By Howard Markel
Acclaimed clinical historian Howard Markel strains the careers of 2 fabulous younger doctors--Sigmund Freud, neurologist, and William Halsted, surgeon--showing how their robust addictions to cocaine formed their huge, immense contributions to psychology and medicine.
When Freud and Halsted begun their experiments with cocaine within the Eighteen Eighties, neither they, nor their colleagues, had any suggestion of the drug's capability to dominate and endanger their lives. An Anatomy of Addiction tells the tragic and heroic tale of every guy, by accident struck down in his top by means of an insidious illness: tragic as a result time, relationships, and well-being cocaine pressured every one to squander; heroic within the excessive conflict every one guy waged to beat his illness. Markel writes of the actual and emotional harm because of the then-heralded ask yourself drug, and the way each one guy finally replaced the realm even with it--or as a result of it. One turned the daddy of psychoanalysis; the opposite, of contemporary surgical procedure. here's the total tale, lengthy missed, instructed in its wealthy ancient context.
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Additional info for An Anatomy of Addiction: Sigmund Freud, William Halsted, and the Miracle Drug, Cocaine
41 A critical examination of the history of eighteenth- and nineteenth-century European (as well as American) cities demonstrates the practical difficulties of supporting a philosophy of equal access given the race, class, and gender segregations and hierarchies that dominated the use of public space. Access to public space was severely restricted in planned and unplanned ways. 42 The problem of being “at home” in public for those left out of the imagination of the bourgeois public sphere has been a long drawn out process that continues into the present century.
The aesthetic sensibilities European visitors brought to Bengal did not agree with the new land because Bengal departed from the idea of a healthy landscape. 33 Implicit in the descriptions of Calcutta’s fine buildings was the very location of the city: the notorious swamps of lower Bengal. The landscape on entering the Bay of Bengal set the stage for this unwholesome topography. The flat landscape became associated with physical discomfort and ailments peculiarly tropical. ” Significantly, the missionary’s description revealed a countryside that only hinted at the existence of people; the cultivated rice fields signified the presence of natives.
Instead, the unexpectedness of neo-classical architecture in the swamps of Calcutta appeared frighteningly familiar to visitors such as Mrs. Fenton. It generated a feeling of the uncanny. Such startling revelations about the character of colonial enterprise – the colonial uncanny – refused to confer upon the British resident a secure vantage from within which one could articulate a landscape of difference. 36 The “familiar” architecture harbored a dreadful secret – the impending death of the inhabitant.