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The Fascial Net Plastination Project
Published in David Lesondak, Angeli Maun Akey, Fascia, Function, and Medical Applications, 2020
In the first 20 years, only small specimens were plastinated for medical study. Full-body specimens did not become possible until the early 1990s. The Institute for Plastination was founded in Heidelberg in 1993, with the first Body Worlds exhibit following in 1995. Since then Body Worlds has travelled to over 90 cities, with more than 44 million visitors worldwide.18 In 2006, Gubener Plastinate GmbH was founded in Guben, Brandenburg, Germany, with laboratories for the plastination process and a permanent public exhibition space under one roof: the Plastinarium (Figure 3.4).
Introduction
Published in Alan Bleakley, Routledge handbook of the medical humanities, 2019
Use of plastination models can be amplified through critical study of Gunther von Hagens’ ‘Bodyworlds’ exhibitions. (In a controversial televised autopsy carried out by von Hagens, a pathologist gave a running commentary on the anatomy being explored, while an anatomy illustrator produced live drawings. At a medical humanities conference that I ran, the same pathologist and illustrator gave a talk, where students and faculty were able to join a debate with them about the educational and ethical issues raised by von Hagens’ work, illustrating the value of medical humanities engagement.)
Introducing material-discursive approaches to health and illness
Published in Lucy Yardley, Material discourses of health and illness, 2013
It is clear that the phenomenological perspective is able to encompass the prominent and active role of embodied being in the construction of the meaning of health and illness. Indeed, one of the phenomenological effects of any body change, whether caused by ageing, weight gain, pregnancy or illness, is to draw attention to the body, which is ordinarily the taken-forgranted background to intentional activity and selfhood (Csordas 1994). In her autobiographical phenomenological analysis of multiple sclerosis, Toombs (1992) observes how the malfunctioning body becomes the unfamiliar ‘Other’ —a mysterious, inept, even malevolent entity which frustrates rather than expedites her endeavours. At the same time, illness transforms her world, altering space and time itself; places which were ‘near’ become ‘far’, the pace of life slows but, paradoxically, the future dwindles and disappears. Moreover, the alteration in identity which accompanies a change in body—world functioning is not a private affair. For example, people prone to attacks of dizziness when they make sudden movements notice how their stiff and cautious demeanour conveys the impression of premature ageing and lack of spontaneity, while their inability to turn their head to a speaker may unintentionally communicate a lack of interest or respect (Yardley 1994).
Eugène-Louis Doyen and his Atlas d’Anatomie Topographique (1911): Sensationalism and gruesome theater
Published in Journal of the History of the Neurosciences, 2022
Additional ethical breaches related to the provenance of the human remains obtained for plastination exhibits (some of which originated illegally in Russia from the remains of convicts and homeless and mentally ill individuals, and others from “unclaimed” bodies in China, which allegedly included bodies of political prisoners; Anonymous 2002; Jones and Whitaker 2012; Office of the Attorney General, State of New York 2008; Tanassi 2007; Ulaby 2006). Ethical concerns aside, the popularity of the Body Worlds exhibition speaks to an “unsatiated, voyeuristic public fascination with the body, immortality, and death” (Herskovitch 2003, 828), just as Doyen’s public shows did a century earlier, again reinventing the “anatomical spectacle” (Connor 2007) reminiscent of a Victorian freak show (Durbach 2014) and providing what one critic called “dead body porn” (Hibbs 2007).
‘To donate or not to donate? that is the question!’: an organ and body donation comic
Published in Journal of Visual Communication in Medicine, 2020
Jessica Irwin, Mark Roughley, Kathryn Smith
One historical and two contemporary instances of controversial post-mortem display were researched and selected for inclusion in the comic. These include, the story of Charles Byrne (also known as the Irish Giant) whose eighteenth century skeletal remains were until recently on display at the Hunterian Museum at the Royal College of Surgeons in London without his consent; the ‘modern mummy’ Alan Billis, whose remains are stewarded by the Gordon Museum of Pathology at Kings College London and was mummified as part of an experiment that was documented in a Channel 4 TV show in 2011; and the early Gunther von Hagens Body Worlds exhibitions that raised discussions as to whether there was appropriate consent gathered for the bodies that were plastinated and displayed in the touring exhibits (Figure 5).
An empirical, pragmatic approach applying reflection in interaction approach to manual therapy treatments
Published in Physiotherapy Theory and Practice, 2021
In its simple form as described in this paper, the approach targets structures and functions. As such it forms part of the ‘bio’ of a biopsycho-ecological approach (Martinec, 2017). According to WHO classifications, such interventions “are primarily medical or rehabilitative, and attempt to prevent or ameliorate limitations in person or societal level functioning by correcting or modifying intrinsic functions or structures of the body” (World Health Organization, 2005). Although all aspects of a biopsycho-ecological approach are critical, the scope of this article does not allow consideration of other aspects such as exercise, education or psychosocial input, or high-velocity techniques.