Examines the function of violence in the making of the anatomical image during the early modern era, exploring its effects on the production of knowledge and on concepts of the body.

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.

"Before the invention of photography, artists played an essential role in the work of anatomists, recording their discoveries in drawings, which were later reproduced as prints that could be studied throughout the scientific world. Starting with the groundbreaking drawings of Leonardo da Vinci - who was, uniquely, both a great artist and a great scientist - these anatomical illustrations developed into an important art form, one that contributed to the maturation of both art and science." "This illustrated book chronicles the remarkable history of anatomical illustration from the Renaissance to the digital Visible Human project of today. Its survey of five and one-half centuries of meticulous visual description by anatomists and artists will be a welcome addition to the libraries of artists, art students, doctors, and anyone interested in the history of science."--BOOK JACKET.

A unique biographical review of the global contributors to field of anatomy Knowledge of human anatomy has not always been an essential component of medical education and practice. Most European medical schools did not emphasize anatomy in their curricula until the post-Renaissance era; current knowledge was largely produced between the 16th and 20th centuries. Although not all cultures throughout history have viewed anatomy as fundamental to medicine, most have formed ideas about the internal and external mechanisms of the body—influences on the field of anatomy that are often overlooked by scholars and practitioners of Western medicine. History of Anatomy: An International Perspective explores the global and ancient origins of our modern-day understanding of anatomy, presenting detailed biographies of anatomists from varied cultural and historical settings. Chapters organized by geographic region, including Africa, the Middle East, and Europe, review the lives of those that helped shape our current understanding of the human form. Examining both celebrated and lesser-known figures, this comprehensive work examines their contributions to the discipline and helps readers develop a global perspective on a cornerstone of modern medicine and surgery. Offers a comprehensive and multidisciplinary examination of the history of anatomy Traces the emergence of modern knowledge of anatomy from ancient roots to the modern era Fills a gap in current literature on global perspectives on the history of anatomy Written by an internationally recognized team of practicing physicians and scholars History of Anatomy: An International Perspective is an engaging and insightful historical review written for anatomists, anthropologists, physicians, surgeons, medical personnel, medical students, health related professionals, historians, and anyone interested in the history of anatomy, surgery, and medicine.

Visual anatomy books have been a staple of medical practice and study since the mid-sixteenth century. But the visual representation of diseased states followed a very different pattern from anatomy, one we are only now beginning to investigate and understand. With Visualizing Disease, Domenico Bertoloni Meli explores key questions in this domain, opening a new field of inquiry based on the analysis of a rich body of arresting and intellectually challenging images reproduced here both in black and white and in color. Starting in the Renaissance, Bertoloni Meli delves into the wide range of figures involved in the early study and representation of disease, including not just men of medicine, like anatomists, physicians, surgeons, and pathologists, but also draftsmen and engravers. Pathological preparations proved difficult to preserve and represent, and as Bertoloni Meli takes us through a number of different cases from the Renaissance to the mid-nineteenth century, we gain a new understanding of how knowledge of disease, interactions among medical men and artists, and changes in the technologies of preservation and representation of specimens interacted to slowly bring illustration into the medical world.

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.