本研究論文透過羅西·布瑞多蒂所提出的超越自我，物種和死亡的三大後人文論述架構，探討當代電影，文學和文化中的後人類體現。本文首先耙梳科技進展如何衍生出新的社會形式和主體論述，並藉由凱瑟琳·鄧恩（Katherine Dunn）的《極客之愛》，安德魯·尼科爾（Andrew Niccol）的《千鈞一髮》和瑪格麗特·阿特伍德（Margaret Atwood）的 《末世男女》等作品，檢視文學如何反映出生物科技產業對於改造人體的無限可能，及相對的社會衝擊。生物科技產業對於未來社會的影響不僅僅反映在人類主體，而在跨物種以及人工智能的發展中也產生了舉足輕重的作用。本文將藉由亞歷克斯·加蘭德（Alex Garland）的《人造意識》原創劇本探討人工智能發展和情感體現之間的關聯。最後，本研究聚焦於科技和人文所產生的跨領域對話，以探索人類與後人類環境及新物質之間的交互作用。

My study in “Embodying the Posthuman: Disability, Biotechnology, and New Materiality in Contemporary Cultural Representations” explores Rosi Braidotti’s three distinctive configurations of posthuman embodiment—life beyond the self, species, and death—in modern film, literature, and cultural representations. Katherine Dunn’s Geek Love (1989), Andrew Niccol’s Gattaca (1997), and Margaret Atwood’s Oryx and Crake (2003) are all literary works that focus on the prosthetic potentials and possible effects of biotechnology in order to explore the human animal’s entanglement with posthuman environments. Moving beyond the trepidation and excitement brought on by recent advances in genetic engineering and bionic prostheses, these works not only expose biotechnology’s roots in twentieth century biopolitical and disability studies, but also anticipate new forms of social subjectivity. While these works represent a diverse range of literary vision, all locate the material body as a prosthetic site of convergence for technology and posthuman becoming. Drawing upon the interdisciplinary efforts of posthumanist scholarship and disability studies in interrogating enhancive technologies as well as discerning the subsequent social impact, my research centers on the prominent themes of biotechnologically altered bodies, the commodification of disabled body matters, and marketing enhancive treatments as an alternative for abject bodies in our contemporary, using various representations of the prostheses as an organizing trope. Taken together, I argue that a technocapitalist approach to bio- and prosthetic technologies furthers the social construct of disability by allowing physical differences to reflect a widening gap in technological power, consumer capacity, as well as individual access to enhancive treatments. The effects of biotechnology are not only reflected on the human species, but also configure heavily in the advance of artificial intelligence, which I will further explore in the discussion of affective embodiment and new materiality in Alex Garland’s Ex Machina (2015). Taking Braidotti’s thoughts on posthuman life after theory as a point of departure, I will conclude by discussing future possibilities in posthuman bodies, interdisciplinary education, and the humanities.