Manifesto zumbi (republicando)

Republicando este post velho, que tem trechos interessantes para a próxima aula (sexta, dia 10)

Alguns trechos do manifesto zumbi, de Sarah Juliet Lauro e Karen Embry. Em boundary2.dukejournals.org/cgi/reprint/35/1/85.pdf

Our fundamental assertion is that there is an irreconcilable tension between global capitalism and the theoretical school of posthumanism. This is an essay full of zombies—the historical, folkloric zombie of Haitian origin, which reveals much about the subject position and its relationship to a Master/Slave dialectic; the living-dead zombie of contemporary film, who seems increasingly to be lurching off the screen and into our real world (as a metaphor, this zombie reveals much about the way we code inferior subjects as unworthy of life); and finally, we are putting forth a zombie that does not yet exist: a thought-experiment that exposes the limits of posthuman theory and shows that we can get posthuman only at the death of the subject. Unlike Donna Haraway’s “Cyborg Manifesto,” we do not propose that the position of the zombie is a liberating one—indeed, in its history, and in its metaphors, the zombie is most often a slave. However, our intention is to
illustrate that the zombie’s irreconcilable body (both living and dead) raises the insufficiency of the dialectical model (subject/object) and suggests, with its own negative dialectic, that the only way to truly get posthuman is to become antisubject.

(…)

During the summer of 2005, much media hype surrounded the
release of Land of the Dead, George Romero’s final installment of his zom-
bie series. In a television interview promoting this latest movie, Romero
was asked what he would do if zombies were to take over the planet. He
responded that he would go right out and get bitten: “That way I could live
forever,” he said. The irony is that while the statement prompts us to ask
what kind of life that would be, it reveals that our fascination with the zom-
bie is, in part, a celebration of its immortality and a recognition of ourselves
as enslaved to our bodies.

(…)

Quite simply, fear heightens our awareness of ourselves as individuals because
our individuality is endangered in life-threatening situations. Nowhere is
this drama more acutely embodied than in the model of the zombie attack:
for the zombie is an antisubject, and the zombie horde is a swarm where
no trace of the individual remains.13 Therefore, unlike the vampire, the zom-
bie poses a twofold terror: There is the primary fear of being devoured by
a zombie, a threat posed mainly to the physical body, and the secondary
fear that one will, in losing one’s consciousness, become a part of the mon-
strous horde.

The zombie shows us what we
are: irrevocably bound to our bodies and already married to the grave. But
the zombie also shows us what we are not: man, as we know him, as a
cognizant, living creature, does not outlive the death of his body. As such,
the zombie metaphor (like its mythological parent, the Haitian zombi ) is not
purely a slave but is also slave rebellion. While the human is incarcerated
in mortal flesh, the zombie presents a grotesque image that resists this
confinement—animating his body even beyond death. At the same time
that the zombie emphasizes human embodiment, he also defies the very
limits that he sets.

(Muito legal pensar a imortalidade e o rompimento da relação – irrevogável – com o corpo como quebra da condição humana. Dá para pensar o corpo redivivo do zumbi como o inverso simétrico da consciência/memória/mente armazenada em disco rígido como querem os pós-humanistas?)

What underlies this symbolic duality, however, is that
the zombie, neither mortal nor conscious, is a boundary figure. Its threat to
stable subject and object positions, through the simultaneous occupation of
a body that is both living and dead, creates a dilemma for power relations
and risks destroying social dynamics that have remained—although widely
questioned, critiqued, and debated—largely unchallenged in the current
economic superstructure.

We attempt to read the zombie as a more effective imagining of
posthumanism than the cyborg because of its indebtedness to narratives of
historical power and oppression, and we stress the zombie’s relevance as
a theoretical model that, like the cyborg, crashes borders. Simultaneously
living and dead, subject and object, slave and slave rebellion, the zombie
presents a posthuman specter informed by the (negative) dialectic of power
relations rather than gender.

(Contraponto com Haraway é muito bom, pois a ironia-alegoria do cyborg se perdeu, talvez dê para dizer que virou utopia)

 

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