By Susan Merrill Squier
There's a forgotten background to our present debates over reproductive know-how - one interweaving literature and technological know-how, profoundly gendered, choked with offerings and struggles. We pay a value once we settle for sleek reproductive know-how as a systematic step forward with out a prior. infants in Bottles retrieves a few of that background by way of interpreting the literary and well known technological know-how writings of Julian Huxley, J.B.S. Haldane, Charlotte Haldane, Aldous Huxley, and Naomi Mitchison - writings that come with representations of reproductive expertise from infants in bottles to surrogate moms. it's to those photos, fantasies, practices, and narratives of medical intervention in copy that we needs to glance if we wish to comprehend what acts of ideological development were performed, and are at the moment being played, within the identify of reproductive know-how. Susan Merrill Squier exhibits how the inventive development of reproductive know-how is helping to form our modern practices. Susan Merrill Squier is Julia Gregg Brill Professor in Women's experiences and English on the Pennsylvania nation college, collage Park. She is the writer of Virginia Woolf and London: The Sexual Politics of town, editor of girls Writers and town: Essays in Feminist Literary feedback, and co-editor of palms and the girl: warfare, Gender, and Literary illustration.
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There's a forgotten background to our present debates over reproductive know-how - one interweaving literature and technology, profoundly gendered, choked with offerings and struggles. We pay a value after we settle for sleek reproductive know-how as a systematic leap forward and not using a prior. infants in Bottles retrieves a few of that heritage by way of reading the literary and well known technological know-how writings of Julian Huxley, J.
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Additional info for Babies in bottles: twentieth-century visions of reproductive technology
And these alternative possibilities are not free, but mutually determined, indeed mutually reinforcing: as Hayles observes in Chaos Bound: "Despite their apparent opposition, these two aspects of cultural postmodernism engage each other in self-sustaining feedback loops" (291). In addition to the broad subject of the divided response of contemporary feminists to reproductive technology, I am interested in a more specific contemporary site where reproductive technology is contested, because such a site would exemplify the central role played by aspects of literary discourse in the construction of scientific facts.
So, as Andrea Henderson has observed, "Early nineteenth century epigenesis sketches us a picture of the Romantic fetus [as] the perfect bourgeois subjectit makes itself, and so is neither simply the inheritor of paternal power nor the commodity-like product of its mother's labor" (112-113). Parallel to the victory of epigenesist embryology was a shift in the representation of the gestating and childbearing woman in anatomical engravings and midwifery manuals, Henderson argues. Emphasizing the bony structures of the maternal pelvis as objects to be manipulated by equally rigid obstetrical instruments, these illustrations articulated a "trend .
My aim is to show how the modern imaginative construction of reproductive technology helped to shape our postmodern practices, as well as how a familiarity with Page 19 modern images, fantasies, practices, and narratives of the scientific intervention in reproduction can bring back into our awareness issues that are repressed or denied by our contemporary construction of reproductive technology. DISJUNCTION IN THE FEMINIST RESPONSE TO RT I have long been interested in the contemporary cultural prominence of images of reproductive technology, particularly in the works of women writers and feminist theorists.
Babies in bottles: twentieth-century visions of reproductive technology by Susan Merrill Squier