By Dorothy Nelkin, David P. Willis, Scott V. Parris
The impression of AIDS can't be competently measured by way of epidemiology by myself. because the editors of this quantity argue, AIDS has to be understood as a "disease of society," that's not easy and altering society profoundly. a variety of books on AIDS have checked out the ways that our social associations, norms and values have made up our minds how the ailment has been handled, yet this e-book examines the ways that AIDS is, in flip, altering our social associations, norms and values. 11 chapters discover the influence of AIDS at the arts and well known leisure, the consequences of the sickness on our notion of relatives, on govt and criminal associations and at the health and wellbeing companies, and the ways that AIDS is forcing society to come back to phrases with longstanding tensions among group values and person rights. The authors are drawn from a wide variety of disciplines, bringing to the booklet the insights of sociology, legislations, public future health, philosophy, political technological know-how, psychology, journalism and medication. This ebook offers the 1st review of the impression of AIDS on American existence from one of these various set of views, and it'll be of curiosity to somebody eager about the impact of the sickness on our society. past types of a few of those articles have seemed within the Milbank Quarterly and feature given that been considerably revised.
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Extra resources for A Disease of Society: Cultural and Institutional Responses to AIDS
Of course, the traditional victim in a horror film is a vulnerable young woman, and the traditional resolution involves destruction of the monster by a virile man. Thus, the fantasy of seduction-by-salvation overcomes our dread of the unknown. But AIDS offers no such denouement. Its shape and scale can only be hinted at in the imprecise terms of epidemiology. Its victims can hardly be characterized, by a society fraught with ambivalence about homosexuality and drug addiction, as innocent young things.
Marshall took the title of his video from a caption in a British tabloid ruminating on the sad fate of a once "bright-eyed" gay man with AIDS. The form of Bright Eyes—ixs odd jumbling of dramatization and documentation, its disruptive uses of 36 CULTURAL IMAGES light and dark tonalities—is meant to disrupt the presumption of objectivity. Fiction and nonfiction are not distinct discourses, Marshall argues. Though medicine and media claim to describe reality, both are heavily weighted with social subjectivity.
For all their artfulness and verisimilitude, many of Solomon's photographs affirm the domestic paradigm of a TV movie. Another photographer of people with AIDS, Nicholas Nixon, avoids the snare of sentimentality by focusing on the individual in extremis. But his portraits raise another concern, often mentioned in regard to news photos of people with AIDS as well. The grotesquerie of the disease is evident in Nixon's work, almost as if its real subject were the process of physical deterioration.