scholarly journals GEORGE HENRY FOX'S Photographic illustrations of skin diseases and the clinical photograph in late nineteenth-century America

2021 ◽  
Author(s):  
Katherine E. A. Watson
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Skin Diseases ◽  
The Body ◽  
Late Nineteenth Century ◽  
Power Relationships ◽  
Nineteenth Century America ◽  
Late Nineteenth ◽  
Clinical Photograph ◽  
The Aesthetic

George Henry Fox was a New York physician and author in the late nineteenth century. His interest in collecting photographs of notable dermatological cases led to the publication of several photographically illustrated dermatology texts between 1879 and the early twentieth century. This thesis focuses on the fIrst and second editions of Fox's Photographic Illustrations of Skin Diseases, published in 1879 and 1885, respectively. The hand-coloured Artotype plates from these two editions are analyzed and contrasted in terms of the influence of studio portraiture, issues of patient anonymity and consent, and the aesthetic changes between editions. The power relationships and scientifIc classifIcation involved in depicting the body on ftlm are also considered. The books are on textualized with discussions of nineteenth-century American medical history, the use of clinical photographs as illustrations, photomechanical processes, late nineteenth-century dermatology texts, and Fox's biography.

scholarly journals GEORGE HENRY FOX'S Photographic illustrations of skin diseases and the clinical photograph in late nineteenth-century America

2021 ◽  
Author(s):  
Katherine E. A. Watson
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Skin Diseases ◽  
The Body ◽  
Late Nineteenth Century ◽  
Power Relationships ◽  
Nineteenth Century America ◽  
Late Nineteenth ◽  
Clinical Photograph ◽  
The Aesthetic

George Henry Fox was a New York physician and author in the late nineteenth century. His interest in collecting photographs of notable dermatological cases led to the publication of several photographically illustrated dermatology texts between 1879 and the early twentieth century. This thesis focuses on the fIrst and second editions of Fox's Photographic Illustrations of Skin Diseases, published in 1879 and 1885, respectively. The hand-coloured Artotype plates from these two editions are analyzed and contrasted in terms of the influence of studio portraiture, issues of patient anonymity and consent, and the aesthetic changes between editions. The power relationships and scientifIc classifIcation involved in depicting the body on ftlm are also considered. The books are on textualized with discussions of nineteenth-century American medical history, the use of clinical photographs as illustrations, photomechanical processes, late nineteenth-century dermatology texts, and Fox's biography.

scholarly journals "We'll fight for nature-light, truth-light and sunlight, against a world in swaddling clothes." Reconsidering the Aesthetic Dress Movement and Dress Reform in Nineteenth Century America

2008 ◽  
Vol 13 ◽  
Author(s):  
Jennifer Curtis
Keyword(s):  
Nineteenth Century ◽  
Female Empowerment ◽  
Late Nineteenth Century ◽  
Nineteenth Century America ◽  
Late Nineteenth ◽  
The Aesthetic ◽  
Dress Reform

When Amelia Bloomer publicly donned pants in 1848 it marked the beginning of a well documented fight for female dress reform in America. Bloomer’s subsequent abandonment of the reform costume several years later led both her contemporaries and modern day scholars to view the movement as a failure. Yet beneath the highly publicized "Bloomer Movement" lay a complex web of individuals, communities, and organizations who sought to challenge and reform female dress. In this paper I examine the notion of equality in female and male fashion in nineteenth century America, and challenge the Bloomerian notion that equated the appropriation of masculine attire with female empowerment. Through an examination of the late nineteenth century aesthetic dress movement I will indicate that though a celebration of “feminine” clothing the aesthetes made a lasting contribution to dress reform and female empowerment.

Invalid Modernism

2019 ◽  
pp. 26-45
Author(s):  
Michael Davidson
Keyword(s):  
Nineteenth Century ◽  
Virginia Woolf ◽  
Henry James ◽  
Ezra Pound ◽  
The Body ◽  
Late Nineteenth Century ◽  
Art And Literature ◽  
Victorian Period ◽  
Late Nineteenth ◽  
The Aesthetic

The opening chapter discusses representations of the aesthete and convalescent as seminal figures in the late nineteenth-century formation of modernist art and literature. Unlike the more fashionable treatment of disease in the Victorian period, embodied often in the figure of the female invalid, modernist representations of disease or illness were more likely to be considered pathological, subject to increasing medicalization, diagnosis, and incarceration. The figures of the male aesthete and convalescent offer a more transgressive model to ideals of health and improvement by which modernity is measured. This figure was, not insignificantly, formative in the appearance of the sexual other or “invert” in sexological research. By looking at several writers—Friedrich Nietzsche, John Addington Symonds, Henry James, Virginia Woolf, Ezra Pound, and T. S. Eliot—this opening chapter seeks a correlation between the aesthetic and the body, between autonomy and contagion.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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