This chapter arose out of two earlier papers given at an International Conference co-hosted by Department of Theatre Studies and the Centre for the Study of Environmental Change and at Performance Studies International, Arizona State University, Phoenix, Arizona. It offers an analysis of doo-cot's Frankenstein in relation to Donna Haraway's celebrated 'A Manifesto for Cyborgs' and also to ideas drawn from avant- garde performance practitioner and theorist Tadeusz Kantor and from feminist theorist Julia Kristeva. The distinctiveness of this essay lies in the way that it reads these various, apparently diverse texts together, finding common ground. The aim is to question the way in which Haraway's manifesto has so often been appropriated to a 'celebratory postmodernism' which claims the advent of the post human, in ways that are at odds with the 'doubleness' of Haraway's actual argument. The argument is that Frankenstein can be said to be 'faithful' to Haraway's text, in so far as may be read as a blasphemous re-working of her 'original' blasphemous reworking of materialist feminism. RAE_import_type : Chapter in book RAE_uoa_type : LICA