Walking Corpses & Conscious Plants: Possibilist Ecologies in ...
Walking Corpses & Conscious Plants: Possibilist Ecologies in ... Walking Corpses & Conscious Plants: Possibilist Ecologies in ...
Bingham 40 been attacked on that level, and it was definitely scary. Everybody was scared, and the future was uncertain. It was definitely on my mind.” One of the most unsettling aspects of these attacks was how vehicles requiring special knowledge to operate were transformed into missiles. Despite precautions taken to prevent accidental loss of life, these planes were re-purposed by terrorists and used to kill intentionally—even making unwilling passengers agents in the process. States of normalcy were manipulated through the concealment of identity and malevolent intentions in order to kill ordinary people with no military affiliations. The resulting devastation eliminated the ability for many who lived through it to feel completely safe or protected. Similarly, uncertainty exists and grows throughout The Walking Dead. To understand how faith and sanity deteriorate, I first want to examine the types of acts and conditions which cause such extreme transformations of ideals and perceptions. Philosopher Adriana Cavarero works through a related examination of the impact of such violence in her book Horrorism: Naming Contemporary Violence. In this text, Cavarero examines the effects that witnessing extreme instances of violence and symbolic representations of these acts have upon individual subjects. She is not concerned with experiences of violence that victims or witnesses can heal from; rather she works to name a type of force which attacks the helpless and, once experienced, totally alters the identity of the individual who has undergone its effects. Even more specifically, she is concerned with tackling the emergence of a relatively new type of violence which appeared in the midst of September 11 th , 2001 in the form of suicide bombers. Horrorism is restricted to defining a type of violence which operates as a result of the following circumstances: the body of is transformed into a weapon used to destroy
Bingham 41 and dismember other bodies (Cavarero 57, 103), the victims are defenseless and randomly affected (ibid. 30-1, 76), and those who survive the aftermath are forever altered through the damage of loss which changes their subjectivity and essentially numbs them (ibid. 34, 43, 51). These conditions prompt a general reconsideration of bodily existence. In the actual world we experience, life is incontestably punctuated by three events: conception, birth, and death. A condition in Kirkman's parallel universe is that all people transform after death unless their brains are damaged or destroyed beforehand. This robs humanity of its defining attributes: conscience and consciousness. Like the victims of horrorism Cavarero describes, the people who become zombies suffer a loss of their natural subjectivity. Understandably, characters in The Walking Dead have a hard time coping with such a loss of identity. The undead are rarely called “zombies.” Instead of referring to the creatures as monsters, terms which describe behavioral attributes like “walker,” “roamer,” or “lurker,” are used to distinguish them from the humans. This emphasis on naming may seem trivial but it strengthens our identification with the characters as individuals by stressing the difficulty encountered by attempting to classify the dehumanizing transformation which has changed their peers into monstrous entities. The narrative is not a simple story of the living engaged in a futile fight against the dead, but rather is a complex examination of human behavior and the fluctuation of moral values in relation to the condition of one's physical status. As societal infrastructure collapses, the maintenance of health and interpersonal relationships both become complicated. The Walking Dead inhabits a strange space between the radical and conventional.
- Page 1 and 2: Walking Corpses & Conscious Plants:
- Page 3 and 4: Bingham 3 I owe an extreme debt of
- Page 5 and 6: Bingham 5 Introduction My project e
- Page 7 and 8: Bingham 7 personal growth through t
- Page 9 and 10: Bingham 9 beliefs. Seeing a possibl
- Page 11 and 12: Bingham 11 zombie exceeds death as
- Page 13 and 14: Bingham 13 the validity of singular
- Page 15 and 16: Bingham 15 Chapter I: The History o
- Page 17 and 18: Bingham 17 Swamp Thing. According t
- Page 19 and 20: Bingham 19 instructional profession
- Page 21 and 22: Bingham 21 Another artist who worke
- Page 23 and 24: Bingham 23 action into panels (Cohn
- Page 25 and 26: Bingham 25 sponsorship. He designed
- Page 27 and 28: Bingham 27 Charles Moulton. Marston
- Page 29 and 30: Bingham 29 Frederick Wertham prompt
- Page 31 and 32: Bingham 31 “graphic novel” was
- Page 33 and 34: Bingham 33 what is or isn't a graph
- Page 35 and 36: Bingham 35 Works Cited Benton, Mike
- Page 37 and 38: Bingham 37 Chapter II: Transfusion
- Page 39: Bingham 39 conflict or war. This ex
- Page 43 and 44: Bingham 43 bodies to pieces. (Cavar
- Page 45 and 46: Bingham 45 thus creating an affecti
- Page 47 and 48: Bingham 47 margins. Unlike the four
- Page 49 and 50: Bingham 49 implicates the role of o
- Page 51 and 52: Bingham 51 demonstrates that he is
- Page 53 and 54: Bingham 53 Amy (Figure 10 & 11). Th
- Page 55 and 56: Bingham 55 being who has done nothi
- Page 57 and 58: Bingham 57 transgressions, this ima
- Page 59 and 60: Bingham 59 Returning to the full pa
- Page 61 and 62: Bingham 61 order” (200). The prem
- Page 63 and 64: Bingham 63 possession, selling, ste
- Page 65 and 66: Bingham 65 with yourself? Not me. I
- Page 67 and 68: Bingham 67 immediate proximity of t
- Page 69 and 70: Bingham 69 experience, or the human
- Page 71 and 72: Bingham 71 sentences Thomas to hang
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- Page 75 and 76: Bingham 74 Works Cited Berger, Arth
- Page 77 and 78: Bingham 76 APPENDIX A Fig. 1. Openi
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B<strong>in</strong>gham 41<br />
and dismember other bodies (Cavarero 57, 103), the victims are defenseless and<br />
randomly affected (ibid. 30-1, 76), and those who survive the aftermath are forever<br />
altered through the damage of loss which changes their subjectivity and essentially<br />
numbs them (ibid. 34, 43, 51). These conditions prompt a general reconsideration of<br />
bodily existence.<br />
In the actual world we experience, life is <strong>in</strong>contestably punctuated by three<br />
events: conception, birth, and death. A condition <strong>in</strong> Kirkman's parallel universe is that<br />
all people transform after death unless their bra<strong>in</strong>s are damaged or destroyed beforehand.<br />
This robs humanity of its def<strong>in</strong><strong>in</strong>g attributes: conscience and consciousness. Like the<br />
victims of horrorism Cavarero describes, the people who become zombies suffer a loss of<br />
their natural subjectivity. Understandably, characters <strong>in</strong> The <strong>Walk<strong>in</strong>g</strong> Dead have a hard<br />
time cop<strong>in</strong>g with such a loss of identity. The undead are rarely called “zombies.” Instead<br />
of referr<strong>in</strong>g to the creatures as monsters, terms which describe behavioral attributes like<br />
“walker,” “roamer,” or “lurker,” are used to dist<strong>in</strong>guish them from the humans. This<br />
emphasis on nam<strong>in</strong>g may seem trivial but it strengthens our identification with the<br />
characters as <strong>in</strong>dividuals by stress<strong>in</strong>g the difficulty encountered by attempt<strong>in</strong>g to classify<br />
the dehumaniz<strong>in</strong>g transformation which has changed their peers <strong>in</strong>to monstrous entities.<br />
The narrative is not a simple story of the liv<strong>in</strong>g engaged <strong>in</strong> a futile fight aga<strong>in</strong>st the dead,<br />
but rather is a complex exam<strong>in</strong>ation of human behavior and the fluctuation of moral<br />
values <strong>in</strong> relation to the condition of one's physical status. As societal <strong>in</strong>frastructure<br />
collapses, the ma<strong>in</strong>tenance of health and <strong>in</strong>terpersonal relationships both become<br />
complicated.<br />
The <strong>Walk<strong>in</strong>g</strong> Dead <strong>in</strong>habits a strange space between the radical and conventional.