CUNICharles University (Prague, Czech Republic)
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19) Cunis thus depicts the increased cultural value of cultish physical and spiritual self-improvement plans and insists on their networked imperative of political and capitalist gain.
Cunis demonstrates how quickly 1984 can morph into Brave New Worm and vice versa.
Here Cunis speaks to Haraway in that the essentialist, feminist rhetoric of the 1970s was "recall[ing] us to an imagined organic body to integrate our resistance" (Haraway, "Manifesto for Cyborgs" 196).
Like his compatriots of the Frankfurt School and their somber assessment of the cultural legacies of the Holocaust within modernism, Cunis cannot quite bring himself to trust in the subversive potential of popular and alternative cultures, a skepticism he shares with many postwar German artists.
24) Cunis facetiously underscores the difference between consumer-demand and psychological wish fulfillment.
27) Rather than achieving Kristeva's "subject in process" or Haraway's built-in resistance to naturalization, Cunis demonstrates how cyborg-production is aimed at re-naturalizing the idea of the self, of creating a post-consciousness stability.
In this scene, Cunis aptly reveals how terror and horror translate into scopophilic pleasure for men and women by commuting a public spectacle into a private one and vice versa, even if any pleasure for the cyborg females predominantly resides in the knowledge: "IT]hat is not me.
Cunis goes a step farther and makes the terror executed by remote sexually evocative by referring to the stabilizer as a "stick" which is "inserted into" the female brain.
Cunis constructs Gulla's first remote-controlled attack like a rape which she initially attempts to resist with her Biocon training: "She got up scared, but already the pain grabbed her harder, encircled all of her muscles, inched into her through her pubic bone, she screamed (37).
Cunis inadvertently might have directed today's readers to the cultural divide between a U.
10) Cunis makes the "x-factor" itself a target here by metonymically connecting the trendiness of the stabilizer with the production of cyborgs, in this case German citizenry of the 1980s as techno-sexual material girls or products of post-industrial capital.