Michael Sappol – författare

A Traffic of Dead Bodies enters the sphere of bodysnatching medical students, dissection-room pranks, and anatomical fantasy. It shows how nineteenth-century American physicians used anatomy to develop a vital professional identity, while claiming authority over the living and the dead. It also introduces the middle-class women and men, working people, unorthodox healers, cultural radicals, entrepreneurs, and health reformers who resisted and exploited anatomy to articulate their own social identities and visions. The nineteenth century saw the rise of the American medical profession: a proliferation of practitioners, journals, organizations, sects, and schools. Anatomy lay at the heart of the medical curriculum, allowing American medicine to invest itself with the authority of European science. Anatomists crossed the boundary between life and death, cut into the body, reduced it to its parts, framed it with moral commentary, and represented it theatrically, visually, and textually. Only initiates of the dissecting room could claim the privileged healing status that came with direct knowledge of the body.But anatomy depended on confiscation of the dead--mainly the plundered bodies of African Americans, immigrants, Native Americans, and the poor. As black markets in cadavers flourished, so did a cultural obsession with anatomy, an obsession that gave rise to clashes over the legal, social, and moral status of the dead. Ministers praised or denounced anatomy from the pulpit; rioters sacked medical schools; and legislatures passed or repealed laws permitting medical schools to take the bodies of the destitute. Dissection narratives and representations of the anatomical body circulated in new places: schools, dime museums, popular lectures, minstrel shows, and sensationalist novels. Michael Sappol resurrects this world of graverobbers and anatomical healers, discerning new ligatures among race and gender relations, funerary practices, the formation of the middle-class, and medical professionalization. In the process, he offers an engrossing and surprisingly rich cultural history of nineteenth-century America.

In centuries past, sexual body-parts and same-sex desire were un­men­­tionables de­barred from polite conver­sa­tion and printed discourse. Yet one scientific discipline—ana­to­my—had license to rep­re­sent and nar­rate the in­timate details of the human body—anus and genitals in­clud­ed. Figured with­in the frame of an anatomical plate, pre­sen­ta­tions of dissected bo­dies and body-parts were often soberly tech­ni­cal. But just as often mon­strous, provoca­tive, flirtatious, theatri­cal, beau­tiful, and even sensual. Queer Anatomies explores overlooked examples of erotic expression within 18th and 19th-century anatomical imagery. It uncovers the subtle eroticism of certain anatomical illustrations, and the queerness of the men who made, used and collected them.As a foundational subject for physicians, surgeons and artists in 18th- and 19th-century Europe, anatomy was a privileged, male-dominated domain. Artistic and medical compe­tence depended on a deep knowledge of anatomy and offered cultural legitimacy, healing authority, and aesthetic discernment to those who practiced it. The anatomical image could serve as a virtual queer space, a private or shared closet, or a men’s club. Serious anatomical subjects were charged with erotic, often homoerotic, undertones.Taking brilliant works by Gautier Dagoty, William Cheselden, and Joseph Maclise, and many others, Queer Anatomies assembles a lost archive of queer expression—115 illustra­tions, in full-colour reproduction—that range from images of nudes, dissected bodies, penises, vaginas, rectums, hands, faces, and skin, to scenes of male viewers gazing upon works of art governed by anatomical principles. Yet the men who produced and savored illustrated anatomies were reticent, closeted. Diving into these textual and represen­ta­tional spaces via essayistic reflection, Queer Anatomies decodes their words and images, even their silences. With a range of close readings and com­par­ison of key images, this book unearths the connections between medical history, connoisseur­ship, queer studies, and art history and the understudied relationship between anatomy and desire.

In centuries past, sexual body-parts and same-sex desire were un­men­­tionables de­barred from polite conver­sa­tion and printed discourse. Yet one scientific discipline—ana­to­my—had license to rep­re­sent and nar­rate the in­timate details of the human body—anus and genitals in­clud­ed. Figured with­in the frame of an anatomical plate, pre­sen­ta­tions of dissected bo­dies and body-parts were often soberly tech­ni­cal. But just as often mon­strous, provoca­tive, flirtatious, theatri­cal, beau­tiful, and even sensual. Queer Anatomies explores overlooked examples of erotic expression within 18th and 19th-century anatomical imagery. It uncovers the subtle eroticism of certain anatomical illustrations, and the queerness of the men who made, used and collected them.As a foundational subject for physicians, surgeons and artists in 18th- and 19th-century Europe, anatomy was a privileged, male-dominated domain. Artistic and medical compe­tence depended on a deep knowledge of anatomy and offered cultural legitimacy, healing authority, and aesthetic discernment to those who practiced it. The anatomical image could serve as a virtual queer space, a private or shared closet, or a men’s club. Serious anatomical subjects were charged with erotic, often homoerotic, undertones.Taking brilliant works by Gautier Dagoty, William Cheselden, and Joseph Maclise, and many others, Queer Anatomies assembles a lost archive of queer expression—115 illustra­tions, in full-colour reproduction—that range from images of nudes, dissected bodies, penises, vaginas, rectums, hands, faces, and skin, to scenes of male viewers gazing upon works of art governed by anatomical principles. Yet the men who produced and savored illustrated anatomies were reticent, closeted. Diving into these textual and represen­ta­tional spaces via essayistic reflection, Queer Anatomies decodes their words and images, even their silences. With a range of close readings and com­par­ison of key images, this book unearths the connections between medical history, connoisseur­ship, queer studies, and art history and the understudied relationship between anatomy and desire.

In centuries past, sexual body-parts and same-sex desire were un­men­­tionables de­barred from polite conver­sa­tion and printed discourse. Yet one scientific discipline-ana­to­my-had license to rep­re­sent and nar­rate the in­timate details of the human body-anus and genitals in­clud­ed. Figured with­in the frame of an anatomical plate, pre­sen­ta­tions of dissected bo­dies and body-parts were often soberly tech­ni­cal. But just as often mon­strous, provoca­tive, flirtatious, theatri­cal, beau­tiful, and even sensual. Queer Anatomies explores overlooked examples of erotic expression within 18th and 19th-century anatomical imagery. It uncovers the subtle eroticism of certain anatomical illustrations, and the queerness of the men who made, used and collected them.As a foundational subject for physicians, surgeons and artists in 18th- and 19th-century Europe, anatomy was a privileged, male-dominated domain. Artistic and medical compe­tence depended on a deep knowledge of anatomy and offered cultural legitimacy, healing authority, and aesthetic discernment to those who practiced it. The anatomical image could serve as a virtual queer space, a private or shared closet, or a men''s club. Serious anatomical subjects were charged with erotic, often homoerotic, undertones.Taking brilliant works by Gautier Dagoty, William Cheselden, and Joseph Maclise, and many others, Queer Anatomies assembles a lost archive of queer expression-115 illustra­tions, in full-colour reproduction-that range from images of nudes, dissected bodies, penises, vaginas, rectums, hands, faces, and skin, to scenes of male viewers gazing upon works of art governed by anatomical principles. Yet the men who produced and savored illustrated anatomies were reticent, closeted. Diving into these textual and represen­ta­tional spaces via essayistic reflection, Queer Anatomies decodes their words and images, even their silences. With a range of close readings and com­par­ison of key images, this book unearths the connections between medical history, connoisseur­ship, queer studies, and art history and the understudied relationship between anatomy and desire.

In centuries past, sexual body-parts and same-sex desire were un­men­­tionables de­barred from polite conver­sa­tion and printed discourse. Yet one scientific discipline-ana­to­my-had license to rep­re­sent and nar­rate the in­timate details of the human body-anus and genitals in­clud­ed. Figured with­in the frame of an anatomical plate, pre­sen­ta­tions of dissected bo­dies and body-parts were often soberly tech­ni­cal. But just as often mon­strous, provoca­tive, flirtatious, theatri­cal, beau­tiful, and even sensual. Queer Anatomies explores overlooked examples of erotic expression within 18th and 19th-century anatomical imagery. It uncovers the subtle eroticism of certain anatomical illustrations, and the queerness of the men who made, used and collected them.As a foundational subject for physicians, surgeons and artists in 18th- and 19th-century Europe, anatomy was a privileged, male-dominated domain. Artistic and medical compe­tence depended on a deep knowledge of anatomy and offered cultural legitimacy, healing authority, and aesthetic discernment to those who practiced it. The anatomical image could serve as a virtual queer space, a private or shared closet, or a men''s club. Serious anatomical subjects were charged with erotic, often homoerotic, undertones.Taking brilliant works by Gautier Dagoty, William Cheselden, and Joseph Maclise, and many others, Queer Anatomies assembles a lost archive of queer expression-115 illustra­tions, in full-colour reproduction-that range from images of nudes, dissected bodies, penises, vaginas, rectums, hands, faces, and skin, to scenes of male viewers gazing upon works of art governed by anatomical principles. Yet the men who produced and savored illustrated anatomies were reticent, closeted. Diving into these textual and represen­ta­tional spaces via essayistic reflection, Queer Anatomies decodes their words and images, even their silences. With a range of close readings and com­par­ison of key images, this book unearths the connections between medical history, connoisseur­ship, queer studies, and art history and the understudied relationship between anatomy and desire.

The “long nineteenth century” was an age of empire and empire builders, of state formation and expansion, and of colonial and imperial wars and conquest throughout most of the world. It was also an age that saw enormous changes in how people gave meaning to and made sense of the human body. Spanning the period from 1800 to 1920, this volume takes up a host of topics in the cultural history of the human body, including the rise of modern medicine and debates about vaccination, the representation of sexual perversity, developments in medical technology and new conceptions of bodily perfection. A Cultural History of the Human Body in the Age of Empire presents an overview of the period with essays on the centrality of the human body in birth and death, health and disease, sexuality, beauty and concepts of the ideal, bodies marked by gender, race, class and disease, cultural representations and popular beliefs, and self and society.

A poster first printed in Germany in 1926 depicts the human body as a factory populated by tiny workers doing industrial tasks. Devised by Fritz Kahn (1888 1968), a German-Jewish physician and popular science writer, Der Mensch als Industriepalast(or Man as Industrial Palace) achieved international fame and was reprinted, in various languages and versions, all over the world. It was a new kind of image-an illustration that was conceptual and scientific, a visual explanation of how things work-and Kahn built a career of this new genre. In collaboration with a stable of artists (only some of whom were credited), Kahn created thousands of images that were metaphorical, allusive, and self-consciously modern, using an eclectic grab-bag of schools and styles: Dada, Art Deco, photomontage, Art Nouveau, Bauhaus functionalism, and commercial illustration. In Body Modern, Michael Sappol offers the first in-depth critical study of Fritz Kahn and his visual rhetoric. Kahn was an impresario of the modern who catered to readers who were hungry for products and concepts that could help them acquire and perform an overdetermined modernidentity. He and his artists created playful new visual tropes and genres that used striking metaphors to scientifically explain the life of Man.This rich and largely obscure corpus of images was a technology of the self that naturalized the modern and its technologies by situating them inside the human body. The scope of Kahns project was vast-entirely new kinds of visual explanation-and so was his influence. Today, his legacy can be seen in textbooks, magazines, posters, public health pamphlets, educational websites, and Hollywood movies. But, Sappol concludes, Kahns illustrations also pose profound and unsettling epistemological questions about the construction and performance of the self. Lavishly illustrated with more than 100 images, Body Modern imaginatively explores the relationship between conceptual image, image production, and embodied experience.