This open access book investigates imaginaries of artificial limbs, eyes, hair, and teeth in British and American literary and cultural sources from the nineteenth and early twentieth century. Prosthetic Body Parts in Nineteenth-Century Literature and Culture shows how depictions of prostheses complicated the contemporary bodily status quo, which increasingly demanded an appearance of physical wholeness. Revealing how representations of the prostheticized body were inflected significantly by factors such as social class, gender, and age, Prosthetic Body Parts in Nineteenth-Century Literature and Culture argues that nineteenth-century prosthesis narratives, though presented in a predominantly ableist and sometimes disablist manner, challenged the dominance of physical completeness as they questioned the logic of prostheticization or presented non-normative subjects in threateningly powerful ways. Considering texts by authors including Charles Dickens, Edgar Allan Poe, and Arthur Conan Doyle alongside various cultural, medical, and commercial materials, this book provides an important reappraisal of historical attitudes to not only prostheses but also concepts of physical normalcy and difference.

Among the vast literature on contemporary reproductive technologies, Prosthetic Bodies stands out in its effective combination of insights, methods, and theories from the history of medicine, constructivist science and technology studies, and feminist theory. The double focus on IVF and related techniques, and fetal treatment and surgery, enables the identification of debatable tendencies within today's reproductive medicine: the translation of ever more medical problems basically unrelated to women's own reproductive health - and, in the case of fetal diagnosis and treatment, sometimes formerly even unrelated to reproduction as such - into medical indications for invasive, often highly experimental interventions in women's bodies. The analyses show how, through the operations and workings of reproductive technologies themselves, as well as a variety of discursive mechanisms within scientific language, today's recasting of men's fertility problems and children's congenital anomalies as women's reproductive problems comes to appear inevitable. The book challenges the ability of traditional forms of medical ethics and law to adequately identify this incremental process. The careful analyses and arguments in Prosthetic Bodies will be relevant to students of science and technology, gender studies, philosophy, medical ethics, and law, and others interested in the cultural, ethical, and political ramifications of contemporary reproductive technologies.

The U.S. Census Bureau has reported that 56.7 million Americans had some type of disability in 2010, which represents 18.7 percent of the civilian noninstitutionalized population included in the 2010 Survey of Income and Program Participation. The U.S. Social Security Administration (SSA) provides disability benefits through the Social Security Disability Insurance (SSDI) program and the Supplemental Security Income (SSI) program. As of December 2015, approximately 11 million individuals were SSDI beneficiaries, and about 8 million were SSI beneficiaries. SSA currently considers assistive devices in the nonmedical and medical areas of its program guidelines. During determinations of substantial gainful activity and income eligibility for SSI benefits, the reasonable cost of items, devices, or services applicants need to enable them to work with their impairment is subtracted from eligible earnings, even if those items or services are used for activities of daily living in addition to work. In addition, SSA considers assistive devices in its medical disability determination process and assessment of work capacity. The Promise of Assistive Technology to Enhance Activity and Work Participation provides an analysis of selected assistive products and technologies, including wheeled and seated mobility devices, upper-extremity prostheses, and products and technologies selected by the committee that pertain to hearing and to communication and speech in adults.

Simultaneously critiquing, historicizing and theorizing prosthetics, this text lays out a balanced and complex picture of its subject, neither vilifying nor celebrating the merger of flesh and machine.

How to imagine not only a new art or architecture but a new self or subject equal to them? In Prosthetic Gods, Hal Foster explores this question through the works and writings of such key modernists as Gauguin and Picasso, F. T. Marinetti and Wyndham Lewis, Adolf Loos and Max Ernst. These diverse figures were all fascinated by fictions of origin, either primordial and tribal or futuristic and technological. In this way, Foster argues, two forms came to dominate modernist art above all others: the primitive and the machine. Foster begins with the primitivist fantasies of Gauguin and Picasso, which he examines through the Freudian lens of the primal scene. He then turns to the purist obsessions of the Viennese architect Loos, who abhorred all things primitive. Next Foster considers the technophilic subjects propounded by the futurist Marinetti and the vorticist Lewis. These "new egos" are further contrasted with the "bachelor machines" proposed by the dadaist Ernst. Foster also explores extrapolations from the art of the mentally ill in the aesthetic models of Ernst, Paul Klee, and Jean Dubuffet, as well as manipulations of the female body in the surrealist photography of Brassai, Man Ray, and Hans Bellmer. Finally, he examines the impulse to dissolve the conventions of art altogether in the drip paintings of Jackson Pollock, the scatter pieces of Robert Morris, and the earthworks of Robert Smithson, and traces the evocation of lost objects of desire in sculptural work from Marcel Duchamp and Alberto Giacometti to Robert Gober. Although its title is drawn from Freud, Prosthetic Godsdoes not impose psychoanalytic theory on modernist art; rather, it sets the two into critical relation and scans the greater historical field that they share.

Where does the body end? Exploring the material and metaphorical borderline between flesh and its accompanying technologies.

In The Prosthetic Imagination, leading critic Peter Boxall argues that we are now entering an artificial age, in which our given bodies enter into new conjunctions with our prosthetic extensions. This new age requires us to reimagine our relation to our bodies, and to our environments, and Boxall suggests that the novel as a form can guide us in this imaginative task. Across a dazzling range of prose fictions, from Thomas More's Utopia to Margaret Atwood's Oryx and Crake, Boxall shows how the novel has played a central role in forging the bodies in which we extend ourselves into the world. But if the novel has helped to give our world a human shape, it also contains forms of life that elude our existing human architectures: new amalgams of the living and the non-living that are the hidden province of the novel imagination. These latent conjunctions, Boxall argues, are preserved in the novel form, and offer us images of embodied being that can help us orient ourselves to our new prosthetic condition.

Prosthesis is an experiment in critical writing that both analyzes and performs certain questions about the body as an "artificial" construction. The book deals with the mechanical (e.g., a mechanical prosthesis like a father's artificial leg) in that most humanistic of discourses, the artistic - in order to demonstrate to what extent a supposedly natural creation relies on artificial devices of various kinds. It is distinguished from a thematics of the prosthetic in literature by its complex articulation with accounts of the amputee father's discomfort, slipping back and forth between an apparently constative and a more obviously performative mode, in and out of fiction and autobiography. Cutting across the terrains occupied traditionally by the history of medicine, film studies, art history, philosophy, psychoanalysis, literary theory, and fiction, it finds an artistic or cultural pretext for each of its expositions - a line from Virgil, a painting by Conder, a theory by Freud, a film by Greenaway, a text by Derrida, novels by Roussel or Gibson, a sixteenth-century rhetoric - that connects thematically or theoretically with the question of prosthesis.