New Tenth Anniversary edition of this classic text with a new preface by the author, compares myths about meat-eating with myths about manliness, and seeks to ...

In just a few years, the book became an underground classic. Neither Man Nor Beast takes Adams' thought one step further.

_Nomadic Subjects_ argues for a new kind of philosophical thinking, one that would include the insights of feminism and abandon the hegemonic mode that is conventionally adopted in high theory. Braidotti's personal, surprising, and lively prose insists on an integration of feminism in mainstream discourse. The essays explore problems that are central to current feminist debates including Western epistemology's relation to the "woman question," feminism and biomedical ethics, European feminism, and how American feminists might relate to European movements.

While another von Hagens style public autopsy should not be encouraged, the public should nevertheless be able to experience such events as a public autopsy.During 2002 and 2003 there was considerable discussion about the work of Gunter von Hagens, famed for his Body Worlds exhibition,1 which was publicised extensively and with considerable success. The exhibition is a tribute to, and celebration of, his method of preserving organic life through the process of plastination, developed by von Hagens in the 1980s. The (...) process entails a form of preservation, whereby body parts are dehydrated and filled with polymer resin, making them more robust than conventional formaldehyde does.While it was in the United Kingdom, the exhibit was housed at a back street gallery in Brick Lane, London, though the exhibition has toured throughout the world. Despite many millions having flocked to see the exhibition, the reasons for its success are open to interpretation and have provoked strong opinions from the medical community as to whether this physician ought to be entitled to create exhibits from real bodies. Von Hagens would argue that these works are justifiable because they have artistic merit. Others would claim that viewers are being brought to the gallery by the immense publicity. Alternatively, one might suppose that those who attend the exhibition do so mainly because of a fascination with the extraordinary and with the grotesque. Indeed, such fascination with death, and human remains specifically, was the focus of a meeting hosted by the Institute of Ideas and the Royal College of Physicians in May 2003, which was entitled Morbid Fascinations: the Body and Death in Contemporary Culture.The controversy arising from the Body Worlds exhibition pales in comparison, however, to von Hagens’s most recent performance—the first “public autopsy” in Britain …. (shrink)

Donna Haraway's work has transformed the fields of cyberculture, feminist studies, and the history of science and technology. Her subjects range from animal dioramas in the American Museum of Natural History to research in transgenic mice, from gender in the laboratory to the nature of the cyborg. Trained as an historian of science, she has produced a series of books and essays that have become essential reading in cultural studies, gender studies, and the history of science. The Haraway Reader brings (...) together a generous selection of Donna Haraway's work. Included is her "Manifesto for Cyborgs," in which she famously wrote that she "would rather be a cyborg than a goddess." Other selections are taken from her three major works, Primate Visions, Modest Witness , and Simians, Cyborgs and Women , as well as some of her more recent writing on animals. For readers in cultural studies, feminist theory, science studies, and cyberculture, Donna Haraway is one of our keenest observers of nature, science, and the social world. This volume is the best introduction to her thought. (shrink)

The model of feminism as humanist in practice and postmodern in theory is inadequate. Feminist practice and theory directly inform each other to displace both humanist and postmodern conceptions of the subject. An examination of feminism's use of rights discourse suggests that feminist practice questions the humanist conception of the subject as a self-identity. Likewise, feminist theory undermines the postmodern emphasis on the constitutive instability and indeterminacy of the subject.

‘Plastinates’ (i.e. corpses conserved through plastics) are lab created artifacts which since the nineties have been the subject of a cultural field experiment via an anatomical exhibition. Similarly to brain-dead or digitalized bodies, they constitute an ambiguous form of post-mortem existence. The article inquires after the ways in which the ontological status of these entities is constituted through the practices of body donors, anatomists and visitors. Plastinates owe their ambiguity to an oscillation between two different frames of perception. Their meaning (...) is determined by the extent to which an anatomy exhibition can impose a ‘medical gaze’ over a non-professional way of perception, which would stubbornly associate bodies with persons. This association depends on two qualities of plastinates, which refer back to the donor: on the one hand, they draw the observer into a communicational relationship, since the body is the archetypal medium of the self-representation of persons. On the other hand, the plastinated body, considered as ‘bequest’, acquires a biographical dimension: though the exhibition tries to appropriate the individual body anatomically, as an exemplar of a timeless, abstract idea of the human, the visitor’s mundane perspective reintegrates the exhibit into history. Plastinates are the embodied expression of the last will of those people whom the public meets in the exhibition. (shrink)