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Modernism, modernity, and politics in the general history of science: Implications of Herbert Mehrtens' work, from "Vienna 1900" to the Nazi era, and beyond. 科学通史中的现代主义、现代性和政治:从 "维也纳 1900 "到纳粹时代及其后赫伯特-梅尔腾斯著作的影响。
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2024-09-23 DOI: 10.1017/S0269889724000061
Mitchell G Ash

Herbert Mehrtens' work and the implications of the historical ideas he advanced went beyond the history of any single discipline. The article therefore addresses three broad issues: (1) Mehrtens' reconceptualization of mathematical modernism, in his field-changing book Moderne-Sprache-Mathematik (1990) and other works, as an epistemic and cultural phenomenon in a way that could potentially reach across and also beyond the sciences and also link scientific and cultural modernisms; (2) the extension of his work to the history of modernity itself via the concept of "technocratic modernism"; (3) his seminal contributions to the historiography of the sciences and technology during the National Socialist period, focusing on his critique of claims that mathematics, the natural sciences and technology were morally or politically "neutral" during or after the Nazi era, and on his counter-claim that mathematicians and other scientists had in fact mobilized themselves and their knowledge in support of Nazism's central political projects. Taken as a guide for understanding science-politics relations in general, Mehrtens' work was and remains a counterweight to the political abstinence adopted by many who have followed the "cultural turn" in history of science and technology. In the broadest sense, the article is a plea for the culturally relevant and politically engaged historiography of the sciences and humanities that Mehrtens himself pursued.

赫伯特-梅尔腾斯的著作及其提出的历史思想的影响超越了任何单一学科的历史。因此,本文探讨了三大问题:(1) 梅尔腾斯在其改变领域的著作《现代数学》(Moderne-Sprache-Mathematik,1990 年)及其他作品中,将数学现代主义重新概念化为一种认识论和文化现象,其方式有可能跨越和超越科学,并将科学现代主义和文化现代主义联系起来;(2) 通过 "技术官僚现代主义 "的概念,将其工作扩展到现代性历史本身;(3) 他对国家社会主义时期科学和技术史学的开创性贡献,重点是他对数学、自然科学和技术在纳粹时期或之后在道德或政治上是 "中立 "的说法的批判,以及他对数学家和其他科学家事实上调动自身及其知识支持纳粹主义核心政治项目的反驳。作为理解科学与政治关系的指南,梅尔腾斯的著作过去和现在都是对许多追随科技史 "文化转向 "的人所采取的政治禁欲主义的一种抗衡。从最广泛的意义上讲,这篇文章是对梅尔腾斯本人所追求的具有文化相关性和政治参与性的科学和人文学科史学的呼吁。
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引用次数: 0
Brouwer and Hausdorff: On reassessing the foundations crisis 布劳威尔与豪斯多夫:关于重新评估基础危机
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2024-09-19 DOI: 10.1017/s0269889724000103
David E. Rowe

Epistemological issues associated with Cantorian set theory were at the center of the foundational debates from 1900 onward. Hermann Weyl, as a central actor, saw this as a smoldering crisis that burst into flames after World War I. The historian Herbert Mehrtens argued that this “foundations crisis” was part of a larger conflict that pitted moderns, led by David Hilbert, against various counter-moderns, who opposed the promotion of set theory and trends toward abstract theories. Among counter-moderns, L.E.J. Brouwer went a step further by proposing new foundational principles based on his philosophy of intuitionism. Meanwhile, Felix Hausdorff emerged as a leading proponent of the new modern style. In this essay, I offer a reassessment of the foundations crisis that stresses the marginal importance of the various intellectual issues involved. Instead, I offer an interpretation that focuses on tensions within the German mathematical community that led to a dramatic power struggle for control of the journal Mathematische Annalen.

与康托尔集合论相关的认识论问题是1900年以来基础理论争论的焦点。历史学家赫伯特-迈尔腾斯(Herbert Mehrtens)认为,这场 "基础危机 "是以大卫-希尔伯特(David Hilbert)为首的现代派与各种反现代派之间更大冲突的一部分。在反现代派中,L.E.J. Brouwer 更进一步,根据他的直觉主义哲学提出了新的基础原理。同时,费利克斯-豪斯多夫(Felix Hausdorff)成为新现代风格的主要倡导者。在这篇文章中,我对基础危机进行了重新评估,强调了所涉及的各种思想问题的次要性。相反,我将重点放在德国数学界内部的紧张关系上,并由此引发了一场争夺《数学年鉴》杂志控制权的戏剧性权力斗争。
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引用次数: 0
George Montandon, the Ainu and the theory of hologenesis 乔治-蒙丹东、阿伊努人和全息理论
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-12-18 DOI: 10.1017/s0269889723000157
John L. Hennessey

In 1909, Italian zoologist Daniele Rosa (1857–1944) proposed a radical new evolutionary theory: hologenesis, or simultaneous, pan-terrestrial creation and evolution driven primarily by internal factors. Hologenesis was widely ignored or rejected outside Italy, but Swiss-French anthropologist George Montandon (1879–1944) eagerly embraced and developed the theory. An ambitious careerist, Montandon’s deep investment in an obscure and unpopular theory is puzzling. Today, Montandon is best known for his virulent antisemitism and active collaboration with the Nazi occupation of France at the end of his career. By that point, however, he had quietly moved away from hologenesis. This shift has gone unnoticed or been left unexplained in existing research. This article reexamines Montandon’s theoretical outlook and reasons for championing Rosa’s forgotten theory. It argues that while Montandon’s adoption of hologenesis arose from a complex blend of scientific and personal factors, his previously overlooked early fieldwork with the Ainu played a key role. In contrast, hologenesis did not inform Montandon’s later public antisemitism.

1909 年,意大利动物学家丹尼尔-罗萨(Daniele Rosa,1857-1944 年)提出了一个激进的新进化理论:全息论,即主要由内部因素驱动的泛地球同步创世和进化。全息论在意大利以外的国家被普遍忽视或拒绝,但瑞士裔法国人类学家乔治-蒙当东(1879-1944 年)却热切地接受并发展了这一理论。作为一个雄心勃勃的事业家,蒙丹东对一个晦涩难懂、不受欢迎的理论投入如此之多,令人费解。如今,人们最熟悉的是蒙丹东在职业生涯末期激烈的反犹主义和积极配合纳粹占领法国的行为。然而,到那时,他已经悄悄地远离了全息论。在现有的研究中,这种转变一直未被注意到或未被解释。本文重新审视了蒙丹东的理论前景以及支持罗莎被遗忘理论的原因。文章认为,虽然蒙丹东采用全息论是由科学和个人因素的复杂结合而产生的,但他早年对阿伊努人的田野调查曾被忽视,而全息论在其中发挥了关键作用。相比之下,全息论并没有为蒙丹东后来的公开反犹主义提供依据。
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引用次数: 0
Textual materiality and abstraction in mathematics 数学中的文本物质性和抽象性
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-12-15 DOI: 10.1017/s0269889723000182
Anna Kiel Steensen, Mikkel Willum Johansen, Morten Misfeldt
In this paper, we wish to explore the role that textual representations play in the creation of new mathematical objects. We do so by analyzing texts by Joseph-Louis Lagrange (1736–1813) and Évariste Galois (1811–1832), which are seen as central to the historical development of the mathematical concept of groups. In our analysis, we consider how the material features of representations relate to the changes in conceptualization that we see in the texts. Against this backdrop, we discuss the idea that new mathematical concepts, in general, are increasingly abstract in the sense of being detached from material configurations. Our analysis supports the opposite view. We suggest that changes in the material aspects of textual representations (i.e., the actual graphic inscriptions) play an active and crucial role in conceptual change. We employ an analytical framework adapted from Bruno Latour’s 1999 account of intertwined material and representational practices in the empirical sciences. This approach facilitates a foregrounding of the interconnection between the conceptual development of mathematics, and the construction, (re-)configuration, and manipulation of the materiality of representations. Our analysis suggests that, in mathematical practice, distinctions between the material and structural features of representations are not permanent and absolute. This problematizes the appropriateness of the distinction between concrete inscriptions and abstract relations in understanding the development of mathematical concepts.
在本文中,我们希望探讨文本表述在创造新的数学对象中所发挥的作用。为此,我们分析了约瑟夫-路易-拉格朗日(1736-1813 年)和埃瓦里斯特-伽罗瓦(1811-1832 年)的文本,这些文本被视为群数学概念历史发展的核心。在分析中,我们考虑了表征的物质特征与我们在文本中看到的概念变化之间的关系。在此背景下,我们讨论了这样一种观点,即一般而言,新的数学概念越来越抽象,脱离了物质构型。我们的分析支持相反的观点。我们认为,文本表述的物质方面(即实际的图形铭文)的变化在概念变化中发挥着积极而关键的作用。我们采用的分析框架改编自布鲁诺-拉图尔(Bruno Latour)1999 年关于实证科学中相互交织的物质和表征实践的论述。这种方法有助于突出数学概念发展与表征物质性的构建、(重新)配置和操作之间的相互联系。我们的分析表明,在数学实践中,表征的物质和结构特征之间的区别并不是永久和绝对的。这就质疑了在理解数学概念的发展过程中,具体描述和抽象关系之间的区别是否恰当。
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引用次数: 0
The animal model of human disease as a core concept of medical research: Historical cases, failures, and some epistemological considerations 人类疾病的动物模型是医学研究的核心概念:历史案例、失败和一些认识论思考
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-12-12 DOI: 10.1017/s0269889723000170
Volker Roelcke

This article uses four historical case studies to address epistemological issues related to the animal model of human diseases and its use in medical research on human diseases. The knowledge derived from animal models is widely assumed to be highly valid and predictive of reactions by human organisms. In this contribution, I use three significant historical cases of failure (ca. 1890, 1960, 2006), and a closer look at the emergence of the concept around 1860/70, to elucidate core assumptions related to the specific practices of animal-human knowledge transfer, and to analyze the explanations provided by historical actors after each of the failures. Based on these examples, I argue that the epistemological status of the animal model changed from that of a helpful methodological tool for addressing specific questions, but with precarious validity, to an obligatory method for the production of strong knowledge on human diseases. As a result, there now exists a culture of biomedical research in human disease that, for more than a century, has taken the value of this methodological tool as self-evident, and more or less beyond question.

本文通过四个历史案例研究,探讨与人类疾病动物模型及其在人类疾病医学研究中的应用有关的认识论问题。人们普遍认为,从动物模型中获得的知识非常有效,可以预测人类机体的反应。在这篇论文中,我利用三个重要的历史失败案例(约 1890 年、1960 年、2006 年),并对 1860/70 年左右这一概念的出现进行了更深入的研究,以阐明与动物-人类知识转移的具体实践相关的核心假设,并分析历史参与者在每次失败后提供的解释。基于这些例子,我认为动物模型的认识论地位已从解决具体问题的有用方法工具(但有效性不稳定)转变为产生人类疾病强大知识的强制性方法。因此,一个多世纪以来,人类疾病的生物医学研究文化一直将这一方法论工具的价值视为不言而喻、不容置疑的。
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引用次数: 0
A married couple of mathematicians from Vienna remembers Sigmund Freud (1953). 维也纳一对已婚数学家夫妇缅怀西格蒙德-弗洛伊德(1953 年)。
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-02-03 DOI: 10.1017/S0269889722000229
Reinhard Siegmund-Schultze

The paper is based on a hitherto unexplored document (audiotape of an interview accompanied by a German transcript) from 1953, located in the Freud Papers at the Library of Congress. It contributes to a better understanding of the impact of Freud and of Psychoanalysis on personalities from the exact sciences, here represented by the noted applied mathematicians Richard von Mises and Hilda Geiringer from Vienna. The detailed discussion of the interview sheds some new light on the different roles of Kraus and Freud in the Vienna culture, on the Vienna Jugendkulturbewegung (youth culture movement) during WWI in which Geiringer was involved, on Freud's and Siegfried Bernfeld's standing around 1930 among German philosophers and psychologists, and on Wilhelm Fließ' theory of periodicity, which von Mises-based on his attitude as an applied mathematician-defended against superficial accusations. Finally, new biographical material is provided for von Mises and the remotely related Freud family, and for Geiringer's and von Mises' early lives. The interview, which was taken during the Cold War, also allows conclusions as to how politics influenced the memories and views of the participants. Part of the aim of the paper is historical documentation of unknown material (letters by Karl Kraus and Wolfgang Köhler, one book review by Wilhelm Ostwald, a file on R. Pfennig), including some correction of erroneous information in the literature.

本文基于美国国会图书馆弗洛伊德文集中的一份迄今为止尚未开发的 1953 年文件(访谈录音带及德文记录稿)。它有助于更好地理解弗洛伊德和精神分析对精密科学领域人士的影响,这里的代表人物是维也纳著名的应用数学家理查德-冯-米塞斯和希尔达-盖林格。通过对访谈的详细讨论,我们对克劳斯和弗洛伊德在维也纳文化中的不同角色、盖林格参与的一战期间维也纳青年文化运动、1930 年前后弗洛伊德和齐格弗里德-伯恩费尔德在德国哲学家和心理学家中的地位以及威廉-弗利斯的周期理论有了一些新的了解。最后,还提供了有关冯-米塞斯和关系密切的弗洛伊德家族以及盖林格和冯-米塞斯早年生活的新传记资料。由于访谈是在冷战时期进行的,因此还可以就政治如何影响参与者的记忆和观点得出结论。本文的部分目的是对未知材料(卡尔-克劳斯和沃尔夫冈-科勒的信件、威廉-奥斯特瓦尔德的一篇书评、R-普芬尼格的一份档案)进行历史记录,包括对文献中错误信息的一些更正。
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引用次数: 0
Shane Homan, Seamus O’Hanlon, Catherine Strong and John Tebutt. Music City Melbourne: Urban Culture, History and Policy (review) 谢恩·霍曼、谢默斯·奥汉隆、凯瑟琳·斯特朗和约翰·特巴特。音乐之都墨尔本:城市文化、历史与政策(回顾)
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-31 DOI: 10.46580/cx70617
Isobel D'Cruz Barnes
Documenting cultural life in contemporary Australia seems a fraught and daunting task, if not for the one-sided narratives so consistently reinforced through early scholarship, then at least due to the geographical vastness and diverse population that makes generalisation so difficult. The arrival of Music City Melbourne: Urban Culture, History and Policy is thus welcomed for its resolute specificity and unique historical lens. The book narrates and delineates popular music in Melbourne from the 1950s until the mid-2000s, exploring how it has shaped, and been shaped by, cultural policy and migration. The text is a much-needed contribution to scholarship on both Australian cultural policy, which focuses predominantly on the fine arts, and Australian popular music that in general fails to account for the historical contributions made by marginalised groups. Indeed, the authors describe Music City Melbourne’s historical emphases and use of subtly critical language (most notably, their casual use of the term ‘invasion’ as opposed to ‘settlement’ of Australia) as ‘an important corrective of Anglo Saxon accounts’ of Australian history (p. 3, emphasis added). [...]
记录当代澳大利亚的文化生活似乎是一项令人担忧和艰巨的任务,如果不是因为早期学术研究中不断强化的片面叙述,那么至少是因为地域辽阔和人口多样化使得概括变得如此困难。“音乐之城墨尔本:城市文化、历史和政策”以其鲜明的特殊性和独特的历史视角受到欢迎。这本书叙述和描绘了从20世纪50年代到21世纪头十年中期墨尔本的流行音乐,探讨了它是如何塑造文化政策和移民的,以及被文化政策和移民塑造的。该文本是对澳大利亚文化政策(主要关注美术)和澳大利亚流行音乐(通常未能解释边缘化群体所做的历史贡献)的学术研究的急需贡献。事实上,作者将音乐之城墨尔本的历史重点和微妙的批判性语言的使用(最值得注意的是,他们随意使用“入侵”一词,而不是“定居”澳大利亚)描述为“盎格鲁-撒克逊人对澳大利亚历史的重要纠正”(第3页,强调添加)。[…]
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引用次数: 0
Noblewomen’s Devotional Song Practice in ‘Patiençe veinque tout’ (1647–1655), a German Manuscript from the Mid-seventeenth Century 17世纪中期德国手稿《patiene veinque tout》(1647-1655)中贵妇祈祷歌曲的练习
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-31 DOI: 10.46580/cx78832
Hannah Spracklan-Holl
"Devotional song in the German vernacular was a large repertory in the seventeenth century; as Robert Kendrick points out, the more than two thousand printed collections of these songs produced at this time attest to a relatively musically literate public that engaged with the repertoire. Most published devotional songs appeared in collections, usually consisting of a foreword or dedications, other poetry, and songs. The songs themselves often appeared without printed musical notation, indicating the use of contrafactum. Both men and women contributed to the German devotional song repertoire; however, there is a notable number of original song texts written by women. The 1703 publication Glauben-schallende und Himmel-steigende Herzens-Music, for example, contains 1,052 devotional songs, of which 211 have texts written by women. Women’s performance of devotional texts—whether by singing, recitation, or reading—was a practice that demonstrated their deep internalisation of the text itself whilst also providing a socially acceptable means of self-expression. This article focuses on a mid-seventeenth century manuscript songbook compiled by Duchess Sophie Elisabeth of Braunschweig-Lüneburg (1613–1676). It suggests that at least three songs in the manuscript have poetry and/or music written by noblewomen other than the duchess, including Juliane of Oldenburg-Delmenhorst (1615–1691) and Maria Magdalena of Waldeck-Wildungen (1606–1671). This suggestion is based on two notable features of Sophie Elisabeth’s meticulous recording practices in ‘Patiençe veinque tout’ that are missing from the songs in question. First, the authorship of these three songs is ambiguous, whereas the text and music for all other songs in the source are either made clear by Sophie Elisabeth’s own annotations accompanying each song, or are easily traceable. Second, none of the three songs include the duchess’s monogram, a date of composition, nor any other note stating her authorship (one or more of these notations are included for the songs in ‘Patiençe veinque tout’ that are of her own creation). In investigating the provenance of these songs, this article highlights the fact that women’s original texts, which are often overlooked, form a sizeable and significant body of musical literature from the early modern period. The two complementary practices of writing and performance paint an intimate portrait of women’s confessional and personal identity and the role music played in forming this identity, while also reflecting broader cross-confessional trends towards spiritual interiority and personal piety in the seventeenth century."
" 17世纪德国方言中的祈祷歌是一个很大的剧目;正如Robert Kendrick所指出的那样,在这个时期,这些歌曲的两千多张印刷集证明了一个相对有音乐素养的公众参与了这些曲目。大多数已出版的祈祷歌曲出现在合集中,通常由前言或献词、其他诗歌和歌曲组成。歌曲本身往往没有印刷乐谱,表明使用契约。男性和女性都为德国祈祷歌曲曲目做出了贡献;然而,女性创作的原创歌曲文本数量也相当可观。例如,1703年出版的《Glauben-schallende und Himmel-steigende Herzens-Music》收录了1052首宗教歌曲,其中211首是由女性创作的。女性对虔诚文本的表演——无论是唱歌、背诵还是阅读——都是一种实践,表明了她们对文本本身的深刻内化,同时也提供了一种社会可接受的自我表达方式。这篇文章的重点是由公爵夫人苏菲·伊丽莎白的布伦瑞克- 内堡(1613-1676)编写的17世纪中期的手稿歌本。它表明,手稿中至少有三首歌曲是由公爵夫人以外的贵族女性创作的诗歌和/或音乐,包括奥尔登堡-德尔门霍斯特的朱莉安娜(1615-1691)和瓦尔德克-威尔登根的玛丽亚·玛格达莱娜(1606-1671)。这个建议是基于苏菲·伊丽莎白在“patien veinque tout”中细致的录音实践的两个显著特征,而这些特征在有问题的歌曲中是缺失的。首先,这三首歌的作者是模棱两可的,而来源中所有其他歌曲的文本和音乐要么是由索菲·伊丽莎白自己在每首歌上的注释弄清楚的,要么是很容易追踪的。其次,这三首歌都没有包含公爵夫人的字母组合、创作日期,也没有任何其他说明她的作者身份的注释(《patien e veinque tout》中包含了她自己创作的歌曲中的一个或多个注释)。在调查这些歌曲的来源时,本文强调了这样一个事实,即女性的原始文本,往往被忽视,形成了近代早期音乐文学的一个相当大的和重要的主体。写作和表演这两种互补的做法描绘了女性的忏悔和个人身份以及音乐在形成这种身份中所扮演的角色的亲密肖像,同时也反映了17世纪更广泛的跨忏悔趋势,即精神内在和个人虔诚。”
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引用次数: 0
Joseph N. Straus. The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses (review) 约瑟夫·n·斯特劳斯。后调性分析的艺术:33个图形音乐分析(回顾)
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-31 DOI: 10.46580/cx29461
Aidan McGartland
Joseph Straus’s The Art of Post-Tonal Analysis is the apotheosis of his decades-long work in post-tonal theory, and serves as an apt analytical companion to his seminal textbook, Introduction to Post-Tonal Theory (4th ed. 2016). Straus displays his mastery of post-tonal analytical artistry throughout. The monograph consists of thirty-three graphic music analyses intuitively laid out, with a pioneering use of colour for further clarity, and complete with a slick video version of each analysis on the companion website. The aim of each analysis is to uncover the structure and form of the music, with an emphasis on pitch organisation, whilst remaining largely free from overarching contextual or theoretical arguments. […]
约瑟夫·斯特劳斯的《后调性分析的艺术》是他在后调性理论方面长达数十年的工作的典范,是他的开创性教科书《后调性理论导论》(2016年第4版)的恰当分析伴侣。施特劳斯自始至终展现了他对后调性分析艺术的精通。该专著包括33个图形音乐分析直观地布局,与色彩的开创性使用进一步清晰,并完成了一个光滑的视频版本的每个分析的配套网站。每次分析的目的都是揭示音乐的结构和形式,重点是音高组织,同时在很大程度上不受背景或理论争论的影响。[…]
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引用次数: 0
Not Just Wallpaper: An Interview with Michael Kieran Harvey 不只是墙纸:采访迈克尔·基兰·哈维
IF 0.3 4区 哲学 Q2 Arts and Humanities Pub Date : 2023-01-31 DOI: 10.46580/cx58054
I. Parsons
The career of pianist and composer Michael Kieran Harvey is notable for its diversity and wide repertoire. In addition to his more than fifty solo CDs recorded on various labels, Harvey is particularly known for his promotion of contemporary music; he has premiered many new Australian and international concertos, and more than three hundred solo Australian keyboard works, many of which are dedicated to him. […]
钢琴家和作曲家迈克尔·基兰·哈维的职业生涯以其多样性和广泛的曲目而闻名。除了他在不同厂牌录制的50多张个人cd外,哈维还以推广当代音乐而闻名;他首演了许多新的澳大利亚和国际协奏曲,以及300多部澳大利亚键盘独奏作品,其中许多都是献给他的。[…]
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引用次数: 0
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