Contagion And Hygiene In European Avant Garde Visual Art Theatre And Literature

This interdisciplinary collection of essays brings together scholars in the fields of art history, theatre, visual culture, and literature to explore intersections between the European avant-garde (c. 1880-1945) and themes of health and hygiene, such as illness, contagion, cleanliness, and contamination. Examining the artistic oeuvres of some of the canonical names of modern art - including Edgar Degas, Edvard Munch, Pablo Picasso, George Orwell, Marcel Duchamp, Antonin Artaud - this book investigates instances where the heightened political, social, and cultural currencies embedded within such hygienic issues have been mobilised, and subversively exploited, to fuel the critical strategy at play. This edited volume promotes an interdisciplinary and socio-historically contextualised understanding of the criticality of the avant-garde gesture and cultivates scholarship that moves beyond the limits of traditional academic subjects to produce innovative and thought-provoking connections and interrelations across various fields. The book will be of interest to scholars working in art history, literature, theatre, cultural studies, modern history, medical humanities, and visual culture.

This interdisciplinary collection of essays brings together scholars in the fields of art history, theatre, visual culture, and literature to explore intersections between the European avant-garde (c. 1880–1945) and themes of health and hygiene, such as illness, contagion, cleanliness, and contamination. Examining the artistic oeuvres of some of the canonical names of modern art – including Edgar Degas, Edvard Munch, Pablo Picasso, George Orwell, Marcel Duchamp, and Antonin Artaud – this book investigates instances where the heightened political, social, and cultural currencies embedded within issues of hygiene and contagion have been mobilised, and subversively exploited, to fuel the critical strategy at play. This edited volume promotes an interdisciplinary and socio-historically contextualised understanding of the criticality of the avant-garde gesture and cultivates scholarship that moves beyond the limits of traditional academic subjects to produce innovative and thought-provoking connections and interrelations across various fields. The book will be of interest to scholars working in art history, literature, theatre, cultural studies, modern history, medical humanities, and visual culture.

An engrossing history of the century that transformed our knowledge of the body’s inner senses The years between 1833 and 1945 fundamentally transformed science’s understanding of the body’s inner senses, revolutionizing fields like philosophy, the social sciences, and cognitive science. In How We Became Sensorimotor, Mark Paterson provides a systematic account of this transformative period, while also demonstrating its substantial implications for current explorations into phenomenology, embodied consciousness, the extended mind, and theories of the sensorimotor, the body, and embodiment. Each chapter of How We Became Sensorimotor takes a particular sense and historicizes its formation by means of recent scientific studies, case studies, or coverage in the media. Ranging among a diverse array of sensations, including balance, fatigue, pain, the “muscle sense,” and what Maurice Merleau-Ponty termed “motricity,” Paterson’s analysis moves outward from the familiar confines of the laboratory to those of the industrial world and even to wild animals and their habitats. He uncovers important stories, such as how forgotten pain-measurement schemes transformed criminology, or how Penfield’s outmoded concepts of the sensory and motor homunculi of the brain still mar psychology textbooks. Complete with original archival research featuring illustrations and correspondence, How We Became Sensorimotor shows how the shifting and sometimes contested historical background to our understandings of the senses are being extended even today.

Rabelais and Montaigne, Moliere and Racine, Stendhal and Proust--the literature of France boasts a long and glorious tradition. In The New Oxford Companion to Literature in French, readers will have at their fingertips a trusted guide to this rich literary heritage. Written by an international team of experts, the Companion's 3,000 entries capture ten centuries of work produced in France and, more recently, in other French-speaking countries around the world. The coverage they provide is superb. The volume highlights not only poets, novelists, and dramatists, but also historians, scientists, statesmen, and philosophers--providing a sweeping tour of French culture. Here readers will find lengthy articles on the giants of French letters, from Voltaire, Flaubert, and Balzac, to Valery, Cocteau, and Sartre. Among the new features of the Companion are substantial essays that reflect the latest scholarship on topics such as literary movements and genres; historical subjects such as chivalry or Occupation and Resistance in wartime France; intellectual movements from Scholasticism to Feminism; linguistic topics; coverage of the sciences; and the arts and media, including opera, cinema, and journalism. There is generous coverage of painters such as Degas and Delacroix, and composers such as Meyerbeer and Debussy. Scientists and philosophers also appear in these pages (ranging from Poincare and Cuvier to Descartes, Pascal, and Rousseau). There is even an entertaining entry that cites 100 well-known quotations from French literature. Finally, the contributors have approached the literature of France in the widest terms possible, challenging the traditional canon as they examine everything from strip cartoons and pamphlets. Adventurous and wide ranging, the New Companion is more than a simple revision of the original work. Whether you are interested in Condillac or Condorcet, Lamartine or Lamarck, Madame de Stael or Madame Deficit (Marie-Antoinette), The New Oxford Companion to Literature in French provides informed and engaging coverage of the vast literary tradition of France.

Infectious Liberty traces the origins of our contemporary concerns about public health, world population, climate change, global trade, and government regulation to a series of Romantic-era debates and their literary consequences. Through a series of careful readings, Robert Mitchell shows how a range of elements of modern literature, from character-systems to free indirect discourse, are closely intertwined with Romantic-era liberalism and biopolitics. Eighteenth- and early-nineteenth century theorists of liberalism such as Adam Smith and Thomas Malthus drew upon the new sciences of population to develop a liberal biopolitics that aimed to coordinate differences among individuals by means of the culling powers of the market. Infectious Liberty focuses on such authors as Mary Shelley and William Wordsworth, who drew upon the sciences of population to develop a biopolitics beyond liberalism. These authors attempted what Roberto Esposito describes as an “affirmative” biopolitics, which rejects the principle of establishing security by distinguishing between valued and unvalued lives, seeks to support even the most abject members of a population, and proposes new ways of living in common. Infectious Liberty expands our understandings of liberalism and biopolitics—and the relationship between them—while also helping us to understand better the ways creative literature facilitates the project of reimagining what the politics of life might consist of. Infectious Liberty is available from the publisher on an open-access basis.

A Brief History of L&S -- The Science Wars -- Models of Engagement -- Encoding an Infinite Message: Richard Powers's The Gold Bug Variations -- Is That a Coded Message? It May Not Be So Simple! -- Found in Translation -- Entropy as Time's (Double-Headed) Arrow in Tom Stoppard's Arcadia -- Chirality and Life -- Making New Life -- The End of Irony and/or the End of Science?