The introduction of anaesthesia to Victorian Britain marked a defining moment between modern medicine and earlier practices. This book uses new information from John Snow's casebooks and London hospital archives to revise many of the existing historical assumptions about the early history of surgical anaesthesia. By examining complex patterns of innovation, reversals, debate and geographical difference, Stephanie Snow shows how anaesthesia became established as a routine part of British medicine.

Among the great discoveries of the nineteenth century, few offer a more fascinating insight into Victorian society than the new science of anaesthesia. This vivid and engaging history reveals how the worlds of Victorian medics, moralists, and clergymen were plunged into turmoil and debate by the discovery and introduction of anaesthetic medicine.

This handbook covers the technical, social and cultural history of surgery. It reflects the state of the art and suggests directions for future research. It discusses what is different and specific about the history of surgery - a manual activity with a direct impact on the patient’s body. The individual entries in the handbook function as starting points for anyone who wants to obtain up-to-date information about an area in the history of surgery for purposes of research or for general orientation. Written by 26 experts from 6 countries, the chapters discuss the essential topics of the field (such as anaesthesia, wound infection, instruments, specialization), specific domains areas (for example, cancer surgery, transplants, animals, war), but also innovative themes (women, popular culture, nursing, clinical trials) and make connections to other areas of historical research (such as the history of emotions, art, architecture, colonial history). Chapters 16 and 18 of this book are available open access under a CC BY 4.0 license at link.springer.com

Throughout the nineteenth century, practitioners of science, writers of fiction and journalists wrote about electricity in ways that defied epistemological and disciplinary boundaries. Revealing electricity as a site for intense and imaginative Victorian speculation, Stella Pratt-Smith traces the synthesis of nineteenth-century electricity made possible by the powerful combination of science, literature and the popular imagination. With electricity resisting clear description, even by those such as Michael Faraday and James Clerk Maxwell who knew it best, Pratt-Smith argues that electricity was both metaphorically suggestive and open to imaginative speculation. Her book engages with Victorian scientific texts, popular and specialist periodicals and the work of leading midcentury novelists, including Charles Dickens, Charlotte Bronte, Emily Bronte, William Makepeace Thackeray and Wilkie Collins. Examining the work of William Harrison Ainsworth and Edward Bulwer-Lytton, Pratt-Smith explores how Victorian novelists attributed magical qualities to electricity, imbuing it with both the romance of the past and the thrill of the future. She concludes with a case study of Benjamin Lumley’s Another World, which presents an enticing fantasy of electricity’s potential based on contemporary developments. Ultimately, her book contends that writing and reading about electricity appropriated and expanded its imaginative scope, transformed its factual origins and applications and contravened the bounds of literary genres and disciplinary constraints.

The story of pain and suffering since the eighteenth century. Prize-winning historian Joanna Bourke charts how our understanding of pain (and how to cope with it) has changed completely over the last three centuries.

“Experience” is a thoroughly political category, a social and historical product not authored by any individual. At the same time, “the personal is political,” and one's own lived experience is an important epistemic resource. In Anaesthetics of Existence Cressida J. Heyes reconciles these two positions, drawing on examples of things that happen to us but are nonetheless excluded from experience. If for Foucault an “aesthetics of existence” was a project of making one's life a work of art, Heyes's “anaesthetics of existence” describes antiprojects that are tacitly excluded from life—but should be brought back in. Drawing on critical phenomenology, genealogy, and feminist theory, Heyes shows how and why experience has edges, and she analyzes phenomena that press against those edges. Essays on sexual violence against unconscious victims, the temporality of drug use, and childbirth as a limit-experience build a politics of experience while showcasing Heyes's much-needed new philosophical method.

The Cancer Problem offers the first medical, cultural, and social history of cancer in nineteenth-century Britain. It begins by looking at a community of doctors and patients who lived and worked in the streets surrounding the Middlesex Hospital in London. It follows in their footsteps as they walked the labyrinthine lanes and passages that branched off Tottenham Court Road; then, through seven chapters, its focus expands to successively include the rivers, lakes, and forests of England, the mountains, poverty, and hunger of the four nations of the British Isles, the reluctant and resistant inhabitants of the British Empire, and the networks of scientists and doctors spread across Europe and North America. The Cancer Problem: Malignancy in Nineteenth-Century Britain argues that it was in the nineteenth century that cancer acquired the unique emotional, symbolic, and politicized status it maintains today. Through an interrogation of the construction, deployment, and emotional consequences of the disease's incurability, this book reframes our conceptualization of the relationship between medicine and modern life and reshapes our understanding of chronic and incurable maladies, both past and present.

Drawing on the expertise of historical, literary and philosophical scholarship, practicing physicians, and the medical humanities this is a true interdisciplinary collaboration, styled as a history. It explores pain at the intersection of the living, suffering body, and the discursive cultural webs that entangle it in its specific moment.

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. 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.

Despite today's historically low maternal and infant mortality rates in the United States, labor continues to evoke fear among American women. Rather than embrace the natural childbirth methods promoted in the 1970s, most women welcome epidural anesthesia and even Cesarean deliveries. In Deliver Me from Pain, Jacqueline H. Wolf asks how a treatment such as obstetric anesthesia, even when it historically posed serious risk to mothers and newborns, paradoxically came to assuage women's anxiety about birth. Each chapter begins with the story of a birth, dramatically illustrating the unique practices of the era being examined. Deliver Me from Pain covers the development and use of anesthesia from ether and chloroform in the mid-nineteenth century; to amnesiacs, barbiturates, narcotics, opioids, tranquilizers, saddle blocks, spinals, and gas during the mid-twentieth century; to epidural anesthesia today. Labor pain is not merely a physiological response, but a phenomenon that mothers and physicians perceive through a historical, social, and cultural lens. Wolf examines these influences and argues that medical and lay views of labor pain and the concomitant acceptance of obstetric anesthesia have had a ripple effect, creating the conditions for acceptance of other, often unnecessary, and sometimes risky obstetric treatments: forceps, the chemical induction and augmentation of labor, episiotomy, electronic fetal monitoring, and Cesarean section. As American women make decisions about anesthesia today, Deliver Me from Pain offers them insight into how women made this choice in the past and why each generation of mothers has made dramatically different decisions.