Beginning with the colonial era, Western biomedicine has radically transformed African medical beliefs and practices. Conversely, in using Western biomedicine, Africans have also transformed it. The African Transformation of Western Medicine and the Dynamics of Global Cultural Exchange contends that contemporary African medical systems—no less “biomedical” than Western medicine—in fact greatly enrich and expand the notion of biomedicine, reframing it as a global cultural form deployed across global networks of cultural exchange.

The book analyzes biomedicine as a complex and dynamic sociocultural form, the conceptual premises of which make it necessarily subject to ongoing change and development as it travels the globe. David Baronov captures the complexities of this cultural exchange by using world-systems analysis in a way that places global cultural processes on equal footing with political and economic processes. In doing so, he both allows the story of Africa’s transformation of “Western” biomedicine to be told and offers new insights into the capitalist world system.

In 1739 China’s emperor authorized the publication of a medical text that included images of children with smallpox to aid in the diagnosis and treatment of the disease. Those images made their way to Europe, where they were interpreted as indicative of the ill health and medical backwardness of the Chinese. In the mid-nineteenth century, the celebrated Cantonese painter Lam Qua collaborated with the American medical missionary Peter Parker in the creation of portraits of Chinese patients with disfiguring pathologies, rendered both before and after surgery. Europeans saw those portraits as evidence of Western medical prowess. Within China, the visual idiom that the paintings established influenced the development of medical photography. In The Afterlife of Images, Ari Larissa Heinrich investigates the creation and circulation of Western medical discourses that linked ideas about disease to Chinese identity beginning in the eighteenth century.

Combining literary studies, the history of science, and visual culture studies, Heinrich analyzes the rhetoric and iconography through which medical missionaries transmitted to the West an image of China as “sick” or “diseased.” He also examines the absorption of that image back into China through missionary activity, through the earliest translations of Western medical texts into Chinese, and even through the literature of Chinese nationalism. Heinrich argues that over time “scientific” Western representations of the Chinese body and culture accumulated a host of secondary meanings, taking on an afterlife with lasting consequences for conceptions of Chinese identity in China and beyond its borders.

The Afterlives of Specimens explores the space between science and sentiment, the historical moment when the human cadaver became both lost love object and subject of anatomical violence. Walt Whitman witnessed rapid changes in relations between the living and the dead. In the space of a few decades, dissection evolved from a posthumous punishment inflicted on criminals to an element of preservationist technology worthy of the presidential corpse of Abraham Lincoln. Whitman transitioned from a fervent opponent of medical bodysnatching to a literary celebrity who left behind instructions for his own autopsy, including the removal of his brain for scientific study.

Grounded in archival discoveries, Afterlives traces the origins of nineteenth-century America’s preservation compulsion, illuminating the influences of botanical, medical, spiritualist, and sentimental discourses on Whitman’s work. Tuggle unveils previously unrecognized connections between Whitman and the leading “medical men” of his era, such as the surgeon John H. Brinton, founding curator of the Army Medical Museum, and Silas Weir Mitchell, the neurologist who discovered phantom limb syndrome. Remains from several amputee soldiers whom Whitman nursed in the Washington hospitals became specimens in the Army Medical Museum.

Tuggle is the first scholar to analyze Whitman’s role in medically memorializing the human cadaver and its abandoned parts. 

Alcohol in Ancient Mexico reconstructs the variety and extent of distillation traditions in the ancient cultures of Mexico, describing in detail the various plants and processes used to make such beverages, their prevalence, and their significance for local culture.

The art of distillation arrived in Mexico with the Spaniards in the sixteenth century. However, well before that time, native skills and available resources had contributed to a well-developed tradition of intoxicating beverages, many of which are still produced and consumed.

In the 1930’s Henry Bruman visited various Mexican and Central American Indian tribes to reconstruct the variety and extent of these ancient traditions. He discerned five distinct areas defined by the culturally most significant beverages, all superimposed over the great mescal wine region. Within these five areas he noted wine made from cactus, cactus fruit, cornstalks, and mesquite pods; beer from sprouted maize; and fermented sap from pulque agaves.

Outside the mescal region he observed widespread consumption in the Yucatan of a wine made from fermented honey and balché bark, plus lesser-known beverages in other regions. He also observed the frequent inclusion in the fermentation process of alkaloid-bearing ingredients such as peyote and tobacco, plants whose roots or bark contain saponins—which act as cardiac poisons—and even poisons from certain toads.

Alcohol in Ancient Mexico also considers the relative absence of alcoholic drink in the southwestern United States, the introduction of sills following the Spanish conquest, and possible sources for the introduction of coconut wine.

Previously unpublished, the research presented here retains its relevance today, and the photographs offer a fascinating glimpse at a traditional world that has now almost vanished.

Drawing on original research from medical texts, psychiatric case histories, pioneering statistical surveys, first-person accounts, legal cases, sensationalist journalism, and legislative debates, Jennifer Terry has written a nuanced and textured history of how the century-old obsession with homosexuality is deeply tied to changing American anxieties about social and sexual order in the modern age.

Terry's overarching argument is compelling: that homosexuality served as a marker of the "abnormal" against which malleable, tenuous, and often contradictory concepts of the "normal" were defined. One of the few histories to take into consideration homosexuality in both women and men, Terry's work also stands out in its refusal to erase the agency of people classified as abnormal. She documents the myriad ways that gays, lesbians, and other sexual minorities have coauthored, resisted, and transformed the most powerful and authoritative modern truths about sex. Proposing this history as a "useable past," An American Obsession is an indispensable contribution to the study of American cultural history.

In the years since the end of apartheid, South Africans have enjoyed a progressive constitution, considerable access to social services for the poor and sick, and a booming economy that has made their nation into one of the wealthiest on the continent. At the same time, South Africa experiences extremely unequal income distribution, and its citizens suffer the highest prevalence of HIV in the world. As Archbishop Desmond Tutu has noted, “AIDS is South Africa’s new apartheid.”

In Ancestors and Antiretrovirals, Claire Laurier Decoteau backs up Tutu’s assertion with powerful arguments about how this came to pass. Decoteau traces the historical shifts in health policy after apartheid and describes their effects, detailing, in particular, the changing relationship between biomedical and indigenous health care, both at the national and the local level. Decoteau tells this story from the perspective of those living with and dying from AIDS in Johannesburg’s squatter camps. At the same time, she exposes the complex and often contradictory ways that the South African government has failed to balance the demands of neoliberal capital with the considerable health needs of its population.

Since the turn of the new millennium, ‘translational research’, the scientific process of bringing disease-targeted knowledge from the laboratory to treat patients in the clinic, has gone mainstream and is now practiced by large universities and institutes across the globe.  Into this dynamic of the rapidly changing world of translational medical research this book sets the life of one of the discipline’s most influential practitioners, Anthony Cerami. His work spans more than five decades and culminated in the discovery, invention and development of diagnostics and therapeutics used daily by millions of people. Students in molecular medicine and investigators pursuing basic science in the hope of improving human health will find inspiration in examining the sacrifices and achievements of Cerami’s career in translational medicine. During his three decades at Rockefeller University his cross-disciplinary and laboratory-without-wall approach established ‘rational drug design’ as the most effective means of advancing the fields of parasitology, hematology, immunology, metabolism, therapeutics and molecular medicine. Cerami’s story and that of the evolution of translation are intimately entwined: the contours of Cerami’s career shaped by developments in translation, and in exchange, the field itself molded by Cerami’s work.  To understand one is to understand the other. By examining the life of this often overlooked biochemist it is possible to intimately focus on the ideas and thought processes of a scientist who has helped to define the great acceleration in translational research over the past half century – research that, knowingly or otherwise, has most likely affected the life of almost everyone on the planet.  We also gain a better understanding of the febrile creative atmosphere that percolated through the laboratories leading the way in translational medicine, and gain insight into the art, science, successes, failures and providence that underlie major scientific breakthroughs.  Anybody interested in the questions of where modern medicines come from, how health outcomes around the globe are affected by research and imagination, and where the future of drug discovery is leading, will be rewarded by exploring Cerami’s life in translation.  This book is not restricted to those with a professional interest in science, because anyone dedicated to living a life of creativity and discovery will be rewarded by reading this book.  In many respects, Cerami’s life reflects the modern metaphor of the ‘American dream’ with his journey from humble beginnings on a chicken farm in rural New Jersey, to occupying a place in  the highest echelons of the US scientific establishment.  His journey in translational medicine was propelled forward by two obsessions; the idea that he could help people who were sick, and the excitement of discovery. In following his two great passions, he trained a generation of specialists in translational medicine that continue to transform our understanding of, and treatments for, human disease.  Anthony Cerami’s work has shown how science has become an important force for social change by laying the foundations of modern translational medicine.
 

Judith Farquhar’s innovative study of medicine and popular culture in modern China reveals the thoroughly political and historical character of pleasure. Ranging over a variety of cultural terrains--fiction, medical texts, film and television, journalism, and observations of clinics and urban daily life in Beijing—Appetites challenges the assumption that the mundane enjoyments of bodily life are natural and unvarying. Farquhar analyzes modern Chinese reflections on embodied existence to show how contemporary appetites are grounded in history.
From eating well in improving economic times to memories of the late 1950s famine, from the flavors of traditional Chinese medicine to modernity’s private sexual passions, this book argues that embodiment in all its forms must be invented and sustained in public reflections about personal and national life. As much at home in science studies and social theory as in the details of life in Beijing, this account uses anthropology, cultural studies, and literary criticism to read contemporary Chinese life in a materialist and reflexive mode. For both Maoist and market reform periods, this is a story of high culture in appetites, desire in collective life, and politics in the body and its dispositions.

Since ancient times people have depended on medical practitioners to enhance life, to treat illness and injuries, and to help reduce pain and suffering. The scientifically based discipline that we know today stands beside diverse traditions, belief systems, and bodies of medical knowledge that have evolved in fascinating ways across cultures and continents. Throughout this history, successive generations have created artistic representations of these varied aspects of medicine, illustrating instruction manuals, documenting treatments, and creating works of art that enable individuals to express their feelings and ideas about medicine, health, and illness. From ancient wall paintings and tomb carvings to sculpture, installations, and digitally created artworks, the results are extraordinary and pay tribute to how medicine has affected our lives and the lives of our ancestors.  

           

Drawing on the remarkable holdings of the Wellcome Collection in London, The Art of Medicine offers a unique gallery of rarely seen paintings, artifacts, drawings, prints, and extracts from manuscripts and manuals to provide a fascinating visual insight into our knowledge of the human body and mind, and how both have been treated with medicine. Julie Anderson, Emm Barnes, and Emma Shackleton take readers on a fascinating visual journey through the history of medical practice, exploring contemporary biomedical images, popular art, and caricature alongside venerable Chinese scrolls, prehistoric Mesoamerican drawings, paintings of the European Renaissance, medieval Persian manuscripts, and more. The result is a rare and remarkable visual account of what it was and is to be human in sickness and health.