Twilight States: Sleepwalking, Liminal Consciousness, and Sensational Selfhood in Victorian Literature and Culture

Twilight States: Sleepwalking, Liminal Consciousness, and Sensational Selfhood in Victorian Literature and Culture argues that sleepwalking was everywhere in nineteenth-century culture, both as a topic for scientific, legal, and public debate, but also as a potent symbol in the Victorian imagination that informed literature and art. Furthermore, the nineteenth-century interest in the somnambulist was provoked by what the figure represented and revealed to the Victorians: namely, themselves. The sleepwalker represented the hidden potential within the self for either greatness or deviance, or, more mundanely, simply a fuller existence than consciousness has an awareness of. Sleepwalking writ large the multi-layered self at a time when the self—by psychiatry and society at large—was being accepted as increasingly multivalent. The sleepwalker was a visible and often sensational embodiment of the multilayered consciousness that became the accepted model of the mind over the course of the nineteenth century, visibly demonstrating what doctors and philosophers suggested that the mind could do. By connecting literary representations of sleepwalkers in the works of Wilkie Collins, Thomas Hardy, Bram Stoker, and Sheridan Le Fanu to both nineteenth-century medical discourses of somnambulism and popular press’s accounts and illustrations of altered states, we see that the discourses surrounding the figure of the somnambulist indicate that it was a cultural receptacle for fears associated with the changing scientific and political landscape, but also a locus for hopes about human potential and innate goodness: an ambivalence possible because of the sleepwalker’s liminality

Stages of Suffering: Performing Illness in the Late-Nineteenth-Century Theatre

Few life occurrences shaped individual and collective identities within Victorian society as critically as suffering (or witnessing a loved one suffering) from illness. Boasting both a material reality of pathologies, morbidities, and symptoms and a metaphorical life of stigmas, icons, and sentiments, the cultural construct of illness was an indisputable staple on the late-nineteenth-century stage. This dissertation analyzes popular performances of illness (both somatic and psychological) to determine how such embodiments confirmed or counteracted salient medical, cultural, and individualized expressions of illness. I also locate within general nineteenth-century acting practices an embodied lexicon of performed illness (comprised of readily identifiable physical and vocal signs) that traversed generic divides and aesthetic movements. Performances of contagious disease are evaluated using over sixty years of consumptive Camilles; William Gillette's embodiment of the cocaine-injecting Sherlock Holmes and Richard Mansfield's fiendishly grotesque transformations in the double role of Dr. Jekyll and Mr. Hyde are employed in an investigation of performances of drug addiction; and the psychological disorders enacted by Henry Irving and Ellen Terry at the Lyceum Theatre serve as the centerpiece of an exploration of performances of mental illness. Each performance type is further illuminated using a dominant identity category: I contend that contagion was subtly tethered to notions of nationality and boundary crossings, Victorian class strata informed performances of addiction, and prevailing understandings of the masculine and feminine inspired the gendering of mental illness categories.In an age in which the expansion of physician authority and the public's faith in the findings of medical science encouraged a gradual decentralization of the patient from her own diagnosis and treatment, I see Victorian performances of illness as potentially curative. Even on the popular stage, where the primary objective was to entertain, performances of illness crucially restored the patient and his illness (both figuratively and literally) to center stage in ways unsurpassed by the period's novelists, painters, social reformers, and journalists. The difficulty of articulating experiential suffering with words or brushstrokes was partially ameliorated in theatrical enactments of illness. After all, theatre's very nature guarantees that when words fail, bodies take up the cause

A genealogical critique of Beauchamp and Childress' for principles approach to medical ethics

<bold>Part Three</bold> examines the development of Beauchamp and Childress 'four principles' approach to medical ethics from the 1<super> st</super> to the 6<super>th</super> Editions of <italic>Principles of Biomedical Ethics,</italic> arguing that it has, thanks to changes in the authors' conception of philosophical moral theory, been able to productively incorporate the views of many of its critics over this time; that it is also able to incorporate features of different ethical approaches such as virtue ethics, narrative ethics and ethics of care; and that, properly understood, it continues to provide a good framework both for moral reflection in medicine and the provision of concrete action-guides. The thesis concludes by considering this view of the four principles in the light of the earlier sections' approach, and attempting to demonstrate further demonstrate their value through two case-studies.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

A genealogical critique of Beauchamp and Childress' for principles approach to medical ethics

Part Three examines the development of Beauchamp and Childress 'four principles' approach to medical ethics from the 1 st to the 6th Editions of Principles of Biomedical Ethics, arguing that it has, thanks to changes in the authors' conception of philosophical moral theory, been able to productively incorporate the views of many of its critics over this time; that it is also able to incorporate features of different ethical approaches such as virtue ethics, narrative ethics and ethics of care; and that, properly understood, it continues to provide a good framework both for moral reflection in medicine and the provision of concrete action-guides. The thesis concludes by considering this view of the four principles in the light of the earlier sections' approach, and attempting to demonstrate further demonstrate their value through two case-studies.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

A genealogical critique of Beauchamp and Childress' for principles approach to medical ethics.

Part Three examines the development of Beauchamp and Childress 'four principles' approach to medical ethics from the 1 st to the 6th Editions of Principles of Biomedical Ethics, arguing that it has, thanks to changes in the authors' conception of philosophical moral theory, been able to productively incorporate the views of many of its critics over this time; that it is also able to incorporate features of different ethical approaches such as virtue ethics, narrative ethics and ethics of care; and that, properly understood, it continues to provide a good framework both for moral reflection in medicine and the provision of concrete action-guides. The thesis concludes by considering this view of the four principles in the light of the earlier sections' approach, and attempting to demonstrate further demonstrate their value through two case-studies

History of the Opium Problem

This is the first scholarly study in which the production, trade and political effects of opium and its derivatives are shown over many centuries, and in many countries (China, India, Indonesia, Japan, all Southeast Asian countries and some in Europe and the Americas). Starting in the 16th century, slavery and opium became the two means with which the bodies and souls of men and women in the tropics were exploited in western imperialism and colonialism. The first waned with the abolition movement in the 19th century, but opium production and trade continued to spread, with the associated serious social and political effects. Around 1670 the Dutch introduced opium as a cash crop for mass production and distribution in India and Indonesia. China became the main target in the 19th century, and only succeeded in getting rid of the opium problem around 1950. Then it had already been transformed from an “Eastern” into a “Western” problem

Fostering flowers: Women, landscape and the psychodynamics of gender in 19th Century Australia

It is said that when the Sphinx was carved into the bedrock of Egypt it had the head as well as the body of Sekhmet lioness Goddess who presided over the rise and fall of the Nile, and that only much later was the head recarved to resemble a male pharaoh. Simon Schama considered the \u27making over\u27 of Mount Rushmore to resemble America\u27s Founding Fathers constituted \u27the ultimate colonisation of nature by culture … a distinctly masculine obsession (expressing) physicality, materiality and empirical externality,… a rhetoric of humanity\u27s uncontested possession of nature. It would be comforting to think that, although Uluru has become the focus of nationalist myths in Australia, to date it has not been incised to represent Australia\u27s \u27Great Men\u27 - comforting that is, if it were not for the recognition that if Australia had had the resources available to America in the 1920s a transmogrified Captain Cook and a flinty Governor Phillip may have been eyeballing the red heart of Australia for the greater part of a century. My dissertation traces the conscious and unconscious construction of gender in Australian society in the nineteenth century as it was constructed through the apprehension of things which were associated with \u27nature\u27 -plants, animals, landscape, \u27the bush\u27, Aborigines, women. The most important metaphor in this construction was that of women as flowers; a metaphor which, in seeking to sacralise \u27beauty\u27 in women and nature, increasingly externalised women and the female principle and divorced them from their rootedness in the earth - the \u27earth\u27 of \u27nature\u27, and the \u27earth\u27 of men\u27s and women\u27s deeper physical and psychological needs. This had the consequence of a return of the repressed in the form of negative constructions of women, \u27femininity\u27 and the land which surfaced in Australia, as it did in most other parts of the Western World, late in the nineteenth century. What I attempt to show in this dissertation is that a negative construction of women and the female principle was inextricably implicated in the accelerating development of a capitalist consumer society which fetishised the surface appearance of easily reproducible images of denatured objects. In the nineteenth century society denatured women along with much else as it turned from the worship of God and ‘nature\u27 to the specularisation of endlessly proliferating images emptied of meaning; of spirituality. An increasing fascination with the appearance of things served to camouflage patriarchal assumptions which lopsidedly associated women with a \u27flowerlike\u27 femininity of passive receptivity (or a ‘mad\u27 lasciviousness) and men with a \u27masculinity\u27 of aggressive achievement - and awarded social power and prestige to the latter. The psychological explanation which underlies this thesis and unites its disparate elements is that of Julia Kristeva who believed that in the nineteenth century fear of loss of the Christian \u27saving\u27 mother - the Mother of God - led to an intensification of emotional investment among men and women in the pre-oedipal all-powerful \u27phallic\u27 mother who is thought to stand between the individual and \u27the void of nothingness\u27

History of the Opium Problem

This is the first scholarly study in which the production, trade and political effects of opium and its derivatives are shown over many centuries, and in many countries (China, India, Indonesia, Japan, all Southeast Asian countries and some in Europe and the Americas). Starting in the 16th century, slavery and opium became the two means with which the bodies and souls of men and women in the tropics were exploited in western imperialism and colonialism. The first waned with the abolition movement in the 19th century, but opium production and trade continued to spread, with the associated serious social and political effects. Around 1670 the Dutch introduced opium as a cash crop for mass production and distribution in India and Indonesia. China became the main target in the 19th century, and only succeeded in getting rid of the opium problem around 1950. Then it had already been transformed from an “Eastern” into a “Western” problem