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Mechademia 7Lines of Sight$
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Frenchy Lunning

Print publication date: 2012

Print ISBN-13: 9780816680498

Published to Minnesota Scholarship Online: August 2015

DOI: 10.5749/minnesota/9780816680498.001.0001

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Anatomy of Permutational Desire, Part III: The Artificial Woman and the Perverse Structure of Modernity

Anatomy of Permutational Desire, Part III: The Artificial Woman and the Perverse Structure of Modernity

Chapter:
(p.282) Anatomy of Permutational Desire, Part III: The Artificial Woman and the Perverse Structure of Modernity
Source:
Mechademia 7
Author(s):

Livia Monnet

Publisher:
University of Minnesota Press
DOI:10.5749/minnesota/9780816680498.003.0015

This chapter examines perversion in the work of Hans Bellmer and in Oshii Mamoru’s anime Innocence (Innosensu, 2004). It argues that the film elaborates a massive theory of the perverse structure of modernity. This theory manifests itself in three main forms: (1) the transformation of the human into a universal equivalent that promises yet fails to hold together a broad range of discourses on the modern subject; (2) the consequent stretching of the figure of “Man” to the snapping point, which is also registered as a crisis in the unities of classical animation; and (3) a moment of crisis of modernity that perversion can no longer manage, and this is where a new figure emerges, the gynoid. But rather than stepping in to ground the modern human subject and “his democracy,” the gynoid forces us to begin modernity and democracy all over again, as if for the first time, but not in the form of critical or juridical reason but in material configurations themselves.

Keywords:   anime, Innocence, perversion, animation, Hans Bellmer, Oshii Mamoru, modernity, gynoid

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