摘要：The idea of cyborg initiates the blurring of frontiers between traditional gender roles in the post-modem era, transforming itself into a politicized entity. William Gibson＇s Neuromancer as an early introducer of the cyborg characters tries to dissolve the boundaries through his female characters by balancing the power quota with the help of the non-gendered entity of the cyborg. According to Donna Haraway, there will be a dawn of new cyborg era causing a gender role reversal. The objective of this paper is to find whether such role reversal is at all possible.

摘要：提出了基于VB的cyborg X飞行摇杆数据采集方案,通过调用***中的游戏杆API函数获取cyborg X飞行摇杆的位置和按键信息.设计了数据采集的界面和程序,以数值和图形的形式显示cyborg X飞行摇杆的位置和按键信息.本研究对cyborg X飞行摇杆的应用具有实用价值.

摘要：清华同方cyborg 3D震撼劲杆是一款设计别具一格的新型游戏控制器,外型新颖,特别适合于飞行类游戏。清华同方考虑到不同用户的使用习惯,为该款产品专门设计了一个左右手切换用的掌位调节装置,在必要时只要轻松互换一下位置就可自如的来回玩飞行游戏,同时配套的是在底座上也配置了分别用于左右手的四个按钮。对于习惯用左手的玩家来说是一个千载难逢的表现机会。清华同方cyborg 3D震撼劲杆依据人体工学设计的原理,可以让用户在不同的游戏或游戏的不同场景里自由选择更舒适的手势,它独特的可旋转握把,可以准确控制飞机的方向舵、飞行方向,或切换视角。

摘要：The Left Hand of Darkness （abbr. LHD） is composed by Ursula Le Guin as a ＂thought experiment＂ to explore the postgender world on the planet of Gethen. By eradication of sexual difference and embracing the biological fluidity and psychological androgeny, dualism is deconstructed, and a postgender intersubjective space is reconstructed between Genly Ai and Estraven, interluded by cyborg myth and postgenderism culture narratives. Moreover, Le Guin suggests a possible transformation mode ofyin-yang cycle from psychoanalytic light and shadow.

摘要：What we witness is that Oshii＇s narrative and patriarchal technology creates the female cyborgs, who simply mirror male heterosexual desire and who are denied agency in their role. Oshii does not imagine any possibility that might destabilize his newly-imagined order, such as a cyborg that might upset heterosexuality. The absence of any female agency or desire in his cyber fantasy questions its subversive potential. Oshii seems to be immune to feminist theories on posthuman existence that conceptualizes subjectivity outside the gender polarities. Oshii describes a society where high technology only reinforces gender polarities. The representations of women＇s relationship to technology in Oshii＇s film, therefore, are quite problematic; the transgression of boundaries does not work out to reduce or annihilate domination by patriarchal needs and desires. Despite the fact that Oshii denies his female cyborgs a subject position other than that based exclusively in patriarchal fear and desire, his representations mark an ambivalence inherent in cyborg resistance, and feminist politics need to pay attention to such ambivalence.