Works
James Braid published many letters and articles and several small books and booklets. His first major publication was Neurypnology, or the Rationale of Nervous Sleep (1843), written less than two years after his discovery of hypnotism. However, Braid continually revised his theory and practice and carried out many, albeit primitive, experiments on hypnosis.
In April 2009, Robertson published a reconstructed English version, backward translated from the French, of Braid's last (lost) manuscript (On Hypnotism), addressed by Braid to the French Academy of Sciences.
Apart from Neurypnology, his first book, all of Braid's works have been out of print since his death; however, many are now available on-line (see links at Further reading, below). The 2009 publication of Robertson (Discovery of Hypnosis) contains all of Braid's major works and many letters and articles by him, including "On Hypnotism".
Read more about this topic: James Braid (surgeon)
Famous quotes containing the word works:
“We all agree now—by “we” I mean intelligent people under sixty—that a work of art is like a rose. A rose is not beautiful because it is like something else. Neither is a work of art. Roses and works of art are beautiful in themselves. Unluckily, the matter does not end there: a rose is the visible result of an infinitude of complicated goings on in the bosom of the earth and in the air above, and similarly a work of art is the product of strange activities in the human mind.”
—Clive Bell (1881–1962)
“Through the din and desultoriness of noon, even in the most Oriental city, is seen the fresh and primitive and savage nature, in which Scythians and Ethiopians and Indians dwell. What is echo, what are light and shade, day and night, ocean and stars, earthquake and eclipse, there? The works of man are everywhere swallowed up in the immensity of nature. The AEgean Sea is but Lake Huron still to the Indian.”
—Henry David Thoreau (1817–1862)
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)