Sander L. Gilman

Around the globe, aesthetic surgery has become a cultural and medical fixture. Sander Gilman seeks to explain why by presenting the first systematic world history and cultural theory of aesthetic surgery. Touching on subjects as diverse as getting a "nose job" as a sweet-sixteen birthday present and the removal of male breasts in seventh-century Alexandria, Gilman argues that aesthetic surgery has such universal appeal because it helps people to "pass," to be seen as a member of a group with which they want to or need to identify. The book draws on an extraordinary range of sources. Gilman is as comfortable discussing Nietzsche, Yeats, and Darwin as he is grisly medical details, Michael Jackson, and Barbra Streisand's decision to keep her own nose. The book contains dozens of arresting images of people before, during, and after surgery. This is a profound, provocative, and engaging study of how humans have sought to change their lives by transforming their bodies.

The essays in this collection, written by a pioneering interdisciplinary scholar, deal with the roles of images in the construction of stereotypes and the categories of difference as represented in texts - in high literature, in medical literature, in art - from the last fin-de-siecle to our own. Intensely engaged in the cultural politics of everyday life and conscious of how texts reflect and shape our social practices, they deal primarily with representations and self-representations of "Jews" in the past one hundred years and focus on the question of the constructions of the Jew's body in art and literature. The title essay, "Love + Marriage = Death: STDs and AIDS in the Modern World," however, studies the image of sexually transmitted disease from Shakespeare to Martin Amis. It sets the tone for an understanding of this collection as a book about Jews and their representation, but not as a special, isolated case.

Smart Jews addresses one of the most controversial theories of our day: the alleged connection between race (or ethnicity), intelligence, and virtue. Sander L. Gilman shows that such theories have a long, disturbing history. He examines a wide range of texts - scientific treatises, novels, films, philosophical works, and operas - that assert the greater intelligence (and, often, lesser virtue) of Jews. The book opens with a discussion of concepts that relate intelligence and race (particularly those that figure in the controversial bestseller The Bell Curve); it then describes "scientific" theories of Jewish superior intelligence that were developed in the ninteenth and early twentieth centuries. Gilman explores the reactions to those theories by Jewish scientists and intellectuals of that era, including Sigmund Freud, Ludwig Wittgenstein, and Hugo von Hofmannsthal. The conclusion turns to how such ideas figure in modern novels and films, from F. Scott Fitzgerald's The Last Tycoon to Stephen Spielberg's Schindler's List and Robert Redford's Quiz Show. . Gilman demonstrates how stereotypes can permeate society, finding expression in everything from scientific work to popular culture. And he shows how the seemingly flattering attribution of superior intelligence has served to isolate Jews and to cast upon them the imputation of lesser virtue.

Ours is a culture riddled with preoccupations about health and disease. In this timely study Sander Gilman demonstrates how images of beauty and ugliness have constructed a visual history which records the artificial boundaries that continue to divide "healthy" bodies from ones that are ill. He shows how cultural fantasies of health and illness have come to be identified and defined by means of visual, aesthetic criteria - for the healthy is now seen as beautiful and the ill as ugly. The history of our perception of the "beautiful body," Gilman finds, is charged with anxieties about contagion and ugliness and, furthermore, entangled with political implications brought about by our interpretation of "race" as a medical category. Gilman looks at how nineteenth-century theorists collected medical and racial data from the shapes of noses, and at contemporary fears concerning syphilis, vividly personified in the diseased hero of Leroux's The Phantom of the Opera. He also scrutinizes Mark Twain's frank account of a visit to the Holy Land for signs of implicit prejudice about the health or illness of the resident Arabs and Jews. These concerns are brought up-to-date when the author turns to pathological case histories and recent AIDS posters issued by governments worldwide.

This is the first book to examine an emerging new German Jewish culture that has become visible since the fall of the Berlin Wall. The Shoah seemed to have erased the historical Jewish presence in German culture. Since the late 1980s, however, a once-silent and therefore relatively invisible Jewish community of the victims of the Shoah has been restructuring itself, as a new generation of German Jews enters the mainstream of German cultural life. Sander L. Gilman surveys the recent explosion of works by creative artists who invoke their Jewish identity and place at the center of their art the question of what it means to be a Jew in contemporary Germany. After introducing this new generation of German Jewish novelists, dramatists, film makers, and critics, Gilman analyzes the critical reception of the novels of Rafael Seligmann and Esther Dischereit, two of the most interesting younger writers. A chapter is devoted to the issue of visibility or invisibility as it is inscribed in the representation of the Jewish body in contemporary German Jewish culture. The book concludes with a study of the central role of gender in the structuring of Jewish identity and the author's observations on the complexities of life in the present-day German Jewish Diaspora.

A Jew in a violently anti-Semitic world, Sigmund Freud was forced to cope with racism even in the "serious" medical literature of the fin de siècle, which described Jews as inherently pathological and sexually degenerate. In this book, Sander L. Gilman argues that Freud's internalizing of these images of racial difference shaped the questions of psychoanalysis. Examining a variety of scientific writings, Gilman discusses the prevailing belief that male Jews were "feminized," as stated outright by Jung and others, and concludes that Freud dealt with his anxiety about himself as a Jew by projecting it onto other cultural "inferiors"--Such as women. --From publisher's description.

"There is no category of supposed human beings that comes closer to the orangutan than does a Polish Jew," said a Bavarian writer, reflecting the eighteenth-century view that Jews were profoundly flawed. The Jewish body, popular opinion held, was malformed - from feet to nose - and predisposed to a host of illnesses ranging from the plague to hysteria. The Jewish soul had a peculiar stench. The Jewish libido had a tendency toward incest. The Jewish gaze was pathological, and precluded the possibility of unbiased observation. By the close of the nineteenth century, these ideas had found their way into European medical journals, and the medical establishment was convinced that Jews were both diseased and perverted. It was an interesting time to be a Jewish physician. In The Case of Sigmund Freud, Sander Gilman traces the "medicalization" of Jewishness in the science and medicine of turn-of-the-century Vienna, and the ways in which Jewish physicians responded to the effort to incorporate this racist biological literature into medical practice. Focusing on the new science of psychoanalysis, Gilman looks at the strategic devices Sigmund Freud employed to detach himself from the stigma of being Jewish and shows how Freud's work in psychoanalysis evolved in response to the biological discourse of the time. In order to circumvent the prevailing debates about race, Gilman argues, Freud carefully formulated the particular biological charges against the Jew into a universal definition of a human being. As a consequence, his early psychoanalytic theories transcended the controversies about biological determinism, and yet remained framed by them.

"Drawing on a wealth of medical and historical materials, Sander Gilman sketches details of the anti-Semitic rhetoric about the Jewish body and mind, including medical and popular depictions of the Jewish voice, feet, and nose. Case studies illustrate how Jews have responded to such public misconceptions as the myth of the cloven foot and Jewish flat-footedness, the proposed link between the Jewish mind and hysteria, and the Victorians' irrational connection between Jews and prostitutes. Gilman is especially concerned with the role of psychoanalysis in the construction of anti-Semitism, examining Freud's attitude towards his own Jewishness and its effect on his theories, as well as the supposed "objectiveness" of psychiatrists and social scientists."--Pub. desc.