Download Free Visualizing The Invisible With The Human Body Book in PDF and EPUB Free Download. You can read online Visualizing The Invisible With The Human Body and write the review.

Physiognomy and ekphrasis are two of the most important modes of description in antiquity and represent the necessary precursors of scientific description. The primary way of divining the characteristics and fate of an individual, whether inborn or acquired, was to observe the patient’s external characteristics and behaviour. This volume focuses initially on two types of descriptive literature in Mesopotamia: physiognomic omens and what we might call ekphrastic description. These modalities are traced through ancient India, Ugaritic and the Hebrew Bible, before arriving at the physiognomic features of famous historical figures such as Themistocles, Socrates or Augustus in the Graeco-Roman world, where physiognomic discussions become intertwined with typological analyses of human characters. The Arabic compendial culture absorbed and remade these different physiognomic and ekphrastic traditions, incorporating both Mesopotamian links between physiognomy and medicine and the interest in characterological ‘types’ that had emerged in the Hellenistic period. This volume offer the first wide-ranging picture of these modalities of description in antiquity.
Visual anatomy books have been a staple of medical practice and study since the mid-sixteenth century. But the visual representation of diseased states followed a very different pattern from anatomy, one we are only now beginning to investigate and understand. With Visualizing Disease, Domenico Bertoloni Meli explores key questions in this domain, opening a new field of inquiry based on the analysis of a rich body of arresting and intellectually challenging images reproduced here both in black and white and in color. Starting in the Renaissance, Bertoloni Meli delves into the wide range of figures involved in the early study and representation of disease, including not just men of medicine, like anatomists, physicians, surgeons, and pathologists, but also draftsmen and engravers. Pathological preparations proved difficult to preserve and represent, and as Bertoloni Meli takes us through a number of different cases from the Renaissance to the mid-nineteenth century, we gain a new understanding of how knowledge of disease, interactions among medical men and artists, and changes in the technologies of preservation and representation of specimens interacted to slowly bring illustration into the medical world.
Body and Cosmos presents a series of articles by renowned Indological scholars on the early Indian medical and astral sciences. It is published on the occasion of the 70th birthday of Professor Emeritus Kenneth G. Zysk.
How we see and how we visualize: why the scientific account differs from our experience.
The essays examine how the study of facial features or expressions as indicative of character or ethnicity, has evolved from the crossroad of magic, religion and primitive medicine to present-day cultural concern for wellness and beauty. In this context, the discoveries of cranio-facial neurophysiology and psychology and the practice of cosmetic and reconstructive surgery have a centuries-old relationship with physiognomy. As the study of outward appearances evolved from its classical roots and self-representations through 18th- and 19th-century adaptations in fiction and travelogues, it gradually became a scientific discipline. Along the way, physiognomy was associated with phrenology and craniology and promoted eugenic policies. Tainted with racial bigotry and biological determinism, it was trapped within questions of delinquency, monstrosity and posthumanism. Throughout its history, physiognomy played both positive and negative roles in the evolution of significant aspects of the socio-cultural order in the West that merit update and in-depth study. The contributions follow a chronological and intertwining sequence to encompass physiognomic expressions in art, literature, spirituality, science, philosophy and cultural studies.
A diverse group of scholars charts new paths in the quest for the historical Jesus. After a decade of stagnation in the study of the historical Jesus, James Crossley and Chris Keith have assembled an international team of scholars to envision the quest anew. The contributors offer new perspectives and fresh methods for reengaging the question of the historical Jesus. Important, timely, and fascinating, The Next Quest for the Historical Jesus is a must read for anyone seeking to understand Jesus of Nazareth. Contributors Michael P. Barber, Augustine Institute Graduate School of Theology, United States of America Giovanni B. Bazzana, Harvard Divinity School, United States of America Helen K. Bond, University of Edinburgh, United Kingdom James Crossley, MF Norwegian School of Theology, Religion, and Society, Norway, and Centre for the Critical Study of Apocalyptic and Millenarian Movements, United Kingdom Tucker S. Ferda, Pittsburgh Theological Seminary, United States of America Paula Fredriksen, Boston University, United States of America, and the Hebrew University of Jerusalem, Israel Deane Galbraith, University of Otago, Aotearoa New Zealand Mark Goodacre, Duke University, United States of America Meghan R. Henning, University of Dayton, United States of America Nathan C. Johnson, University of Indianapolis, United States of America Wayne Te Kaawa, University of Otago, Aotearoa New Zealand Chris Keith, MF Norwegian School of Theology, Religion, and Society, Norway John S. Kloppenborg, University of Toronto, Canada Amy-Jill Levine, Hartford International University for Religion and Peace, United States of America, and Vanderbilt University, United States of America Brandon Massey, University of Münster, Germany Justin J. Meggitt, University of Cambridge, United Kingdom Halvor Moxnes, University of Oslo, Norway Robert J. Myles, Wollaston Theological College, University of Divinity, Australia Wongi Park, Belmont University, United States of America Janelle Peters, Loyola Marymount University, United States of America Taylor G. Petrey, Kalamazoo College, United States of America Adele Reinhartz, University of Ottawa, Canada Rafael Rodríguez, Johnson University, United States of America Sarah E. Rollens, Rhodes College, United States of America Anders Runesson, University of Oslo, Norway Nathan Shedd, William Jessup University, United States of America, and Johnson University, United States of America Mitzi J. Smith, Columbia Theological Seminary, United States of America, and University of South Africa, South Africa Joan Taylor, King’s College London, United Kingdom Matthew Thiessen, McMaster University, Canada Robyn Faith Walsh, University of Miami, United States of America Matthew G. Whitlock, Seattle University, United States of America Stephen Young, Appalachian State University, United States of America Christopher B. Zeichmann, Toronto Metropolitan University, Canada
Popular images of women were everywhere in revolutionary France. Although women's political participation was curtailed, female allegories of liberty, justice, and the republic played a crucial role in the passage from old regime to modern society. In her lavishly illustrated and gracefully written book, Joan B. Landes explores this paradox within the workings of revolutionary visual culture and traces the interaction between pictorial and textual political arguments. Landes highlights the widespread circulation of images of the female body, notwithstanding the political leadership's suspicions of the dangers of feminine influence and the seductions of visual imagery. The use of caricatures and allegories contributed to the destruction of the masculinized images of hierarchic absolutism and to forging new roles for men and women in both the intimate and public arenas. Landes tells the fascinating story of how the depiction of the nation as a desirable female body worked to eroticize patriotism and to bind male subjects to the nation-state. Despite their political subordination, women too were invited to identify with the project of nationalism. Recent views of the French Revolution have emphasized linguistic concerns; in contrast, Landes stresses the role of visual cognition in fashioning ideas of nationalism and citizenship. Her book demonstrates as well that the image is often a site of contestation, as individual viewers may respond to it in unexpected, even subversive, ways.
The Routledge Handbook of Health and Media provides an extensive review and exploration of the myriad ways that health and media function as a symbiotic partnership that profoundly influences contemporary societies. A unique and significant volume in an expanding pedagogical field, this diverse collection of international, original, and interdisciplinary essays goes beyond issues of representation to engage in scholarly conversations about the web of networks that inextricably bind media and health to each other. Divided into sections on film, television, animation, photography, comics, advertising, social media, and print journalism, each chapter begins with a concrete text or texts, using it to raise more general and more theoretical issues about the medium in question. As such, this Handbook defines, expands, and illuminates the role that the humanities and arts play in the education and practice of healthcare professionals and in our understanding of health, illness, and disability. The Routledge Handbook of Health and Media is an invaluable reference for academics, students and health professionals engaged with cultural issues in media and medicine, popular representations of disease and disability, and the patient/professional health care encounter.
Visualizing Law in the Age of the Digital Baroque explores the profound impact that visual digital technologies are having on the practice and theory of law. Today, lawyers, judges, and lay jurors face a vast array of visual evidence and visual argument. From videos documenting crimes and accidents to computer displays of their digital simulation, increasingly, the search for fact-based justice inside the courtroom is becoming an offshoot of visual meaning making. But when law migrates to the screen it lives there as other images do, motivating belief and judgment on the basis of visual delight and unconscious fantasies and desires as well as actualities. Law as image also shares broader cultural anxieties concerning not only the truth of the image but also the mimetic capacity itself, the human ability to represent reality. What is real, and what is simulation? This is the hallmark of the baroque, when dreams fold into dreams, like immersion in a seemingly endless matrix of digital appearances. When fact-based justice recedes, laws proliferate within a field of uncertainty. Left unchecked, this condition of ontological and ethical uneasiness threatens the legitimacy of lawâe(tm)s claim to power. Visualizing Law in the Age of the Digital Baroque offers a jurisprudential paradigm that is equal to the challenge that current cultural conditions present.
The book presents and analyzes some of the most important issues related to the body seen as a rich and complex anthropological and semiotic object, capable of playing a decisive role in the meaning making processes of cultural and social life. The analysis presented in this book opens a whole set of new venues for the study of body performances and representations, and shows how the embodiment of social and cultural life shape our world. In all of its relationships and in itself, our body works in a sort of corposphere, which is, in turn, part of the semiosphere, defined by Lotman as a continuum occupied by different types of semiotic formations. It is from/in/by the body that all semiosis begins and ends; it is in its presence and absence, in its being and in its presentation amidst the lived situational life where we might discover and shape the senses of the world. Many different academic fields will find in this book deep insights about how the body is at the center of cultural and social processes.