{"title":"加斯帕雷-塔利亚科齐与早期现代外科:保罗-萨沃亚(Paolo Savoia)所著的《面孔、男人和痛苦》(评论","authors":"Viktoria von Hoffmann","doi":"10.1353/lm.2024.a935842","DOIUrl":null,"url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\n<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Gaspare Tagliacozzi and Early Modern Surgery: Faces, Men, and Pain</em> by Paolo Savoia <!-- /html_title --></li> <li> Viktoria von Hoffmann (bio) </li> </ul> Paolo Savoia. <em>Gaspare Tagliacozzi and Early Modern Surgery: Faces, Men, and Pain</em>. London: Routledge, 2019. 284 pp. Paperback, $51.99. <p>A translated and slightly revised edition of Paolo Savoia's <em>Cosmesi e Chirurgia. Bellezza, dolore e medicina nell'Italia moderna</em> (Milano, Editrice Bibliografica, 2017), this study follows Gaspare Tagliacozzi's (1545–1599) two-volume scholarly and technical book on the reconstructive surgery of the face, entitled <em>De curtorum chirurgia per insitionem</em> (On the surgical restoration of defects by grafting). The Bolognese physician and anatomist, often held to be the \"father of plastic surgery,\" published this work in 1597 to present and justify the arm-flap method of reconstructing the mutilated parts of the nose. This procedure consisted in cutting a skin flap from the upper region of the arm and grafting it onto the nose, then keeping the two parts—arm and nose—attached together for three weeks before cutting the skin from the arm and shaping the new nose with the use of special molds. No doubt this was an impressive, demanding, and painful surgical procedure. But why would patients have opted to endure such a surgery, and who would have purchased a detailed and illustrated monograph on the subject? How, in short, did a textual tradition about reconstructive surgery emerge in print during the Renaissance? Answers, Savoia suggests, are to be found by exploring the very specific social, political, economic, medical, and cultural context of late sixteenth-century Bologna.</p> <p>The originality of Savoia's work lies in the great variety of angles, sources, questions, and fields he explores in order to cast light on this context. As he explains in the introduction, his aim is to offer a sort of <em>histoire totale</em> of Tagliacozzi's book by \"pulling together […] various threads and methodologies\" to highlight \"the many facets of a practice and a discourse\" (7). He therefore alternates micro-historical <strong>[End Page 221]</strong> inquiries about medical practitioners with wider theoretical explorations of Renaissance cultures of the face and shifting understandings of the body. The range and diversity of the primary sources is impressive, from archives documenting surgical practices and training to printed books from empirical and learned surgeons, and from books of secrets, physiognomy works, and agronomic treatises to natural philosophical and historical texts, in Latin and in the vernacular. These sources are used to provide fresh insights about the lives, training, careers, and social aspirations of barbers (who routinely performed what we would now consider minor surgical procedures) and surgeons, which in turn shed light on the context that shaped and informed the production of the <em>De curtorum</em>. And as Savoia shows, this is the same context that helped construct concepts of both surgical expertise and masculinity in the sixteenth century.</p> <p>Among the many themes and questions covered by the book, three main threads seem both central to the author's argument and germane to current scholarly discussions conducted across disciplinary boundaries: the notion of a sprawling category of sixteenth-century body workers; gendered experiences of pain; and the intersections between art and nature in the Renaissance.</p> <p>First, the main characters of the book are what Savoia calls Renaissance \"practitioners of the body.\" Building on Sandra Cavallo's important work on seventeenth- and eighteenth-century \"artisans of the body,\"<sup>1</sup> he proposes a less broad but equally fluid category for earlier artisans concerned with the care of health and appearance (<em>politezza</em>) in the Papal state. These artisans (graduate and nongraduate surgeons, barbers, and barber-surgeons) have often been considered more distinct from one another than the documentary evidence suggests. The author shows the continuity of skills, instruments, and practices among them, arguing that surgeons and barbers should be considered as \"different kinds within one and the same category of practitioners of the body\" (134). Likewise, surgery and cosmetics were \"placed on a continuum or at least within the same professional culture\" (133). Similarly, Savoia argues, the relations between physicians and barber-surgeons should be understood in a more nuanced way, especially in Italy, where surgery was a prestigious discipline taught at the university. He proposes that we consider...</p> </p>","PeriodicalId":44538,"journal":{"name":"LITERATURE AND MEDICINE","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2024-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Gaspare Tagliacozzi and Early Modern Surgery: Faces, Men, and Pain by Paolo Savoia (review)\",\"authors\":\"Viktoria von Hoffmann\",\"doi\":\"10.1353/lm.2024.a935842\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\\n<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Gaspare Tagliacozzi and Early Modern Surgery: Faces, Men, and Pain</em> by Paolo Savoia <!-- /html_title --></li> <li> Viktoria von Hoffmann (bio) </li> </ul> Paolo Savoia. <em>Gaspare Tagliacozzi and Early Modern Surgery: Faces, Men, and Pain</em>. London: Routledge, 2019. 284 pp. Paperback, $51.99. <p>A translated and slightly revised edition of Paolo Savoia's <em>Cosmesi e Chirurgia. Bellezza, dolore e medicina nell'Italia moderna</em> (Milano, Editrice Bibliografica, 2017), this study follows Gaspare Tagliacozzi's (1545–1599) two-volume scholarly and technical book on the reconstructive surgery of the face, entitled <em>De curtorum chirurgia per insitionem</em> (On the surgical restoration of defects by grafting). The Bolognese physician and anatomist, often held to be the \\\"father of plastic surgery,\\\" published this work in 1597 to present and justify the arm-flap method of reconstructing the mutilated parts of the nose. This procedure consisted in cutting a skin flap from the upper region of the arm and grafting it onto the nose, then keeping the two parts—arm and nose—attached together for three weeks before cutting the skin from the arm and shaping the new nose with the use of special molds. No doubt this was an impressive, demanding, and painful surgical procedure. But why would patients have opted to endure such a surgery, and who would have purchased a detailed and illustrated monograph on the subject? How, in short, did a textual tradition about reconstructive surgery emerge in print during the Renaissance? Answers, Savoia suggests, are to be found by exploring the very specific social, political, economic, medical, and cultural context of late sixteenth-century Bologna.</p> <p>The originality of Savoia's work lies in the great variety of angles, sources, questions, and fields he explores in order to cast light on this context. As he explains in the introduction, his aim is to offer a sort of <em>histoire totale</em> of Tagliacozzi's book by \\\"pulling together […] various threads and methodologies\\\" to highlight \\\"the many facets of a practice and a discourse\\\" (7). He therefore alternates micro-historical <strong>[End Page 221]</strong> inquiries about medical practitioners with wider theoretical explorations of Renaissance cultures of the face and shifting understandings of the body. The range and diversity of the primary sources is impressive, from archives documenting surgical practices and training to printed books from empirical and learned surgeons, and from books of secrets, physiognomy works, and agronomic treatises to natural philosophical and historical texts, in Latin and in the vernacular. These sources are used to provide fresh insights about the lives, training, careers, and social aspirations of barbers (who routinely performed what we would now consider minor surgical procedures) and surgeons, which in turn shed light on the context that shaped and informed the production of the <em>De curtorum</em>. And as Savoia shows, this is the same context that helped construct concepts of both surgical expertise and masculinity in the sixteenth century.</p> <p>Among the many themes and questions covered by the book, three main threads seem both central to the author's argument and germane to current scholarly discussions conducted across disciplinary boundaries: the notion of a sprawling category of sixteenth-century body workers; gendered experiences of pain; and the intersections between art and nature in the Renaissance.</p> <p>First, the main characters of the book are what Savoia calls Renaissance \\\"practitioners of the body.\\\" Building on Sandra Cavallo's important work on seventeenth- and eighteenth-century \\\"artisans of the body,\\\"<sup>1</sup> he proposes a less broad but equally fluid category for earlier artisans concerned with the care of health and appearance (<em>politezza</em>) in the Papal state. These artisans (graduate and nongraduate surgeons, barbers, and barber-surgeons) have often been considered more distinct from one another than the documentary evidence suggests. The author shows the continuity of skills, instruments, and practices among them, arguing that surgeons and barbers should be considered as \\\"different kinds within one and the same category of practitioners of the body\\\" (134). Likewise, surgery and cosmetics were \\\"placed on a continuum or at least within the same professional culture\\\" (133). Similarly, Savoia argues, the relations between physicians and barber-surgeons should be understood in a more nuanced way, especially in Italy, where surgery was a prestigious discipline taught at the university. 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引用次数: 0
摘要
以下是内容的简要摘录,以代替摘要:评论者: Gaspare Tagliacozzi 和 Early Modern Surgery:保罗-萨沃亚(Paolo Savoia)著,维多利亚-冯-霍夫曼(Viktoria von Hoffmann)(简历)。加斯帕雷-塔利亚科齐与早期现代外科:面孔、男人和痛苦》。伦敦:Routledge, 2019.284 pp.平装本,51.99 美元。Paolo Savoia 的《Cosmesi e Chirurgia》的翻译和略微修订版。Bellezza, dolore e medicina nell'Italia moderna》(米兰,Editrice Bibliografica 出版社,2017 年),本研究是继加斯帕雷-塔利亚科齐(Gaspare Tagliacozzi,1545-1599 年)关于面部整形手术的两卷本学术和技术著作《De curtorum chirurgia per insitionem》(《论通过移植手术修复缺损》)之后的又一研究成果。这位被誉为 "整形外科之父 "的博洛尼亚医生和解剖学家于 1597 年出版了这本著作,介绍并论证了重建鼻子残缺部分的臂瓣法。这种方法是从手臂上部切下一块皮瓣,移植到鼻子上,然后将手臂和鼻子两部分固定在一起三周,再切下手臂上的皮肤,用特殊的模具塑造新鼻子。毫无疑问,这是一个令人印象深刻、要求严格和痛苦的手术过程。但是,为什么病人会选择忍受这样的手术,又有谁会去购买一本详细的、图文并茂的专著呢?简而言之,文艺复兴时期的印刷品中是如何出现关于整形外科的文字传统的?萨沃亚认为,答案可以通过探索 16 世纪晚期博洛尼亚非常特殊的社会、政治、经济、医学和文化背景来找到。萨沃亚作品的独创性在于,他从各种角度、资料来源、问题和领域进行探索,以揭示这一背景。正如他在引言中解释的那样,他的目的是通过 "汇集[......]各种线索和方法",为塔利亚科齐的著作提供一种全史,以突出 "一种实践和一种论述的多面性"(7)。因此,他交替使用了有关行医者的微观历史[第221页完]探究与文艺复兴时期面部文化和对身体不断变化的理解的广泛理论探索。原始资料的范围和多样性令人印象深刻,既有记录外科手术实践和培训的档案,也有来自经验丰富、学识渊博的外科医生的印刷书籍;既有秘籍、相术著作和农学论文,也有拉丁文和白话文的自然哲学和历史文献。这些资料为我们提供了有关理发师(他们经常进行我们现在认为是小手术的治疗)和外科医生的生活、培训、职业和社会抱负的新见解,进而揭示了影响和指导《De curtorum》创作的背景。正如萨沃亚所展示的,正是这种背景帮助构建了 16 世纪外科专业技术和男性气质的概念。在该书涉及的众多主题和问题中,有三条主线似乎既是作者论证的核心,也与当前跨学科的学术讨论密切相关:16 世纪身体工作者这一庞杂类别的概念;疼痛的性别体验;以及文艺复兴时期艺术与自然的交集。首先,本书的主角是萨沃亚所说的文艺复兴时期的 "身体工作者"。在桑德拉-卡瓦洛(Sandra Cavallo)关于十七和十八世纪 "身体工匠 "1 的重要著作基础上,他为早期教皇国中关注健康和外表(p politezza)的工匠提出了一个不那么宽泛但同样多变的类别。这些工匠(研究生和非研究生外科医生、理发师和理发外科医生)之间的区别往往比文献证据所显示的要大。作者展示了他们之间技能、工具和做法的连续性,认为外科医生和理发师应被视为 "同一类别中的不同种类"(134)。同样,外科手术和美容 "被放在一个连续体上,或至少在同一职业文化中"(133)。同样,萨沃亚认为,医生和理发师之间的关系应该以一种更细致的方式来理解,尤其是在意大利,因为外科是一门在大学教授的著名学科。他建议我们考虑......
Gaspare Tagliacozzi and Early Modern Surgery: Faces, Men, and Pain by Paolo Savoia (review)
In lieu of an abstract, here is a brief excerpt of the content:
Reviewed by:
Gaspare Tagliacozzi and Early Modern Surgery: Faces, Men, and Pain by Paolo Savoia
Viktoria von Hoffmann (bio)
Paolo Savoia. Gaspare Tagliacozzi and Early Modern Surgery: Faces, Men, and Pain. London: Routledge, 2019. 284 pp. Paperback, $51.99.
A translated and slightly revised edition of Paolo Savoia's Cosmesi e Chirurgia. Bellezza, dolore e medicina nell'Italia moderna (Milano, Editrice Bibliografica, 2017), this study follows Gaspare Tagliacozzi's (1545–1599) two-volume scholarly and technical book on the reconstructive surgery of the face, entitled De curtorum chirurgia per insitionem (On the surgical restoration of defects by grafting). The Bolognese physician and anatomist, often held to be the "father of plastic surgery," published this work in 1597 to present and justify the arm-flap method of reconstructing the mutilated parts of the nose. This procedure consisted in cutting a skin flap from the upper region of the arm and grafting it onto the nose, then keeping the two parts—arm and nose—attached together for three weeks before cutting the skin from the arm and shaping the new nose with the use of special molds. No doubt this was an impressive, demanding, and painful surgical procedure. But why would patients have opted to endure such a surgery, and who would have purchased a detailed and illustrated monograph on the subject? How, in short, did a textual tradition about reconstructive surgery emerge in print during the Renaissance? Answers, Savoia suggests, are to be found by exploring the very specific social, political, economic, medical, and cultural context of late sixteenth-century Bologna.
The originality of Savoia's work lies in the great variety of angles, sources, questions, and fields he explores in order to cast light on this context. As he explains in the introduction, his aim is to offer a sort of histoire totale of Tagliacozzi's book by "pulling together […] various threads and methodologies" to highlight "the many facets of a practice and a discourse" (7). He therefore alternates micro-historical [End Page 221] inquiries about medical practitioners with wider theoretical explorations of Renaissance cultures of the face and shifting understandings of the body. The range and diversity of the primary sources is impressive, from archives documenting surgical practices and training to printed books from empirical and learned surgeons, and from books of secrets, physiognomy works, and agronomic treatises to natural philosophical and historical texts, in Latin and in the vernacular. These sources are used to provide fresh insights about the lives, training, careers, and social aspirations of barbers (who routinely performed what we would now consider minor surgical procedures) and surgeons, which in turn shed light on the context that shaped and informed the production of the De curtorum. And as Savoia shows, this is the same context that helped construct concepts of both surgical expertise and masculinity in the sixteenth century.
Among the many themes and questions covered by the book, three main threads seem both central to the author's argument and germane to current scholarly discussions conducted across disciplinary boundaries: the notion of a sprawling category of sixteenth-century body workers; gendered experiences of pain; and the intersections between art and nature in the Renaissance.
First, the main characters of the book are what Savoia calls Renaissance "practitioners of the body." Building on Sandra Cavallo's important work on seventeenth- and eighteenth-century "artisans of the body,"1 he proposes a less broad but equally fluid category for earlier artisans concerned with the care of health and appearance (politezza) in the Papal state. These artisans (graduate and nongraduate surgeons, barbers, and barber-surgeons) have often been considered more distinct from one another than the documentary evidence suggests. The author shows the continuity of skills, instruments, and practices among them, arguing that surgeons and barbers should be considered as "different kinds within one and the same category of practitioners of the body" (134). Likewise, surgery and cosmetics were "placed on a continuum or at least within the same professional culture" (133). Similarly, Savoia argues, the relations between physicians and barber-surgeons should be understood in a more nuanced way, especially in Italy, where surgery was a prestigious discipline taught at the university. He proposes that we consider...
期刊介绍:
Literature and Medicine is a journal devoted to exploring interfaces between literary and medical knowledge and understanding. Issues of illness, health, medical science, violence, and the body are examined through literary and cultural texts. Our readership includes scholars of literature, history, and critical theory, as well as health professionals.