This book takes a historical and anthropological approach to understanding how non-human hosts and vectors of diseases are understood, at a time when emerging infectious diseases are one of the central concerns of global health. The volume critically examines the ways in which animals have come to be framed as ‘epidemic villains’ since the turn of the nineteenth century. Providing epistemological and social histories of non-human epidemic blame, as well as ethnographic perspectives on its recent manifestations, the essays explore this cornerstone of modern epidemiology and public health alongside its continuing importance in today’s world. Covering diverse regions, the book argues that framing animals as spreaders and reservoirs of infectious diseases – from plague to rabies to Ebola – is an integral aspect not only to scientific breakthroughs but also to the ideological and biopolitical apparatus of modern medicine. As the first book to consider the impact of the image of non-human disease hosts and vectors on medicine and public health, it offers a major contribution to our understanding of human-animal interaction under the shadow of global epidemic threat.

How epidemic photography during a global pandemic of bubonic plague contributed to the development of modern epidemiology and our concept of the “pandemic.” In Visual Plague, Christos Lynteris examines the emergence of epidemic photography during the third plague pandemic (1894–1959), a global pandemic of bubonic plague that led to over twelve million deaths. Unlike medical photography, epidemic photography was not exclusively, or even primarily, concerned with exposing the patient’s body or medical examinations and operations. Instead, it played a key role in reconceptualizing infectious diseases by visualizing the “pandemic” as a new concept and structure of experience—one that frames and responds to the smallest local outbreak of an infectious disease as an event of global importance and consequence. As the third plague pandemic struck more and more countries, the international circulation of plague photographs in the press generated an unprecedented spectacle of imminent global threat. Nothing contributed to this sense of global interconnectedness, anticipation, and fear more than photography. Exploring the impact of epidemic photography at the time of its emergence, Lynteris highlights its entanglement with colonial politics, epistemologies, and aesthetics, as well as with major shifts in epidemiological thinking and public health practice. He explores the characteristics, uses, and impact of epidemic photography and how it differs from the general corpus of medical photography. The new photography was used not simply to visualize or illustrate a pandemic, but to articulate, respond to, and unsettle key questions of epidemiology and epidemic control, as well as to foster the notion of the “pandemic,” which continues to affect our lives today.

This volume explores nonhuman animals’ involvement with human maritime activities in the age of sail—as well as the myriad multispecies connections formed across different geographical locations knitted together by the long history of global ship movement. Far from treating the ship as a confined space defined by the sea, Maritime Animals considers the ship’s connections to broader contexts and networks and covers a variety of locations, from the Canadian Arctic to the Pacific Islands. Each chapter focuses on the oceanic experiences of a particular species, from ship vermin, animals transported onboard as food, and animal specimens for scientific study to livestock, companion and working animals, deep-sea animals that find refuge in shipwrecks, and terrestrial animals that hunker down on flotsam and jetsam. Drawing on recent scholarship in animal studies, maritime studies, environmental humanities, and a wide range of other perspectives and storytelling approaches, Maritime Animals challenges an anthropocentric understanding of maritime history. Instead, this volume highlights the ways in which species, through their interaction with the oceans, tell stories and make histories in significant and often surprising ways. In addition to the editor, the contributors to this volume include Anna Boswell, Nancy Cushing, Lea Edgar, David Haworth, Donna Landry, Derek Lee Nelson, Jimmy Packham, Laurence Publicover, Killian Quigley, Lynette Russell, Adam Sundberg, and Thom van Dooren.

In A History of Plague in Java, 1911–1942, Maurits Bastiaan Meerwijk demonstrates how the official response to the 1911 outbreak of plague in Malang led to one of the most invasive health interventions in Dutch colonial Indonesia. Eager to combat disease, Dutch physicians and officials integrated the traditional Javanese house into the "rat-flea-man" theory of transmission. Hollow bamboo frames and thatched roofs offered hiding spaces for rats, suggesting a material link between rat plague and human plague. Over the next thirty years, 1.6 million houses were renovated or rebuilt, millions more were subjected to periodic inspection, and countless Javanese were exposed to health messaging seeking to "rat-proof" their beliefs along with their houses. The transformation of houses, villages, and people was documented in hundreds of photographs and broadcast to overseas audiences as evidence of the "ethical" nature of colonial rule, proving so effective as propaganda that the rebuilding continued even as better alternatives, such as inoculation, became available. By systematically reshaping the built environment, the Dutch plague response dramatically expanded colonial oversight and influence in rural Java.

This volume interrogates global health and especially the scourge of the COVID-19 pandemic, and the role that science has played in mitigating the human experiences of pandemics and health over the centuries. Science, and the scientific method, has always been at the forefront of the human attempt at undermining the virulent consequences of sicknesses and diseases. However, the scientific image of humans in the world is founded on the presumption of possessing the complete understanding about humans and their physiological and psychological frameworks. This volume challenges this scientific assumption. Global health denotes the complex and cumulative health profile of humanity that involves not only the framework of scientific researches and practices that investigates and seeks to improve the health of all people on the globe, but also the range of humanistic issues - economic, cultural, social, ideological - that constitute the sources of inequities and threat to the achievement of a positive global health profile. This volume balances the argument that diseases and pandemics are human problems that demand both scientific and humanistic interventions.

This open access book considers science and empire, and the stories we tell ourselves about them. Using British Nobel laureate Ronald Ross (1857-1932) and his colleagues as access points to a wider professional culture, Empire Under the Microscope explores the cultural history of parasitology and its relationships with the literary and historical imagination between 1885 and 1935. Emilie Taylor-Pirie examines a wealth of archival material including medical lectures, scientific publications, popular biography, and personal and professional correspondence, alongside novels, poems, newspaper articles, and political speeches, to excavate the shared vocabularies of literature and medicine. She demonstrates how forms such as poetry and biography; genres such as imperial romance and detective fiction; and modes such as adventure and the Gothic, together informed how tropical diseases, their parasites, and their vectors, were understood in relation to race, gender, and nation. From Ancient Greece, to King Arthur’s Knights, to the detective work of Sherlock Holmes, parasitologists manipulated literary and historical forms of knowledge in their professional self-fashioning to create a modern mythology that has a visible legacy in relationships between science and society today.