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by Nina Lykke (Author), Rosi Braidotti (Editor)
Vibrant Death links philosophy and poetry-based, corpo-affectively grounded knowledge seeking. It offers a radically new materialist theory of death, critically moving the philosophical argument beyond Christian and secular-mechanistic understandings. The book's ethico-political figuration of vibrant death is shaped through a pluriversal conversation between Deleuzean philosophy, neo-vitalist materialism and the spiritual materialism of decolonial, queerfeminist poet and scholar Gloria Anzaldua. The book's posthuman deexceptionalizing of human death unfurls together with a collection of poetry, and autobiographical stories. They are analysed through the lens of a posthuman, queerfeminist revision of the method of autophenomenography (phenomenological analysis of autobiographical material).
Nina Lykke explores the speaking position of a mourning, queerfeminine "I", who contemplates the relationship with her dead beloved lesbian life partner. She reflects on her enactment of processes of co-becoming with the phenomenal and material traces of the deceased body, and the new assemblages with which it has merged through death's material metamorphoses: becoming-ashes through cremation, and becoming-mixed-with-algae-sand when the ashes were scattered across a seabed made of fiftyfive million-year-old, fossilized algae. It is argued that the mourning "I"'s intimate bodily empathizing (theorized as symphysizing) with her deceased, queermasculine beloved life partner facilitates the processes of vitalist-material and spiritual-material co-becoming, and the rethinking of death from a new and different perspective than that of the sovereign, philosophical subject.Author Biography
Nina Lykke is Professor Emerita of Gender Studies, Linköping University, Sweden, and Adjunct Professor at Aarhus University, Denmark. She is also a poet and writer, and is author of Feminist Studies: A Guide to Intersectional Theory, Methodology and Writing (2012) and editor of Writing Academic Texts Differently, Intersectional Feminist Methodologies and the Playful Art of Writing (2014)
