The dregs of trembling, the draught of salvation: the dual symbolism of the cup in medieval literature

This article examines the symbolism of the cup in Old English poetry and Old French romance. It argues that the dual symbolism of the cup in the Bible, both the cask of divine wrath and the vessel of mercy, invested the image with a particular dichotomy that was inherited by its metaphoric social functions in the literature of the middle ages. In Old English literature, the cup became a metonym for the contract for lord and thane, the conviviality and treasure exchange that united the mead-hall community. But never far beneath the surface is the fact that this contract requires the thane to die, and this unspoken yet unavoidable truth is writ large in the contagious imagery and vocabulary of the cup. In Old French romance, dichotomy crystallises into binary. The association of the cup of the Last Supper with Joseph of Arimathea, and the development of the Grail legend, made the service of the cup an exclusive loyalty, at the expense of social obligation, and its exigencies are made absolute and immediate. This article offers parallel readings of the same biblical metaphor in different literary cultures and a detailed analysis of a symbol that stands simultaneously for the positive image and its reversal, opposites that are mutually contingent: the community’s desire for unity and preservation and its concomitant fear of disintegration and death.     

„Die Photographie als Hülfsmittel mikroskopischer Forschung”︁? Joseph von Gerlach (1820–1896) und die frühen anatomischen Mikrophotographen

The Erlangen anatomist Joseph von Gerlach was one of the first medical researchers who used microphotography for their scientific aims in basic tissue research. Already in 1863, Gerlach published a famous handbook on the methodology of the microphotographic technique, entitled Die Photographie als Hülfsmittel mikroskopischer Forschung. Here, he discussed the technological, practical and epistemological standards and constraints of the newly introduced visualisation technique of scientific photography. The efforts and setbacks of Gerlachs' innovative approaches shall be characterised in the present paper. Furthermore, some of the most important arguments put forward by some of his peers are closely compared and thoroughly scrutinised. These anatomical and biological microscopists objected frequently to Gerlach's photographic approach as being "unscientific" or "insufficient" to support the growth of experimental morphology and neurohistological research. In his scientific self-defence, Gerlach developed important auxiliary arguments that display many facets of the epistemological discourse of 19th-century medical research, particularly on the question of how scientific objects should be visualised and identified in the experimental laboratory.     

Analogien in Physik und Technik im 19. und 20. Jahrhundert

In this paper the use of analogies in physics and in technology is analysed. First the important role philosophically deep rooted analogies played in romantic physics is discussed. The work of Schelling and Ritter is treated in particular. Second the mechanical analogue models in the kinetic theory of gases and in electrodynamics are examined, as well as the severe philosophical criticism which they received. A sketch of the theory of the electron gas is presented as an example for the success and the shortcomings of analogue models. Finally mechanical and electric analogue models in technology are considered; moreover biological analogies in engineering research, and the principle of similitude as applied to model experiments in shipbuilding are discussed. The analysis of the historical examples shows that in the 19th and 20th century the word “analogy” is no longer a vague notion. It represents a scientific method, which, however, inevitably leads to both an extension of the original theoretical models and to special theories of mapping.     

The regard of the first man: on Joseph Addison’s aesthetic categories

This study examines the sources that could inspire Joseph Addison’s influential ‘aesthetic’ triad of ‘great’, ‘uncommon’, and ‘beautiful’, as elaborated in his essay-series The Pleasures of the Imagination in 1712. After identifying a philological problem in the interpretative tradition which gives rise to Addison’s triad from a section of Ps Longinus’ Peri Hypsous, further three seventeenth-century texts – Thomas Burnet’s Telluris theoria sacra, Dominique Bouhours’ Les entretiens d’Ariste et d’Eugène, and Baltasar Gracián’s El Criticón – are presented in order to reconstruct a ‘reading glass’ through which Addison could peruse and understand the Longinian section, and then could create his ‘aesthetic’ triad. As a result of this reconstruction, the possible connection between Gracián’s allegorical novel and Addison’s essay can cast more light on the complex and insufficiently discussed relationship between theology or devotional literature and the emerging modern aesthetic discourse. From this angle, Addison’s ‘man of polite imagination’, that is, the homo aestheticus in the modern sense of the adjective, seems to be the heir of Gracián’s ‘first man’ who has the privilege of regarding the created world in a new light, and, as Addison’s aesthete, of discovering its greatness, novelty and beauty in ‘innocent pleasures’.     

Matters of Sex and Gender in F. J. Gall’s Organology: A Primary Approach

The originator of phrenology, F. J. Gall (1758–1828), saw himself as a natural scientist and physiologist. His approach consisted of brain anatomy but also of palpating skulls and inferring mental faculties. Unlike some of the philosophical principles underlying Gall’s work, his conception of sex/gender has not yet been examined in detail. In this article, I will focus on Gall’s treatment of men and women, his idea of sex differences, and how far an assumed existence of dichotomous sexes influenced his work. In examining his primary writings, I will argue that Gall held some contradictory views concerning the origin and manifestation of sex/gender characteristics, which were caused by the collision of his naturalistic ideas and internalized gender stereotypes. I will conclude that Gall did not aim at deducing or legitimizing sex/gender relations scientifically, but that he tried to express metaphysical reasons for a given social order in terms of functional brain mechanisms.