By Nicole Shukin
The juxtaposition of biopolitical critique and animal studies—two matters seldom theorized together—signals the double-edged intervention of Animal Capital. Nicole Shukin pursues a resolutely materialist engagement with the “question of the animal,” difficult the philosophical idealism that has dogged the query via tracing how the politics of capital and of animal lifestyles impinge upon each other in marketplace cultures of the 20 th and early twenty-first centuries.
Shukin argues that an research of capital’s incarnations in animal figures and flesh is pivotal to extending the exam of biopower past its results on people. “Rendering” refers at the same time to cultural applied sciences and economies of mimesis and to the carnal enterprise of boiling down and recycling animal is still. Rendering’s lodging of those discrepant logics, she contends, indicates a rubric for the serious activity of monitoring the biopolitical stipulations and contradictions of animal capital around the areas of tradition and economy.
From the animal capital of abattoirs and vehicles, motion pictures and cellphones, to pandemic worry of species-leaping ailments similar to avian influenza and mad cow, Shukin makes startling linkages among visceral and digital currencies in animal existence, illuminating entanglements of species, race, and exertions within the stipulations of capitalism. In reckoning with the violent histories and intensifying contradictions of animal rendering, Animal Capital increases provocative and urgent questions about the cultural politics of nature.
Read or Download Animal Capital: Rendering Life in Biopolitical Times (Posthumanities) PDF
Similar cultural studies books
White individuals are no longer actually or symbolically white; nor are they uniquely virtuous and natural. Racial imagery and racial illustration are valuable to the organization of the modern international yet, whereas there are lots of reviews of pictures of black and Asian humans, whiteness is an invisible racial place.
A vintage of British cultural experiences, Profane tradition takes the reader into the worlds of 2 very important Sixties formative years cultures—the motor-bike boys and the hippies. The motor-bike boys have been working-class motorcyclists who listened to the early rock 'n' roll of the overdue Fifties. against this, the hippies have been middle-class drug clients with lengthy hair and a love of revolutionary tune.
This assortment charts the terrain of latest jap animation, essentially the most explosive kinds of visible tradition to emerge on the crossroads of transnational cultural construction within the final twenty-five years. The essays supply daring and insightful engagement with anime's matters with gender identification, anxieties approximately physique mutation and technological monstrosity, and apocalyptic fantasies.
This photograph novel tells the tale of Amaterasu, the japanese Shinto goddess of the sunlight. Amaterasu's mom and dad create the 1st 8 islands of Japan. Amaterasu's father later places his youngsters answerable for components of the wildlife. attractive and kindly Amaterasu is made the goddess of the sunlight. yet her brother, Susano, god of the ocean and storms, is jealous of his sister's place.
- Understanding Mesoamerican Myths (Myths Understood)
- The Congo and the Cameroons
- Out of Mao's Shadow: The Struggle for the Soul of a New China
- Readings in the Sociology of Migration, Edition: 1st
Extra info for Animal Capital: Rendering Life in Biopolitical Times (Posthumanities)
The digital beavers are notorious “couch potatoes” who instead trope mobility as a purely virtual exercise in teletechnological roving. Even the average Joe, according to the animal appeal of Frank and Gordon, can have the world at his feet when he connects through the wireless technologies and services of Bell. One print ad in the campaign renders a particularly imperial discourse of telemobility (see Figure 2). Only a single beaver appears in this ad (let us assume that it is Frank), and he is shown listening to music on headphones plugged into a Bell mobile phone.
Yet it is a risk that I hazard in order to avoid the alternate pitfall of overcompensating for the economic essentialism of Marxist criticism by describing all of social space in terms of a linguistic model of discourse. ”79 Rendering resists both the “sheer culturalism” of reading animals as empty signiﬁers and the converse essentialism of reifying them as natural signs, following Seltzer’s insight that biopower cannot be grasped by approaches that reduce the natural to the cultural, or vice versa.
In other [ 32 ] INTRODUCTION words, forces of capital—especially those transnational forces delinked from the mediating form of the nation-state—no longer achieve hegemony solely by means of breaking the “unnatural participations” and “unholy alliances” across heterogeneous series that Deleuze and Guattari cherish as transgressive but also by inducing them (241–42). At the very least, affect as an authentic animal alterity is impossible to distinguish from the intensities unleashed by capitalism.