feminist understandings of the inseparability of sex and gender: understanding bodies as ongoing technoscientific-material-cultural practices of materialization may be a fruitful approach to analysing their complexity, and the relationships in which they are placed, without surrendering to either cultural or biological determinism. Taking a theoretical point of departure not only in an STS-informed approach, but also in material feminist theorizations, the article also underlines that the suggested theoretical conversations across borders of feminist theory and STS should be understood as a two-way-communication where the two fields contribute mutually to each other. (shrink)