In this book, the distinguished historian Carl Schorske--author of the Pulitzer Prize-winning Fin-de-Siécle Vienna--draws together a series of essays that reveal the changing place of history in nineteenth-and twentieth-century cultures. In most intellectual and artistic fields, Schorske argues, twentieth-century Europeans and Americans have come to do their thinking without history. Modern art, modern architecture, modern music, modern science--all have defined themselves not as emerging from or even reacting against the past, but as detached from it in a new, autonomous cultural (...) space. This is in stark contrast to the historicism of the nineteenth century, he argues, when ideas about the past pervaded most fields of thought from philosophy and politics to art, music, and literature. However, Schorske also shows that the nineteenth century's attachment to thinking with history and the modernist way of thinking without history are more than just antitheses. They are different ways of trying to address the problems of modernity, to give shape and meaning to European civilization in the era of industrial capitalism and mass politics. Schorske begins by reflecting on his own vocation as it was shaped by the historical changes he has seen sweep across political and academic culture. Then he offers a European sampler of ways in which nineteenth-century European intellectuals used conceptions of the past to address the problems of their day: the city as community and artifact; the function of art; social dislocation. Narrowing his focus to Fin-de-Siécle Vienna in a second group of essays, he analyzes the emergence of ahistorical modernism in that city. Against the background of Austria's persistent, conflicting Baroque and Enlightenment traditions, Schorske examines three Viennese pioneers of modernism--Adolf Loos, Gustav Mahler, and Sigmund Freud--as they sought new orientation in their fields. In a concluding essay, Schorske turns his attention to thinking about history. In the context of a postmodern culture, when other disciplines that had once abandoned history are discovering new uses for it, he reflects on the nature and limits of history for the study of culture. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

What big questions and large‐scale narratives give coherence to the history of science? From the late 1970s onward, the field has been transformed through a stress on practice and fresh perspectives from gender studies, the sociology of knowledge, and work on a greatly expanded range of practitioners and cultures. Yet these developments, although long overdue and clearly beneficial, have been accompanied by fragmentation and loss of direction. This essay suggests that the narrative frameworks used by historians of science need to (...) come to terms with diversity by understanding science as a form of communication. The centrality of processes of movement, translation, and transmission is already emerging in studies of topics ranging from ethnographic encounters to the history of reading. Not only does this approach offer opportunities for crossing boundaries of nation, period, and discipline that are all too easily taken for granted; it also has the potential for creating a more effective dialogue with other historians and the wider public. (shrink)

What big questions and large‐scale narratives give coherence to the history of science? From the late 1970s onward, the field has been transformed through a stress on practice and fresh perspectives from gender studies, the sociology of knowledge, and work on a greatly expanded range of practitioners and cultures. Yet these developments, although long overdue and clearly beneficial, have been accompanied by fragmentation and loss of direction. This essay suggests that the narrative frameworks used by historians of science need to (...) come to terms with diversity by understanding science as a form of communication. The centrality of processes of movement, translation, and transmission is already emerging in studies of topics ranging from ethnographic encounters to the history of reading. Not only does this approach offer opportunities for crossing boundaries of nation, period, and discipline that are all too easily taken for granted; it also has the potential for creating a more effective dialogue with other historians and the wider public. (shrink)

The Leipzig anatomist Werner Spalteholz (1861–1940) started studies on the anastomoses between the coronary arteries of the heart in 1906. He confirmed the thesis, that “the transparency of tissues depends first of all on the refraction index of permeating liquid”, and began to produce transparent organ specimens. The 1st International Hygiene Exposition 1911 in Dresden showed 370 specimens produced by Spalteholz and was a great success. Later Spalteholz worked in the scientific Council of the Hygiene Museum. The exhibition “Transparent man”, (...) shown in 1925, testified to the great extent of knowledge that was passed on to the population with the help of these specimens. The “transparent human being” was not only an attractive and instructive collection for exhibition and educational purposes, but also a didactic concept. Fritz Tschackert (1887–1958) created the “transparent man” for the 2nd International Hygiene Exposition in Dresden in 1930. Today the “transparent woman” is the highlight of the museum's permanent exhibition. (shrink)

Science once had an unshakable faith in its ability to bring the forces of nature—even human nature—under control. In this wide-ranging book Anson Rabinbach examines how developments in physics, biology, medicine, psychology, politics, and art employed the metaphor of the working body as a human motor. From nineteenth-century theories of thermodynamics and political economy to the twentieth-century ideals of Taylorism and Fordism, Rabinbach demonstrates how the utopian obsession with energy and fatigue shaped social thought across the ideological spectrum.

The Visible Human Project examines how the VHP provides visual access to every organ of the body, viewable from every angle and capable of being manipulated to simulate living processes like respiration.

Fin de siecle Vienna was once memorably described by Karl Kraus as a "proving ground for the destruction of the world." In the decades leading to the World War that brought down the Austro-Hungarian empire, the city was at once an operetta dream world masking social and political problems and tension, as well as a center for the far-reaching explorations and innovations in music, art, science, and philosophy that would help to define modernity. One of the most powerful critiques of (...) the retreat into fantasy was that of the philosopher Ludwig Wittgenstein, whose early career in Vienna has helped frame debates about ethical and aesthetic values in culture. In Wittgenstein's Vienna Revisited Allan Janik expands upon his work Wittgenstein's Vienna (co-authored with Stephen Toulmin) to amplify a number of significant points concerning the genesis of Wittgenstein's thought, the nature of Viennese culture, and criticism of contemporary culture. Although Wittgenstein is the central figure in this volume, Janik places considerable emphasis on other influential figures, both Viennese and non-Viennese, in order to break down some of the persistent stereotypes about the philosopher and his surrounding culture, especially the myths of "carefree" Vienna and Wittgenstein the positivist. The persistence of these myths, in Janik's view, stems in part from the inability of many historians to differentiate past from present in the evaluation of intellectual currents. Janik reviews a number of figures overlooked in assessing Wittgenstein: Otto Weininger, Kraus, Schoenberg, Nietzsche, Wagner, Ibsen, Offenbach, and Georg Trakl. All of these, Janik demonstrates, are absolutely necessary to understand what was at stake in the debates on aestheticism and the critique of a modern culture. Wittgenstein's efforts to recognize the limits of thought and language and thus to be fair to science, religion, and art account for his place of honor among critical modernists. These essays elucidate Wittgenstein's perspective on our culture. (shrink)