Chance, creativity, and the discovery of the nerve growth factor

This essay analyzes the history of the Nerve Growth Factor (NGF) discovery, relating some of the principles of the theory of scientific creativity to the cognitive and personal qualities of the scientists that participated in the discovery, particularly Rita Levi-Montalcini and Viktor Hamburger. The discovery of NGF is especially attractive for the history of science as it involves chance, luck, creativity, and some extraordinary scientists.     

Between Galen, Geddes, and the Gael: Arthur Brock, modernity, and medical humanism in early-twentieth-century Scotland

Arthur Brock (1879-1947) is generally remembered as the physician who treated poet Wilfred Owen for shell shock and as the translator of Galen and other ancient physicians. He was also a key figure in the early-twentieth-century humanist revival within medicine. Brock's interest in humanism, I argue, was inspired by a broader concern about modernity and by a desire to return medicine and society to the more harmonious, organic existence that he believed was characteristic of ancient Greece and could still be found among "primitive" peoples, such as the Scottish Gaels. This article explores Brock's anxieties about modernity and its relations to his interests in ancient and "primitive" peoples; to his medical thought and practice; to his interests in history, sociology, language, and translation; and to his involvement in the social and political life of Edinburgh and North Queensferry, where he moved in 1925. Crucially, it shows how all these interests and activities were influenced by Brock's mentor, Edinburgh polymath Patrick Geddes. The article concludes with a discussion of Brock's place in early-twentieth-century medical humanism.     

Art as Appearance: Two Comments on Arthur C. Danto's After the End of Art

In his latest book about art Arthur Danto claims that aesthetic appearance—visuality in the visual arts—has become more and more irrelevant for most of contemporary art. This essay first immanently critiques the distinction between the aesthetic and artistic properties underlying this claim. Danto's claim about the irrelevance of the aesthetic is not compatible with the spirit of his own writings: what Danto denies in After the End of Art has been a cornerstone of his theoretical work since The Transfiguration of the Commonplace , namely, that the aesthetic is indeed both an elementary and a defining property of art. Examples ranging from Duchamp's Fountain to a recent installation by the Art & Language group are discussed to support this critique. Second, the essay defends Danto's contention that developing a "definition of art" is a sensible enterprise. But it turns out that Danto's (self-ascribed) "essentialism" concerning art has no essentialist implications in any specific sense.     

魏礼与敦煌绢画研究

魏礼是二十世纪英国著名的汉学家与翻译家,出版的译著及书籍三十余部,发表文章百余篇,是一位兴趣广泛且多产的学者。魏礼的汉学成就无论在翻译与研究领域,与敦煌学都颇有渊源。从1917年初次接触敦煌绢画到他离世,终其一生魏礼都对敦煌学给予相当的关注。他对敦煌绢画的研究成果至今仍有值得借鉴的地方。     

Reading with the Occultists: Arthur Machen,A. E. Waite,and the Ecstasies of Popular Fiction

My article recovers a forgotten moment in the history of popular fiction criticism – the late Victorian advent of what I term occultic literary criticism – to challenge the persistent anxiety thesis that continues to dominate fin-de-siècle studies. In the late 1890s, the close friends, writers, bibliophiles, and, for varying amounts of time, practising occultists Arthur Machen and A. E. Waite used their literary criticism to champion the ecstatic occult potential of mass-circulated popular fiction, insisting that the penny dreadful, the newspaper story, and the popular picaresque as exemplified in Charles Dickens’s The Pickwick Papers (1836–37) represented coded versions of ancient mystery tradition rituals. The cheap popular texts could offer to readers, writers, and collectors the kind of joyous direct encounter with the unseen world that sacred texts no longer could. The pair’s conviction that ecstatic occult initiation was just as, if not more, attainable through popular exoteric texts as through their restricted esoteric counterparts offers an important corrective to contemporary understandings of both the late-Victorian reception of popular fiction and of the reach and constituency of the occult revival.     

Streptomycin, Schatz v. Waksman, and the balance of credit for discovery

A recent article in Nature, arguing that "the misallocation of credit is endemic in science," used Selman Waksman as an illustration, claiming that the true discoverer of streptomycin was one of his graduate students. The article received wide publicity and seriously damaged Waksman's great reputation. What actually happened was that the success of penicillin stimulated Merck to fund research by Waksman, a soil scientist, into the collection of actinomycetes that he had assembled over thirty years. He applied the systematic, uncreative testing techniques that had made the German pharmaceutical industry so successful to these, and streptomycin was discovered within a matter of months. Work in the Mayo Institute then showed that it was marvelously effective against tuberculosis, and Waksman received the Nobel Prize for it in 1952. The test that turned out to be the crucial one could have been carried out by any of several students, but the lucky one was Albert Schatz. He then sued the university for a share of the royalties payable by Merck and also petitioned the Nobel committee to include him in the award. Although he obtained a very substantial out-of-court settlement, this probably damaged his subsequent academic career, and he has never ceased to argue his case for recognition, of which the Nature article is a reflection. To claim that Waksman took credit properly due to Schatz is to fail to understand that once pharmaceutical research had become primarily a matter of large-scale, routine testing, little individual creativity was left in this work. Credit for any successful results must therefore be given to whoever is the originator or director of a particular program. Nature refused to publish evidence that this case could not be used as an example of misallocation of credit for discovery. This in itself illustrates that editors of scientific journals should be every bit as mindful of scientists' reputations as they are of scientific facts.     

Phantoms in Artists: The Lost Limbs of Blaise Cendrars,Arthur Rimbaud,and Paul Wittgenstein

There have been an increasing number of reports of postamputation pain and problems linked to phantom limbs over recent years, particularly in relation to war-related amputations. These problems, which are often poorly understood and considered rather mysterious, are still relevant because they are difficult to treat medically. Functional neuroimaging techniques now enable us to better understand their pathophysiology and to consider new rehabilitation techniques. Phantom limbs have often been a source of inspiration to writers, particularly in the period following the First World War, which was responsible for thousands of amputees. Some artists have suffered from postamputation complications themselves and have expressed them through their artistic works. Blaise Cendrars (1887–1961), one of the greatest authors of the twentieth century, suffered from stump pain and phantom limb phenomena for almost half a century following the amputation of his right arm during the First World War. He suffered from these phenomena until the end of his life and his literary work and personal correspondence are peppered with references to them. Arthur Rimbaud (1854–1891), one of the most famous poets in world literature, developed severe stump pain after his right leg was amputated due to a tumor. He survived for only six months after the procedure but left behind an account of the pain he experienced in correspondence to his family. The famous pianist Paul Wittgenstein (1887–1961), whose right arm was amputated during the First World War, became a famous left-handed concert pianist. The phantom movements of his right hand helped him to develop the dexterity of his left hand. The impact on the artistic life of these three men provides an original illustration of the various postamputation complications, specifically phantom limbs, stump pain, and moving phantom.     

Women,Peace and Security as an ASEAN priority

The Association of Southeast Asian Nations (ASEAN) Secretariat and its member states have repeatedly professed their commitment to the protection and advancement of women's economic and human rights. Such commitments have included the Declaration of the Advancement of Women in the ASEAN Region in 1988, the Declaration on the Elimination of Violence against Women in the ASEAN Region in 2004, and the ASEAN Human Rights Declaration in 2012, as well as the establishment of the ASEAN Committee on Women in 2002 and the ASEAN Commission on the Promotion and Protection of Women and Children in 2009. However, none of these regional commitments or institutions expressly take up the core concern of the Women, Peace and Security agenda set out in United Nations Security Council Resolution 1325 in 2000. ASEAN has no 1325 regional action plan and, amongst the ASEAN membership, the Philippines is the only state that has adopted a 1325 National Action Plan. The authors explore the possible reasons for the lack of ASEAN institutional engagement with 1325, outline the case for regional engagement, and suggest specific roles for the ASEAN Secretariat, donor governments and individual member states to commit to United Nations Security Council Resolution 1325 as a regional priority.     

Science and reality: Arthur Dobbs and the eighteenth-century geography of Rupert's Land

In 1670, the Hudson's Bay Company was granted proprietary rights to Rupert's Land, a vaguely defined territory that came to be equated with the drainage basin of Hudson Bay. This paper is concerned with the geography of these lands that developed in the minds of Englishmen in the course of the eighteenth century. Since only slight and fragmentary information was available in England about these territories, there was created at this time a hypothetical physical geography of the Company's lands. This was based largely on the opinions of Arthur Dobbs, whose book in 1744 was the first devoted to the Company and its territories. Dobb's views were not opposed by the Hudson's Bay Company. Indeed, they were well grounded in the scientific thinking of the time, so that what we now regard as having been speculative and grossly exaggerated, gained acceptance in England as geographical reality in the latter half of the eighteenth century.