This book explains the elimination of maternal characters in American, British, French, and German literature before 1890 by examining motherless creations: Pygmalion's statue, Frankenstein's creature, homunculi, automata, androids, golems, and steam men. These beings typify what is now called artificial life, living systems made through manufactured means. Fantasies about creating life ex-utero were built upon misconceptions about how life began, sustaining pseudoscientific beliefs about the birthing body. Physicians, inventors, and authors of literature imagined generating life without women to control the process of reproduction and generate perfect progeny. Thus, some speculative fiction before 1890 belongs to the literary genealogy of transhumanism, the belief that technology will someday transform some humans into superior, immortal beings. Female motherless creations tend to operate as sexual companions. Male ones often emerge as subaltern figures analogous to enslaved beings, illustrating that reproductive rights inform readers' sense of who counts as human in fictions of artificial life.

A deep dread of puppets and the machinery that propels them surfaced in Romantic literature in the late eighteenth and early nineteenth century; Romantic Automata is a collection of essays examining the rise of cultural suspicion of all imitations of homo sapiens and similar machinery, as witnessed in the literature and arts of the time. For most of the eighteenth century, automata were deemed a celebration of human ingenuity, feats of science and reason. Among the Romantics, however, they prompted a contradictory apprehension about mechanization and contrivance: such science and engineering threatened the spiritual nature of life, the source of compassion in human society. Recent scholarship in post-humanism, post-colonialism, disability studies, post-modern feminism, eco-criticism, and radical Orientalism has significantly affected the critical discourse on this topic. The essays in this collection open new methodological approaches to understanding human interaction with technology that strives to simulate or to supplement organic life.

For most of the eighteenth century, automata were deemed a celebration of human ingenuity, feats of science and reason. Among the Romantics, however, they prompted a contradictory apprehension about mechanization and contrivance: such science and engineering threatened the spiritual nature of life, the source of compassion in human society. A deep dread of puppets and the machinery that propels them consequently surfaced in late eighteenth and early nineteenth century literature. Romantic Automata is a collection of essays examining the rise of this cultural suspicion of mechanical imitations of life. Recent scholarship in post-humanism, post-colonialism, disability studies, post-modern feminism, eco-criticism, and radical Orientalism has significantly affected the critical discourse on this topic. In engaging with the work and thought of Coleridge, Poe, Hoffmann, Mary Shelley, and other Romantic luminaries, the contributors to this collection open new methodological approaches to understanding human interaction with technology that strives to simulate, supplement, or supplant organic life. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. 

Women Warriors in Romantic Drama examines a recurring figure that appears in French, British, and German drama between 1789 and 1830: the woman warrior. The term itself, "woman warrior," refers to quasi-historical female soldiers or assassins. Women have long contributed to military campaigns as canteen women. Camp followers ranged from local citizenry to spouses and prostitutes, and on occasion, women assisted men in combat. However, the woman warrior is a romantic figure, meaning a fanciful ideal, despite the reality of women's participation in select scenes of the French Revolution and the Napoleonic Wars. The central claim of this book is the woman warrior is a way for some women writers (Olympe de Gouges, Christine Westphalen, Karoline von Gunderrode, and Mary Robinson) to explore the case for extending citizenship to women. This project focuses primarily on theater for the reason that the stage simulates the public world that female dramatists and their warriors seek to inhabit. Novels and poetry clearly belong to the realm of fiction, but when audiences see women fighting onstage, they confront concrete visions of impossible women. I examine dramas in the context of their performance and production histories in order to answer why so many serious dramas featuring women warriors fail to find applause, or fail to be staged at all. Dramas about women warriors seem to sometimes contribute to the argument for female citizenship when they take the form of tragedy, because the deaths of female protagonists in such plays often provoke consideration about women's place in society. Consequently, where we find women playing soldiers in various entertainment venues, farce and satire often seem to dominate, although this book points to some exceptions. Censorship and audience demand for comedies made producing tragedies difficult for female playwrights, who battled additional obstacles to fashioning their careers. I compare male (Edmund Eyre, Heinrich von Kleist) and female writers' dramatizations of the woman warrior. This analysis shows that the difficult project of getting audiences to take women warriors seriously resembles women writers' struggles to enter the ostensibly male domains of tragedy and the public sphere. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.