Capital Punishment and Anatomy: History and Ethics of an Ongoing Association
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EXHIBITS an Evolution
CHAPTER 2 EXHIBITS An Evolution Frances Kruger, Not Finished After All These Years Liz Clancy, and Museums have many important functions, but exhibits are what most Kristine A. Haglund people come to see. In addition to educating and entertaining, exhibits bring visitors in the door, generating revenue that supports Museum operations. More than a century after John F. Campion spoke at the Museum’s opening exercises on July 1, 1908, his observation that “a museum of natural history is never finished” is especially true in the world of exhibits (Fig. 2.1)—and in fact needs to stay true for the Museum to remain relevant (Alton 2000). Times change, expectations change, demographics change, and opportuni- ties change. This chapter is a selective, not-always-chronological look at some of the ways that the Museum’s exhibits have changed with the times, evolving from static displays and passive observation to immersive experi- ences to increased interactivity and active visitor involvement. Starting from a narrow early focus, the Museum went on to embrace the goal of “bringing the world to Denver” and, more recently, to a renewed regional emphasis and a vision of creating a community of critical thinkers who understand the lessons of the past and act as responsible stewards of the future.1 Figure 2.1. Alan Espenlaub putting finishing touches on the Moose-Caribou diorama. 65 DENVER MUSEUM OF NATURE & SCIENCE ANNALS | No. 4, December 31, 2013 Frances Kruger, Liz Clancy, and Kristine A. Haglund Displays and Dioramas Construction of the Colorado Museum of Natural History, as the Museum was first called, began in 1901. -
View/Open: ETD Quigley.Pdf
TÇtàÉÅ|vtÄ \wxÇà|àç _xäxÄá Éy \wxÇà|àç Tààtv{xw àÉ cÜxáxÜäxw [âÅtÇ exÅt|Çá A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture & Technology by Christine Quigley, B.A., B.F.A. Washington, D.C. April 20, 2007 © 2007 by Christine Quigley ii TuáàÜtvà Head slice on table. Max Aguilera-Hellweg (1994). Sagittsl section, part of a series demonstrating the anatomy of the head, prepared for the Mutter Muaeum by Dr. Joseph P. Tunis (1866-1936), 1910 (www.blastbooks.com). When a human body part is removed and preserved after death, what kinds of identity remain attached to it? There are the extremes of complete anonymity and the named remains of a famous or infamous person, but there are many shades of gray in between. Is the specimen that of a known individual or recognizable only as a race and gender? What reason would someone have to designate the preservation of his remains and ensure that the narrative of his life stays permanently attached? Does a very personal part, like face or skin, commemorate the life of that particular body or can it still be used to represent universal human anatomy? The answers are in part determined by whether the donor wanted his or her identity associated with the specimen. I examine the gradations of identity as represented by three museum objects in three different time periods. The first is the autobiography of a nineteenth-century criminal bound at his request in iii his skin (at the Boston Athenaeum). -
To Download the Entire Volume 29 Issue 2 As
The Journal of Plastination The official publication of the International Society for Plastination ISSN 2311-7761 IN THIS ISSUE: S10 Plastination Technique for Preservation of Parasites – p5 Plastination Applied to The Conservation of Cultural Heritage – p11 The Challenges of Plastinating a Blue Whale (Balaenoptera musculus) Heart – p22 Rehabilitation of Plastinated Anatomical Prosections Using Silicone Adhesive and Pre-Cured S10/S3-Impregnated Fascia and Muscle – p30 Abstracts Presented at the 12th Interim Meeting of the ISP in Durban, South Africa – p37 Preview of ISP 2018, Dalian – p65 Volume 29 (2); December 2017 The Journal of Plastination ISSN 2311-7761 ISSN 2311-777X online The official publication of the International Society for Plastination Editorial Board: Rafael Latorre Philip J. Adds Murcia, Spain Editor-in-Chief Institute of Medical and Biomedical Education Scott Lozanoff (Anatomy) Honolulu, HI USA St. George’s, University of London London, UK Ameed Raoof. Ann Arbor, MI USA Robert W. Henry Associate Editor Mircea-Constantin Sora Department of Comparative Medicine Vienna, Austria College of Veterinary Medicine Hong Jin Sui Knoxville, Tennessee, USA Dalian, China Selcuk Tunali Carlos Baptista Assistant Editor Toledo, OH USA Department of Anatomy Hacettepe University Faculty of Medicine Ankara, Turkey Executive Committee: Rafael Latorre, President Dmitry Starchik, Vice-President Selcuk Tunali, Secretary Carlos Baptista, Treasurer Instructions for Authors Manuscripts and figures intended for publication in The Journal of Plastination should be sent via e-mail attachment to: [email protected]. Manuscript preparation guidelines are on the last two pages of this issue. On the Cover: Royal Ontario Museum Exhibit: Dilated, dissected, cured, plastinated blue whale heart. -
Body Worlds: Towards an Interdisciplinary Approach to Science Exhibitions
Making Meaning of von Hagens’ Body Worlds: Towards an Interdisciplinary Approach to Science Exhibitions by Michelle Melodie Dubek A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum Teaching and Learning Ontario Institute for Studies in Education University of Toronto © Copyright by Michelle Melodie Dubek 2013 Making Meaning of von Hagens’ Body Worlds: Towards an Interdisciplinary Approach to Science Exhibitions Michelle Melodie Dubek Doctor of Philosophy Department of Curriculum Teaching and Learning Ontario Institute for Studies in Education University of Toronto 2013 Abstract Body Worlds is a traveling exhibition of plastinated human cadavers that offers the general public an opportunity to experience the human body in a unique way. It has been met with controversy and awe; public reactions and responses have been mixed. This case study research explored visitor responses to this controversial science exhibition, and examined the meaning visitors made of their experience. Specifically, the following research questions directed this study: Within the context of the Body Worlds exhibition: (a) What meaning did visitors make and how did they respond to the exhibits? (b) What tensions and issues arose for visitors? and (c) What did this type of exhibition convey about the changing role of science centres and the nature of their exhibitions? The primary sources of data for this study were 46 semi-structured interviews with visitors to the exhibition, observation notes, and 10 comment books including approximately 20 000 comments. Data suggested that the personal, physical, and sociocultural contexts (Falk & Dierking, 2000) contributed to visitor meaning meaning-making. -
Body Worlds and the Victorian Freak Show
“Skinless Wonders”: Body Worlds and the Victorian Freak Show Nadja Durbach Journal of the History of Medicine and Allied Sciences, Volume 69, Number 1, January 2014, pp. 38-67 (Article) Published by Oxford University Press For additional information about this article http://muse.jhu.edu/journals/jhm/summary/v069/69.1.durbach.html Access provided by Middlebury College (28 Jul 2014 12:06 GMT) “Skinless Wonders”: Body Worlds and the Victorian Freak Show NADJA DURBACH Department of History, University of Utah, Carolyn Tanner Irish Humanities Building, 215 South Central Campus Drive, Room 310, Salt Lake City, Utah 84112. Email: [email protected] ABSTRACT. In 2002, Gunther von Hagens’s display of plastinated corpses opened in London. Although the public was fascinated by Body Worlds, the media largely castigated the exhibition by dismissing it as a resuscitated Victorian freak show. By using the freak show analogy, the British press expressed their moral objection to this type of bodily display. But Body Worlds and nineteenth-century displays of human anomalies were linked in more complex and telling ways as both attempted to be simultaneously entertaining and educational. This essay argues that these forms of corpo- real exhibitionism are both examples of the dynamic relationship between the popular and professional cultures of the body that we often errone- ously think of as separate and discrete. By reading Body Worlds against the Victorian freak show, I seek to generate a fuller understanding of the his- torical and enduring relationship between exhibitionary culture and the discourses of science, and thus to argue that the scientific and the spectac- ular have been, and clearly continue to be, symbiotic modes of generating bodily knowledge. -
Body Work and the Work of the Body
Journal of Moral Theology, Vol. 2, No. 1 (2013): 113-131 Body Work and the Work of the Body Jeffrey P. Bishop e cult of the body beautiful, symbolizing the sacrament of life, is celebrated everywhere with the earnest vigour that characterized rit- ual in the major religions; beauty is the last remaining manifestation of the sacred in societies that have abolished all the others. Hervé Juvin HE WORLD OF MEDICINE has always been focused on bod- ies—typically ailing bodies. Yet recently, say over the last century or so, medicine has gradually shied its emphasis away from the ailing body, turning its attention to the body Tin health. us, it seems that the meaning of the body has shied for contemporary medicine and that it has done so precisely because our approach to the body has changed. Put in more philosophical terms, our metaphysical assumptions about the body, that is to say our on- tologies (and even the implied theologies) of the body, come to shape the way that a culture and its medicine come to treat the body. In other words, the ethics of the body is tied to the assumed metaphys- ics of the body.1 is attitude toward the body is clear in the rise of certain con- temporary cultural practices. In one sense, the body gets more atten- tion than it ever has, as evident in the rise of the cosmetics industry, massage studios, exercise gyms, not to mention the attention given to the body by the medical community with the rise in cosmetic derma- tology, cosmetic dentistry, Botox injections, and cosmetic surgery. -
Bodies for Science. the Display of Human Statues for Educational Purposes Francesca Monza1, Silvia Iorio2 1 Department of Medicine and Aging Sciences, “G
Medicina Historica 2018; Vol. 2, N. 3: 145-151 © Mattioli 1885 Original article: history of medicine Bodies for science. The display of human statues for educational purposes Francesca Monza1, Silvia Iorio2 1 Department of Medicine and Aging Sciences, “G. d’Annunzio” University of Chieti and Pescara; 2 Unit of History of Medicine Department of Molecular Medicine, Sapienza - University of Rome, Italy Abstract. Every time von Hagens’ plastinated bodies are exposed, they cause polemics, controversies and an inevitable echo in the media. It is not clear whether what raises greater scandal and ethical doubts is the exposure of real bodies, corpses for anatomical demonstration, or the fact that the Body Worlds Exhibition attracts crowds of visitors, resulting in huge financial revenues. Contextualized within the history of medicine, if it were only the display of “prepared” corpses to be called into question, the issue should not cause outcry, as we are merely in the presence of the latest technique, plastination, in the long evolution of medical and anatomical teaching. Such statues, created in anatomical cabinets, were used in the past as a compendium for courses of anatomical studies. The bodies were prepared using complex techniques, treated with great care and postured as if they were “alive” in order to make them more understandable and effective for teaching. A related theme - with important ethical implications - is how these bodies were made available to anatomical institutes. In Britain there was the very interesting case of Jeremy Bentham (1748-1832), father of utilitarian- ism: he donated his body for research purposes and display. This philosopher was ahead of his time not only regarding the display of bodies for scientific purposes, but also the formula for the donation of bodies to sci- ence, now the only really viable solution for the use of the human body in educational and scientific settings. -
Tracing the Body in Body Worlds, the Anatomical Exhibition of Real Human Bodies
ANATOMY OF SPECTATORSHIP: TRACING THE BODY IN BODY WORLDS, THE ANATOMICAL EXHIBITION OF REAL HUMAN BODIES by Rebecca Scott Bachelor of Arts, Simon Fraser University, 2005 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the School of Communication © Rebecca Scott 2008 SIMON FRASER UNIVERSITY Summer 2008 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Rebecca Scott Degree: MA Titles: Anatomy of Spectatorship: Tracing the Body in Body Worlds, the Anatomical Exhibition of Real Human Bodies Examining Committee: Chair: Dr. Peter Chow-White Assistant Professor, School of Communication Dr. Kirsten McAllister Assistant Professor School of Communication Dr. Zoe Druick Associate Professor School of Communication Dr Kimberly Sawchuk Associate Professor Department of Communication Studies Concordia University Date: ii SIMON FRASER UNIVERSITY LIBRARY Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the pUblic at the "Institutional Repository" link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. -
A Life in Science Dr. Gunther Von Hagens
Dr. Gunther von Hagens A Life in Science Dr. Gunther von Hagens’ life reads like He also showed an interest in science an archetypal scientist’s resume— dis- from an early age. tinguished by early precocity, scholar- ship, discovery, experimentation and He entered medical school at the Uni- invention. It is also the profi le of a man versity of Jena. While there, he began shaped by extraordinary events and to question communism and socialism marked by defi ance and daring. and widened his knowledge of politics by gathering information from Western Anatomist, inventor of Plastination, news sources. He later participated in and creator of BODY WORLDS, Dr. student protests against the invasion of von Hagens (christened Gunther Ger- Czechoslovakia by Warsaw Pact troops. hard Liebchen) was born in 1945 in Alt- Skalden, Posen, Poland—then part of A failed attempt to cross the Czechoslo- Germany. To escape the imminent and vakian border into Austria and freedom eventual Russian occupation of their in January of 1969 caused 23-year-old homeland, his parents placed the 5-day- von Hagens to be arrested, extradited to old infant in a laundry basket and began East Germany and imprisoned for two a six-month trek west by horse wagon. years. Th e family lived briefl y in Berlin, before fi nally settling in Greiz, where von Ha- In 1970, after West Germany’s purchase gens remained until he was 19. of his freedom, von Hagens enrolled at the University of Lubeck, where he As a child, he was diagnosed with a rare completed his medical studies in 1973. -
Anatomy of Spectatorship: Tracing the Body in Body Worlds, the Anatomical Exhibition of Real Human Bodies
ANATOMY OF SPECTATORSHIP: TRACING THE BODY IN BODY WORLDS, THE ANATOMICAL EXHIBITION OF REAL HUMAN BODIES by Rebecca Scott Bachelor of Arts, Simon Fraser University, 2005 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the School of Communication © Rebecca Scott 2008 SIMON FRASER UNIVERSITY Summer 2008 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-58543-6 Our file Notre référence ISBN: 978-0-494-58543-6 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. -
Lies, Incorporated
Ari Rabin-Havt and Media Matters for America Lies, Incorporated Ari Rabin-Havt is host of The Agenda, a national radio show airing Monday through Friday on SiriusXM. His writing has been featured in USA Today, The New Republic, The Nation, The New York Observer, Salon, and The American Prospect, and he has appeared on MSNBC, CNBC, Al Jazeera, and HuffPost Live. Along with David Brock, he coauthored The Fox Effect: How Roger Ailes Turned a Network into a Propaganda Machine and The Benghazi Hoax. He previously served as executive vice president of Media Matters for America and as an adviser to Senate Democratic Leader Harry Reid and former vice president Al Gore. Media Matters for America is a Web-based, not-for-profit, progressive research and information center dedicated to comprehensively monitoring, analyzing, and correcting conservative misinformation in the U.S. media. ALSO AVAILABLE FROM ANCHOR BOOKS Free Ride: John McCain and the Media by David Brock and Paul Waldman The Fox Effect: How Roger Ailes Turned a Network into a Propaganda Machine by David Brock, Ari Rabin-Havt, and Media Matters for America AN ANCHOR BOOKS ORIGINAL, APRIL 2016 Copyright © 2016 by Ari Rabin-Havt and Media Matters for America All rights reserved. Published in the United States by Anchor Books, a division of Penguin Random House LLC, New York, and distributed in Canada by Random House of Canada, a division of Penguin Random House Canada Limited, Toronto. Anchor Books and colophon are registered trademarks of Penguin Random House LLC. Reinhart-Rogoff chart on this page created by Jared Bernstein for jaredbernsteinblog.com. -
Division, Records of the Cultural Affairs Branch, 1946–1949 108 10.1.5.7
RECONSTRUCTING THE RECORD OF NAZI CULTURAL PLUNDER A GUIDE TO THE DISPERSED ARCHIVES OF THE EINSATZSTAB REICHSLEITER ROSENBERG (ERR) AND THE POSTWARD RETRIEVAL OF ERR LOOT Patricia Kennedy Grimsted Revised and Updated Edition Chapter 10: United States of America (March 2015) Published on-line with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), in association with the International Institute of Social History (IISH/IISG), Amsterdam, and the NIOD Institute for War, Holocaust, and Genocide Studies, Amsterdam, at http://www.errproject.org © Copyright 2015, Patricia Kennedy Grimsted The original volume was initially published as: Reconstructing the Record of Nazi Cultural Plunder: A Survey of the Dispersed Archives of the Einsatzstab Reichsleiter Rosenberg (ERR), IISH Research Paper 47, by the International Institute of Social History (IISH), in association with the NIOD Institute for War, Holocaust and Genocide Studies, Amsterdam, and with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), Amsterdam, March 2011 © Patricia Kennedy Grimsted The entire original volume and individual sections are available in a PDF file for free download at: http://socialhistory.org/en/publications/reconstructing-record-nazi-cultural- plunder. Also now available is the updated Introduction: “Alfred Rosenberg and the ERR: The Records of Plunder and the Fate of Its Loot” (last revsied May 2015). Other updated country chapters and a new Israeli chapter will be posted as completed at: http://www.errproject.org. The Einsatzstab Reichsleiter Rosenberg (ERR), the special operational task force headed by Adolf Hitler’s leading ideologue Alfred Rosenberg, was the major NSDAP agency engaged in looting cultural valuables in Nazi-occupied countries during the Second World War.