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2000, Gift of the South Carolina State Hospital.
Paper edition of a 1991 study. The subject is "a cultural complex--a disease called neurasthenia" (from the preface), examined at a specific historical "moment"--1903. Annotation copyright by Book News, Inc., Portland, OR
Describes how late Victorian culture encouraged the evolution of art as a career, discussing such "inventions" as art therapy and bohemianism, and exploring artists' complicated and confused gender roles
July 1918-1943 include reports of various neurological and psychiatric societies.
In 1901, the sculptor Augustus Saint-Gaudens proclaimed in a letter to Will Low, “Health-is the thing!” Though recently diagnosed with intestinal cancer, Saint-Gaudens was revitalized by recreational sports, having realized midcareer “there is something else in life besides the four walls of an ill-ventilated studio.” The Medicine of Art puts such moments center stage in order to consider the role of health and illness in the way art was produced and consumed. Not merely beautiful or entertaining objects, works by Gilded-Age artists such as John Singer Sargent, Abbott Thayer, and Augustus Saint-Gaudens are shown to function as balm for the ill, providing relief from physical suffering and pain. Art did so by blunting the edges of contagious disease through a process of visual translation. In painting, for instance, hacking coughs, bloody sputum, and bodily enervation were recast as signs of spiritual elevation and refinement for the tuberculous, who were shown with a pale, chalky pallor that signalled rarefied beauty rather than an alarming indication of death. Works of art thus redirected the experience of illness in an era prior to the life-saving discoveries that would soon become hallmarks of modern medical science to offer an alternate therapy. The first study to address the place of organic disease-cancer, tuberculosis, syphilis-in the life and work of Gilded-Age artists, this book looks at how well-known works of art were marked by disease and argues that art itself functioned in medicinal terms for artists and viewers in the late 19th century.
This fascinating interdisciplinary study examines the relationship between literary interest in visionary kinds of experience and medical ideas about hallucination and the nerves in the first half of the nineteenth century, focusing on canonical Romantic authors, the work of women writers influenced by Romanticism, and visual culture.
Despite the lack of medical consensus regarding alcoholism as a disease, many people readily accept the concept of addiction as a clinical as well as a social disorder. An alcoholic is a victim of social circumstance and genetic destiny. Although one might imagine that this dual approach is a reflection of today's enlightened and sympathetic society, historian Sarah Tracy discovers that efforts to medicalize alcoholism are anything but new. Alcoholism in America tells the story of physicians, politicians, court officials, and families struggling to address the danger of excessive alcohol consumption at the turn of the century. Beginning with the formation of the American Association for the Cure of Inebriates in 1870 and concluding with the enactment of Prohibition in 1920, this study examines the effect of the disease concept on individual drinkers and their families and friends, as well as the ongoing battle between policymakers and the professional medical community for jurisdiction over alcohol problems. Tracy captures the complexity of the political, professional, and social negotiations that have characterized the alcoholism field both yesterday and today. Tracy weaves American medical history, social history, and the sociology of knowledge into a narrative that probes the connections among reform movements, social welfare policy, the specialization of medicine, and the social construction of disease. Her insights will engage all those interested in America's historic and current battles with addiction.
American painters and graphic artists of the eighteenth and nineteenth centuries sought inspiration for their work in the uniquely American experience of history and nature. The result was a transformation of the conventional Old World visual language into an indigenous and populist New World syntax. The twelve essays in this volume explore the development of a frontier mythology, a democratic style depicting common people and objects, and an American artistic consciousness and identity. Conceived and written from the perspectives of both cultural and art historians, American Icons initiates an interdisciplinary discussion on the complex relationships between American and European art.
For thousands of years, people have used nature to justify their political, moral, and social judgments. Such appeals to the moral authority of nature are still very much with us today, as heated debates over genetically modified organisms and human cloning testify. The Moral Authority of Nature offers a wide-ranging account of how people have used nature to think about what counts as good, beautiful, just, or valuable. The eighteen essays cover a diverse array of topics, including the connection of cosmic and human orders in ancient Greece, medieval notions of sexual disorder, early modern contexts for categorizing individuals and judging acts as "against nature," race and the origin of humans, ecological economics, and radical feminism. The essays also range widely in time and place, from archaic Greece to early twentieth-century China, medieval Europe to contemporary America. Scholars from a wide variety of fields will welcome The Moral Authority of Nature, which provides the first sustained historical survey of its topic. Contributors: Danielle Allen, Joan Cadden, Lorraine Daston, Fa-ti Fan, Eckhardt Fuchs, Valentin Groebner, Abigail J. Lustig, Gregg Mitman, Michelle Murphy, Katharine Park, Matt Price, Robert N. Proctor, Helmut Puff, Robert J. Richards, Londa Schiebinger, Laura Slatkin, Julia Adeney Thomas, Fernando Vidal