Understandings of globalization have been little explored in relation to gender or related concerns such as identity, subjectivity and the body. This book contrasts `the natural' and `the global' as interpretive strategies, using approaches from feminist cultural theory. The book begins by introducing the central themes: ideas of the natural; questions of scale and context posed by globalization and their relation to forms of cultural production; the transformation of genealogy; and the emergence of interest in definitions of life and life forms. The authors explores these questions through a number of case studies including Benneton advertising, Jurassic Park, The Body Shop, British Airways, Monsanto and Dolly the Sheep. In order to respecify the `nature, culture and gender' concerns of two decades of feminist theory, this highly original book reflects, hypothesizes and develops new interpretive possibilities within established feminist analytical frames.
For a long time I have had two main areas of research interest: sociology of culture and feminist theory. My contributions to a sociology of culture draw upon the findings of a series of funded empirical research projects, exploring contemporary developments in the culture industry with a special focus on changing cultural forms. Following the publication of the jointly authored book on The Global Culture Industry: The Mediation of Things (with Lash, Polity, 2007), I am developing my research interest in the question of cultural change through my participation in a 20-partner EU-funded interdisciplinary network on ‘A Topological Approach to Cultural Dynamics’. This network – which draws on recent developments in philosophy and mathematical thinking to address questions of cultural and social change, space and intensity – is part of what has been called a topological turn in cultural theory. My ideas on what this might mean are developed in recent and forthcoming publications including the Introduction to a Special Issue of the European Journal of Social Theory on ‘What is the empirical?’, co-edited with Lisa Adkins and an article on ‘Brands as assemblage: assembling culture’ to appear in the journal Cultural Economy (forthcoming). It will also inform the book (co-edited with Nina Wakeford) on Inventive Methods, (Routledge). I continue to be interested in brands and branding (Brands: the logos of the global cultural economy, 2004 as I have found them illuminating objects to think with as well as problematic objects to live with/out. I am enthusiastic about the new MA in Brands, Communication and Culture that is just starting at Goldsmiths (organised by Dr Liz Moor in Media and Communications, but with the involvement of myself and others in Sociology). My contributions to feminist theory primarily concern the issue of gender as a kind of becoming (Prosthetic Culture, Feminism and Autobiography) and the changing significance of gender as a social and natural category (Global Nature, Global Culture). I have participate in the annual conferences and workshops linked to the MA Gender, Culture and Media.
This volume provides a set of new approaches for the investigation of the contemporary world. Building on the increasing importance of methodologies that cut across disciplines, more than twenty expert authors explain the utility of 'devices' for social and cultural research – their essays cover such diverse devices as the list, the pattern, the event, the photograph, the tape recorder and the anecdote.
This fascinating collection stresses the open-endedness of the social world, and explores the ways in which each device requires the user to reflect critically on the value and status of contemporary ways of making knowledge. With a range of genres and styles of writing, each chapter presents the device as a hinge between theory and practice, ontology and epistemology, and explores whether and how methods can be inventive. The book will be a valuable resource for students and scholars of sociology and cultural studies.
Franklin combines wide-ranging sources—from historical accounts of sheep-breeding, to scientific representations of cloning by nuclear transfer, to popular media reports of Dolly’s creation and birth—as she draws on gender and kinship theory as well as postcolonial and science studies. She argues that there is an urgent need for more nuanced responses to the complex intersections between the social and the biological, intersections which are literally reshaping reproduction and genealogy. In Dolly Mixtures, Franklin uses the renowned sheep as an opportunity to begin developing a critical language to identify and evaluate the reproductive possibilities that post-Dolly biology now faces, and to look back at some of the important historical formations that enabled and prefigured Dolly’s creation.
Stacey examines the body-horror movies Alien: Resurrection and Species in light of Jean Baudrillard’s apocalyptic proclamations about cloning and “the hell of the same,” and she considers the art-house thrillers Gattaca and Code 46 in relation to ideas about imitation, including feminist theories of masquerade, postcolonial conceptualizations of mimicry, and queer notions of impersonation. Turning to Teknolust and Genetic Admiration, independent films by feminist directors, she extends Walter Benjamin’s theory of aura to draw an analogy between the replication of biological information and the reproducibility of the art object. Stacey suggests new ways to think about those who are not what they appear to be, the problem of determining identity in a world of artificiality, and the loss of singularity amid unchecked replication.
The collection is structured around the inter-linked concepts of genre, inter-subjectivity and memory. Whilst exemplifying the very different levels of autobiographical activity going on in feminist studies, the contributions chart a movement from autobiography as genre to autobiography as cultural practice, and from the analysis of autobiographical texts to a preoccupation with autobiography as method.