Die Geschichte einer vollautomatischen Waffe. Studien zur Kriminologie kollektiver Gewalt. Gas Warfare, Tactics and Equipment. Die Zukunft des Krieges. Die Soldaten des nationalsozialistischen Krieges und das Die Front im Spiegel der Seele. Entwicklung, Herstellung und Einsatz chemischer Kampfstoffe. The Possibility of Altruism. Nikolaus Busch- mann Hrsg. Im Westen nichts Neues. The Body in Pain. The Making and Unmaking of the World. New York und Oxford Der Begriff des Politischen.
Text von mit einem Vorwort und drei Corollarien. Das Handwerk des Krieges. Wien und New York Kollwitz, Beckmann, Dix, Grosz. Bedrich Loewen- stein Hrsg. In comparison to other animals with symbolic significance such as the lion or the eagle, the frog is an insignificant little creature. Certainly, it has gained a new prominence in recent decades as a public symbol, a heraldic emblem of the green movement. Taking the long history of frog imagery into consideration, it is surprising that the frog was chosen as one of the icons of a movement that supports a change of attitude towards nature.
Its public image has completely changed from its earlier association with evil and the uncanny to become an object of love and identification. At a time when the body may disappear into virtual reality, the frog has come to symbolize resistance with its vulnerable body representing the weak and helpless, the victims of technological progress. Frogs exist, it can be argued, in three different varieties, as living ani- mals, as a fetish, and as both real miniature sculptures, drawings, amulets and imagined images. Images of the frog have created a fetishized enig- matic animal empowered with magical qualities.
Decisive for the production of the fetish is that subconsciously qualities are attached to this body, which transform it into a mental image that is endowed with energy and specific powers. Frog imagery associates the animal with sorcerers and witches and ascribes human qualities to this small creature that arouse deep emotions such as fear and, less commonly, also hope Hirschberg It is no surprise that in systems of pre-modern cognition the three states of aggregation are inseparable. In this essay, I will focus on frog imagery from the early period of sci- entific experimentation, the late eighteenth century, a time when funda- mental changes in frog imagery can be observed.
Compared to spectacular experiments upon animals, such as a Russian dog with two heads or the cloned sheep Dolly that have attracted wide media attention, images of the frog remain unnoticed and may seem banal. Indeed, it played a significant role in visualizing scientific experiments both in the sciences and in popular discourse. In comparison to an earlier and long period during which the frog was an animal in mythology and often weird imaginings, it had become a signifier of a scientific defi nition of the body. Illustrations in nineteenth-century medical textbooks and encyclopae- dias were designed to contribute to the process of disenchanting nature through science.
The design and practices of laboratories in the mid-nine- teenth century created the conditions that brought to perfection the mutual exchange between experimentation and imaging and as an implication a new imagery of the frog evolved that apparently severed its connections with a long tradition of myths and folklore.
I would like to challenge this juxtaposition. In physiological research, the frog was also associated with images of a hidden negative memory. For the experimenter the frog was at once both a mere object and an enigmatic animal, and the science illustra- tors extended this contradiction unwittingly to the image of the frog.
The clear separation of the body, defi ned as a mechanical structure, from the transcending dimension contained in myths and fantasies was illusory. The two bodies of the frog, one couched in myth and imaginary images and the other reduced to the diagrammatic patterns of a biologically defi ned morphology were never clearly separated. The supposedly meaningless lab- oratory pictures of the nineteenth and twentieth centuries were, in reality, metonymic replacements and transformations of deep seated and emotion- ally charged images of frogs and toads from myths and folklore.
The production and interpretation of abstract images of laboratory frogs was grounded in a wider network of earlier images from fantasy and childhood that were transported through fairy tales, book illustrations, or narrated in myths and literature. In a cultural environment dominated by the sciences, which aggressively propagated the elimination of meaning and its delegation to a pre-scientific past, and which considered the contempo- raneous fields of fantasy and imagination, literature, and the arts as dream —worlds incompatible with scientific knowledge, the frog imagery reveals an unwitting persistence of meaning.
Hundreds of thousands of living frogs were consumed and destroyed in laboratories. Their living bodies were connected to laboratory machines and prepared for the purposes of the laboratory by the application and intrusion of medical instruments and also, I want to argue, by the tech- niques and instruments of iconic representation. The animal body, thus prepared for its inclusion in the space of a modern laboratory, allegedly had no meaning.
I would like to demonstrate, however, that the insepa- rable fusion of body and images of the body continued to convey meaning, through the new media, that was of a nature similar to the myths and imaginary images that predated the beginnings of serious experimentation in specific spaces of scientific purity.
Frogs and frog images served scientific and didactic purposes to such an extent that the imagined frog became a furtive fetish of nineteenth-century laboratory experimentation. The image of the sciences has always been created, and continues to be created, on the level of a subconscious communication of texts and their pictures with readers who may wish to perceive images as mere illustra- tions of the printed word but whose mind and psyche are also entangled in a whole web of non-linguistic information.
Obvious differences apart, the scientific image of the frog was never completely severed from its mythological origins. This continued fusion gave these images a specific power of persuasion beyond their intrin- sic scientific functions. Gould introduces the term canonical icon. He refers to widespread and standard images that are associated with key concepts in science. The image of the frog was the canonical icon of the life sciences in the nineteenth and early twentieth centuries. It provided visual support for an unchallenged view of the body by serving as an unrec- ognized icon whose canonical status made the message appear beyond doubt.
Perceived within the context of the nineteenth century experimental sciences, frog images are examples of canonical icons that follow the ideal of objectivity in methodically controlled experimentation and add a further dimension by providing visual legitimation. In the late nineteenth century, frog images also played a significant role in the complex process of popularizing scientific research.
Science images never appear in isolation. Each cluster activates memories of previous, simi- lar images and together they form generalized images, often compressed to stereotypes and not dissimilar to archetypical images. They connect most of us by shaping common images and mapping imaginary spaces. The logic by which these imaginary spaces are formed, and their virtual topogra- phy, need to be explored. Laboratory experiments were carried out in a general framework that transcended the clearly defi ned space of the labo- ratory and included the rudimentary media networks of the time.
The new scientific practice of theory-driven laboratory experimentation required an epistemic frame of reference suited to the new scientific stan- dards of systematic research but also one capable of expanding beyond the laboratory and into the media networks of this period. The available media were popular lectures, illustrated journals—fi rst with copper or steel plate engravings and lithographs and, after ca.
In both contexts, the scientific and the popular, images of labora- tory animals were significant: The nine- teenth-century practice of experimental physiology was linked to both a theoretical ideal and a media practice of popularization so that visual rep- resentations of animals became objects of scientific communication and at the same time contributed to shaping images of life—the life of animals and life in general, including human life—by super-imposing these new images on apparently incontestable and apodictic images of an older tra- dition. Images of frogs as canonical icons worked as a tacit invitation to transfer images from one context, the exterritorial space of the laboratory, to another context, popular culture and the life world.
This impact on the general perceptions of life was possible only because the images were not limited to their functions as science illustrations but maintained a connection to an age-old and non- scientific imagery, familiar to everyone. One of its characteristics was that it depicted uncanny strength in apparent weakness and was associated with life- giving water or with mud and disgusting slime.
It signified fertility as demonstrated by clay figures of frogs with an exaggerated vulva on their back or the belly that have been found in various parts of Europe. Frogs are born in the water and live near it, so the fecundity of the wet but also the nauseating fluids of a dark world of fantasies of sin and evil are associated with their bodies. Living frogs and images of frogs were attributed to gods and goddesses signifying specific faculties and powers.
In certain cultures the frog was revered as a god or goddess and entire cults revolved around images or sculptures of frogs. In early Egyptian and Hebrew mythology, frogs belong to the realm of the gods and to magicians. This bronze sculpture from West Africa shows a two-faced head. In contrast to the two faced Janus-head of Roman mythology that symbolizes knowledge as it simultaneously looks into both the past and the future, this head has two faces in order to demonstrate that the evil of speaking Figure 5.
The man is a vicious sorcerer who thinks and speaks evil and the evil is made visible through snakes curling around his head and a frog. What we see between his lips is not a mal-formed tongue but rather, what we see is untrue speech, visualized by a frog.
The frog was associ- ated with human characteristics and has even been presented as a human in disguise, as the enchanted prince of fairy tales. In various cultures around the world it is depicted as surprisingly human and always ambivalent, the emblem of life and reproduction but also of deep-seated fear.
It is surpris- ing to note that—with the obvious exception of apes—there is no animal in the mythological tradition that is as human as the frog. The ugly little frog needs a small golden crown and an additional act of violence for its body to turn into that of a handsome young prince. Fables of Aesop and his succes- sors use all sorts of animals to represent humans.
Yet, few animals save the frog are imagined and imaged as a human being in disguise, enchanted and still human. The uterus was seen as a toad-like organ that moved around in the female abdomen. This was of particular signifi- cance since the uterus was believed to be the organ of the female imagina- tion. Until the eighteenth century medicine was convinced that the female imagination was capable of initiating pregnancy by imprinting the image of a male lover on the uterus. The image of a child or the image of disease was believed to be a cause for physical change, that is, pregnancy or ill- ness Fischer-Homberger In the eighteenth century an inten- sive debate on the physical power of imagined images evolved and until late in the century medicine charged the uterus with ill-directed imagina- tions resulting in a deformation of the fetus.
Imagination had the power to deform the fetus, as it could be directed in the wrong direction, away from a form-giving male human being, resulting in the bad consequence of a dis- figured child Bundy The female imagination, not sufficiently con- trolled by reason, could go wild and it was believed that seeing images of deformed or monstrous bodies during conception or pregnancy would lead to deformations of the fetus. Frogs or toads were believed to be involved in the pregnancy per imaginationem.
Des monsters et prodiges, quoted in Huet The monstrous imagination was a major topic of medical literature for two thousand years, until in the late eighteenth century a new image of the body emerged that separated the uterus from the imagination and pre- vented frogs or toads from contaminating female organs or even turning into one itself. This was both a turning point in the history of the body as well as the time in the history of medicine and zoology when experimenta- tion on living frogs began.
The shift separated the body from its environ- ment and also led to a de-mystification of the frog. Yet frog mythology in a transformed fashion was carried over into the age of modern science to deeply affect its ideal of objectivity and, in particular, physiology. Sacrificial animals, chimeras and monsters were subjected to sci- entific scrutiny and soon excluded from the taxonomy of zoology.
As a rationally constructed system, nature offered no room for these animals and, consequently, their images were relegated to the sphere of the imagi- nation and understood as non-real, the product of unchecked emotions, of fears and hopes that ought to be ruled over by reason. Dissections, machines, and the disappearing body The construction of life as the object of methodical research required the dismantling of a unity.
The sciences abandoned concepts of purpose and meaning and defi ned life within the framework of methodical research. This defi nition required the separation from the sciences of the philosophi- cal concept of life as an integrated unity, which abandoned the idea of a living organism as a whole and replaced it with experimental operations that require the cutting knife. The corresponding images are a radical example of an art that shuns the perception of the whole relegating it to myth or metaphysics. This project produced remarkable results. It aimed at describing living organisms as a closed ensemble of distinct pieces and demonstrating how these pieces interact and move to make the body work efficiently.
The living organism was no longer exposed to the vis imaginativa but interpreted as a system that could be disassembled into pieces that fit together in the way wheels and cogs, valves and transmission belts or bracelets and other ele- ments of a machine interact and make it move and work. The mechanistic view of living organisms was extremely successful and made all other concepts appear obsolete.
It now defi nitively excluded the psyche as an invisible condition of the whole. The machine, this theory asserts, functions equally well under every external circumstance, its functioning being determined by the quality of its elements and its intrinsic mechanism, independent of external factors.
It might be worth mentioning that Lamettrie does not fail to refer to the frog. His frog no longer has the power to interfere with pregnancy and inflict harm on the human body. The frog now serves as the model for the analogy of a living organism and a machine. The images discussed here are indicative of the self-image of the researcher as representative of the avant-garde of the age of science who adopts this theory of the body.
Artists as science illustrators and scientists formed a close alliance that served the high ideal of explaining nature and visual- izing this explanation in images. This ideal seemed beyond doubt and was the linchpin of the allegedly self-evident superiority of the modern culture built on a new concept of science as methodical research.
This alliance led to the emergence of a new iconography in encyclopaedias, textbooks, and other scientific publications. It created an abstract and spaceless imagery that eliminated the body of the scientific object as well as all traces of the observers in an attempt to create images of abstract objectivity. In sharp contrast to the laboratory situation, images from handbooks, encyclopaedias, and other works presented an empty space with no trace of actors and artists, not dissimilar to the contemporary theory of photogra- phy that interpreted photography as a means of nature to produce images of itself without interference from human subjectivity.
This was only pos- sible because the image presented the mutilated frog not as the work of the experimenter but as the result of an anonymous scientific process. In this image of the frog there could be no outside of science and of the laboratory. Indeed, for the theory of the time there was no outside of the scientific defi- nition of the world. Magic was declared to be a phantom and non-existent. The transformation of the frog into an abstract pattern was successful to the extent that its body began to disappear.
A new medium replaced the imagined body with a new image, represented in abstract and diagram- matic pictures. They were based on a zoological image of the body and a defi nition of images as illustrations of scientific texts. They defi ned the body in terms of a complex machine that could be fully explained through methodical investigation and representa- tion. Pictures served the purposes of a reductionist approach to animal experiments.
Images of the frog, more than images of other laboratory animals, were integral parts of a perceptual process that transformed living organisms into machines, which resulted ultimately in the disappearance of the body Figure 5. The dissecting vision ensures that the frog of these images is neutralized, abstracted from reality, and demonstrably lacking the faculty to suffer. Its forced immobility is a constitutive part of the iconic message of the image. The analogy ensured that its body was independent of its environment and functioned under all external circumstances, even if it was reduced to single organs and limbs.
Hence it could be visually rep- resented as a store of parts providing the material for experiments. Science images of the frog closely followed this model of life and its imagery com- plied with the requirements of theory. They provided evidence for the theory by producing a visual field that governed the perception of the animal as a functioning system of discrete elements. We fi nd arrangements in one picture frame of the body of a frog surrounded by isolated interesting parts or an assembly of body parts next to laboratory instruments and machines designed for frog experiments.
The heart as a substitute These images show the ultimate consequence of the tendency towards abstraction and anonymity. The body disappears and is being replaced with graphs, numbers, and imagined spaceless relations in a field of geometrical points. One can detect cynicism in these images. They are the result of a completely secularized view of life that has left behind any traces of the memory of a metaphysical image.
Nor is it pagan. He explained the circulation of the blood in terms of a closed mechanical system, consisting of a pump connected to a system of pipes and valves. This explanation came close to the ideal of modern science developed in theoretical physics, which promised to explain everything, from the cos- mos to the smallest unit, as examples of general laws which are simple and have the potential to reduce everything that exists to a few basic concepts and mathematical formulas.
This fascination with physics was extended to the life sciences as the experiment described here demonstrates. Its operation requires the insertion of a pump. A pulsating frog heart is used as pump to make the simple machine work. The dry description refers to a strongly pulsating heart without further details. In this image the frog is absent and present at the same time as it is rep- resented by a frog heart. The body is reduced to its heart, the organ that is not only considered central to the body as a functioning machine, but also believed to be the location of emotions and the soul of humans.
Science image and cave art Scientific images of frogs show no concrete and identifiable place. They reflect the concept of an empty space devoid of emotions and ethical imper- atives. The images float on the page in a nowhere of abstraction. These images are designed with no regard to the material conditions of the labo- ratory and follow the principles of an abstract organization of the visual field. While they are reproduced on the pages of books and therefore are part of the drawing tradition which organizes its images within the frame of a well-defi ned and restricted space, science images do not comply with the requirements of framed pictures.
Their margins are open, comparable to early paintings on cave walls. They do not follow requirements of mime- sis. Science images of the frog are not representations but the product of the intention to construct an image independent of mimetic functions. They are characterized, as Sigmund Freud once said, by an over-emphasis on mental reality in contrast to material reality.
In a number of ways, these images have characteristics that make them comparable to the depiction of animals in the cave art of the Upper Paleo- lithic. They are disassociated from the three-dimensional world experienced outside the isolated space of a cave or a laboratory. There is no ground line in either the cave paintings or the science images.
There is no hint of the environment in which these animals, imagined by Stone Age men inside a cave or by artists of the age of the scientific mind inside their studios, in front of a copper plate or drawing pad, live: We see no trace of an originator or any subject involved in the construction and arrangement of the scene. Authors who have written about connections between primitive art and modernity have supported this view. They also float freely on the page, independent of any observed natural environment. This discon- nection from an experienced environment is often reinforced by a further characteristic of parietal Paleolithic images.
Animals have no hoofs, their legs ending in an undetermined airy fuzziness. If hoofs are shown, as in the Lascaux cave, they are drawn in such a way as to make visible their under- side or hoof print. This seems an implausible reading of these cave paintings. Yet, the absence of anatomically correct legs is not a matter of chance nor is it a deficiency.
There is no mimetic realism implied. Legs have no function; this signifies a complete absence of activity including the activity of standing. This observation of abstraction and a lack of connections, shared by early cave paintings and primitive art and the scientific images of the nineteenth century, lead to a hypothesis. These pictures are the result of the laboratory as a non-territorial and hyper- real space.
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Science images of the frog also need to be perceived outside the context of a history of science as an institution driven by ideas of reason. They are symptomatic of a history in which the relationship between man and animal, frog and man, and in particular, frog and woman is far from rational, indeed, it is deeply emotional. The frog was chosen, I contend, because its image oscillated between a soul- less primitive animal and the mysterious human and super-human qualities that were also ascribed to it.
It is not unreasonable to associate these quali- ties with the female represented by the witch. The crooked humanity that myths and magic had invested in the frog for many centuries continued to rule the perception in the age of rationaliza- tion, and scientists were no exception. Scientific experimentation on frogs was the extension of a long-term, twisted, and emotional relationship set up between humans and frogs.
It carried the signs of mysterious and incomprehensible qualities conjured up by the human imagination but could be just as easily equated with a machine. It lacked human faculties, in particular the faculty of suffering,12 yet subconsciously it was also imag- ined as a metamorphic variant of the human with a body that incorpo- rated the dark and evil dimensions of humanity. It was symptomatic of the ambiguous position occupied by the sciences in the late nineteenth century that traces of the mythological past were carefully eradicated and yet, they can also be seen in these images with no great interpretive effort.
Inquisition These images leave no doubt about the status of the animal. It is a passive object in an empty space. There is no expectation that the object of the experiment will do anything, will ever speak and reveal the truth. Yet, the idea of extracting truth is the dominant motivation behind these images. Science images of the frog demonstrate that pain was not inflicted to make victims speak and that their truth was not linked to linguistic discourse. The body contained all the information and it needed to be made to per- form in order to reveal it in a language of silence.
Truth was equated with the information hidden in the mute flesh, in muscles, organs, and nerves and their silent movements. These parts of the body had to be isolated and their mute movements observed, but also physically interfered with in order to make them reveal their secret. They had to be connected to machines, measured and turned into quantifiable formulas in order to reveal informa- tion and make possible the recording of data. Recording the consequences of the interventions in the natural order of the body was considered the cardinal path to objective, scientific knowledge.
The transformation of this process into images created a specific iconographic innovation, the visual- ization of a correlation between torture and knowledge. The scalpel and various laboratory instruments and apparatus in con- junction with images served the purpose of endowing the mute animal body with a language comprehensible to human cognition. This code is then recorded through laboratory protocols, tracings, and diagrams, which make it possible to draw a stylized image of the body that makes the hid- den secrets of its nature visibly comprehensible.
While science images of the frog carefully avoid all similarities with the human body, it is equally obvious that they reflect the convergence in this respect between the Inquisition and modern science. In every system of force and terror, it is the master of the rack and, ultimately, the executioner, the scientist in the modern laboratory, who makes the decision about right and wrong, life and death.
We are familiar with pictures of torture chambers from the twelfth and well into the nineteenth century when the Holy Inquisition tried to extract the truth from delinquents by making the body suffer damage as an object of cruelties and the soul suffer pain. Perceived from this perspective, they begin to look remark- ably similar.
Images and descriptions inform us about precise procedures and the range of instruments, the tables and boards designed to tie down the accused and inflict all kinds of painful operations on the body of the delinquent. Included was pain infl icted on all parts of the body, occasion- ally the slow removal of limbs. Medical catalogues of the nineteenth and twentieth centuries show elaborate and diverse collections of instruments, tables, tilting boards, and grids that were designed to tie down frogs and other animals and immobilize their bodies with the aim of carrying out all desired experiments without any undesirable interference from the animal.
It was an aim to keep the frog alive as long as possible after its body had been opened or limbs had been cut off. Zimmermann Company adver- tises a variety of boards for fi xing a frog for laboratory experiments. However, a significant difference needs to be emphasized. Many Inqui- sition pictures show both the victim and the torturer. Clerics and judges were often arranged in a half circle around the torture table, dressed in full vestments and robes often with regalia.
All were depicted with their eyes and ears fi xed on the procedure and watching the victim with great atten- tion. The combination in one frame of both the victim and the men respon- sible for her torture is indicative. The arrangement of the scene invests the observing men with full responsibility.
They act in the name of a superior authority, the holy script, God. There was no need to hide the torturer or the torture chamber. On the contrary, the aim was to make everyone aware of the instruments of torture and the torment. An ideal of the Inquisition was not to use the instruments but merely to show them to the witch or the heretic with the intent of making them confess. We know, however, that there was no inhibition on the part of the church to applying the instruments physically, to make the accused speak.
Inhibition could signify doubt and doubt was contrary to Christian dogma. The images of scientific experiments do not show the men responsible for the arrangements. The new authority had no face and no ears. It is implicit, depersonalized, and anonymous. The cruel experiments are done in the name of science and its objects are depicted in complete spatial and temporal isolation. Pain was immaterial, a mere side effect. Laboratory reports make it obvi- ous that it was not noticed even if animals such as rabbits shrieked in pain.
The frog was considered an animal incapable of suffering Singer The silence of the frog precluded any emotions of inhibition. That the instruments were both shown to the dis- tanced viewers of science images and put to use in the laboratories reveals a combination of unperceived anxiety and unwavering belief in the legiti- macy of experimental practices. Laboratory reports often refer to experiments done on frogs in terms of a theatrical performance narrating event after event. The choreography was a combination of scientific search and performance on the part of the animal whose body was prepared to form the center of all attention, exposed to the eyes of curious spectators.
A cynical joke could often be heard until recently: Physiology is the science of the dead frog die Lehre von toten Frosch. This joke offers a revealing displacement in accordance with the metonymi- cal operations that pertain to science images of the frog. Physiology is the discipline concerned with the chemical and physical functions of the living human body. The joke substitutes the dead frog for the living human body. The secular imagery of the positive sciences, combined with elements of the iconic tradition of the martyr, the sacrificial lamb, or the torture victim, created the frog imagery.
The frog was the frog but at the same time it was an emblem for the glorification of the sciences as a new religion. Frog iconography became the perfect medium for the abstraction and objectification of an originally religious dream. A critical reading of the impact of the Christian iconic tradition of pain and sacrifice on the images of the biological sciences could shed new light on the consti- tution of the sciences in the nineteenth century.
From early civilizations on, animals have served as sacred totems and as victims in ceremonial sacrifices. The fundamental idea of sacrificial substi- tution is built on animals and images of animals. We are familiar with rams and lambs, chickens, cocks and goats, or cattle as animals sacrificed in religious rituals. The frog had never been an animal apposite for sacrifice. The frog had to wait for the beginning of the scientific age and the emer- gence of the modern laboratory before being chosen as sacrificial animal. Physiologists furnished the spaces of their laboratories in such a way that it became possible to sacrifice this animal under the disguise of the ratio- nality of scientific experiments.
It is symptomatic of the transformation of ritual in the modern age that its crucial role in the creation of a self-image of the period of the positive sciences was un-ceremonial and its liminality went largely unnoticed. No animal was sacrificed in the same way and in the same quantities for the sake of scientific knowledge as the frog was.
That frogs had to be cut up and die in large numbers was considered an inevitable consequence of the defi nition of life by modern science. The scientific litera- ture offered pragmatic explanations. Also, it was an easy animal to deal with: While these pragmatic arguments prevailed, there is evidence that they were little more than rationalizations for laboratory practices, which necessitated the science image to actively negate traces of the human in the frog iconology. The scientific images served as a constitutive element in rationalizing the experiment in both meanings of the verb, they created a rational image in the sense of a Cartesian concept of nature and they also served as a means to cover non-rational motivations and darker affects and attach a pseudo- legitimacy to acts of sacrifice.
The scientific images of frogs made visible an uneasy relationship of a rational individual who deals with frogs in the name of science and the subconscious desire to shed this self. Scientific images of the frog, it can be argued, were the result of a projection by the rational experimenter and his artist of an inverted image of their self.
A result was the immobility and sterility of the pictures of frogs and other animals under laboratory conditions. Many scientific images display an impasse that results from invisible struggles between the universal ideal of ratio- nalization and pre-modern myths, between hermetic exclusion and popu- larization, between spaceless abstraction and the concreteness of material laboratories, between purity and the necessity of bodies as mediums that inevitably contaminate the abstractions free from moral considerations.
It can be added that a good part of the science images of the nineteenth and twentieth centuries were the product of such an impasse. Only a few of the images have a signature, which is always small and modestly placed not in the traditional place at the lower right side of a picture but almost invisibly hidden in or at the edge of the image. The wish to hide and van- ish from the surface of their own images could well suggest a bad artistic conscience. The art- ists were supported by theories of art and literature of the late nineteenth century. Naturalism pursued the intention of removing the line that sepa- rated them from the sciences.
They theorized about a structural homology between artistic and scientific experimentation as only different realiza- tions of the same human mind. For naturalists the relationship between artistic techniques and instruments and laboratory techniques and instru- ments went beyond a mere analogy. Zola, referring to Claude Bernard, made it clear that the natural sciences provided the meta-discourse for the arts.
In analogy, experiments carried out on the body of a frog would lead to linguistic and visual protocols of the world as it really is. Supported by naturalistic theories of art and literature, the correspond- ing dominant ideology of the scientists of the time led the anonymous art- ists to use their means in order to visually mimic a mechanical concept of life. Artists who worked as illustrators acted in isolation from the world of the arts of their time and submitted their work to the ideology of mechani- cal objectivity.
Given the power relationship between the sciences and the arts, they may have had no choice but to succumb to the domination of the sciences. In congruence with scientific theories of life, the iconographic tradition of the frog as a passive and motionless object of scientific observa- tion persisted for over a century.
The relationship of science images to life was predicated on the death of the observed object. The ensuing graphemes contained and also projected the object of experiments. Science images continued this heritage during a period when the arts experienced a revolution so that during the nineteenth century these artists worked in contradiction to images of life propagated in the arts. Impressionism, Expressionism, and Surrealism are labels refer- ring to a later period in which the visual representation of men and women, nature and animals underwent fundamental changes.
It was also the period when the new technologies of photography and film revolutionized ways of seeing and new knowledge about how bodies moved, and rendered visible a hitherto unknown reality. These innovations in the arts were inextrica- bly intertwined with new philosophical theories of space and time and, what is particularly important in our context, of the concepts of the body and of life and death.
The poten- tially innovative power which the arts and literature after naturalism could have had on science images was lost. The separation between scientist and object, self and other maintained by science images with such rigor, was out of sync with simultaneous developments in the arts. A separation of the science images from the arts, it can be argued, contributed to the mainte- nance of a mechanical image of the body.
It would be an untenable exag- geration to argue that orthodoxy in the sciences was based on the power of images. Yet the consistency of canonical icons acted as a strong agent against change and in favor of a Cartesian image of the body at a time when it had already become outdated. Science images did not passively represent scientific knowledge but cre- ated structures of seeing that organized entire perceptual fields.
Memories of images of a magical animal that had been identified with terrifying imaginations and evil disfigurations fell prey to the cold arrange- ments of the dissecting tables, the glass and metal of the laboratories. The artists aimed at the highest degree of objectivity and their strabismus pre- vented them from realizing the foggy magic that enveloped the objects of their images. This repression produced collective fallacies of vision. Into this void, perceptions of the body disappeared. The collective deceptio visus was neither an accident nor a simple mistake that could be rectified by diagnosis and correction.
Collective scotomy was much more. It was the result of the desire not to see and to remain ignorant in the name of pure science. The inherent fallacies of perception remained hidden. Negativity and magic were and still are considered contrary to the frame of reference created by the rationality of modern science.
To seize upon these qualities as a characteristics of science images is an attack on the integrity and self-understanding of the sciences. The unacknowledged relation to cave art and primitive art is but one of the non-rational elements in science images that need to be explored in more detail.
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- Lombre dune ville (French Edition);
Revealing a gene- alogy of the bad image of the frog in its scientific images is the same as revealing a cultural strabismus. Its image was rendered transparent and fully intelligible. Any attempt to correct this image involves a discomforting operation. To associate the canonical icon of experimental research with negativity and the violence of sacrifice inevitably raises resistance because seeing and producing science images as images of reason is central to understanding the self in the age of science.
A new type of science image, emerging at present, may lead to new ways of seeing. These new images that do not pretend to represent a visual reality demand a new attitude towards images that is beginning to have effects also on our understanding of science images based on the ideal of objectiv- ity. A new and close relationship of science images and contemporary art could open a new chapter in the evolution of science images and, as a con- sequence, of our image of the sciences. Until the late eighteenth century this parody on the war of Troy in hexameter was believed to have been written by Homer.
The Battle of Frogs and Mice can be found at http: Von J ohan H. Kermit the frog from the Muppet show may be the best known version of contemporary frog imagery. Encyclopaedias and handbooks with frog illustrations were widely distrib- uted in Europe. The Atlas zur Methodik der physiologischen Experimente und Vivisectionen by Elie de Cyon had a considerable influence on several disciplines of experimental science and is remarkable for its uncom- promising plea for objectivity in the presentation of its materials and instruc- tions on how to perform experiments on animals.
A desirable distinction between frog and toad is beyond the scope of this essay. Husserl interpreted this split as the origin of the crisis of the sciences which, he argued, were completely dominated by the idea of rationality. Inevitably, this separation from the origin of all knowledge in the life world led to a change of meaning of the things themselves Sinnverwandlung der Dinge. Perti- nent to the topic are also publications of the Berlin Helmholtz Center and, in particular, Bredekamp and Werner For an interpretation of its significance for the merger of two-dimensional representation see Lewis-Williams Derrida, in a reference to Jeremy Bentham elaborates on the specific char- acteristics associated with suffering and the claim that animals differ from humans insofar as they lack the faculty to suffer: The Birth of the Prison.
Glanadet or Perot are recurring names on the plates but often barely decipherable. For a few years now computer programs have been used for teaching univer- sity students. They demonstrate the dissection of a virtual frog whose body pieces are re-assembled at the end of the demonstration so that the reborn animal can jump in a virtual pond saying farewell with a single croak.
Forgetting and neglect in the sciences are discussed in an insightful essay by Sacks Verlagsgruppe Weltbild GmbH, Augsburg. Original bis , Walter de Gruyter, Berlin. University of Illinois Press.
Why Is The Villain Always British?
Derrida, Jacques Mensch und Tier. Eine paradoxe Beziehung, Dresden: New York Review of Books: Kolmar, Gertrud Das lyrische Werk, Heidelberg: Lesson and Paul J. Ohio State University Press. Singer, Peter Praktische Ethik, Stuttgart: Catharines, Ontario, Canada Prof. Claudia Glunz, Thomas F. Schneider, Michael Fisher Titelbildnachweis: K 13 Kps. Jahrhundert Below the horsmen. Im Funkwagen durch Europa: Balkan, Ukraine, Stalin- grad. Feldpostbriefe des Gefreiten Wilhelm Moldenhauer — Jander 64 Karmasin, Faulstich Hgg.
Krieg — Medien — Kultur. Ernst von Salomons autobiographische Romane als literarische Selbstgestaltungsstrategien im Kontext der historisch- politischen Semantik. Bibliography of studies in lite- rature, linguistics, history, film, and the arts published in Krieg und Literatur im September zum ersten Tag eines Krieges wurde How September 11, was made the First Day of a War The essay is based on personal experiences of the events.
It offers a reflection on attempts to giving them a meaning for both victims and perpetrators and expanding its significance, during the following years, for the imagination as well as the every-day life. A link between imagined dangers and the new systems of security is suggested that is intermeshed with the maintenance of power structures. Ich fand die Frage erstaunlich. Es war 9 Uhr Das ist ein Terroranschlag. Es hatte keinen konkreten Inhalt und bedeutete nicht, was wir heute mit dem Wort verbinden. Das alles waren lokale und zeitlich begrenzte Aktionen in der Vergangenheit, die ich damals mit dem Wort Terror verband.
Keines dieser Ereignisse kam mir irgendwie nahe.
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In den wenigen Jahren nach dem Was vor dem Die Bedrohung durch den Terrorismus und die korrespondierende Unsicherheit hat das Leben bis in die engsten Winkel erfasst. Millionen verbrachten viele Stunden vor Bildschirmen und verfolgten gebannt das Drama in Manhattan. Der Tag ist in ein Netz von Ereignissen eingebunden. Ich fuhr mit der Information aus dem Supermarkt nach Hause und berichtete meinem Sohn. Das war zweifellos ein dramatischer Anblick. Was wir heute mit diesen Stunden verbinden, sahen wir damals nicht. Aber eine Vorstellung, wovon wir gerade Augenzeugen waren, hatten wir nicht.
Aber dass wir bald die Zeitrechnung in vor und nach dem Ein Aufschrei der Fassungslosigkeit und des Unglaubens begleitete den Zusammenbruch eines Turms, kurz nachdem ich mich unter die Zuschauer gestellt hatte. Dies Unwirkliche empfand ich damals intensiv. Aber mein Inneres wehrte sich gegen dieses Bild, das mein Blick mir doch unzweideutig als wirklich zeigte. Es war deutlich, dass alle zustimmten. Zwar ist auch in ihm vom Krieg die Rede: Diese Gegner sind nur schwer zu einem Gegner zusammen- zufassen, und sie haben keine Kriegsziele.
Das soll ein Krieg sein, wenn es nicht gelingt, ein strategisches Ziel zu erkennen? Der Angriff selbst war das Ziel. Ihr sagten sie den Kampf an. Diese Bestimmungen trafen und treffen hier nicht zu. Aber der Ausruf beim Anblick des fallenden Turms und seine Wiederholung in der Zeit danach waren auch nicht metaphorisch, wie etwa im Krieg der Geschlechter, Krieg gegen den Hunger usw. Aber was, das war mir damals nicht klar und ist es heute nicht. Eine neue Definition von Krieg, die nicht den Krieg gegen einen Staat, etwa den Irak meinte, war als Potential in dem Ausruf auf der Brooklyn Promenade bereits enthalten.
Terrorismus ist eine Taktik. Aber, der Grund, warum wir ihn verlieren, liegt vor allem darin, dass wir das tun, was unsere Gegner von uns erwarten. Was ist es dann? Es widerspricht der christlichen Ethik, aber die geschichtliche Erfahrung zeigt: Nicht das Opfer, sondern der Sieger kann Solidarisierung erwarten. Opfer erwecken Mitleid oder Verachtung. Das ist keine erstrebenswerte Lage. Diese Verkehrung inszenierte der September Sie leiden und sterben.
Aber dieser Tod ist keine Niederlage, sondern ein Triumph. Diese Frage wird in allen Glaubenssystemen gestellt, und die Antwort ist eindeutig: Der Anschlag hatte, so argumentiere ich, ein zweites Ziel: Er schuf ein Datum und einen Ort zur Identifikation. Es ist wichtig, das zu erkennen: Die Handlungen selbst waren kriminell: Flugzeuge waren gekapert und Geiseln genommen worden, das Fliegen und Steuern der Flugzeuge als Geschosse ein Verbrechen —, das alles war unzweideutig. Aber wir verbinden heute mit diesen Taten etwas ganz anderes. Diese Wirklichkeit kommt in einem Bild vom Das mentale Bild vom September braucht die Anschaulichkeit und ist nur mit der Erinnerung an die sinnliche Wahrnehmung lebendig.
Es ist kein Wider- spruch, wenn ich zugleich sage, dass der September durch kein Bild visualisiert werden kann. Auch wir wissen, wie viel Abstraktion in ihm wirkt, die sich einer Visualisierung entzieht. Aber ohne diese Abstraktionen kann der Aus meiner Vorlesung wurde an diesem Tag nichts. NYU lag in der Sperrzone, die von der Bald kamen Anrufe aus Deutschland: Nein, mir selbst war gar nichts passiert.
Aber das war, wie sich bald zeigte, eine unzutreffende Antwort. Eine innere Unruhe hatte mich erfasst. Depression hatte uns erfasst, und bald wurde deutlich, dass wir, ohne direkte Opfer geworden zu sein, traumatisiert waren. Das folgte aus dem Zusammenwirken von Nachrichten der Medien und direktem Erleben. Es geschah in den folgenden Tagen und Wochen nichts, kein weiterer Anschlag. Das sind viele Tote. Ich denke, dass diese Wirkung in der kollektiven Psyche die wichtigste Wirkung des Anschlags war.
Am Tag des Anschlags hatte ich einen Versuch unternommen. Wer drinnen war, war der Gefahr und dem Leiden ausgesetzt. Bald richtete sich der Lehrbetrieb wieder ein. Da gibt es ein Loblied zu singen: Wichtiger aber war das Signal: Ihr seid nicht allein. Bald setzte das New Yorker Leben wieder ein. Der Kommerz von NYC setzte sich in einer Weise fort, dass der Terroranschlag eingebaut werden konnte, so dass nach einer kurzen Unterbrechung alles weiterzugehen schien wie vor dem Anschlag.
Sie enthielt 38 Seiten mit Berichten und Fotos vom In den Formulierungen der Anzeigen zeigte sich eine allgemeine Sprachregelung, die in den Medien, der Werbung und in der Politik wirkte und einige Wochen anhielt. Es wurde in der Folgezeit mehr Geld gemacht als zuvor. Was die Verachtung und die Aggression der Fundamentalisten erregte und weiterhin erregt, ging nach einer kurzen Phase der Irritation ungebrochen weiter.
In diesem Sinn kann von einem Sieg der Angreifer nicht die Rede sein. Aber das ist nur die halbe Geschichte. Was geschah in den Seminaren? Das Thema musste angesprochen werden, aber es musste so behandelt werden, dass die eigenen Verletzungen nicht thematisiert wurden. Distanz zur Emotion war gefragt. Das ist ein neuer Terroranschlag. Es war jedes Mal ein Irrtum. Aber die Angst war real. Warum nutzten die Terroristen diese Lage eigentlich nicht aus? Warum haben diese Nachfolgeschlachten nicht stattgefunden? Dieser Krieg ist bis heute ausgeblieben. Bemerkenswert ist, dass diese Frage selten gestellt wird und der Erstaunlich ist, dass der Er wirkt in der vorgestellten Wirklichkeit wie der erste Tag einer neuen Welt im Zeichen des Terrorismus.
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Aber bei genauerer Betrachtung besteht die eindeutige Verbindung nur in unserer imaginierten Welt. Niemand wagt, sich zu widersetzen. Wenige Worte wurden dabei gewechselt. Die Scheidung von vorher und nachher wurde jedem bewusst und viele machten danach eigene Erfahrungen mit der Macht der Polizei, die durch die Erinnerung an den Der Gegensatz ist nicht, wie immer wieder behauptet wird, der zwischen Freiheit und Sicherheit, sondern noch immer der zwischen Freiheit und Macht. Merkur , August , Was Terroristen wol- len. Die Ursachen der Gewalt und wie wir sie Between Imitation and Simulation.
Towards an Aesthetics of Fuzzy Images. Bernd Huppauf 1 Introduction What do we see when we look at a fuzzy image? Searching for the clear image somehow concealed within a fuzzy image equals denial and is the same as not seeing at all. Fuzziness ignores the common conception of the image and transcends the world of visual representation.
It loosens the bond between a picture and the thing represented. It is a visual mode for the simulation of the possible that is not only conceivable but retains rudimentary elements of the logic of the real. At the same time, it safeguards the image against being merely arbitrary and a pure construction by maintaining a degree of similarity. The fuzzy image hovers on the dividing line between representation and the dissolution of mimetic correspondence with the signified.
It creates indeterminacy and ambiguity comparable to the relationship of images, masks, idols and sculptures to reality in pre-modern and primitive cultures. They do not represent, yet would be misinterpreted as mere fantasy. It appeals to the imagination to complete images, which are, by nature, incomplete and it prevents this process from ever being completed. Breaking the bond with the referent while simultaneously maintaining rudimentary similarities with it requires a great deal of attention of the part of the spectator.
It draws the gaze into a sphere of undecidability that leads to disorientation, rattling it through insecurity, captivating and enthralling it. The dispersed gaze der zerstreute Blick that Simmel, Benjamin and other theoreticians of modernity considered symptomatic for the present is ill-equipped for the fuzzy image and will not find access to it.
It requires a wandering view that is also searching and, furthermore, language. What is intimated in the fuzziness of a picture is fugitive and can be fixed only through narrative and interpretive language. More than the sharp image, the fuzzy image is empty without the absconding content being translated into linguistic structures.
Image 1 Jorma Puranan: Shadows, Reflections and all that sort of things 17, It involuntarily searches for a clarity that makes it possible to identify recognizable shapes on the surface of the picture as elements in a visual order and through their correspondence with reality outside the image. In European cultural history the sharp image is the norm and its lack is commonly considered a deficiency and an absence of an essential quality. I would like to raise the question of whether an image that lacks this supposedly indispensable quality can be perceived and interpreted differently, not in terms of negativity and absence, but as an expansion of the familiar store of images.
Can and should the fuzzy image be understood as a dilatation of the imaged world that challenges conventional concepts of the image rather than an object of deficiency that raises regret and refusal? Is it possible to define a logic of imaging 1 Wittgenstein: Philosophische Untersuchungen, Werkausgabe Band 1, Frankfurt: The relationship between sharpness and i unsharpness is an asymmetrical one. Sharpness exists as a singular only, whereas unsharpness exists as a multitude, has degrees and shades. It exists in different varieties that can be labelled the obscure, the vague, the complex and the ambiguous polyvalent.
I will deal with it as a noun that denotes a category and not as an adjective attributed to a noun and qualifying it. This requires reference to two basic concepts of image theory, namely imitation mimesis and fantasy simulation or construction. The first has a long history as a normative term with even canonical power. It has lost this position in public discourse, yet is not obsolete and cannot be abandoned. The latter is modern and places emphasis on the connotative character of images and with it, the arbitrariness or its play with simulation.
It can be made instrumental in an attempt to develop an intrinsic logic of fuzziness. The photo, Roland Barthes argues, is the absolute opposite of the general. It is unique and repetitive of that which existed once, and only once, in the world of events. The photo is, he argues, a mechanical repetition of something that cannot be repeated in the world of experience.
The photo never transcends the specific moment in favour of the general. It reduces the body to a mere physical individual. It is the absolute particularity and domination of the accidental and, therefore, it is stupid. This can only be argued on the basis of sharp images. Barthes, and most other theorists of the photographic image, fail to consider fuzzy images. Fuzziness challenges common characterizations in particular semiotic theories of the image. It addresses the imagination, stimulating it to leave behind the particular and reflect on the general. Photography of fuzziness does not reproduce the world in terms of representing the unique moment, and a fuzzy photo can be interpreted as a sign only with great difficulty.
Its reference is one of vague similarity and undetermined analogies, dissolving the sign in an obscure gliding pane. By opening the image, fuzziness offers the perception of the general in the specific. It invests the image with the dimension of the general resulting from a degree of abstraction. Visuelle Entdeckungen durch die Kunst, in: Bild und Auge, Stuttgart , S. He comments on a blurred photo of a giraffe and asks rhetorically whether the haziness may not give a specific quality of African mystery to this picture.
Anger, hurt and enthusiasm: Mobilizing for violence in India, Entanglements, political communication and shared temporal layers. Cyber Review of Modern Historiography. Mobilizing anger in Andhra Pradesh: The emotional politics of the angry young man and popular Telugu cinema. World War I and propaganda. La politica della giustizia nel processo Musolino del Zur Rationalisierung der Angestellten in den er Jahren. Spurensuchen in der materiellen Kultur.
Defining the criminal of passion in the Italy s - s. Studies on the historical performativity of emotions. University of Illinois Press. Newsboys in Mexico City and criminality in the Late Porfiriato. Journal of the History of Childhood and Youth. Burke, Debating new approaches to history pp. Architecture, democracy, and emotions: The politics of feeling since Architectural history of emotions - emotional history of democracy.
The politics of feeling since pp. Affects, politics, and architecture in postwar West Germany. University of Rochester Press. From the promotion to the neutralisation of emotions in student assessment: Instituting the Fiche Scolaire for vocational guidance in France, Historical perspectives Studia Educationis Historica No. Capitalism, consumption and authenticity pp. Suhrkamp, Dandekar, D. Translation and the Christian conversion of women in Colonial India: Journal of South Asia Studies , 41 , History of European Ideas. Retrieved March 14, , from http: Kutsujoku no seiji [The politics of humiliation: Shame and shaming in modern history].
Shiso , , Aus Politik und Zeitgeschichte , 68 , Full text Frevert, U. Ehre, Scham und die Wollust des Opferns]. Zwischen Traum und Alptraum: Marriage between confessions in the s. Subjects, citizens and others: The emotional politics of the alternative left: Von der Krankheit wissen: Der Wandel emotionaler Interaktionen zwischen Arzt und Patient im Sektionskongress der Wissenssoziologie pp. Measuring knowledge and emotions: Audience research in educational films in the beginning of the twentieth century.
Journal of Social History , 51 , The flower-sellers' festival of Delhi. A history of emotions in the rain pp. Neue Wege der Begriffsgeschichte. Geschichte und Gesellschaft , 44 , A field in search of its identity: Recent introductions to global history. Fairleigh Dickinson University Press. Emotionen und Begriffsgeschichte in Nordindien, - Neue Wege der Begriffsgeschichte [Themenheft].
Geschichte und Gesellschaft, 44 1. Saiyid Ahmad Khan und die Moderne. Hindi cinema's rainmaking formula: A history of emotions in the rain. Linguaggi, spazi e canali della politicizzazione nell'Italia del lungo Ottocento. Disease, cure, and national ethos in modern Italy. Social History of Medicine , 31 , The aesthetics of minor intimacy: Precarious attachments and queer feelings in the autobiographical fiction of J.
Safundi , 19 , The concept of sentimental boyhood and the emotional education of boys in Mexico during the Early Porfiriato, An Interdisciplinary Journal , 11 , Why did I waste you? History of Emotions - Insights into Research. Retrieved September 27, , http: Warum habe ich Dich verschwendet?
Humor and the politics of emotion in the courts of the Weimar Republic. Retrieved October 16, , http: Global history meets area studies: Welche emanzipatorischen Chancen bergen die aktuellen Debatten und Dynamiken? Liberal imperialism and the surveillance of anticolonialists in Europe, The making of a "happy worker": Positive psychology in neoliberal organizations.
Job insecurity, intimacy and the flexible self pp. Negotiating justice and passion in european legal cultures, ca. Rechtsgeschichte - Legal History , 25 , Konkani Sufis, India and "Arabastan". Knowledge production after the mobility turn pp. A narrative of Satvai affliction in rural Maharashtra. Asian Ethnology , 76 , Full text Eitler, P. Le genre et l'histoire: L'exemple de la honte. Signaturen eines vergangenen Zeitalters Geschichte der Gegenwart No. Frankfurter Allgemeine Zeitung GmbH.
Emotionale Praktiken und der homophile Kampf um Anerkennung. Approaches and their politics. Emotion, Space and Society , 25 , Die Emotionsgeschichte der Krebserkrankung im Zornpolitik Edition Suhrkamp No. Emotions, mind, and body on trial: How caste is inscribed in space and sensoria. The history of childhood and the emotional. History Compass , 15 Feeling communities [Special issue]. Indian Economic and Social History Review, 54 1. Indian Economic and Social History Review , 54 , Love and compassion for the community: Emotions and practices among North Indian muslims, c.
Debates on urban change in Berlin and Cairo, Feeling anger, compassion and community in popular Telugu cinema. Criminal law and emotions in modern Europe. With an introductory note on images of legal feeling. Towards an understanding of free will through feeling in modern Europe. Scientific expertise and the politics of emotions in the trial of Giuseppe Musolino.
History of the Human Sciences , 30 , Die deutsche Kommunikationspolitik und das Jahr Ereignis, Bedeutung, Erinnerung pp. Vom inneren Trieb zum psychophysischen Paradox: Emotions and judicial decision-making in modern Europe. Revolutionary conscience, remorse and resentment: Emotions and early Soviet criminal law, Historical Research , 90 , The press, the audience, and emotions in Italian courtrooms ss. Rhetorical engineering of emotions in the courtroom: The case of lawyers in modern France.
Law and emotions [Special section]. Facial expression as political expression. Retrieved September 26, , http: Gesichtsausdruck als politischer Ausdruck , In: Das Tagesplanbuch , In: Revolutionary conscience, emotions and the administration of justice in the early Soviet period.
Full text Boddice, R. The science of sympathy: Morality, evolution, and Victorian civilization. Empathy as an emotional practice in historical pedagogy. Miscellanea Anthropologica et Sociologica , 17 , Full text Brauer, J. How can music be torturous? Music in Nazi concentration and extermination camps. Rekindling individualism, consuming emotions: Constructing "psytizens" in the age of happiness. Culture and Psychology , 22 , Inverting the pyramid of needs: Positive psychology's new order for labor success.
Psicothema , 28 , Forgiving crimes in early modern Naples. Cultures of conflict resolution in early modern Europe. Confronting conflict in early modern Europe. Der Wert der Dinge [Themenheft].
Full text Dror, O. History of science and the emotions [Special issue]. An introduction to history of science and the emotions. Osiris , 31 , Der kurze Weg nach "Osten": Orientalisierungsprozesse in der Bundesrepublik Deutschland um und nach Kriegsausbruch und private Schusswaffen: Regulierungseffekte des Ersten Weltkriegs auf die zivile deutsche Waffenkultur. Wege ins Unbekannte pp. Empathy in the theatre of horror, or civilizing the human heart. World History , , The history of emotions.
Rechtspraxis und -theorie in der Moderne. Franz von Stuck bis Frida Kahlo pp. Men's fears and women's desires: The battle of the sexes from , pp. Battle of the sexes: Franz von Stuck to Frida Kahlo, by F. Citizenship and the recognition of cultural multiplicities: Can British or Habsburg policies serve as models for contemporary settings? Shifting emotional styles in gay men's venues since the s. Suomen Queer-tutkimuksen Seuran Lehti , 10 , The feeling body and its diseases: How cancer went psychosomatic in twentieth-century Germany. Anti-catholicism and catholicism in nineteenth-century United States and the war of Depictions of the devil's rage in Nicolas Remy's Daemonolatria.
The witch on trial: Narratives of conflict and community in early modern Germany. Emotions in the history of witchcraft. How films entered the classroom: The sciences and the emotional education of youth through health education films in the United States and Germany, Learning how to feel through play: At the intersection of the histories of play, childhood and the emotions. International Journal of Play , 5 , Men and the periodical press. Emotions in the history of witchcraft, witchcraft in the history of emotions. Configurations , 24 , Emotion concepts in Urdu and Bengali [Special section].
Contributions to the History of Concepts , 11 , From morality to psychology: Emotion concepts in Urdu, Concepts of emotions in Indian languages. The language of transnational history. Conceptual history beyond language. History and Theory , 55 , En torno a Reinhart Koselleck. History of concepts and global history. Masculinity, citizenship and virtuous emotions in popular Indian cinema. Pictures, emotions, conceptual change: Anger in popular Hindi cinema.
From thrifty housewives to shoppers with needs: On a capitalist program of education. Bodies and affects in market societies. The role of emotions in the production of capitalist subjects: Indeterminacy in a modern Sufi ceremonacy. Actors, contexts, and texts. Debating violence in the face of war: Of testimonios and feeling communities: Totaram Sanadhya's account of indenture. Full text Vasilyev, P. Fighting drinks, drugs, and "immorality" pp. War, revolution, and drugs: The experience of war and revolution Russia's great war and revolution Vol.
Presses Universitaires de Provence. Fotografia e approcci storiografici alle emozioni. Rivista Storica Italiana , , Retrieved November 6, , http: Emotional styles and the all souls' day in Bologna Italy Kulturgeschichten der Moderne No. Aus Politik und Zeitgeschichte , 65 46 , Full text Beljan, M. Debatten- und Diskursgeschichte des Nationalsozialismus nach 3rd.
Disciplining young people's emotions in the Soviet occupation zone and the early German Democratic Republic. National, colonial and global perspectives pp. Lieder aus den nationalsozialistischen Konzentrationslagern: Geschichte n , Erinnerung und Rezeption. The origins of trans-imperial policing: British-French government co-operation in the surveillance of anti-colonialists in Europe, Empires and encounters pp.
Encountering Spain in early modern Naples: Language, customs and sociability. Images of Iberia pp. Job Satisfaction statt Arbeitszufriedenheit: Therapeutisierung, Politisierung, Emotionalisierung Histoire No. Zwischen individuellen Dispositionen und gesellschaftlichen Dynamiken: Gewalt und Aggression pp.
Full text Ellerbrock, D. Between passion and senses? Emotional dimensions of legal cultures in historical perspective. InterDisciplines , 6 , Perspectives on emotions and law [Special issue]. The national socialist politics of emotions , pp. Historicizing emotions in Berlin. Publications of the Modern Language Association , , The history of a European nation.
Can you feel your research results? How to deal with and gain insights from emotions generated during oral history interviews. Ist frei sein normal? Westdeutsche Lesben und Schwule zwischen Land und Stadt. Geschichts- und kulturwissenschaftliche Perspektiven Forschungen zur Regionalgeschichte No. Quelles couleurs pour l'arc-en-ciel de demain? Presses Universitaires du Septentrion. Full text Gammerl, B. La cura mental de Phineas P. Quimby y el origen de la psicoterapia moderna.
Full text Garcia, L. At home, I'm a tourist: Musical migration and affective citizenship in Berlin. Journal of Urban Cultural Studies , 2 , How to detect emotions? The cancer taboo and its challenge to a history of emotions. Quanqiu shiyu zhong de gainianshi [A global history of concepts: Civilization, civilizing and emotions]. Space, emotions and identities in vernacular histories of princely Rampur. Journal of the Economic and Social History of the Orient , 58 , The social production of space and emotions in South Asia. The popular itinerant theatre of Maharashtra, Asian Theatre Journal , 32 , National Library of Medicine Ed.
The practice of lecturing and the epistemological status of sex education films in Germany. Swiss Journal of the History of Medicine and Science , 72 , Vom Ekel zur Empathie: Films on sex hygiene in Germany and France in the first half of the 20th Century. Screening sex hygiene films in the first half of the 20th century [Special issue]. Swiss Journal of the History of Medicine and Science, 72 1. Jagdish, Son of Ahmad: Dalit Religion and Nominative Politics in Lucknow.
South Asia Multidisciplinary Academic Journal , Retrieved April 4, , from http: The passing of an 'untouchable' god. Disgust, compassion or tolerance: Politik und Emotionen aus der Perspektive der Geschichtswissenschaft. Die Deutschnationalen auf der Suche nach einer konservativen Demokratie. Demokratie nach dem Ersten Weltkrieg pp. Childhood, youth and emotions in modern history: National, colonial and global perspectives.
Metaphors for a banned emotion. A Journal of English Philology , , The value of qualitative research for cognitive literary studies. The creation of an imperial global order. Concepts in nineteenth-century Asia and Europe pp. Mapping emotions, constructing feelings: Delhi in the s. Tears of blood for a lost world.
Publications | Max Planck Institute for Human Development
Full text Pernau, M. The virtuous individual and social reform: Debates among North Indian Urdu speakers. What object is fear? The history of an emotion in global perspective, by M. History and Theory , 54 , Concepts in nineteenth-century Asia and Europe. Eine emotionshistorische Perspektive auf die Produktion eines Stadtraums, ca. Full text Prestel, J. Railway infrastructure and suburban subject formation in Berlin and Cairo around Debates on the city and emotions in Berlin and Cairo - The jurist as manager of emotions: Emotions and the global politics of childhood.
Perspectives et enjeux pour l'histoire de la mort pp. Emotions and writing the history of death: Mortality , 20 , Conceptualizing 'El Gran Turco': Shared semantics in the 15th century Mediterranean. Richard Dyer, "In Defence of Disco" Retrieved November 4, , from http: Love letters in World War I - A plea for a broader genre concept. Retrieved June 19, , from http: Despair, confession and salvation in a seventeenth-century witch-trial. Retrieved March 7, , from http: Democracy and the architecture of humility. Demokratie und die Architektur der Bescheidenheit , In: The "Diary of a Father" in a German family magazine of the s.
Consolation, anger, and a boys' choir in Berlin, Retrieved May 5, , from http: Continuity and change in the vocabulary of feeling pp. Children's literature and emotional socialization, pp. Owl Publishing House, , pp. German methods, English morals: Physiological networks and the question of callousness, c. Pain and emotion in modern history. About changing perceptions of death and mourning in World War I. Animal history as body history: Four suggestions from a genealogical perspective. The "origin" of emotions: Sensitive humans, sensitive animals.
Eine genealogische Perspektive auf das Konturen einer "Animate History" pp. Feeling and faith-religious emotions in German history. German History , 32 , Religious emotions in German history [Special issue]. German History, 32 3. Gun rights as privileges of free men: Chronology of a powerful political myth of nineteenth and twentieth century. Political masculinities in literature and culture pp. Old games - new meanings? Understanding modern gun violence in the light of nineteenth century habits.
Miscellanea Anthropologica et Sociologica , 15 , Aus Politik und Zeitgeschichte , 64 , Zur Geschlechterkonstruktion des politischen Waffendiskurses im WerkstattGeschichte , 22 64 , Concepts and debates over three centuries. Juden zwischen den Fronten. Historical trajectories of legal defenses. Rechtsgeschichte - Legal History , 22 , The modern history of emotions: A research center in Berlin.
The moral economy of trust: Passions, preferences, and animal spirits: How does Homo Oeconomicus cope with emotions? A transatlantic perspective pp. University of Chicago Press. Honour, shame, and the ecstasy of sacrifice. International Encyclopedia of the First World War. Learning how to feel: Children's literature and emotional socialization, Emotions in History.
Continuity and change in the vocabulary of feeling On challenges and trends within the history of emotions. Rivista di Storia dell' e del ' , 17 , The politics of emotions in the radical new left in West-Germany, c. Contemporary European History , 23 , Emotions in protest movements in Europe since [Special issue]. Contemporary European History, 23 4. Seuchen im langen Experiences and debates in West Germany and the United States after Questioning Evangelical emotions in Wilhelmine Germany.
Emotions in science during the early twentieth century. The case of falling walls politics of demolition and preservation in Rampur. Adab as ethics of literary form and social conduct: Reading the Gulistan in late Mughal India. Imagining Iran before nationalism: Geocultural meanings of land in Azar's Atashkadah. University of Texas Press. Konsumkultur und Propaganda im Ersten Weltkrieg.