Picturing history

In this generously illustrated book, Jerry Brotton documents the dramatic changes in the nature of geographical representation which took place during the sixteenth century, and suggests that they tell us a great deal about the transformation of European culture at the end of the early modern era. He examines the age's fascination with maps, charts, and globes as both texts and artifacts that provided their owners with a promise of gain, be it intellectual, political, or financial.

"Lisa Jardine and Jerry Brotton raise questions about the formation of cultural identity in Western Europe. Through an analysis of the circulation of art and luxury objects, the authors challenge the view that Renaissance culture defined itself in large part against an exotic, dangerous, always marginal East. Featuring more than seventy illustrations, including many in color and some published for the first time, their book provides fascinating insights into the works of Leonardo da Vinci, Durer, Holbein, Pisanello, and Titian."--BOOK JACKET.

"Whether as sublime landscape, malignant wilderness, or a site for environmental conflicts and ecotourism, tropical nature is to a great extent an American and European imaginative construct, conveyed in literature, travel writing, drawings, paintings, photographs, and diagrams. These images are central to Nancy Leys Stepan's view that a critical examination of the "tropicalization of nature" can remedy some of the most persistent misrepresentations of the region and its peoples.". "Picturing Tropical Nature reflects on the work of several nineteenth- and twentieth-century scientists and artists, including Alexander von Humboldt, Alfred Russel Wallace, Louis Agassiz, Sir Patrick Manson, and Margaret Mee. Their careers illuminate several aspects of tropicalization: science and art in the making of tropical pictures; the commercial and cultural boom in things tropical in the modern period; photographic attempts to represent tropical hybrid races; antitropicalism and its role in an emerging environmentalist sensibility; and visual depictions of disease in the new tropical medicine."--BOOK JACKET.

Some historians contend that femininity was "disrupted, constructed, and reconstructed" during World War I, but what happened to masculinity? Using evidence of letters, diaries and oral histories of members of the military and of civilians, Dismembering the Male explores the impact of the First World War on the male body. Each chapter explores a different facet of the war and masculinity in depth. Joanna Bourke concludes that those who were dismembered and disabled by the war were not viewed as passive or weak, like their civilian counterparts, but were the focus of much government and public sentiment. Those suffering from disease were viewed differently, often finding themselves accused of malingering. Dismembering the Male also examines the way in which the war affected men socially. The absence of women encouraged male intimacy, but differences of class, regiment, religion, and ethnicity acted as barriers between men and the trauma of war and the constant threat of death did not encourage closeness. Attitudes to the dead male body, which during the war became the property of the state, are also explored. Joanna Bourke argues convincingly that military experiences led to a greater sharing of gender identities between men of different classes and ages. Post-war debates on what constitutes masculinity were fueled by the actions of men's movements. Dismembering the Male concludes that ultimately, attempts to reconstruct a new type of masculinity failed as the threat of another war, and with it the sacrifice of a new generation of men, intensified.

"In a historical tour be force, Roy Porter takes a critical look at representations of the body in death, disease and health and at images of the healing arts in Britain from the mid-seventeenth to the beginning of the twentieth century. Roy Porter's two key assumptions are, first, that the human body is the chief signifier and communicator of all manner of meanings - religious, moral, political and medical alike - and, second, that pre-scientific medicine was an art which depended heavily on performance, ritual, rhetoric and theatre. In a text at once robustly humorous and learned, Porter argues that great symbolic weight was attached to contrasting conceptions of the healthy and diseased body, and that such ideas were mapped onto antithetical notions of the good and the bad, the beautiful and the ugly. With these images in mind, he explores aspects of being ill alongside the practice of a range of medical specialities, paying particular attention to self-presentations by physicians, surgeons, quacks and others and to changes in practitioners' public identities over time. Armed with a wealth of outrageous anecdotes and satirical imagery, Porter also discusses the wider metaphorical and symbolic meanings of disease and doctoring in Britain in the last 250 years."--BOOK JACKET.