![Sample our Arts journals, sign in here to start your access, latest two volumes FREE to you for 14 days]({"type":"image" , "src" : "/sda/110799/TOC-Subject-Sample-2021-Arts.jpg"})
Notes
1 See Fae Brauer, “The Third Reich and Transnational Cultures of Eugenics,” subsection of “Making Eugenic Bodies Delectable: Art, ‘Biopower’ and ‘Scientia Sexualis,’” in Fae Brauer and Anthea Callen, eds., Art, Sex and Eugenics: Corpus Delecti (Aldershot: Ashgate, 2008), 1–34.
2 Shawn Michelle Smith, Photography on the Color Line: W. E. B. Du Bois, Race and Visual Culture (Durham: Duke University Press, 2004).
3 Fae Brauer, “Dégénéréscence,” in Michela Marzano, ed., Dictionnaire du corps (Paris: Presses Universitaires de France, 2007), 278–85.
4 Fae Brauer, “The Transparent Body: Biocultures of Evolution, Eugenics and Scientific Racism,” in A History of Visual Culture: Western Civilization from the 18th to the 21st Century, ed. Jane Kromm and Susan Benforado Bakewell (Oxford: Berg Publishers, 2009), 89–103.
5 Fae Brauer, “The Stigmata of Abjection: Degenerate Limbs, Hysterical Skin and The Tattooed Body,” in Kromm and Bakewell, A History of Visual Culture, 169–83.
6 Fay Brauer, “Eradicating Difference: The Bioethics of Imaging ‘Degeneracy’ and Exhibiting Eugenics,” in “Art and Ethics,” Australian and New Zealand Journal of Art 1 (2004): 139–66.
7 Bénédict A. Morel, Traité des dégénérescences physiques, intellectuelles et morales de l’espèce humaine et des causes qui produisent ces variétés maladives (Paris: J. B. Ballière/Libraire de l’Académie impériale de médecine, 1857), 5: “Dégénérescence et déviation maladive du type normal de l’humanité … .”
8 Cesare Lombroso, L’Uomo Delinquente (Milan: Hoepli, 1876).
9 John Tagg, The Burden of Representation: Essays on Photographies and Histories (Minneapolis: University of Minnesota Press, 1988); see also Fae Brauer, “Biopouvoir,” in Dictionnaire du corps, 137–40.
10 Allan Sekula, “The Body and the Archive,” October 39 (Winter 1986): 3–64. (This text is incorrectly identified in the Maxwell’s bibliography as “The Body in the Archive.”)
11 Fae Brauer, “Framing Darwin: A Portrait of Eugenics,” in The Art of Evolution: Darwin, Darwinisms and Visual Culture, ed. Fae Brauer and Barbara Larson (Hanover and London: University Press of New England, 2009), 133–35.
12 Brauer, “The Transparent Body,” 89–103.
13 “Note by Mr. Galton,” Journal of the Royal Anthropological Institute 15 (1886): 62, as quoted by Maxwell, Picture Imperfect, 88.
14 Maxwell, Picture Imperfect, 111.
15 Rosemarie Garland Thomson, Freakery: Cultural Spectacles of the Extraordinary Body (New York: New York University Press, 1996).
16 Fae Brauer, “Incriminating Evidence: Displaying Race, Exhibiting Eugenics,” conference session, “Figurations of Knowledge,” convened by Sabine Flach, Florian Dombois, and Bergit Arends, European Conference of the Society for Literature, Science and the Arts (SLSA) at the Centre for Literary and Cultural Research Berlin (ZfL), 3–7 June 2008.
17 Fae Brauer, “Dangerous Doubles: Degenerate and Regenerate Body Photography in the Eugenic Imagination,” in Image and Imagination,” ed. Martha Langford (Montréal: McGill‐Queen’s University Press, 2005), 91–102; Fae Brauer, “Le duo dangereux: «L’homme normal» et le corps dégénéré au temps de eugénisme,” in Représentations du corps. Le biologique et le vécu. Normes et normalité, ed. Gilles Boëtsch, Nicole Chapuis‐Lucciani, Dominique Chevé, and Jean‐Pierre Albert (Nancy: Presses Universitaires de Nancy, 2006), 94–112.
18 Fae Brauer, “Introduction: ‘Making the Eugenic Body Delectable: Art, “Biopower” and “Scientia Sexualis,”’ and “Eroticizing Lamarckian Eugenics: The Body Stripped Bare during French Sexual Neoregulation,” in Brauer and Callen, Art, Sex and Eugenics, 97–138.
19 Shawn Michelle Smith, “The Art of Scientific Propaganda,” and Roger Blackley, “Improper Moves: Maori Haka and Racial Destiny,” in Brauer and Callen, Art, Sex and Eugenics, 35–95.