Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

The phrase 'global health' appears ubiquitously in contemporary medical spheres, from academic research programs to websites of pharmaceutical companies. In its most visible manifestation, global health refers to strategies addressing major epidemics and endemic conditions through philanthropy, and multilateral, private-public partnerships. This book explores the origins of global health, a new regime of health intervention in countries of the global South born around 1990, examining its assemblages of knowledge, practices and policies. The volume proposes an encompassing view of the transition from international public health to global health, bringing together historians and anthropologists to analyse why new modes of "interventions on the life of others" recently appeared and how they blur the classical divides between North and South. The contributors argue that not only does the global health enterprise signal a significant departure from the postwar targets and modes of operations typical of international public health, but that new configurations of action have moved global health beyond concerns with infectious diseases and state-based programs. The book will appeal to academics, students and health professionals interested in new discussions about the transnational circulation of drugs, bugs, therapies, biomedical technologies and people in the context of the "neo-liberal turn" in development practices. This book is relevant to United Nations Sustainable Development Goal 3, Good health and well-being. -- .

Examines psychiatric epidemiology's unique evolution, conceptually and socially, within and between diverse regions and cultures, underscoring its growing influence on the biopolitics of nations and worldwide health campaigns. Psychiatric epidemiology, like the epidemiology of cancer, heart disease, or AIDS, contributes increasingly to shaping the biopolitics of nations and worldwide health campaigns. Despite the field's importance, this is the first volume of historical scholarship addressing psychiatric epidemiology. It seeks to comprehensively trace the development of the discipline and the mobilization of its constructs, methods, and tools to further social ends. It is through this double lens-conceptual and social-that it envisions the history of psychiatric epidemiology. Furthermore, its chapters constitute elements for that history as a global phenomenon, formed by multiple approaches. Those numerous historical paths have not resulted in a uniform disciplinary field based on a common paradigm, as happened arguably in the epidemiology of cardiovascular disease and cancer, but in a plurality of psychiatric epidemiologies driven by different intellectual questions, political strategies, reformist ideals, national cultures, colonial experiences, international influences, and social control objectives. When examined together, the chapters depict an uneven global development of epidemiologies formed within distinct political-cultural regions but influenced by the transnational circulation and selective uptake of concepts, techniques, and expertise. These moved through multidirectional pathways between and within the Global North and South. Authored by historians, anthropologists, and psychiatrists, chapters trace this complex history, focusing on Brazil, Nigeria, Senegal, India, Taiwan, Japan, the United Kingdom, the United States and Canada, as well as multicountry networks.

Focusing on the rich heritage of art-making in the eighteenth century, this lushly illustrated book positions both well-known painters and unknown artisans within the framework of their economic lives, their families, and the geographies through which they moved as they created notable careers and memorable objects. In considering both painting and decorative arts simultaneously, "Art in a Season of Revolution" departs from standard practice and resituates painters as artisans. Moreover, it gives equal play to the lives of the makers and the lives of the objects, to studying both within the interdependent social and economic webs linking local and distant populations of workers, theorists, suppliers, and patrons throughout the mercantile Atlantic.Emphasizing maritime settlements such as Salem, Newport, and Boston and viewing them within the larger framework of the Atlantic world, Margaretta Lovell considers the ways eighteenth-century New England experience was conditioned by its source cultures and markets. Colonial material culture participated in a nonsubsistence international economy, deriving ideas, pigments, and conventions from abroad, and reexporting them in the effort to enlarge market opportunities or to establish artistic reputations in distant London. Exploring these and other key aspects of the aesthetic and social dimensions of the cultural landscape, Lovell concentrates on a cluster of central issues: the relevance of aesthetic production to social hierarchies; the nature and conditions of artisan career trajectories; the role of replication, imitation, and originality in the creation and marketing of art products; and the constituent elements of individual identity forthe makers, for the patrons who were their subjects, and for the creations that were their objects."Art in a Season of Revolution" illuminates the participation of pictures, objects, and makers in their cultures. It invites historians to look at the material world as a source of evidence in their pursuit of even very abstract concerns such as the nature of virtue, the uses of identity, and the experience of time. Arguing in favor of a more complex approach to research at the nexus of aesthetic and ideological concerns, this provocative new book challenges established frameworks for understanding the production of art in British America during the tumultuous decades bracketing the Revolution.

The impulse in much nineteenth-century American painting and culture was to describe nature as a wilderness on which the young nation might freely inscribe its future: the United States as a virgin land, that is, unploughed, unfenced, and unpainted. Insofar as it exhibited evidence of a past, its traces pointed to a geologic or cosmic past, not a human one. The work of the New England artist Fitz H. Lane, however, was decidedly different. In this important study, Margaretta Markle Lovell singles out the more modestly scaled, explicitly inhabited landscapes of Fitz H. Lane and investigates the patrons who supported his career, with an eye to understanding how New Englanders thought about their land, their economy, their history, and their links with widely disparate global communities. Lane’s works depict nature as productive and allied in partnership with humans to create a sustainable, balanced political economy. What emerges from this close look at Lane’s New England is a picture not of a “virgin wilderness” but of a land deeply resonant with its former uses—and a human history that incorporates, rather than excludes, Native Americans as shapers of land and as agents in that history. Calling attention to unexplored dimensions of nineteenth-century painting, Painting the Inhabited Landscape is a major intervention in the scholarship on American art of the period, examining how that body of work commented on American culture and informs our understanding of canon formation.