Anatomies

In fascinating new contextual readings of four of Herman Melville's novels—Typee, White-Jacket, Moby-Dick, and Pierre—Samuel Otter delves into Melville's exorbitant prose to show how he anatomizes ideology, making it palpable and strange. Otter portrays Melville as deeply concerned with issues of race, the body, gender, sentiment, and national identity. He articulates a range of contemporary texts (narratives of travelers, seamen, and slaves; racial and aesthetic treatises; fiction; poetry; and essays) in order to flesh out Melville's discursive world. Otter presents Melville's works as "inside narratives" offering material analyses of consciousness. Chapters center on the tattooed faces in Typee, the flogged bodies in White-Jacket, the scrutinized heads in Moby-Dick, and the desiring eyes and eloquent, constricted hearts of Pierre. Otter shows how Melville's books tell of the epic quest to know the secrets of the human body. Rather than dismiss contemporary beliefs about race, self, and nation, Melville inhabits them, acknowledging their appeal and examining their sway. Meticulously researched and brilliantly argued, this groundbreaking study links Melville's words to his world and presses the relations between discourse and ideology. It will deeply influence all future studies of Melville and his work.

The Sunday Times Science Book of the Year, Anatomies by Hugh Aldersey-Williams, author of bestseller Periodic Tales, is a splendidly entertaining journey through the art, science, literature and history of the human body. 'Magnificent, inspired. He writes like a latter-day Montaigne. Stimulating scientific hypotheses, bold philosophic theories, illuminating quotations and curious facts. I recommend it to all' Telegraph ***** 'Splendid, highly entertaining, chock-full of insights ... It inserts fascinating scientific snippets and anecdotes about our organs into the wider history of our changing understanding of our bodies' Sunday Times 'A relentlessly entertaining cultural history of the human body ... brims with fascinating details, infectious enthusiasm ... the terrain he covers is so richly brought to life' Guardian 'Elegant and informative ... For Aldersey-Williams, [the body] is a thing of wonder and a repository of fascinating facts' Mail on Sunday **** In Anatomies, bestselling author Hugh Aldersey-Williams investigates that marvellous, mysterious form: the human body. Providing a treasure trove of surprising facts, remarkable stories and startling information drawn from across history, science, art and literature - from finger-prints to angel physiology, from Isaac Newton's death-mask to the afterlife of Einstein's brain - he explores our relationship with our bodies and investigates our changing attitudes to the extraordinary physical shell we inhabit. 'More than a science book - it's also history, biography and autobiography - Anatomies is writing at its most refined, regardless of genre' Sunday Times Praise for Periodic Tales: 'Science writing at its best ... fascinating and beautiful ... if only chemistry had been like this at school ... to meander through the periodic table with him ... is like going round a zoo with Gerald Durrell ... a rich compilation of delicious tales, but it offers greater rewards, too' Matt Ridley 'Immensely engaging and continually makes one sit up in surprise' Sunday Times 'Splendid ... enjoyable and polished' Observer 'Full of good stories and he knows how to tell them well ... an agreeable jumble of anecdote, reflection and information' Sunday Telegraph 'Great fun to read and an endless fund of unlikely and improbable anecdotes ... sharp and often witty' Financial Times Hugh Aldersey-Williams studied natural sciences at Cambridge. He is the author of several books exploring science, design and architecture and has curated exhibitions at the Victoria and Albert Museum and the Wellcome Collection. His previous book Periodic Tales: The Curious Lives of the Elements was a Sunday Times bestseller and has been published in many languages around the world. He lives in Norfolk with his wife and son.

Renowned paleoartist John Gurche brings the traditional techniques of figure drawing and anatomical art to the portrayal of our hominin ancestors. The result is a visual record of the evolving human form that feels alive in a way no scientific illustration could match. While science provides an underpinning to Gurche’s art, his work’s primary purpose is to forge an aesthetic connection to the hominins that preceded us on Earth, capturing their humanity. With essays by leading authorities, Lost Anatomies carries the story of human evolution from apes and early hominins; to Australopithecus; to archaic Homo sapiens, including Homo erectus; to derived Homo sapiens, including Neanderthals and other species that are our most recent ancestors.

An account of the practice of anatomical modelling in mid-eighteenth-century Italy, showing how anatomical models became an authoritative source of medical knowledge, but also informed social, cultural, and political developments at the crossroads of medical learning, religious ritual, antiquarian and artistic cultures, and Grand Tour spectacle

Hillary M. Nunn here traces the connections between the London public's interest in medical dissection and the changing cultural significance of bloodshed on the early Stuart playhouse stage. Considering the playhouses' role within the social world of early modern London, Nunn explores the influence of public dissection upon the presentation of human bodies in well-known plays such as King Lear, as well as in a wide range of often neglected early Stuart tragedies like The Second Maiden's Tragedy and Revenge for Honour. In addition to dramatic texts, the study draws heavily on anatomy treatises and popular pamphlets of the time. Incorporating views of anatomy's significance from a wide range of sources, this study shows the ways in which early Stuart dramatists called upon Londoners' increasing fascination with anatomical dissection to shape the staging of their tragedies.

Grotesque Anatomies is a study of Menippean satire in English since the Renaissance. It consists of revisionist, close readings of canonical works such as Eliot’s The Waste Land and Pope’s Dunciad among others, and investigates how identifying them as Menippean satires changes our understanding of them. The initial chapter offers a comprehensive account of the form from antiquity to the present day, identifying its bifurcated development in the shorter form (Seneca-Lucian-Julian) and the longer, more encylopedic form (Varro-Petronius-Boethius), and their subsequent fusion during the Renaissance. It also contains an account of the critical reception of the genre, with the term ‘Menippean satire’ first being used by Justus Lipsius in 1581. Finally, Menippean satire is described as a literary version of the grotesque, and a brief theory of the grotesque in the modern period as ‘radical heterogeneity’ is outlined. This is also the foundation of a new definition of Menippean satire, drawing on previous definitions by Frye, Bakhtin and Kirk, and revising them for the modern period. The following chapters examine iconic works as examples of Menippean satire and of the grotesque. Chapter 2 offers an overview of the nose in Menippean satire and comic literature generally, and reads Rushdie’s Midnight’s Children in this context. It also gives an account of metaphor as a ‘grotesque transformation’. Chapter 3 examines the figure of the stomach in Menippean satire and symposiastic literature, and reads Peacock’s Gryll Grange in this context. The link between the stomach as a figure of thinking in comic literature is the basis for an account of symbolic structuring as ‘grotesque association’. Chapter 4 is a close reading of the scatological imagery of Pope’s Dunciad, and how scatology generally tends towards a cyclical metaphysics. It also relates changes in print technology and copyright laws to the reticular scatological structure of the Dunciad. Chapter 5 argues for Eliot’s The Waste Land as a Menippean satire, focusing on the rhetorical figure of the enthymeme as a missing premise, as an example of ‘under-mindedness’ and as an ironic aspect of the fragmentation typical of late Romantic Menippean satires. Chapter 6 examines Urquhart’s eccentric The Jewel as a satire on the referential function of language, reading it in the context of projections for a universal language from this period. The final chapter identifies some key works by Derrida and Barthes as Menippean satires, noting the resurgence of the form in some postmodern and deconstructive writing.

The twenty-five essays of Anatomies of the Gospels and Beyond are offered by internationally recognized New Testament scholars to honor the deep and broad legacy of R. Alan Culpepper by presenting a snapshot of current research in the field.