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This volume examines the fifth-century medical treatise, On the Sacred Disease, as a sophistic speech, and considers its position within the scientific tradition. The first part concerns conceptions of science, magic, and medicine; and establishes the antiquity of medicine as a specialized skill. The latter part analyzes the treatise in light of sophistic oratory, and explores its reception of traditional beliefs. This analysis shows that traditional beliefs, competition, and rhetoric contributed to the intellectual tradition of science. Traditional views are shown to have influenced ideas concerning physiology, and disease aetiology and transmission, Competition, expressed in the terms of sophistic debate, sharpened the author's arguments. On the Sacred Disease is important evidence for the influence on fifth-century medicine of both sophistic rhetoric and of older medical traditions.
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The Art Is Long: Primary Texts on Medicine and the Humanities gathers introductory texts in the growing field of medical humanities. This unique volume presents a lens with which to examine the intersection of literature and medicine with diverse selections that span time and the globe. With authors from Sushruta to Hippocrates, Margery Kempe to John Donne, and Susie King Taylor to Sigmund Freud, the volume also highlights the voices of women, people of color, and those who have been overlooked or marginalized by the medical establishment. The Art Is Long aims to expand the medical humanities canon. In addition to more traditional works, readers will find snippets of literary and narrative encounters with medicine by writers who are neither doctors nor nurses, including professional caretakers and people who might be labelled “quacks” today but whose contributions represent a part of medical history. This anthology also includes medical reportage and philosophy, fiction and nonfiction, image and poetry. The shifts in genre, style, and perspective provide a wealth of opportunities to reflect on medical history and literary techniques, focusing on narratives that highlight a personal context for medical subjects in a single volume.
This edited collection explores the intersection of historical studies and the artistic representation of the past in the long nineteenth century. The case studies provide not just an account of the pursuit of history in art within Western Europe but also examples from beyond that sphere. These cover canonical and conventional examples of history painting as well as more inclusive, ‘popular’ and vernacular visual cultural phenomena. General themes explored include the problematics internal to the theory and practice of academic history painting and historical genre painting, including compositional devices and the authenticity of artefacts depicted; relationships of power and purpose in historical art; the use of historical art for alternative Liberal and authoritarian ideals; the international cross-fertilisation of ideas about historical art; and exploration of the diverse influences of socioeconomic and geopolitical factors. This book will be of particular interest to scholars of the histories of nineteenth-century art and culture.
An unflinching, illuminating look at three U.S. artists and their performances of suffering
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A groundbreaking reassessment of Symbolist artists and writers that investigates the concerns they shared with scientists of the period—the problem of subjectivity in particular. In A Forest of Symbols, Andrei Pop presents a groundbreaking reassessment of those writers and artists in the late nineteenth century associated with the Symbolist movement. For Pop, “symbolist” denotes an art that is self-conscious about its modes of making meaning, and he argues that these symbolist practices, which sought to provide more direct access to viewers and readers by constant revision of its material means of meaning-making (brushstrokes on a canvas, words on a page), are crucial to understanding the genesis of modern art. The symbolists saw art not as a social revolution, but as a revolution in sense and how to conceptualize the world. The concerns of symbolist painters and poets were shared to a remarkable degree by theoretical scientists of the period, who were dissatisfied with the strict empiricism dominant in their disciplines, which made shared knowledge seem unattainable. The problem of subjectivity in particular, of what in one's experience can and cannot be shared, was crucial to the possibility of collaboration within science and to the communication of artistic innovation. Pop offers close readings of the literary and visual practices of Manet and Mallarmé, of drawings by Ernst Mach, William James and Wittgenstein, of experiments with color by Bracquemond and Van Gogh, and of the philosophical systems of Frege and Russell—filling in a startling but coherent picture of the symbolist heritage of modernity and its consequences.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Here is a visual celebration of African American Art from it's beginnings in Colonial America up to the present day. From early folk art to contemporary paintings, prints, and sculpture, a selection of 107 full-color illustrations presents the remarkable history of America's Black artistic heritage.