Today the use of photography (and its extension, video) in psychiatry is a common practice. But in the 1850s, when pioneering medical photographer and psychiatrist Dr. Hugh W. Diamond was behind the camera, this technique was an innovative application of art to science, reflecting and expanding the contemporary interest in physiognomic characteristics. In "The Face of Madness," notable scholar Sander Gilman has curated a unique exhibition of 54 of Dr. Diamond's photographs and commentary. Diamond's photographs are eloquent portraits of the insane-the melancholy, the depressed, the deranged, the alcoholic-whom he cared for at the Surrey County Lunatic Asylum. In addition to their psychiatric significance, these photographs are notable works of art since Diamond was a pioneer in experimenting with and refining photographic techniques. Diamond's paper "On the Application of Photography to the Physiognomic and Mental Phenomena of Insanity," is included in this printing. This discourse discloses three functions of photography which are still relevant to the practice of psychiatry today: Photography can record the appearance of the mentally ill for study; it can be used for treatment through the presentation of an accurate self-image; and it can record the visages of patients to facilitate identification in case of later readmission. In addition to Diamond's paper, notes and analysis by Dr. John Conolly are also included in this volume. Dr. Conolly, one of Dr. Diamond's associates, was widely considered to be the leading British psychiatrist of the mid-nineteenth century. His patient case studies accompany 17 of Diamond's photographs. These reports include clinical information as well as diagnoses based on the theories of the physiognomy of insanity accepted at that period. "The Face of Madness" is a book to be treasured not only by psychiatrists, but also by photographers and medical historians. As Eric T. Carlson writes in the Introduction: "Until now these photographs have been known only through the sketches made from them. Professor Gilman has performed a great service in locating them and by giving us their history." Sander L. Gilman, PhD, is a distinguished professor of the Liberal Arts and Sciences as well as Professor of Psychiatry at Emory University. A respected educator, he has served as Old Dominion Visiting Professor of English at Princeton; Northrop Frye Visiting Professor of Comparative Literature at the University of Toronto; Mellon Visiting Professor of Humanities at Tulane University; Goldwin Smith Professor of Humane Studies at Cornell University; and Professor of the History of Psychiatry at Cornell Medical College. He has written and edited several books including "Sexuality: An Illustrated History" and "Seeing the Insane."

Seeing the Insane is a richly detailed cultural history of madness and art in the Western world, showing how the portrayal of stereotypes has both reflected and shaped the perception and treatment of the mentally disturbed.

The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.

Darwin's Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made. In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person's face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin's Camera. Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin's Camera provides the first examination ever of these relationships and their effect on Darwin's work, and how Darwin, in turn, shaped the history of art.

Dangerous Motherhood is the first study of the close and complex relationship between mental disorder and childbirth. Exploring the relationship between women, their families and their doctors reveals how explanations for the onset of puerperal insanity were drawn from a broad set of moral, social and environmental frameworks, rather than being bound to ideas that women as a whole were likely to be vulnerable to mental illness. The horror of this devastating disorder which upturned the household, turned gentle mothers into disruptive and dangerous mad women, was magnified by it occurring at a time when it was anticipated that women would be most happy in the fulfillment of their role as mothers.

"She's hysterical." For centuries, the term "hysteria" has been used by physicians and laymen to diagnose and dismiss the extreme emotionality and mysterious physical disorders presumed to bedevil others—especially women. How did this medical concept assume its power? What cultural purposes does it serve? Why do different centuries and different circumstances produce different kinds of hysteria? These are among the questions pursued in this absorbing, erudite reevaluation of the history of hysteria. The widely respected authors draw upon the insights of social and cultural history, rather than Freudian psychoanalysis, to examine the ways in which hysteria has been conceived by doctors and patients, writers and artists, in Europe and North America, from antiquity to the early years of the twentieth century. In so doing, they show that a history of hysteria is a history of how we understand the mind. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.