Bearing such titles as The Doctor's Visit or The Lovesick Maiden, certain seventeenth-century Dutch paintings are familiar to museum browsers: an attractive young woman—well dressed, but pale and listless—reclines in a chair, languishes in bed, or falls to the floor in a faint. Weathered crones or impish boys leer suggestively in the background. These paintings traditionally have been viewed as commentary on quack doctors or unmarried pregnant women. The first book to examine images of women and illness in the light of medical history, Perilous Chastity reveals a surprising new interpretation. In an engaging analysis enhanced by abundant illustrations-including eight pages of color plates—Laurinda S. Dixon shows how paintings reflect changing medical theories concerning women. While she illuminates a tradition stretching from antiquity to the present, she concentrates on art from the thirteenth through the eighteenth centuries, and particularly on paintings from seventeenth-century Leiden. Dixon suggests how the assumptions of a predominantly male medical establishment have influenced prevailing notions of women's social place. She traces the evolution of the belief that women's illnesses were caused by "hysteria," so named in ancient Greece after the notion that the uterus had a tendency to wander in the body. All women were considered prone to hysteria-strong emotions, idleness, intellectual activity, or unladylike pursuits could cause it—but it was most commonly diagnosed among celibates. Analyzing paintings of women's sickrooms by Jan Steen, Dirck Hals, Gabriel Metsu, Jacob Ochtervelt, Godfried Schalcken, Samuel van Hoogstraten, and Franz van Mieris, Dixon perceives metaphoric identifications of the womb as the source of illness. She also documents changing fashions in cures for hysteria and discusses allusions to the debilitating effects of women's passions not only in paintings, but also in madrigals by John Dowland and Henry Purcell. In conclusion, Dixon argues that her study has strong ramifications of attitudes towards women and illness today. She takes up images in twentieth-century culture as well and calls attention to a resurgence of female "hysteria" after World War II.

A collection of original essays, Saints, Sinners, and Sisters showcases the diverse questions currently being asked by gender scholars dealing with French, Netherlandish and German art from the medieval and early modern periods. Moving beyond the reclamation of personalities and oeuvres of 'lost' female artists, the contributors pose questions about gender and sex within specific historical contexts, addressing such issues as intended audience, use of the object, and patronage. These avenues of inquiry intersect with larger cultural questions concerning societal control of women. The book's three sections, 'Saints,' 'Sinners,' and 'Sisters, Wives, Poets' are each preceded by a concise introductory essay, detailing themes and offering reflective comparisons of theses and information. In 'Saints,' contributors look at women who were positive exemplar used by society to uphold standards. In the second section, the essays focus on the power of women's sexuality. The third section expands beyond the customary dichotomous division of the first two to examine women in diverse roles not widely studied as positions of women in those times. This final section expands our definitions of women's responsibilities and realigns them historically; it argues that women, and thus gender, need to be understood within a much broader historical context and beyond simplistic approaches sometimes superimposed by present-day readers on past times. This volume answers an acute need for research on the art of Northern Europe prior to the 20th century, and highlights the possibilities of new directions in the field. The effect of the new scholarship presented here is to broaden the discursive field, allowing fluidity of disciplinary boundaries, resulting in a volume that is illuminating to historians of more than art alone.

Drawing on a range of texts from the seventeenth century to the present, The Female Body in Medicine and Literature explores accounts of motherhood, fertility, and clinical procedures for what they have to tell us about the development of women's medicine. The essays here offer nuanced historical analyses of subjects that have received little critical attention, including the relationship between gynecology and psychology and the influence of popular art forms on so-called women's science prior to the twenty-first century. Taken together, these essays offer a wealth of insight into the medical treatment of women and will appeal to scholars in gender studies, literature, and the history of medicine.

This study provides an accessible, informative and entertaining introduction to women’s sexual health as presented on the early modern stage, and how dramatists coded for it. Beginning with the rise of green sickness (the disease of virgins) from its earliest reference in drama in the 1560s, Ursula Potter traces a continuing fascination with the womb by dramatists through to the oxymoron of the chaste sex debate in the 1640s. She analyzes how playwrights employed visual and verbal clues to identify the sexual status of female characters to engage their audiences with popular concepts of women’s health; and how they satirized the notion of the womb’s insatiable appetite, suggesting that men who fear it have been duped. But the study also recognizes that, as these dramatists were fully aware, merely by bringing such material to the stage so frequently, they were complicit in perpetuating such theories.

A lively and wide-ranging examination of a phenomenon that has touched many aspects of our culture.

Lund demonstrates the significance of Burton's The Anatomy of Melancholy within early modern literary culture, covering religious and medical issues.