Sander L. Gilman

He isøthe epitome of health?or a walking time bomb. He is oversexed?or sexless. He is jolly?or hiding the tears of a clown. He is the picture of wealth and plenty?or the bloated, malnourished emblem of poverty. He is the fat man?a cultural icon, a social enigma, a pressing medical issue?and he is the subject of this remarkably rich book. The figures that Sander L. Gilman considers, from the ugly fat man with the beautiful sylph trapped inside to the smart fat boy to the aging body desirous of rejuvenation, appear and reappear in different guises throughout Western culture. And as is often true of marginal cases, they serve to define the shifting center of our dreams and beliefs. A tentative exploration in the world of male body fantasies, Gilman?s book asks how the representation of the fat man alters with time and alters how men relate to their own bodies and the bodies of others, both men and women. His examples?ranging from Santa Claus to Sancho Panza, from Falstaff to Babe Ruth, from Nero Wolfe to Al Roker?illustrate the complexity perennially associated with fat men. From discourses about normality to the playing fields of baseball, from Greek male beauty to the fat detective, Gilman?s book examines and illuminates how cultures have imagined and portrayed the fat boy.

A Slim Book

Fat Boys

A History of Posture

Stand up Straight!

Sander Lawrence Gilman

Perhaps nothing is more revealing about a person than what he or she reads. In 1938, when Freud was forced by the Nazis to flee Vienna, he brought with him to London a large portion of his annotated personal library. Reading Freud's Reading is a guided tour of this library, the intellectual tools of the genius of Sigmund Freud. Specialists from a wide range of areas—from the history of medicine, to literary scholarship, to the history of classical scholarship—spent two months working on questions raised by Freud's reading and his library at the Freud Museum in London. These specialists are joined here by internationally renowned scholars including Ned Lukatcher, Harold P. Blum, and Michael Molnar to apply a wide range of critical approaches, from depth psychoanalysis to cultural analysis. Together, they present a detailed look at the implications of how, and what, Freud read, including the major sources he used for his work.

Reading Freud's Reading

This work argues that Freud's internalizing of images of racial difference shaped the questions of psychoanalysis. The book explores the belief of the "feminizing" of male Jews and challenges those who separate Freud's revolutionary theories from his Jewis

Freud, Race, and Gender

How Prejudice, Racism, and Antisemitism Became Markers of Insanity

Are Racists Crazy?

John Conolly

Hugh Welch Diamond

Today the use of photography (and its extension, video) in psychiatry is a common practice. But in the 1850s, when pioneering medical photographer and psychiatrist Dr. Hugh W. Diamond was behind the camera, this technique was an innovative application of art to science, reflecting and expanding the contemporary interest in physiognomic characteristics. In "The Face of Madness," notable scholar Sander Gilman has curated a unique exhibition of 54 of Dr. Diamond's photographs and commentary. Diamond's photographs are eloquent portraits of the insane-the melancholy, the depressed, the deranged, the alcoholic-whom he cared for at the Surrey County Lunatic Asylum. In addition to their psychiatric significance, these photographs are notable works of art since Diamond was a pioneer in experimenting with and refining photographic techniques. Diamond's paper "On the Application of Photography to the Physiognomic and Mental Phenomena of Insanity," is included in this printing. This discourse discloses three functions of photography which are still relevant to the practice of psychiatry today: Photography can record the appearance of the mentally ill for study; it can be used for treatment through the presentation of an accurate self-image; and it can record the visages of patients to facilitate identification in case of later readmission. In addition to Diamond's paper, notes and analysis by Dr. John Conolly are also included in this volume. Dr. Conolly, one of Dr. Diamond's associates, was widely considered to be the leading British psychiatrist of the mid-nineteenth century. His patient case studies accompany 17 of Diamond's photographs. These reports include clinical information as well as diagnoses based on the theories of the physiognomy of insanity accepted at that period. "The Face of Madness" is a book to be treasured not only by psychiatrists, but also by photographers and medical historians. As Eric T. Carlson writes in the Introduction: "Until now these photographs have been known only through the sketches made from them. Professor Gilman has performed a great service in locating them and by giving us their history." Sander L. Gilman, PhD, is a distinguished professor of the Liberal Arts and Sciences as well as Professor of Psychiatry at Emory University. A respected educator, he has served as Old Dominion Visiting Professor of English at Princeton; Northrop Frye Visiting Professor of Comparative Literature at the University of Toronto; Mellon Visiting Professor of Humanities at Tulane University; Goldwin Smith Professor of Humane Studies at Cornell University; and Professor of the History of Psychiatry at Cornell Medical College. He has written and edited several books including "Sexuality: An Illustrated History" and "Seeing the Insane."

Hugh W. Diamond and the Origin of Psychiatric Photography

The Face of Madness

Our bodies are not fixed. They expand and contract with variations in diet, exercise, and illness. They also alter as we age, changing over time to be markedly different at the end of our lives from what they were at birth. In a similar way, our attitudes to bodies, and especially posture—how people hold themselves, how they move—are fluid. We interpret stance and gait as healthy or ill, able or disabled, elegant or slovenly, beautiful or ugly. In Stand Up Straight!, Sander L. Gilman probes these shifting concepts of posture to explore how society’s response to our bodies’ appearance can illuminate how society views who we are and what we are able to do. The first comprehensive history of the upright body at rest and in movement, Stand Up Straight! stretches from Neanderthals to modern humans to show how we have used our understanding of posture to define who we are—and who we are not. Gilman traverses theology and anthropology, medicine and politics, discarded ideas of race and the most modern ideas of disability, theories of dance and concepts of national identity in his quest to set straight the meaning of bearing. Fully illustrated with an array of striking images from medical, historical, and cultural sources, Stand Up Straight! interweaves our developing knowledge of anatomy and a cultural history of posture to provide a highly original account of our changing attitudes toward stiff spines, square shoulders, and flat tummies through time.

Stand Up Straight!

Nose reconstructions have been common in India for centuries. South Korea, Brazil, and Israel have become international centers for procedures ranging from eyelid restructuring to buttock lifts and tummy tucks. Argentina has the highest rate of silicone implants in the world. 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. Gilman begins by addressing basic questions about the history of aesthetic surgery. What surgical procedures have been performed? Which are considered aesthetic and why? Who are the patients? What is the place of aesthetic surgery in modern culture? He then turns his attention to that focus of countless human anxieties: the nose. Gilman discusses how people have reshaped their noses to repair the ravages of war and disease (principally syphilis), to match prevailing ideas of beauty, and to avoid association with negative images of the "Jew," the "Irish," the "Oriental," or the "Black." He examines how we have used aesthetic surgery on almost every conceivable part of the body to try to pass as younger, stronger, thinner, and more erotic. Gilman also explores some of the extremes of surgery as personal transformation, discussing transgender surgery, adult circumcision and foreskin restoration, the enhancement of dueling scars, and even a performance artist who had herself altered to resemble the Mona Lisa. 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.

A Cultural History of Aesthetic Surgery

Making the Body Beautiful

Seeing the Insane is a richly detailed cultural history of madness and art in the Western world, showing how the portrayal of stereotypes has both reflected and shaped the perception and treatment of the mentally disturbed.

Seeing the Insane

Roy Porter

Elaine Showalter

Helen King

G. S. Rousseau

"Encyclopedically learned, up-to-date, authoritative, and altogether the best introduction to the subject that exists in any language."--Thomas Laqueur, author of Making Sex

Hysteria Beyond Freud

Wolf Von Eckardt

In 1936, at the age of eighteen, Wolf Von Eckardt and his mother and sister fled Berlin and came to New York. With Sander L. Gilman, he as brought into focus, through words and pictures, an uneasy era that divided two great catastrophes.

A Scrapbook of the Twenties

Bertolt Brecht's Berlin

Wolf von Eckardt

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.

Jews in Today's German Culture

Alan Cohen

A profound visual meditation on the trauma that scars twentieth-century Europe, Alan Cohen's On European Ground considers the battlefields of World War I, the Nazi death camps, and the Berlin Wall, and records the distance between what we remember about these places and what we can still observe in them today. By walking these sites and photographing the very ground in which their history has dissolved, Cohen opens a space for reflection on their complex gravity and legacy. Cohen's images achieve a solemn beauty even as they engage history at its most topical. Pictures of trenches and bunkers at the battlefields of Somme and Verdun explore the tension between the violence of the past and the inscrutability of its remnants. Photographs from the grounds of Dachau and Auschwitz solicit a provocative dialogue between the ordinariness of these sites today and their haunting memory. They teach us, as the New Art Examiner notes, "that the living perceptual connection to the Holocaust is vanishing." Images of the Berlin Wall show only the footprint of the barricade that once separated two hostile ideologies. They record the physical erosion and looming disappearance of the Wall while capturing its reappearance as a memorialized abstraction. Accompanying the photographs in On European Ground are essays by Sander Gilman and Jonathan Bordo, as well as an interview with Cohen by critic Roberta Smith of the New York Times. The essays present both an introduction to and aesthetic analysis of Cohen's work, while the interview discusses the intractable problems of history and memory that his photographs so uniquely capture.

On European Ground

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.

Medicine and Identity at the Fin de Siècle

The Case of Sigmund Freud

Specialists from a wide range of areas - from the history of medicine, to literary scholarship, to the history of classical scholarship - spent two months working on questions raised by Freud's reading and his library at the Freud Museum in London. Such internationally renowned scholars as Harold P. Blum, Ned Lukacher, Phillip McCaffrey, Robin N. Mitchell-Boyask, Michael Molnar, Ursula Reidel-Schrewe, Ritchie Robertson, and Peter L. Rudnytsky gather here to apply a wide range of critical approaches, from depth psychoanalysis to cultural analysis. Together, they present a detailed look at the implications of how and what Freud read, including the major sources he used for his work.

Sander L. Gilman, whose pioneering work on the history of stereotypes has become a model for scholars in many fields, here examines the images that society creates of disease and its victims.

Images of Illness from Madness to Aids

Disease and Representation

The modern world is faced with a terrifying new ‘disease’, that of ‘obesity’. As people get fatter, we have come to see excess weight as unhealthy, morally repugnant and socially damaging. Fat it seems has long been a national problem and each age, culture and tradition have all defined a point beyond which excess weight is unacceptable, ugly or corrupting. This fascinating new book by Sander Gilman looks at the interweaving of fact and fiction about obesity, tracing public concern from the mid-nineteenth century to the modern day. He looks critically at the source of our anxieties, covering issues such as childhood obesity, the production of food, media coverage of the subject and the emergence of obesity in modern China. Written as a cultural history, the book is particularly concerned with the cultural meanings that have been attached to obesity over time and to explore the implications of these meanings for wider society. The history of these debates is the history of fat in culture, from nineteenth-century opera to our global dieting obsession. Fat, A Cultural History of Obesity is a vivid and absorbing cultural guide to one of the most important topics in modern society.

A Cultural History of Obesity

Milton Shain

Traversing far flung Jewish communities in South Africa, Australia, Texas, Brazil, China, New Zealand, Quebec, and elsewhere, this wide-ranging collection explores the notion of "frontier" in the Jewish experience as a historical/geographical reality and a conceptual framework. As a compelling alternative to viewing the periphery only as a locus of dispossession and exile from the "homeland, " this work imagines a new Jewish history written as the history of the Jews at the frontier. In this new history, governed by the dynamics of change, confrontation, and accommodation, marginalized experiences are brought to the center and all participants are given voice. By articulating the tension between the center/periphery model and the frontier model, Jewries at the Frontier shows how the productive confrontation between and among cultures and peoples generates a new, multivocal account of Jewish history.

Sander L. Gilman

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