Books prices are provided by the merchants and MyShopping assumes no responsibility for accuracy of price information. In this context, Kerwin acknowledges that the parameters he sets for definition and inclusion in his groups of practitioners are arbitrary and potentially problematic. So why, then, do the emotional meanings of the heart linger? His academic career has been devoted to the cultural history of the human body, mainly to the study of epistemological and ontological status of physical deformities and, most recently, to the history and philosophy of experience. Description: 1 online resource xiii, 269 pages, 32 unnumbered pages of plates : color illustrations. The performance is Pain, and humanity variously assumes the role of actor and audience. From 2008 to 2010, he was also the Coordinator of the Humanities and Social Sciences of the Spanish Research Council. Representation, sympathy, imitation, but also coherence, trust, or narrativity are but a few of the rhetorical and argumentative recourses that men and women have employed, and continue to use, in order to feel our pain, but also in order to express it, and to imbue it with meaning and collective value.
And historians have long acknowledged the diversities and complexities of both medical theory and medical practitioners. An Introduction, New York, Routledge, 2016. Yet I am unconvinced by the bigger picture that he strives to draw, particularly in his attempt to broaden out into medical historiography more generally, and to provide commentary on current medical practice. His next book, Broken Promises: The Passions of Modernity, will be published in 2016. The body in pain is nothing, or at least, is not to be trusted, without the affective experience that gives that pain meaning.
Moscoso, El siglo de las Luces, National Geographic, 2013. Contrary to the claims of the philosopher Cioran, who asserted that it was impossible to hold a conversation with physical pain, each and every one of these pages advocates for such an encounter and promotes such dialogue. In the same period the actor, now imaginary, affected pity from a distance, stimulating the social emotions of civilised fellows, for whom sympathy — literally the capacity to suffer with — involved the audience in the economy of pain and the desire for its limitation. He will also be appointed Visiting Professor at the University of Washington in St. And does he note differences within European discourse relating to ideology for example, do early modern Catholics deal with it differently from Protestants of the same period? The book, not without irony, stages what it documents.
It was at the time the most visited exhibition of that venue. . Matters of the Heart traces the ways emotions have been understood between the seventeenth and nineteenth centuries as both physical entities and spiritual experiences. Lafuente, eds, Monstruos y seres imaginarios en la Biblioteca Nacional, Madrid, Doce Calles, 2000. Halfway between history and philosophy, this book deals with the historical forms that have permitted the understanding of human suffering from the Renaissance to the present. Journal of the Portuguese Association for the Study of Pain, 2015, vol. It is a story that demonstrates the extraordinary extent to which the languages, expressions, and performances of pain have undergirded, directed, and stimulated culture, while at the same time being subjected to cultural restraints of tolerance and taboo and the limits of meaning-making in historical context.
In 2004 he was appointed Head of the Department of Humanities and Social Sciences of the Ministry of Science and Innovation. Halfway between history and philosophy, this book deals with the successive though not progressive forms in which the experience of pain materializes — the artistic, juridical, or scientific modalities that have permitted the cultural understanding of human suffering from the Renaissance to the present day. This is the English translation of his Historia cultural del dolor Madrid, Taurus, 2011 , considered by the Spanish newspaper El Mundo one of the best non-fiction books of 2011. Representation, sympathy, imitation, coherence and narrativity are but a few of the rhetorical recourses that men and women have employed in order to feel our pain. According to Science, August 2010: Vol. His interpretation of the various roles of women as caretakers of the workings of the body, rather than as purely healers of the soma, is rich and provocative.
During the last years, Prof. Across cultures it is seen as the site of emotions, as well as the origin of life. The heart is the most symbolic organ of the human body. Then came the masochist proper, whose lonely life in search of pain as pleasure was collected, scrutinised, and fetishised by his counterpart, the sexologist or psychiatrist, and spotlighted by a new pathological drama, popularly consumed: deviance. Later, the actor was anaesthetised, a mere prop, whose objective state freed the fellow players from the trauma of sympathy, allowing for the aesthetics — literally, the sensitivity — of the operating theatre to change beyond recognition, and the plot to morph from tragedy to comedy; or she was an object of beauty, reduced to bondage, a figure of pain to be consumed by the lascivious and guilty bourgeois — the literal aesthete — whose masochistic compulsions enhanced the experience of beauty as a kind of pain. His reading of Twelfth Night, for instance, shows how a much more nuanced interpretation of Malvolio's behavior comes from a thorough understanding of humoral theory and its contemporary social usage.
Abstract: Halfway between history and philosophy, this book deals with the historical forms that have permitted the understanding of human suffering from the Renaissance to the present. The book is arranged chronologically, its content ranging such that the particular exemplifies the general, and the general makes sense of the particular. Versión española del anterior, Madrid, Taurus, 2011. Contrary to the claims of the philosopher Cioran, who asserted that it was impossible to hold a conversation with physical pain, each and every one of these pages advocates for such an encounter and promotes such dialogue. He is the author of 4 monographs and 3 edited volumes. His contributions have been published in the Journal of History of Biology, Renaissance Quarterly, Medical History, or Social History of Medicine, among others.
The narrative builds to a point at which the body is eliminated from the question of pain, and shifts from the history of identifying with bodily pain to mistrusting or denying pain. Where this book works well is in Kerwin's close reading of literary texts, as informed by medical history. Contents: Representations -- Imitation -- Sympathy -- Correspondence -- Trust -- Narrativity -- Coherence -- Reiteration -- Postscriptum. Engaging the Emotions in Spanish Culture and History 18th Century to the Present. The book, which was second best in the 2012 Spanish National Essay Prize, has been highly praised by the critics.
This book serves as a valuable corrective, not only to historians whose appreciation of the historicity of the emotions is only just awakening, but also to those who denounce pain without critical reflection, and to those who treat pain, perhaps clinically, without entering into its affective, historical, cultural, experiential context. Representation, sympathy, imitation, coherence and narrativity are but a few of the rhetorical recourses that men and women have employed in order to feel our pain. He has been the curator of different exhibitions: on Monsters and Imaginary Beings at the Spanish National Library in Madrid in the year 2000; on the history of pain at the Science Museum in London 2004 and, more recently, on the cultural history of human skin, at the Wellcome Collection Gallery, in London, in 2011. The gestures of the virgin martyrs, the mockery that accompanied Don Quixote's misadventures, the concealed penitence that took place inside convents, the little comedies of sexual masochism, the early modern anatomical theatres, the grimaces of anesthetized patients, the conscious pains of nervous disorders or the unconscious pains of mental illness all meet one another in this book. Moscoso, Historia Cultural del Dolor. Eugenio Trias took it as one of the best examples of the new Spanish philosophy.
Ciencias de la vida en la Europa ilustrada, Barcelona, Serbal, 2000. Product specifications are obtained from merchants or third parties and although we make every effort to present accurate information, MyShopping is not responsible for inaccuracies. He was the curator of the London Science Museum exhibition Pain. Why do many transplantation patients believe that the heart, for instance, can transmit memories and emotions and why do we still refer to emotions as 'heartfelt'? Kerwin's basic premise—that medical knowledge and practice is not an inevitable or accidental aspect of society, but a construct that involves and plays into broader social beliefs and concerns—is not in question, though his argument lacks any systematic use of sociological theory or sustained critical analysis. Representation, sympathy, imitation, but also coherence, trust, or narrativity are but a few of the rhetorical and argumentative recourses that men and women have employed, and continue to use, in order to feel our pain — but also in order to express it, and to imbue it with meaning and collective value. Lafuente, Madrid, Consejo Superior De Investigaciones Científicas, 1999.