The Manifold Ecologies of Lady Audley’s Secret

Mary Elizabeth Braddon's Lady Audley's Secret (1862) was a spectacular transatlantic success. The novel was also surprisingly transgressive, not least because it reacted against the way in which the transhistorical association of women and nature was itself becoming the basis of a gendered ecology of the household. In the novel’s opening chapter, for example, Lady Audley and the gardens of Audley Court together appear domesticated and docile: oikos has been subjugated by logos. Yet, Braddon creates this world simply in order to subvert it. Lady Audley is, it transpires, an adulteress who is perfectly willing to attempt murder to protect her secret. By relating the novel to material feminism, it also becomes apparent that Audley Court is itself agential, and its transcorporeal intra-actions with human others suggest that its identity is, like Lady Audley's, not fixed, but on the contrary, constantly changing. In turn, the novel’s many, mutable ecologies point to the possibility of new forms of ecological understanding.

Can Existentialism Be a Posthumanism?

In this article, I demonstrate that Simone de Beauvoir’s philosophy represents a first major step toward a rejection of the humanist subject and therefore was influential for the development of contemporary posthumanist material feminism. Specifically, her unprecedented attention to embodiment and biology, in The Second Sex and other works, as well as her notion of ambiguity, serve to challenge the humanist subject. While I am not claiming that Beauvoir was a posthumanist or material feminist thinker avant la lettre, I show that she is an important precursor to some of their key ideas. Indeed, her thinking about the body, sex, gender, and the importance of embodiment and situation constitutes a challenge to the subject of humanism, thereby opening up a path for thinkers that follow to push Beauvoir’s critique and articulate a posthumanism that does away with the subject of humanism.

Fazit & Ausblick

In diesem Fazit & Ausblick werden nun die in der Einleitung formulierten Themenfelder, in denen wir auch die Anschlüsse an Arbeiten und Forschungsgebiete der Historischen Anthropologie gegeben sahen, wieder aufgegriffen. Dies geschieht entlang von Aspekten, die durch die responses aufgeworfen wurden, und die wir hinsichtlich unserer Forschung zu Arenen transkultureller Bildung weiterdenken. Ein wichtiger Schwerpunkt liegt dabei auf den Transmissionseffekten, die sich im Forschungsprozess, auch unter Einbezug der responses, zwischen den Forschungsfeldern – den Arenen Theater und Schule – ergeben haben. Daran anschließend formulieren wir die Implikationen, die sich daraus für die Weiterentwicklung unserer Methoden ergeben haben, sowie einen Ausblick, der sich den Möglichkeiten der Erweiterung der Forschung zu kultureller Bildung unter Einbezug postkolonialer und transkultueller Analyseperspektiven widmet. Wir haben in den drei Method Labs„Method Mixing: Methoden der Praxis in postmigrantischen Kontaktzonen“ (November 2017); „Towards new methodologies in transcultural education: Performativity of the digital, Material Feminism and transcultural analysis” (Juni 2018) und “Arenas of transcultural Education: artistic research, art based methods, New Materialism and Sensory Ethnography“ (Januar 2019). Praktiker*innen und Wissenschaftler*innen, die aus unterschiedlichen Disziplinen und Forschungsschwerpunkten kommen und in verschiedenen europäischen Universitäten und Institutionen forschen und arbeitenSound Studies, Historische und pädagogische Anthropologie; Allgemeine Erziehungswissenschaft, Anglistik und Postcolonial Studies, Global Childhood & Youth Studies, International Childhood Studies, Grundschulpädagogik, Theaterpädagogik und Dramaturgie sowie Lehrerbildung, künstlerische Forschung und kulturelle Bildung., eine Auswahl des über drei Jahre im Feld erhobenen Materials, das Method Mixing der beiden Arenen Schule und Theater, sowie unsere diffraktionellen Analysen, die entstandenen Interferenzen, und das sich daraus entwickelnde Method Mixing des Projekts vorgestellt. Nach intensiven, über zwei Tage andauernden Diskussionen über das unseren Gästen der Method Labs vorgestellte Material haben wir diese um eine Verschriftlichung ihrer responses gebeten. Die Wahl des Themas sowie des Umfangs und der Form wurden dabei freigestellt. Herausgekommen sind sehr unterschiedliche, und, wie wir finden, im Kern ebenfalls diffraktionell operierende Antworten, die in den vorangegangen Kapiteln vorgestellt wurden.

Tables Dancing

This article is written in response to Method Lab #2, reacting to and reading scenes from the theatre and the school classroom. We responded to ‘The table and the dancer’ by Carla J. Maier with drawings by Janna R. Wieland, and ‘The book and the authors reading’ by Elise v. Bernstorff and Carla J. Maier. Our responses are within the ontological turn and specifically posthuman studies and new material feminism(s). We move beyond representational thinking to explore vibrant matter and experiment with what more the text, scenes and pictures can become.

Posthuman Sustainability: An Ethos for our Anthropocenic Future

Confronted with an unprecedented scale of human-induced environmental crisis, there is a need for new modes of theorizing that would abandon human exceptionalism and anthropocentrism and instead focus on developing environmentally ethical projects suitable for our times. In this paper, we offer an anti-anthropocentric project of an ethos for living in the Anthropocene. We develop it through revisiting the notion of sustainability in order to problematize the linear vision of human-centric futurity and the uniform ‘we’ of humanity upon which it relies. We ground our analyses in posthumanism and material feminism, using works by posthumanist and material feminist thinkers such as Stacy Alaimo, Rosi Braidotti, Donna Haraway and Jane Bennett, among others. In dialogue with them, we offer the concept of posthuman sustainability that decenters the human, re-positions it in its ecosystem and, while remaining attentive to difference, fosters the thriving of all instances of life.

Relational Materialism

Relational materialism was first articulated and framed within Actor Network Theory. In educational research, the concept has emerged with the growing influence of Agential Realism and New Material Feminism, and in the engagements in the “turn to materiality” and/or “turn to ontology.” A relational materialist approach to educational studies can be narrowed down to three key principles: the principle of general symmetry; the principle of material semiotics; and the principle of method. The enactment of relational materialism depends on how these principles come to work in the engagement with central educational problems, such as subjectivity, performativity and practice. Relational materialism takes the starting-point in the problems and concerns of human and material actors or agents, for whom the research can make a difference. While doing so, it acknowledges the methodological difficulties and possibilities when carefully attending simultaneously to discourse, materialities and their relations. Striving towards a methodological sensibility, the enactment of relational materialism in education research entails the emergence and creation of more and multiple methods to know the multiple realities of education. This also makes it possible for relational materialist research to become productive of new and additional educational realities that can, perhaps, make an affirmative difference to the actors or agents concerned.

Body Fluids and Fluid Bodies: Trans-Corporeal Connections in Contemporary German Narratives of Illness

Medicine uses body fluids for the construction of medical knowledge in the laboratory and at the same time considers them as potentially infectious or dirty. In this model, bodies are in constant need of hygienic discipline if they are to adhere to the ideal of the closed and clean organism without leakage of fluids. In contrast, psychoanalytical feminist body theory by Julia Kristeva (1982), Elisabeth Grosz (1989) and Margrit Shildrick (1999) has deconstructed the abject body and its fluids in Western culture and medicine. While postmodern feminism has often focused on discourses about bodies and illness to the neglect of their materiality, more recently, material feminism has drawn particular attention to lived material bodies with fluid boundaries and evolving corporeal practices (Alaimo and Hekman 2007). Stacy Alaimo has developed a model of the trans-corporeal body that is connected with the environment through fluid boundaries and exchanges (2010, 2012). Influenced by these trends in feminist body theory, illness narratives, often based on autobiographical experiences of female patients or their caregivers, have increased in recent decades in the West (Lorde 1980; Mairs 1996; Stefan 2007; Schmidt 2009; Hustvedt 2010). Such narratives often describe explicitly the material and affective aspects of intimate bodily experiences. In this article, I analyze two German quest illness narratives: Charlotte Roche’s pop novel Feuchtgebiete (2008) and Detlev Buck’s German-Cambodian film Same Same But Different (2010) that is based on the memoir Wohin Du auch gehst by German journalist Benjamin Prüfer (2007). In both narratives, the protagonists and their partners struggle in their search for love and identity with illness or injury in relation to body fluids, including hemorrhoids and HIV. I argue that Feuchtgebiete and Same Same But Different not only critique medical and cultural discourses on body (fluids) and sexuality but also foreground a feminist trans-corporeal concept of the body and of body fluids that is open to fluid identities and material connections with the (global) environment. At the same time, the conventional and sentimental ending of these quest narratives undermines the possibilities of the trans-corporeal body and its fluid exchanges.