The Rhetoric Of Eugenics In Anglo American Thought

Ranging in subject from England's poor laws to the Human Genome Project, The Rhetoric of Eugenics in Anglo-American Thought is one of the first books to look at the history and development of the eugenics movement in Anglo-American culture. Unlike other works that focus on the movement's historical aberrancies or the claims of its hardline proponents, this study highlights the often unnoticed ways in which the language and ideas of eugenics have permeated democratic discourse. Marouf A. Hasian, Jr. not only examines the attempts of philosophers, scientists, and politicians to balance the rights of the individual against the duties of the state, but also shows how African Americans, Catholics, women, and other communities--dominant and marginalized--have appropriated or confronted the rhetoric of eugenics. Hasian contends that "eugenics" is an ambiguous term that has allowed people to voice their concerns on a number of social issues--a form of discourse that influences the way ordinary citizens make sense of their material and spiritual world. While biological determinism and social necessity are discussed in the works of Plato, Malthus, and Darwin, among others, with theories ranging from equality for all to natural superiority, it is Galton's observations on "positive" and "negative" eugenics that have been widely used to justify a variety of social and political projects--including the sterilization and segregation of the unfit, immigration restrictions, marriage regulations, substance abuse, physical and mental testing, and the establishment of health programs that sought to improve "hygiene." Women, African Americans, and other marginalized communities, for instance, have at times lost reproductive rights in the name of "liberty," "opportunity," or "necessity." Eugenical arguments are more than a creation of pseudo-science or misapplied genetical analysis, Hasian determines; they are also rhetorical fragments, representing the ideologies of multitudes of social actors who, across time, have reconfigured these ideas to legitimize many agendas.

This book reveals how art and sex promoted the desire for the genetically perfect body. Its eight chapters demonstrate that before eugenics was stigmatized by the Holocaust and Western histories were sanitized of its prevalence, a vast array of Western politicians, physicians, eugenic societies, family leagues, health associations, laboratories and museums advocated, through verbal and visual cultures, the breeding of 'the master race'. Each chapter illustrates the uncanny resemblances between models of sexual management and the perfect eugenic body in America, Britain, France, Communist Russia and Nazi Germany both before and after the Second World War. Traced back to the eighteenth-century anatomy lesson, the perfect eugenic body is revealed as athletic, hygienic, 'pure-blooded' and sexually potent. This paradigm is shown to have persisted as much during the Bolshevik sexual revolution, as in democratic nations and fascist regimes. Consistently posed naked, these images were unashamedly exhibitionist and voyeuristic. Despite stringent legislation against obscenity, not only were these images commended for soliciting the spectator's gaze but also for motivating the spectator to act out their desire. An examination of the counter-archives of Maori and African Americans also exposes how biologically racist eugenics could be equally challenged by art. Ultimately this book establishes that art inculcated procreative sex with the Corpus Delecti - the delectable body, healthy, wholesome and sanctioned by eugenicists for improving the Western race.

This is the first study to explore the connections between late-19th-century university/college composite class portraits and the field of eugenics – which first took hold in the United States at Harvard University. Eugenics, "Aristogenics," Photography takes a closer look at how composite portraiture documented an idealized “reality” of the New England social-caste experience and explains how, when positioned in relation to the individual stories and portraits of members of the class, the portraits reveal points of non-conformity and rebellion with their own rhetoric.

Visual texts uniquely demonstrate the contested terms of American identity. In American Archives Shawn Michelle Smith offers a bold and disturbing account of how photography and the sciences of biological racialism joined forces in the nineteenth century to offer an idea of what Americans look like--or "should" look like. Her varied sources, which include the middle-class portrait, baby picture, criminal mugshot, and eugenicist record, as well as literary, scientific, and popular texts, enable her to demonstrate how new visual paradigms posed bodily appearance as an index to interior "essence." Ultimately we see how competing preoccupations over gender, class, race, and American identity were played out in the making of a wide range of popular and institutional photographs. Smith demonstrates that as the body was variously mapped and defined as the key to essentialized identities, the image of the white middle-class woman was often held up as the most complete American ideal. She begins by studying gendered images of middle-class domesticity to expose a transformation of feminine architectures of interiority into the "essences" of "blood," "character," and "race." She reads visual documents, as well as literary texts by Nathaniel Hawthorne, Pauline Hopkins, and Theodore Dreiser, as both indices of and forms of resistance to dominant images of gender, class, race, and national identity. Through this analysis Smith shows how the white male gaze that sought to define and constrain white women and people of color was contested and transformed over the course of the nineteenth century. Smith identifies nineteenth-century visual paradigms that continue to shape debates about the terms of American belonging today. American Archives contributes significantly to the growing field of American visual cultural studies, and it is unprecedented in explaining how practices of racialized looking and the parameters of "American looks" were established in the first place.

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Ted Shawn (1891-1972) is the self-proclaimed "Father of American Dance" who helped to transform dance from a national pastime into theatrical art. In the process, he made dancing an acceptable profession for men and taught several generations of dancers, some of whom went on to become legendary choreographers and performers in their own right, most notably his protégés Martha Graham, Louise Brooks, Doris Humphrey, and Charles Weidman. Shawn tried for many years and with great frustration to tell the story of his life's work in terms of its social and artistic value, but struggled, owing to the fact that he was homosexual, a fact known only within his inner circle of friends. Unwilling to disturb the meticulously narrated account of his paternal exceptionalism, he remained closeted, but scrupulously archived his journals, correspondence, programs, photographs, and motion pictures of his dances, anticipating that the full significance of his life, writing, and dances would reveal itself in time. Ted Shawn: His Life, Writings, and Dances is the first critical biography of the dance legend, offering an in-depth look into Shawn's pioneering role in the formation of the first American modern dance company and school, the first all-male dance company, and Jacob's Pillow, the internationally renowned dance festival and school located in the Berkshires. The book explores Shawn's writings and dances in relation to emerging discourses of modernism, eugenics and social evolution, revealing an untold story about the ways that Shawn's homosexuality informed his choreographic vision. The book also elucidates the influences of contemporary writers who were leading a radical movement to depathologize homosexuality, such as the British eugenicist Havelock Ellis and sexologist Alfred Kinsey, and conversely, how their revolutionary ideas about sexuality were shaped by Shawn's modernism.

Does the black struggle for civil rights make common cause with the movement to foster queer community, protest anti-queer violence or discrimination, and demand respect for the rights and sensibilities of queer people? Confronting this emotionally charged question, Ladelle McWhorter reveals how a carefully structured campaign against abnormality in the late 19th and early 20th centuries encouraged white Americans to purge society of so-called biological contaminants, people who were poor, disabled, black, or queer. Building on a legacy of savage hate crimes—such as the killings of Matthew Shepard and James Byrd—McWhorter shows that racism, sexual oppression, and discrimination against the disabled, the feeble, and the poor are all aspects of the same societal distemper, and that when the civil rights of one group are challenged, so are the rights of all.

This volume examines anti-colonial discourse during the understudied but critical period before World War Two, with a specific focus on writers and activists based in the United States.