Until now, there have been no books and only a few articles available in English that deal with the actual practice of medicine in nineteenth and early twentieth-century Iran. Willem Floor's Public Health in Qajar Iran fills this lacuna, giving a broad and comprehensive survey of the state of public health, medical practice, and its practitioners in 1800-1925. Based on firsthand accounts of European travelers and doctors who practiced and observed medical treatment, the study provides an overview of the major diseases the population suffered and how these were treated. It also includes the available evidence logged by Iranian patients abroad and at home, as well as contemporary Persian texts that comment on public health and its practice in Iran. Floor shuns the analysis of classic Islamic medical textbooks, explaining that their medical advice was hardly ever administered and that the authors often had ideological (religious) agendas in writing these treatises. Instead, Floor investigates the commonly accepted theories of diseases, disorders, and their cures, including Islamic Galenic medicine and pre-Islamic theurgic folk medicine based on traditional herb lore and trial-and-error. The book concludes with the impact of Western medicine on the traditional medical institutions and public health in Qajar Iran. This exhaustive inquiry will enthrall scholars of Iran and medicine alike.

This volume provides surprising new insights into the interrelation of medical practice, public health and politics in 19th century Iran, esp. the assimilation of Western medicine into indigenous systems.

This volume provides surprising new insights into the interrelation of medical practice, public health and politics in 19th century Iran, esp. the assimilation of Western medicine into indigenous systems.

Although in the last few years the study of painting in 19th century Iran has made considerable progress it still remains somewhat tradition bound. It would seem that art historians find it difficult to go beyond oil paintings, lacquer, and enamel. In 1998, Robinson, the doyen of Qajar art history, wrote: "Qajar painting found its most prestigious outlets in oil painting, lacquer, and enamel." In this study it is shown that paintings were probably the most important form of expression for painters for many centuries and as prestigious as the other forms of painting. Mural paintings were very popular and were to be found on various types of buildings ranging from the royal palaces, private homes, bath-houses to a religious shrine. Painting was a craft and a business that was actively pursued by artisans in most major towns in response to a general demand for-figurative art. As to the themes depicted these remained basically limited to (i) dynastic and epic (Qajar 'family portraits'; battles, hunts; Shahnameh scenes), (ii) sensual (flora, fauna, erotic), and (iii) religious (prophets, lmams, 'olama) subjects. These subjects occurred in any type of building irrespective of its function. The wide use of figurative representation in religious buildings and practice is of great interest. People almost invariably assume that Moslems until recent times did not tolerate paintings and the like of humans and animals adorning public and private buildings and publications. This study shows otherwise. There is even evidence of the use of paintings as religious icons, which is a totally neglected subject. Rock reliefs and other forms of sculptured works in and on buildings and its accessories such as doors show a similar development as mural paintings. Although information is even less copious than for wall paintings, it is clear that the depiction of living beings in the forms of sculptures was very widespread and pre-dates the Qajar period. The nature and form of murals were influenced by the increased contacts between Persia/Iran and the outside world, in particular Europe and India. This holds in particular for the use of prints and the occurrence of European scenes in frescos and other forms of paintings. Willem Floor has written extensively on many aspects of social, economic, and art history of Iran.

Remedying an important deficit in the historiography of medicine, public health, and the Middle East, A Modern Contagion increases our understanding of ongoing sociopolitical challenges in Iran and the rest of the Islamic world.

Offers new and cutting-edge research on the role of drugs in Iranian society and government. This title is also available as Open Access on Cambridge Core.

Philippa Levine is the Mary Helen Thompson Centennial Professor in the Humanities at the University of Texas at Austin. Her books include Prostitution, Race and Politics: Policing Venereal Disease in the British Empire, and The British Empire, Sunrise to Sunset. --