2021 ◽  
Author(s):  
Stefanie Jovanovic-Kruspel ◽  
Mathias Harzhauser

ABSTRACT The nineteenth century was the dawn of scientific and systematic paleontology. The foundation of Natural History Museums—built as microcosmic “Books of Nature”—not only contributed to the establishment of this new discipline but also to its visual dissemination. This paper will take the metaphor of the “book” as a starting point for an examination of the paleontological exhibition at the Natural History Museum in Vienna. In keeping with “Natural Theology,” the earliest natural science museums in Britain were designed as expressions of the medieval idea of the “Holy Book of Nature.” Contrary to this, the Natural History Museum Vienna, opened in 1889, wanted to be a nonreligious museum of evolution. Nevertheless, the idea of the “book” was also influential for its design. According to the architects and the first director, it should be a modern “walk-in textbook” instructive for everyone. The most prominent exhibition hall in the museum is dedicated to paleontology. The hall’s decorative scheme forms a unique “Paleo-Gesamtkunstwerk” (Gesamtkunstwerk: total piece of art). The use of grotesque and mythological elements is a particularly striking feature of the hall’s decoration and raises the question of how this relates to the museum’s claim to be a hard-core science institution. As it was paleontology’s task to demystify the monsters and riddles of Earth history systematically, it seems odd that the decorative program connected explicitly to this world. This chapter sheds light on the cultural traditions that led to the creation of this ambiguous program that oscillates between science and imagination.


1991 ◽  
Vol 10 (1) ◽  
pp. 73-88 ◽  
Author(s):  
Kennard Bork

Elie Bertrand (1713-1797) was a Swiss pastor/naturalist whose geological writings are illustrative of the growth of eighteenth-century natural history. Describing, cataloguing, and classifying formed the core of his work, but he also proposed theoretical analyses based on observations in the field. Bertrand's intellectual roots included Cartesian rationalism, British natural theology, and the Linnacan system of classification. Trained as a theologian. Bertrand viewed the physical world as a proving ground for showing God's Wise Design in nature. He was also committed to empiricism, and repeatedly called for expanding the base of geological knowledge.Several of the published products of Bertrand's attempts to understand the natural world were brought together in the 1766 Recueil de divers traités sur l'histoire naturelle. By briefly considering each of the incorporated papers, it is possible to recognize the topics which interested eighteenth-century naturalists and to develop insight into the methodologies they used. In the Recueil we see Bertrand's eclectic epistemology attempt to deal with such topics as the interior of the earth, earthquakes, fossils, and the origin and Providential use of mountains.Celebrated in his day, Bertrand was a correspondent of Voltaire, a counselor to the Polish court, and a member of numerous learned societies. He published articles in the French Encyclopédic, and his 1763 Dictionnaire universal des fossiles was among the most-read scientific books of the century. The obscurity which enveloped Elie Bertrand seems related in large part to the fact that he was an accumulator of data and a commentator about past theories, rather than an innovator of new concepts. As the natural theology that undergirded his writing became obsolete, the cogency of his arguments diminished. In the context of his time, however, Bertrand is an instructive example of how geoscience matured during what has been termed a sterile period in the development of natural history.


2014 ◽  
Vol 18 (2) ◽  
pp. 155-166 ◽  
Author(s):  
Chris L. Smith ◽  
Sandra Kaji-O'Grady

‘Translation’ is dealt with in this paper as a descriptor of the transformation that occurs as a concept, structure, image or notion is appropriated from one discipline to another. This understanding of translation as process or movement, rather than a field of overlap between disciplines, is facilitated by the work of the philosopher Michel Foucault. Foucault considers disciplinarity as the structural demarcation of knowledge and information (discourse) and the demarcations that are disciplined by knowledge. This understanding may be expressed as: disciplines as a disciplining. Foucault rejects the idea of disciplines as bounded self-similar content, arguing instead that disciplinarity lies in the framing of logics applied to content. The disciplines in question are considered in their contingency and temporality yet are not entirely bound by them. Thus, a coherent and organised discipline such as biology dates from the beginning of the nineteenth century. Before then its subject matters either were comprehended within other disciplinary frameworks (natural history) or were considered outside science itself (natural theology). In The Order of Things (1966), Foucault groups several naturalists, including Buffon (French eighteenth century) and Darwin (British nineteenth century), as belonging to the same ‘discourse’ or discursive family. Separating disciplinarity from the origin of ideas and time of writing fosters the productive translation of concepts, images and artefacts between disciplines.


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