Neurology and Modernity: A Cultural History of Nervous by Laura Salisbury, Andrew Shail

By Laura Salisbury, Andrew Shail

As humans of the fashionable period have been singularly liable to fearful issues, the anxious procedure turned a version for describing political and social association. This quantity untangles the mutual dependencies of clinical neurology and the cultural attitudes of the interval 1800-1950, exploring how and why modernity was once a essentially fearful kingdom.

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Neurology and Modernity: A Cultural History of Nervous Systems, 1800–1950

As humans of the trendy period have been singularly vulnerable to fearful issues, the apprehensive approach grew to become a version for describing political and social association. This quantity untangles the mutual dependencies of clinical neurology and the cultural attitudes of the interval 1800-1950, exploring how and why modernity used to be a essentially fearful country.

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Vol. 3. 1783. 4 Vols. Edinburgh, 1796. Debru, Claude. 3 (2001): 471–92. N. A Compleat Engli h Dictionary. Westminster, 1735. Doane, Mary Ann. The Emergence of Cinematic Time. London: Harvard UP, 2002. Eastwick, Egerton. ’ Strand 11 (March 1896): 281–91. Feindel, William. ’ A Short History of Neurology: The British Contribution 1660–1910. Ed. F. Clifford Rose. Oxford: Butterworth-Heinemann, 1999. 1–18. Findlater, Andrew, ed. Chambers’s Etymological Dictionary of the English Language. London: Chambers, 1893.

As many other neurologists of the period affirmed, the nervous system and brain function became sites where the markers of evolutionary development could be observed and their implications for the taxonomies of modernity anxiously staged. Neurology’s systems also shared modernity’s particular interest in productivism, or the ways in which the human body, society and nature were linked by what Anson Rabinbach has called the “primacy and identity of all productive activity, whether of laborers, of machines, or of natural forces” (3).

In 1895, in Wells’s ‘The Sad Story of a Dramatic Critic’, Egbert Craddock Cummins tells how he began to imitate the gestural stage acting he has been ridiculing in his role as a critic: [n]ight after night of concentrated attention to the conventional attitudes and intonation of the English stage was gradually affecting my speech and carriage. I was giving way to the infection of sympathetic imitation. Night after night my plastic nervous system took the print of some new amazing gesture, some new emotional exaggeration – and retained it.

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