Nothing excited early modern anatomists more than touching a beating heart. In his 1543 treatise, Andreas Vesalius boasts that he was able to feel life itself through the membranes of a heart belonging to a man who had just been executed, a comment that appears near the woodcut of a person being dissected while still hanging from the gallows. In this highly original book, Rose Marie San Juan confronts the question of violence in the making of the early modern anatomical image. Engaging the ways in which power operated in early modern anatomical images in Europe and, to a lesser extent, its colonies, San Juan examines literal violence upon bodies in a range of civic, religious, pedagogical, and “exploratory” contexts. She then works through the question of how bodies were thought to be constituted—systemic or piecemeal, singular or collective—and how gender determines this question of constitution. In confronting the issue of violence in the making of the anatomical image, San Juan explores not only how violence transformed the body into a powerful and troubling double but also how this kind of body permeated attempts to produce knowledge about the world at large. Provocative and challenging, this book will be of significant interest to scholars across fields in early modern studies, including art history and visual culture, science, and medicine.

Identifies and analyses the major debates about the crucial historical relationship between film and the city to consider existing and future possibilities.

This book examines how modern medicine’s mechanistic conception of the body has become a defense mechanism to cope with death anxiety. Robbins draws from research on the phenomenology of the body, the history of cadaver dissection, and empirical research in terror management theory to highlight how medical culture operates as an agent which promotes anesthetic consciousness as a habit of perception. In short, modern medicine’s comportment toward the cadaver promotes the suppression of the memory of the person who donated their body. This suppression of the memorial body comes at the price of concealing the lived, experiential body of patients in medical practice. Robbins argues that this style of coping has influenced Western culture and has helped to foster maladaptive patterns of perception associated with experiential avoidance, diminished empathy, death denial, and the dysregulation of emotion.

Faced with the ceaseless stream of news about war, crime, and terrorism, one could easily think this is the most violent age ever seen. Yet as bestselling author Pinker shows in this startling and engaging new work, just the opposite is true.

Murray Rothbard was known as the state's greatest living enemy, and this is his most succinct and powerful statement on the topic, an exhibit A in how he came to wear that designation proudly. He shows how the state wrecks freedom, destroys civilization, and threatens all lives and property and social well being. This gives a succinct account of Rothbard’s view of the state. Following Franz Oppenheimer and Albert Jay Nock, Rothbard regards the state as a predatory entity. It does not produce anything but rather steals resources from those engaged in production. In applying this view to American history, Rothbard makes use of the work of John C. Calhoun How can an organization of this type sustain itself? It must engage in propaganda to induce popular support for its policies. Court intellectuals play a key role here, and Rothbard cites as an example of ideological mystification the work of the influential legal theorist Charles Black, Jr., on the way the Supreme Court has become a revered institution.

"Focusing on images and descriptions of movement and spectacle - everyday street activities, congregations in market piazzas, life in the Jewish ghetto and the plague hospital, papal and other ceremonial processions, public punishment, and pilgrimage routes - Rose Marie San Juan uncovers the social tensions and conflicts within seventeenth-century Roman society that are both concealed within and prompted by mass-produced representations of the city. These depictions of Rome - guidebooks, street posters, broadsheets and brochures, topographic and thematic maps, city views, and collectible images of landmarks and other famous sights - redefined the ways in which public space was experienced, controlled, and utilized, encouraging tourists, pilgrims, and penitents while constraining the activities and movements of women, merchants, dissidents, and Jews."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

A sweeping exploration of religion and the history of human violence—from the New York Times bestselling author of The History of God • “Elegant and powerful.... Both erudite and accurate, dazzling in its breadth of knowledge and historical detail.” —The Washington Post In these times of rising geopolitical chaos, the need for mutual understanding between cultures has never been more urgent. Religious differences are seen as fuel for violence and warfare. In these pages, one of our greatest writers on religion, Karen Armstrong, amasses a sweeping history of humankind to explore the perceived connection between war and the world’s great creeds—and to issue a passionate defense of the peaceful nature of faith. With unprecedented scope, Armstrong looks at the whole history of each tradition—not only Christianity and Islam, but also Buddhism, Hinduism, Confucianism, Daoism, and Judaism. Religions, in their earliest days, endowed every aspect of life with meaning, and warfare became bound up with observances of the sacred. Modernity has ushered in an epoch of spectacular violence, although, as Armstrong shows, little of it can be ascribed directly to religion. Nevertheless, she shows us how and in what measure religions came to absorb modern belligerence—and what hope there might be for peace among believers of different faiths in our time.