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Murderous Midwives and Homicidal Obstetricians
Diana Pérez Edelman

Ever since the publication of Frankenstein, the Gothic has been read as an expression of the fears associated with scientific, technological, and medical advances. This essay argues that obstetrical medicine, from midwifery to obstetrics, is the most Gothic of medical pursuits because of its blurring of boundaries between male and female, natural and supernatural, mechanical and organic, life and death. From subterraneous passages to monstrosity, the professionalization of obstetrics over the course of the eighteenth century and into the nineteenth reads like a Gothic novel. Tracing the parallels between the Gothic aesthetic and several fictional and quasifictional accounts of obstetrical ‘stories’ - from the Warming Pan Scandal of 1688 to the work of Scottish obstetrician William Smellie and man mid-wife William Hunter - this essay demonstrates the Gothic nature of reproductive pursuits.

Gothic Studies
Anatomy and the birth of horror in The [First] Book of Urizen
Lucy Cogan

's personal experience seems only to have confirmed this perception. Enrolled as a student at the Royal Academy of Arts from 1779, it is highly likely he attended lectures given by William Hunter, older brother of John Hunter and famed Professor of Anatomy at the academy since 1768. 16 The artistic aesthetic of close empirical observation Hunter promoted at the Royal Academy was explicitly based on his anatomical expertise. Hunter's influence on the ethos of the academy

in William Blake's Gothic imagination
The spectacle of dissection
Stephanie Codsi

surgeon as a chart to a seaman”.’ 11 Professor of anatomy, Jean-Joseph Suë (1760–1830) extended this analogy of discovery when he applied it to the practice of art. Barbara Stafford, quoting Suë, asserts that ‘the critical artist “must bring the scalpel” to the human machine. He must “traverse, visit, interrogate all its paths … to finally know the entire internal mechanism”.’ 12 William Hunter

in William Blake's Gothic imagination
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Michael Brown

-century medical practice. It is certainly true that making a living was central to the social aspirations of many contemporary practitioners. However, such accounts tend to neglect the wider dimensions of historical experience, assuming a somewhat unproblematic relationship between financial wealth and social reputation. The actions of medical practitioners are often interpreted as little more than doctors ‘selling themselves’ and the pursuit of social respectability is relegated to a form of ‘product differentiation’. In his study of the social identity of William Hunter, for

in Performing medicine
Coroners’ courts
Elaine Farrell

eighteenth century, Scottish-born physician William Hunter advised: To form a solid opinion about the birth of a new-born child, from the examination of its body, a professional man should have seen many 048-071 DiabolicalDeed Chapter2.indd 52 30/01/2013 12:02 coroners’ courts53 new-born children, both stillborn, and such as had outlived their birth a short time only: and he should have dissected, or attended the dissection of a number of bodies in the different stages of advancing putrefaction.22 Medical witnesses summoned to court by Irish coroners differed in

in ‘A most diabolical deed’
Challenges and opportunities for museums, cultural engagement and lifelong learning at the University of Glasgow
Maureen Park

collections are substantial, totalling more than 1.8 million items and including ‘32% of Scotland’s science history, 31% of its coins and medals, 24% of its fine art, 20% of its natural science and 18% of its world culture’ (UMIS, 2011). The Hunterian is by far the largest of these museums. It was founded during the Age of the Scottish Enlightenment through the bequest of the celebrated anatomist and ‘man-midwife’ Dr William Hunter (1718–83). His extensive collection of ‘precious and rare objects’ – works of art, medical and scientific 137 Clover_Sandford.indd 137 05

in Lifelong learning, the arts and community cultural engagement in the contemporary university
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Angela Stienne

important men: Dr Wollaston, Dr Blanshard, Dr Hunter, Dr Petit, the Revd Mr Egerton Leigh and Mr Hunter. Because we know that anatomists William Hunter and John Hunter were there, we can assume that the event was asserted to be for the advancement of medical and anatomical science. William Hunter was already well established as a practitioner in London, and in 1764 he would go on to become physician to Queen Charlotte. His

in Mummified
Real sympathy, the imitation of suffering and the visual arts after Burke’s sublime
Aris Sarafianos

‘the spectator the idea of human nature agitated by passion or suffering’ ‘is to learn [Nature’s] ways’.114 This is what makes ‘the appeal more strongly to the senses’ while any deviation from it is ‘sure to weaken’ the effect.115 Manifestly, Bell was capitalising upon a long-running tradition in anatomical criticism shaped under the Enquiry’s influence. When William Hunter, Professor of Anatomy at the RA, aired the idea that ‘the power of representing the human body as near as possible to the original reality’ is ‘essential’ to the ‘energy’ and ‘force’ of the work

in The hurt(ful) body
Globes, englobing powers, and Blake's archaeologies of the present
Peter Otto

by Jan van Rymsdyk (fl. 1750–88), this engraving was published in The Anatomy of the Human Gravid Uterus exhibited in Figures (1774 ), by the celebrated anatomist, physician, and male midwife William Hunter (1718–83). 21 It depicts a ‘life-size section of the human body – the female trunk between the abdomen and the middle of the thighs’ – which is shown after Hunter has peeled back the skin on the ‘pregnant abdomen’. 22 When ‘Table

in William Blake's Gothic imagination
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Cultures of display and the British Empire
John M. MacKenzie and John McAleer

William Hunter acquired material from Captain Cook, now in the Hunterian Museum of the University of Glasgow. See Lawrence Keppie, William Hunter and the Hunterian Museum in Glasgow, 1807–2007 (Edinburgh: Edinburgh University Press, 2007). See also Eileen Hooper-Greenhill, Museums and the Shaping of Knowledge (London: Routledge, 1992), and Amiria Henare, Museums

in Exhibiting the empire