The fine arts, neurology, and neuroscience: [1] Neuro-historical dimensions
Gespeichert in:
| Weitere Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam [u.a.]
Elsevier
2013
|
| Ausgabe: | 1. ed. |
| Schriftenreihe: | Progress in brain research
203 |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIII, 286 S. zahlr. Ill. 24 cm |
| ISBN: | 9780444627308 |
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Datensatz im Suchindex
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| adam_text | Titel: Bd. 1. The fine arts, neurology, and neuroscience. Neuro-historical dimensions
Autor:
Jahr: 2013
Contents
Contributors...............................................................................................................v
Preface....................................................................................................................vii
PART 1 EARLY ARTISTIC CONTRIBUTIONS TO THE
_NEUROSCIENCES_
CHAPTER 1 Vesalius and the Emergence of Veridical
Representation in Renaissance Anatomy.........................3
Giil A. Russell
1. A New Vision of Anatomy.............................................................5
2. Revival of Classical Knowledge: Art and Anatomy....................10
3. The Concept of Original Source: A Textual Prelude
to the Human Cadaver..................................................................13
4. Seeing and Recording the Invisible: Rete Mirabile.....................14
5. Ventricles: From Function to Structure: Circles to Cavities.......18
6. The Role of Illustrations...............................................................25
6.1. Before the Renaissance: Visualizing Humoral
Function ..............................................................................25
7. The Need for Illustration: Vesalius..............................................25
8. Conclusions...................................................................................29
References.....................................................................................30
CHAPTER 2 Medieval and Renaissance Anatomists:
The Printing and Unauthorized Copying of
Illustrations, and the Dissemination of Ideas...............33
Douglas J. Lanska, John Robert Lanska
1. Origins of Anatomical Illustration...............................................34
1.1. Theodoric Borgognoni..........................................................34
1.2. Henri de Mondeville.............................................................36
1.3. Johannes de Ketham and Hans von Gersdorff.....................39
1.4. Jacopo Berengario da Carpi.................................................40
2. Andreas Vesaiii.............................................................................44
3. Vesalian Compendia: Plagiarists, Imitators, and
Disseminators................................................................................54
3.1. Thomas Geminus (aka Thomas Lambrit)............................54
3.2. Juan Valverde de Hamusco..................................................58
3.3. Ambroise Paré......................................................................60
4. Conclusion.....................................................................................69
ix
Contents
Acknowledgment..........................................................................70
References.....................................................................................70
CHAPTER 3 Anna Morandi s Wax Self-Portrait
with Brain...................................................................................75
Rebecca Messbarger
1. The Context...................................................................................75
2. The Anatomist...............................................................................78
3. Brainpower..................................................................................83
4. The Crankling Brain.....................................................................87
5. Conclusion.....................................................................................90
References.....................................................................................91
CHAPTER 4 David Ferrier: Brain Drawings and Brain Maps............95
J. Wayne Lazar
1. Background...................................................................................96
2. Alexander Ecker...........................................................................98
3. John Galton.................................................................................101
4. Ernest Waterlow.........................................................................103
5. The Nature of Illustrations.........................................................105
6. The Nature of Ferrier s Illustrations...........................................108
7. Concluding Remarks...................................................................111
Acknowledgments......................................................................Ill
References...................................................................................112
CHAPTER 5 Neura, Nerves, Nerve Fibers, Neurofibrils,
Microtubules: Multidimensional Routes of Pain,
Pleasure, and Voluntary Action in Images
Across the Ages.....................................................................115
Eugenio Frixione
1. Our Subject.................................................................................116
2. In the Beginning: Routes of Life Power Across the Body........117
3. Neura: Pathways of Sensation and Will....................................121
4. Picturing Things as they Really Are: Nerves in the
Renaissance.................................................................................126
5. Imagining the Invisible: Pipes Within Nerves...........................138
6. Turning the Invisible into Visible: Nerve Fibers.......................142
7. Lines for Electricity: Neurofibrils..............................................145
8. Microtubules: The Substratum of Consciousness?....................154
9. Concluding Words......................................................................156
References...................................................................................157
Contents
PART 2 NEUROSCIENTISTS WITH ARTISTIC
TALENTS AND ARTISTS ON THE
_NEUROSCIENCES_
CHAPTER 6 John Bell (1763-1820): Brother Artist
and Anatomist.........................................................................163
Christopher Gardner-Thorpe
1. Introduction.................................................................................163
2. The Bell Family..........................................................................164
3. John Bell, the Surgeon................................................................165
3.1. The Anatomy of the Bones, Muscles, 4 Joints
in 1793................................................................................165
3.2. Engravings, Explaining the Anatomy of the Bones,
Muscles and Joints in 1794................................................166
3.3. Discourses on the Nature and Cure of Wounds
in 1795................................................................................166
3.4. The Anatomy and Physiology of the Human Body
in 1797................................................................................169
4. War Wounds...............................................................................170
5. The Royal Infirmary of Edinburgh.............................................170
6. From 1800 John Bell the Anatomist Now Concentrates on
Clinical Surgery and on his Writing..........................................171
6.1. The Principles of Surgery in 1801.....................................171
6.2. Engravings of the Bones, Muscles and Joints
in 1804................................................................................172
6.3. The Principles of Surgery in 1815.....................................172
7. The Final Years...........................................................................173
8. Charles Bell Remembers his Brother John................................179
Acknowledgments......................................................................181
References...................................................................................181
CHAPTER 7 Jean-Martin Charcot and Art: Relationship of the
Founder of Neurology with Various Aspects
of Art..........................................................................................185
Julien Bogousslavsky, François Boller
1. Charcot s Neurological Career...................................................186
2. Charcot s Artistic Skills..............................................................188
3. Charcot s Taste in Art................................................................190
4. Art in Charcot s Medical Practice..............................................197
References...................................................................................198
Contents
CHAPTER 8 Cajal and the Discovery of a New Artistic World:
The Neuronal Forest.............................................................201
Javier DeFelipe
1. Introduction.................................................................................202
2. The Golgi Method.......................................................................202
3. Cajal Arrives on the Scene.........................................................205
4. Drawing of Neural Elements: When Science was Art..............208
5. Scientific Art and Skepticism.................................................212
6. Interpretation of the Microscopic World....................................213
7. The Brain as a Neuronal Forest..................................................215
Acknowledgments......................................................................218
References...................................................................................219
PART 3 SOME GREAT ARTISTS AND THEIR
_NEUROLOGICAL DISORDERS_
CHAPTER 9 The Lead-Poisoned Genius: Saturnism in Famous
Artists Across Five Centuries............................................223
Julio Montes-Santiago
1. Preindustriai Historical Perspective of Extraction and Lead
Poisoning.....................................................................................223
1.1. Ancient Times.....................................................................224
1.2. Epidemic and Modern Awareness.....................................227
1.3. Scientific Era and Saturnism..............................................228
2. Poisoned Painters........................................................................229
2.1. The Beatos (ninth to Eleventh Centuries)..........................231
2.2. Michelangelo Buonarrotti (Sixteenth Century;
For Dating of Specific Artists, See Table 2).....................231
2.3. Raphael Sanzio...................................................................232
2.4. Caravaggio..........................................................................232
2.5. Piero Della Francesca.........................................................232
2.6. Rembrandt van Rijn............................................................232
2.7. Francisco de Goya..............................................................232
2.8. Mariano Fortuny.................................................................234
2.9. Vincent Van Gogh..............................................................234
2.10. Rubens (seventeenth Century), and Dufy, Renoir,
von Jawlesnky, and Klee (Nineteenth to Twentieth
Centuries)..........................................................................235
2.11. Frida Kahlo.......................................................................235
2.12. Candido Portinari..............................................................236
3. Musician Connections.................................................................237
Contents xiii
3.1. Handel.................................................................................237
3.2. Beethoven...........................................................................237
4. Conclusions.................................................................................238
References...................................................................................238
CHAPTER 10 Frida Kahlo s Neurological Deficits and her Art........241
Valmantas Budrys
1. Introduction.................................................................................241
1.1. Spina Bifida........................................................................242
1.2. Poliomyelitis.......................................................................243
1.3. Spine Injury........................................................................245
1.4. Pain.....................................................................................248
1.5. Passion................................................................................253
2. Conclusion...................................................................................254
References...................................................................................254
CHAPTER 11 Neurological Diseases in Famous Painters.................255
Bartlomiej Piechowski-Jozwiak, Julien Bogousslavsky
1. Stroke..........................................................................................256
1.1. Right-Hemispheric Strokes.................................................256
1.2. Left-Hemispheric Stroke....................................................258
1.3. Posterior Circulation Strokes..............................................262
1.4. Conclusion..........................................................................264
2. Dementia.....................................................................................264
2.1. Lewy Body Dementia.........................................................264
2.2. Alzheimer Disease..............................................................265
2.3. Frontotemporal Dementia...................................................265
2.4. Alcoholic Dementia............................................................266
2.5. Migraine..............................................................................266
2.6. Epilepsy..............................................................................267
2.7. Head Trauma......................................................................269
2.8. Noncerebral Central Nervous System Disorders...............271
3. General Conclusions...................................................................274
References...................................................................................274
Index.......................................................................................................................277
Other volumes in PROGRESS IN BRAIN RESEARCH..............................................285
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