Bøger af Michael Sappol

An imaginative exploration of how Fritz Kahn's popular scientific illustrations visualized and performed industrial modernity

Founded 175 years ago, the National Library of Medicine is the world's largest medical library, with more than 17 million items dating from the 11th century to the present in its holdings. Today it is home to a rich worldwide heritage of objects, from the rarest early medical books to delightful 20th-century ephemera, artifacts, and documentary and animated films. Despite more than a century and a half of classification and cataloging, buried in the sheer mass of this collection are wondrous items largely unseen by the public and obscure even to librarians, curators, and historians. The individual objects brought to light in this book glow with beauty -- or grotesquery or wit or calamitous tragedy -- and include spectacular large-scale, color-illustrated medical books; rare manuscripts; pamphlets and ephemera; "magic lantern" slides; toys; stereograph cards; scrapbooks; film stills; posters; and more from the 13th to the 20th century, from Europe, Africa, North America, and Asia. Specially selected and showcased in "Hidden Treasure, " they once again speak to us, charm us, repulse us, amaze us, inform us, and intrigue us.

A Traffic of Dead Bodies enters the sphere of bodysnatching medical students, dissection-room pranks, and anatomical fantasy. It shows how nineteenth-century American physicians used anatomy to develop a vital professional identity, while claiming authority over the living and the dead. It also introduces the middle-class women and men, working people, unorthodox healers, cultural radicals, entrepreneurs, and health reformers who resisted and exploited anatomy to articulate their own social identities and visions. The nineteenth century saw the rise of the American medical profession: a proliferation of practitioners, journals, organizations, sects, and schools. Anatomy lay at the heart of the medical curriculum, allowing American medicine to invest itself with the authority of European science. Anatomists crossed the boundary between life and death, cut into the body, reduced it to its parts, framed it with moral commentary, and represented it theatrically, visually, and textually. Only initiates of the dissecting room could claim the privileged healing status that came with direct knowledge of the body. But anatomy depended on confiscation of the dead--mainly the plundered bodies of African Americans, immigrants, Native Americans, and the poor. As black markets in cadavers flourished, so did a cultural obsession with anatomy, an obsession that gave rise to clashes over the legal, social, and moral status of the dead. Ministers praised or denounced anatomy from the pulpit; rioters sacked medical schools; and legislatures passed or repealed laws permitting medical schools to take the bodies of the destitute. Dissection narratives and representations of the anatomical body circulated in new places: schools, dime museums, popular lectures, minstrel shows, and sensationalist novels. Michael Sappol resurrects this world of graverobbers and anatomical healers, discerning new ligatures among race and gender relations, funerary practices, the formation of the middle-class, and medical professionalization. In the process, he offers an engrossing and surprisingly rich cultural history of nineteenth-century America.