This collection of essays explores the rise of scientific medicine and its impact on Victorian popular culture. Chapters include an examination of Dickens’s involvement with hospital funding, concerns over milk purity and the theatrical portrayal of drug addiction, plus a whole section devoted to medicine in crime fiction.

This collection of essays explores the rise of scientific medicine and its impact on Victorian popular culture. Chapters include an examination of Charles Dickens's involvement with hospital funding, concerns over milk purity and the theatrical portrayal of drug addiction, plus a whole section devoted to the representation of medicine in crime fiction. This is an interdisciplinary study involving public health, cultural studies, the history of medicine, literature and the theatre, providing new insights into Victorian culture and society.

This work offers a social and cultural history of Victorian medicine "from below," as experienced by ordinary practitioners and patients, often described in their own words. Health, Medicine, and Society in Victorian England is a human story of medicine in 19th-century England. It's a story of how a diverse and competitive assortment of apothecary apprentices, surgeons who learned their trade by doing, and physicians schooled in ancient Greek medicine but lacking in any actual experience with patients, was gradually formed into a medical profession with uniform standards of education and qualification. It's a story of how medical men struggled with "new" diseases such as cholera and "old" ones known for centuries, such as tuberculosis, syphilis, and smallpox, largely in the absence of effective drugs or treatments, and so were often reduced to standing helplessly by as their patients died. It's a story of how surgeons, empowered first by anesthesia and later by antiseptic technique, vastly expanded the field of surgery—sometimes with major benefits for patients, but sometimes with disastrous results. Above all, it's a story of how gender and class ideology dominated both practitioners and patients. Women were stridently excluded from medical education and practice of any kind until the end of the century, but were hailed into the new field of nursing, which was felt to be "natural" to the gentler sex. Only the poor were admitted to hospitals until the last decades of the century, and while they often received compassionate care, they were also treated as "cases" of disease and experimented upon with freedom. Yet because medical knowledge was growing by leaps and bounds, Victorians were fascinated with this new field and wrote novels, poetry, essays, letters, and diaries, which illuminate their experience of health and disease for us. Newly developed techniques of photography, as well as improved print illustrations, help us to picture this fascinating world. This vivid history of Victorian medicine is enriched with many literary examples and visual images drawn from the period.

Medicine is most often understood through the metaphor of war. We encounter phrases such as "the war against the coronavirus," "the front lines of the Ebola crisis," "a new weapon against antibiotic resistance," or "the immune system fights cancer" without considering their assumptions, implications, and history. But there is nothing natural about this language. It does not have to be, nor has it always been, the way to understand the relationship between humans and disease. Medicine Is War shows how this "martial metaphor" was popularized throughout the nineteenth century. Drawing on the works of Mary Shelley, Charles Kingsley, Bram Stoker, Arthur Conan Doyle, and Joseph Conrad, Lorenzo Servitje examines how literary form reflected, reinforced, and critiqued the convergence of militarism and medicine in Victorian culture. He considers how, in migrating from military medicine to the civilian sphere, this metaphor responded to the developments and dangers of modernity: urbanization, industrialization, government intervention, imperial contact, crime, changing gender relations, and the relationship between the one and the many. While cultural and literary scholars have attributed the metaphor to late nineteenth-century germ theory or immunology, this book offers a new, more expansive history stretching from the metaphor's roots in early nineteenth-century militarism to its consolidation during the rise of early twentieth-century pharmacology. In so doing, Servitje establishes literature's pivotal role in shaping what war has made thinkable and actionable under medicine's increasing jurisdiction in our lives. Medicine Is War reveals how, in our own moment, the metaphor remains conducive to harming as much as healing, to control as much as empowerment.

Few life occurrences shaped individual and collective identities within Victorian-era society as critically as witnessing or suffering from illness. The prevalence of illness narratives within late nineteenth-century popular culture was made manifest on the period’s British and American stages, where theatrical embodiments of illness were indisputable staples of actors’ repertoires. Playing Sick: Performances of Illness in the Age of Victorian Medicine reconstructs how actors embodied three of the era’s most provocative illnesses: tuberculosis, drug addiction, and mental illness. In placing performances of illness within wider medicocultural contexts, Meredith Conti analyzes how such depictions confirmed or resisted salient constructions of diseases and the diseased. Conti’s case studies, which range from Eleonora Duse’s portrayal of the consumptive courtesan Marguerite Gautier to Henry Irving’s performance of senile dementia in King Lear, help to illuminate the interdependence of medical science and theatre in constructing nineteenth-century illness narratives. Through reconstructing these performances, Conti isolates from the period’s acting practices a lexicon of embodied illness: a flexible set of physical and vocal techniques that performers employed to theatricalize the sick body. In an age when medical science encouraged a gradual decentering of the patient from their own diagnosis and treatment, late nineteenth-century performances of illness symbolically restored the sick to positions of visibility and consequence.

Much like the Information Age of the twenty-first century, the Industrial Age was a period of great social changes brought about by rapid industrialization and urbanization, speed of travel, and global communications. The literature, medicine, science, and popular journalism of the nineteenth century attempted to diagnose problems of the mind and body that such drastic transformations were thought to generate: a range of conditions or “diseases of modernity” resulting from specific changes in the social and physical environment. The alarmist rhetoric of newspapers and popular periodicals, advertising various “neurotic remedies,” in turn inspired a new class of physicians and quack medical practices devoted to the treatment and perpetuation of such conditions. Anxious Times examines perceptions of the pressures of modern life and their impact on bodily and mental health in nineteenth-century Britain. The authors explore anxieties stemming from the potentially harmful impact of new technologies, changing work and leisure practices, and evolving cultural pressures and expectations within rapidly changing external environments. Their work reveals how an earlier age confronted the challenges of seemingly unprecedented change, and diagnosed transformations in both the culture of the era and the life of the mind.

This book addresses the evident but unexplored intertwining of visibility and invisibility in the discourses around syphilis. A rethinking of the disease with reference to its ambiguous status, and the ways of seeing that it generated, helps reconsider the network of socio-cultural and political interrelations which were negotiated through syphilis, thereby also raising larger questions about its function in the construction of individual, national and imperial identities. This book is the first large-scale interdisciplinary study of syphilis in late Victorian Britain whose significance lies in its unprecedented attention to the multimedia and multi-discursive evocations of syphilis. An examination of the heterogeneous sources that it offers, many of which have up to this point escaped critical attention, makes it possible to reveal the complex and poly-ideological reasons for the activation of syphilis imagery and its symbolic function in late Victorian culture.

Reading Popular Culture in Victorian Print: Belgravia and Sensationalism is a comprehensive study of the whole run of the monthly periodical Belgravia under the direction of Mary Elizabeth Braddon. It traces the material history of the magazine, its production and global distribution while at the same time placing its history and content in the context of Victorian popular culture and Victorian discursive formations. Among the questions Reading Popular Culture in Victorian Print investigates are the status of authors in the marketplace, the innovative place Belgravia holds in the history of print culture, the rhetoric of sensationalism in fiction, journalism and pre-cinema, the representation of trade with India, and the use of urban space as a branding strategy. It makes the claim that the periodical is the sensation novel of the 1860s.

This book examines how the medical profession engaged with print and literary culture to shape its identities between the 1830s and 1910s in Britain and its empire. Moving away from a focus on medical education and professional appointments, the book reorients attention to how medical self-fashioning interacted with other axes of identity, including age, gender, race, and the spaces of practice. Drawing on medical journals and fiction, as well as professional advice guides and popular periodicals, this volume considers how images of medical practice and professionalism were formed in the cultural and medical imagination. Alison Moulds uncovers how medical professionals were involved in textual production and consumption as editors, contributors, correspondents, readers, authors, and reviewers. Ultimately, this book opens up new perspectives on the relationship between literature and medicine, revealing how the profession engaged with a range of textual practices to build communities, air grievances, and augment its cultural authority and status in public life.

The first book to provide a detailed analysis of the body-trafficking networks of the dead poor that underpinned the expansion of medical education from Victorian times. With an even-handed approach to the business of anatomy, Hurren uses remarkable case histories which still echo a vibrant body-business on the internet today in a biomedical age.