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1. Reproductive Technologies, Fetal Icons, and Genetic Freaks: Shelley Jackson’s Patchwork Girl and the Limits and Possibilities of Donna Haraway’s Cyborg

   This article uses Donna Haraway’s work in “A Cyborg Manifesto” to examine how new reproductive technologies and politics meet and converge with fictional representations of the posthuman subject in Shelley Jackson’s hypertext, Patchwork Girl. It argues that Jackson’s text offers a cyborgian reading of reproduction that challenges the dominant discourse surrounding new reproductive technologies. Ultimately, it argues that Jackson’s text represents assisted conceptions, cyborgian births, and monstrous progenesis in ways that explore the possibilities and limitations of the cyborg, and it addresses current preoccupations with the potential benefits and horrors of new reproductive technologies. (Source: Author's abstract)

   Eric Dean Rasmussen - 27.06.2011 - 08:22

2. A Pragmatics of Links

   This paper applies the linguistic theory of relevance to the study of the way links work, insisting on the lyrical quality of the link-interpreting activity. It is argued that such a pragmatic approach can help us understand hypertext readers´ behavior, and thus be useful for authors and tool-builders alike. (Source: Author's abstract)

   Jill Walker Rettberg - 15.10.2011 - 21:39

3. Growing Intimate With Monsters: Shelley Jackson’s Patchwork Girl and the Gothic Nature of Hypertext

   Described by Robert Coover as “perhaps the true paradigmatic work” of the “golden age” of hypertext literature, Shelley Jackson’s Patchwork Girl (1995) provides not only a rewriting of Mary Shelley’s Frankenstein (1818), but an opportunity to consider the ways in which the gothic as a genre serves to problematize the somatic dimension of our writing technologies. In its capacity to touch the reader directly, at the level of the nerves, tissues, and fibres of the body, Patchwork Girl recalls the debates concerning the affective force of the gothic novel, and, in particular, the threat it was thought to pose for women readers. The gothic, in this sense, emerges as the deep and unsettling recognition that the technological is the formative ground of subjectivity, the very condition of our becoming. What Jackson calls “the banished body,” the monstrous materiality of subjectivity, haunts not only the eighteenth-century faith in the powers of rational powers of intellection, but our own post-human dreams of transcendence.

   Jill Walker Rettberg - 06.07.2013 - 09:27