|
Redeeming the Gene, Molding the Golem, Folding the Protein |
Sonya Rapoport |
2002 |
myth, parody, genetics, kabbalah, feminism, golem |
|
Getting in on the Ground Floor: A Hazy History of How and Why We Banded Together |
J. R. Carpenter |
2007 |
feminism, cyberfeminism, internet, history, internet history, book |
|
Eat Your Tits and Puppets |
Claire Donato, Ian Hatcher |
2010 |
performance, sexuality, duets, feminism, body, code |
|
Writing as a Woman: Annie Abrahams' e-writing |
Elisabeth Joyce |
2005 |
writing, feminism, postfeminism, gender, body |
|
Towards a Multimodal Analysis of da Rimini's Dollspace |
Maya Zalbidea Paniagua |
2011 |
feminism, cyberfeminism, multimodal analysis |
|
Comparative Analysis of the Cyberfeminist Hyperfiction and New Media Art work: Francesca da Rimini’s Dollspace |
Maya Zalbidea Paniagua |
2011 |
feminism, cyberfeminism, hyperfiction, digital art |
|
Zeros and Ones: Digital Women and the New Cyberculture |
Sadie Plant |
1997 |
cyberculture, cyberfeminism, feminism, history, technology -- social aspects, technoculture |
|
Subject to Change: The Monstrosity of Media in Shelley Jackson's Patchwork Girl; or, A Modern Monster and Other Post-humanist Critiques of the Instrumental |
Laura Shackelford |
2006 |
monstrosity, media studies, feminism, posthuman, systems theory |
|
A Cyborg Manifesto |
Donna Haraway |
1985 |
cyborg, feminism |
|
False Pretenses, Parasites, and Monsters |
Tom LeClair |
2000 |
hypertext, materiality, fiction, collaboration, novel, aesthetics, hypertext fiction, literary criticism, gender, monstrosity, feminism, parasitism, encyclopedic novel |
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Flickering Connectivities in Shelley Jackson's Patchwork Girl: The Importance of Media-Specific Analysis |
N. Katherine Hayles |
2000 |
hypertext, hypertext fiction, media-specific analysis, gender, subjectivity, feminism |
|
The Dreamlife of Letters |
Brian Kim Stefans |
2000 |
animation, concrete poetry, ambient, Flash, visual poetry, kinetic, feminism, appropriated texts, recombination |