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Bearing such titles as The Doctor's Visit or The Lovesick Maiden, certain seventeenth-century Dutch paintings are familiar to museum browsers: an attractive young woman—well dressed, but pale and listless—reclines in a chair, languishes in bed, or falls to the floor in a faint. Weathered crones or impish boys leer suggestively in the background. These paintings traditionally have been viewed as commentary on quack doctors or unmarried pregnant women. The first book to examine images of women and illness in the light of medical history, Perilous Chastity reveals a surprising new interpretation. In an engaging analysis enhanced by abundant illustrations-including eight pages of color plates—Laurinda S. Dixon shows how paintings reflect changing medical theories concerning women. While she illuminates a tradition stretching from antiquity to the present, she concentrates on art from the thirteenth through the eighteenth centuries, and particularly on paintings from seventeenth-century Leiden. Dixon suggests how the assumptions of a predominantly male medical establishment have influenced prevailing notions of women's social place. She traces the evolution of the belief that women's illnesses were caused by "hysteria," so named in ancient Greece after the notion that the uterus had a tendency to wander in the body. All women were considered prone to hysteria-strong emotions, idleness, intellectual activity, or unladylike pursuits could cause it—but it was most commonly diagnosed among celibates. Analyzing paintings of women's sickrooms by Jan Steen, Dirck Hals, Gabriel Metsu, Jacob Ochtervelt, Godfried Schalcken, Samuel van Hoogstraten, and Franz van Mieris, Dixon perceives metaphoric identifications of the womb as the source of illness. She also documents changing fashions in cures for hysteria and discusses allusions to the debilitating effects of women's passions not only in paintings, but also in madrigals by John Dowland and Henry Purcell. In conclusion, Dixon argues that her study has strong ramifications of attitudes towards women and illness today. She takes up images in twentieth-century culture as well and calls attention to a resurgence of female "hysteria" after World War II.
Since his death, the writings of Carl Schmitt (1888–1985) have been debated, cited, and adopted by political and legal thinkers on both the left and right with increasing frequency, though not without controversy given Schmitt's unwavering support for National Socialism before and during World War II. In Perilous Futures, Peter Uwe Hohendahl calls for critical scrutiny of Schmitt's later writings, the work in which Schmitt wrestles with concerns that retain present-day relevance: globalization, asymmetrical warfare, and the shifting international order. Hohendahl argues that Schmitt's work seems to offer solutions to these present-day issues, although the ambiguity of his beliefs means that Schmitt's later work is a problematic guide. Focusing on works Schmitt published after the war—including The Nomos of the Earth, Theory of the Partisan and Political Theology II—as well as his posthumously published diaries, Hohendahl reads these works critically against the backdrop of their biographical and historical contexts, he charts the shift in Schmitt's perspective from a German nationalist focus to a European and then international agenda, while attending to both the conceptual and theoretical continuities with his prewar work and addressing the tension between the specific circumstances in which Schmitt was writing and the later international appropriation. Crossing disciplines of history, political theory, international relations, German studies, and political philosophy, Hohendahl brings Schmitt's later writings into contemporary discourse and forces us to reexamine what we believe about Carl Schmitt.
In The Unfinished Enlightenment, Joanna Stalnaker offers a fresh look at the French Enlightenment by focusing on the era's vast, collective attempt to compile an ongoing and provisional description of the world. Through a series of readings of natural histories, encyclopedias, scientific poetry, and urban topographies, the book uncovers the deep epistemological and literary tensions that made description a central preoccupation for authors such as Buffon, Bernardin de Saint-Pierre, Diderot, Delille, and Mercier. Stalnaker argues that Enlightenment description was the site of competing truth claims that would eventually resolve themselves in the modern polarity between literature and science. By the mid-nineteenth century, the now habitual association between description and the novel was already firmly anchored in French culture, but just a century earlier, in the diverse network of articles on description in Diderot and d'Alembert's Encyclopédie and in the works derived from it, there was not a single mention of the novel. Instead, we find articles on description in natural history, geometry, belles-lettres, and poetry. Stalnaker builds on the premise that the tendency to view description as the inevitable (and subservient) partner of narration—rather than as a universal tool for making sense of knowledge in all fields—has obscured the central place of description in Enlightenment discourse. As a result, we have neglected some of the most original and experimental works of the eighteenth century.
Explores how the characters in Oscar Wilde's plays, though not specifically gay, epitomize today's image of the effeminate male, how they relate to British theatrical fops and other characters since early modern times, how the representation of same-sex passion was altered by Wilde's expose and trial as a homosexual, and how the stereotype of the gay man became established in the 20th century. Annotation copyright by Book News, Inc., Portland, OR
These essays demonstrate the sweeping influence of the human nervous system on the rise of literature and sensibility in early modern Europe. The brain and nerves have usually been treated as narrow topics within the history of science and medicine. Now George Rousseau, an international authority on the relations of literature and medicine, demonstrates why a broader context is necessary. The nervous system was a crucial factor in the rise of recent civilization. More than any other body part, it holds the key to understanding how far back the strains and stresses of modern life - fatigue, depression, mental illness - extend.
The Military Enlightenment brings to light a radically new narrative both on the Enlightenment and the French armed forces from Louis XIV to Napoleon. Christy Pichichero makes a striking discovery: the Geneva Conventions, post-traumatic stress disorder, the military "band of brothers," and soldierly heroism all found their antecedents in the eighteenth-century French armed forces. Readers of The Military Enlightenment will be startled to learn of the many ways in which French military officers, administrators, and medical personnel advanced ideas of human and political rights, military psychology, and social justice.
The fullest and most complete survey of the development of science in the eighteenth century.
A collection of essays by a team of distinguished international contributors concerned with how Classic - mainly Greek and Latin but also Arabic and Portuguese - texts become present in later cultures; how they are passed on, received and affect over time and space, and how they resonate in the modern.
Literary composition is more than an intellectual affair. Poetry has long been said to spring from the heart, while aspiring writers are frequently encouraged to write "from the gut." Still another formulation likens the poetic imagination to the pregnant womb, in spite of the fact that most poets historically have been male. Offering a rather different set of arguments about the forces that shape creativity, Raymond Stephanson examines how male writers of the Enlightenment imagined the origins, nature, and structures of their own creative impulses as residing in their virility. For Stephanson, the links between male writing, the social contexts of masculinity, and the male body—particularly the genitalia—played a significant role in the self-fashioning of several generations of male authors. Positioning sexuality as a volatile mechanism in the development of creative energy, The Yard of Wit explains why male writers associated their authorial work—both the internal site of creativity and its status in public—with their genitalia and reproductive and erotic acts, and how these gestures functioned in the new marketplace of letters. Using the figure and writings of Alexander Pope as a touchstone, Stephanson offers an inspired reading of an important historical convergence, a double commodification of male creativity and of masculinity as the sexualized male body. In considering how literary discourses about male creativity are linked to larger cultural formations, this elegant, enlightening book offers new insight into sex and gender, maleness and masculinity, and the intricate relationship between the male body and mind.