Jiří Procháska (1749–1820): Part 1: A Significant Czech Anatomist,Physiologist and Neuroscientist of the Eighteenth Century

Ji?í (George) Procháska (1749–1820), a Czech anatomist, physiologist, and neuroscientist of the eighteenth century, ranks among the major figures of Czech and European cultural history. The works of Ji?í Procháska, due to historical circumstances, were published mostly in Latin and only some in German. However, given that only one treatise was partially translated into English, the results of his extensive research activities are currently unavailable to the international scientific community. The achievements of Ji?í Procháska undoubtedly belong to the major intellectual heritage of European science and certainly deserve attention as such, although his research reflected the time in which he lived and therefore has been reevaluated by later researchers. Undoubtedly, it is our duty not only to remember the work and legacy of Ji?í Procháska, which significantly influenced the development of our knowledge, but also to try to critically assess his contribution in terms of today. This article surveys the important biographical events of Ji?í Procháska’s life, taking into account the significance of his research.     

Unterscheidung und Synthese: Rezeptionsformen akustischer Forschung in der Musikliteratur des 19. Jahrhunderts

Differentiation and synthesis. Forms of reception of acoustical research in the musical literature of the nineteenth century. In the nineteenth century, both musical scholars and natural scientists discussed the relevance of acoustical research for the theory and practice of music. Whereas some musical theorists and acousticians plead together for an acoustical foundation of musical theory, other scholars questioned the significance of physical and physiological knowledge for a deeper understanding of music. Based on an analysis of musical journals, popular scientific writings, theoretical treatises and musical dictionaries this article demonstrates how musical scholars and natural scientists argued about the question which discipline should have the final say about musical concepts and terminologies. To merge both heterogeneous spheres – music and acoustics – or to carefully distinguish between them – these two positions shaped the dispute over the relationship between music and natural sciences in the nineteenth century.     

Henry Head in Ewald Hering’s Laboratory in Prague 1884–1886: An Early Study on the Nervous Control of Breathing

Henry Head, the English neurologist, received the main parts of his academic education in Cambridge and in London. In addition, he spent two years in Prague where he worked in the physiology department of the German university under the guidance of Ewald Hering. He was interested in the nervous control of breathing and worked out a new method of recording the tension and the contractions of the diaphragm in anaesthetised animals. His results substantiated the experimental basis of the Hering-Breuer reflexes and included the discovery of a new reflex now named Head’s paradoxical reflex. Head not only wrote an extensive paper about his scientific work, the recollections of his time in Prague also formed a considerable part of his autobiographical notes. These were written some forty years later and still expressed a deep affection for his teacher and mentor.     

Neurocinematography in Pre-World War II Netherlands: The Magnus-Rademaker Collection

Historical films made by neuroscientists have shown up in several countries during past years. Although originally supposed to have been lost, we recently found a collection of films produced between 1909 and 1940 by Rudolf Magnus (1873–1927), professor of pharmacology (Utrecht) and his student Gysbertus Rademaker (1887–1957), professor of physiology (1928, succeeding Willem Einthoven) and neurology (1945, both in Leiden). Both collections deal with the physiology of body posture by the equilibrium of reflex musculature contractions for which experimental studies were done with animals (labyrinthectomies, cerebellectomies, and brainstem sections) and observations on patients. The films demonstrate the results of these studies. Moreover, there are films with babies showing tonic neck reflexes and moving images capturing adults with cerebellar symptoms following cerebellectomies for tumors and several other conditions. Magnus’ studies resulted in his well-known Körperstellung (1924, “Body Posture”) and Rademaker’s research in his Das Stehen (1931, “Standing”). The films probably had an educative and scientific purpose. Magnus demonstrated his films at congresses, including the Eighth International Congress of Physiologists (Vienna, 1910) and Rademaker screened his moving images at meetings of the Amsterdam Neurologists Society (at several occasions as reflected in the Winkler-Monakow correspondence and the Nederlands Tijdschrift voor Geneeskunde). Next to these purposes, the films were used to analyze movement and a series of images from the films were published in articles and books. The films are important historical sources that provide a portrait of the pre-World War II era in neuroscience, partly answering questions on how physicians dealt with patients and researchers with their laboratory animals. Moreover, the films confirm that cinematography was an important scientific tool in neuroscience research.     

Thomas Graham Brown (1882–1965): Behind the Scenes at the Cardiff Institute of Physiology

Thomas Graham Brown undertook seminal experiments on the neural control of locomotion between 1910 and 1915. Although elected to the Royal Society in 1927, his locomotion research was largely ignored until the 1960s when it was championed and extended by the distinguished neuroscientist, Anders Lundberg. Puzzlingly, Graham Brown's published research stopped in the 1920s and he became renowned as a mountaineer. In this article, we review his life and multifaceted career, including his active neurological service in WWI. We outline events behind the scenes during his tenure at Cardiff's Institute of Physiology in Wales, UK, including an interview with his technician, Terrence J. Surman, who worked in this institute for over half a century.     

Darwin Wept: Science and the Sentimental Subject

Could a man of science be sentimental in an age of objectivity, when emotions were largely purged from the field of Victorian science, and feelings themselves defined as animal instincts and reflex mechanisms? This essay addresses the question through Darwin's work on the expression of emotions, and the relationship between his work and his own emotional experience, with particular attention to grief and tears. An old woman in a railway carriage is suddenly overcome with a painful recollection, perhaps that of a long lost child – her mouth becomes ever so slightly contracted, her countenance falls, her eyes suffuse with tears … . An opthalmic surgeon perseveres with his treatise on the physiology of weeping while mourning the loss of his daughter … . With difficulty, a mother prolongs her infant son's screaming in order to record the shape of his mouth for a family friend and famous naturalist … . Her observations later appear in a work on emotional expression (Darwin's), together with photographs of sobbing children, and faces of a psychiatric patient charged with electrodes. Such subject matter, presented in correspondence, private journals, and print, suggest that science and sentimentality could form a more reciprocal pair, where observation was conducted in a sentimental setting, the feelings of observers regulated but not withheld, processed by an experimental regime, and then reinserted in the domain of print, reconfiguring the sentimental for Victorian readers.     

Notes on Contributors

By the end of the century, and under pressure from new scientific theories of minds and emotions, the languages in which the Victorians understood the relationship between inner feeling and moral action came under great pressure. At the same time, the established association between aesthetic and moral value was being challenged by aestheticism's espousal of ‘art for art's sake’. This essay examines one very distinctive response to these issues: Vernon Lee's development of the concept of ‘empathy’. Lee offers empathy as a scientifically verifiable process which explains why beauty matters to us. She also seeks to use it to mediate a new position capable of acknowledging the power of aestheticism's critique of Victorian moralism, while re-establishing moral action as central to aesthetic experience.     

Conceptual Mediation: Philosophy between the History of Physiology and Contemporary Neuroscience

Summary

In the 1780s the anatomist Vincenzo Malacarne discussed the possibility of testing experimentally whether experience can induce significant changes in the brain. Malacarne imagined taking two littermate animals and giving intensive training to one while the other received none, then dissecting their brains to see whether the trained animal had more folds in the cerebellum than the untrained one. This experimental design somewhat anticipated one used 180 years later by Mark R. Rosenzweig at the University of California, Berkeley. This paper explores some methodological aspects of the case study just outlined by pointing out that our grounds for being interested in it are neither merely neuroscientific (for, strictly speaking, Malacarne's proposal was false) nor narrowly historical (for there is no causal chain linking Malacarne's ideas to Rosenzweig's experiment). Rather, the really interesting point here is to what extent Malacarne's ideas are similar to Rosenzweig's, a point that we can better investigate by employing certain conceptual tools borrowed typically (but not exclusively) from (a certain kind of) philosophy. If we do not handle the analogy with care, we run the risk of ‘discovering’ nothing but void platitudes or anachronistically misleading common features.