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Gunther Von Hagens' Body Worlds by Gunther von Hagens,Angelina Whalley Pdf
Catalog of Gunther von Hagen's exhibition of human bodies preserved by "plastination"and presented as "natural art" (p. 13). Work also includes a short history of anatomy and essays on ethical perspectives.
Ingenious scapegoat-stages, pathways, and goals -- My days with Gunther Liebchen in Greiz / Dietrich Wagner -- Our Cottbus days / Bernd Wolfram -- From the beginnings / Wolfgang Koser -- Inventor-entrepreneur-exhibition producer-gambler / Klaus Tiedemann -- To Gunter von Hagens, on his 60th birthday / Wilhelm Kris -- For Gunther, with love / Karine Oostrom -- Pushing the limits through plastination / Bernd Hillebrands -- About my father / Rurik von Hagens.
The Anatomy of Body Worlds by T. Christine Jespersen,Alicita Rodríguez,Joseph Starr Pdf
Since its Tokyo debut in 1995, Gunther von Hagens' Body Worlds exhibition has been visited by more than 25 million people at museums and science centers across North America, Europe, and Asia. Preserved through von Hagens' unique process of plastination, the bodies shown in the controversial exhibit are posed to mimic life and art, from a striking re-creation of Rodin's The Thinker, to a preserved horse and its human rider, a basketball player, and a reclining pregnant woman--complete with fetus in its eighth month. This interdisciplinary volume analyzes Body Worlds from a number of perspectives, describing the legal, ethical, sociological, and religious concerns which seem to accompany the exhibition as it travels the world.
Controversial, fascinating, disturbing, and often beautiful, plastinated human bodies -- such as those found at Body Worlds exhibitions throughout the world -- have gripped the public's imagination. These displays have been lauded as educational, sparked protests, and drawn millions of visitors. This book looks at the powerful sway these corpses hold over their living audiences everywhere. Plastination was invented in the 1970s by German anatomist Gunther von Hagens. The process transforms living tissues into moldable plastic that can then be hardened into a permanent shape. Von Hagens first exhibited his expertly dissected, artfully posed plastinated bodies in Japan in 1995. Since then, his shows have continuously attracted so many paying customers that they have inspired imitators, brought accusations of unethical or even illegal behavior, and ignited vigorous debates among scientists, educators, religious leaders, and law enforcement officials. These lively, thought-provoking, and sometimes personal essays reflect on such public displays from ethical, legal, cultural, religious, pedagogical, and aesthetic perspectives. They examine what lies behind the exhibitions' popularity and explore the ramifications of turning corpses into a spectacle of amusement. Contributions from bioethicists, historians, physicians, anatomists, theologians, and novelists dig deeply into issues that compel, upset, and unsettle us all.
Revealing Bodies turns to the eighteenth century to ask a question with continuing relevance: what kinds of knowledge condition our understanding of our own bodies? Focusing on the tension between particularity and generality that inheres in intellectual discourse about the body, Revealing Bodies explores the disconnection between the body understood as a general form available to knowledge and the body experienced as particularly one's own. Erin Goss locates this division in contemporary bodily exhibits, such as Gunther von Hagens' Body Worlds, and in eighteenth-century anatomical discourse. Her readings of the corporeal aesthetics of Edmund Burke's Philosophical Enquiry, William Blake's cosmological depiction of the body's origin in such works as The First] Book of Urizen, and Mary Tighe's reflection on the relation between love and the soul in Psyche; or, The Legend of Love demonstrate that the idea of the body that grounds knowledge in an understanding of anatomy emerges not as fact but as fiction. Ultimately, Revealing Bodies describes how thinkers in the eighteenth and nineteenth centuries and bodily exhibitions in the twentieth and twenty-first call upon allegorized figurations of the body to conceal the absence of any other available means to understand that which is uniquely our own: our existence as bodies in the world.
Controversy in Science Museums by Erminia Pedretti,Ana Maria Navas Iannini Pdf
Controversy in Science Museums focuses on exhibitions that approach sensitive or controversial topics. With a keen sense of past and current practices, Pedretti and Navas Iannini examine and re-imagine how museums and science centres can create exhibitions that embrace criticality and visitor agency. Drawing on international case studies and voices from visitors and museum professionals, as well as theoretical insights about scientific literacy and science communication, the authors explore the textured notion of controversy and the challenges and opportunities practitioners may encounter as they plan for and develop controversial science exhibitions. They assert that science museums can no longer serve as mere repositories for objects or sites for transmitting facts, but that they should also become spaces for conversations that are inclusive, critical, and socially responsible. Controversy in Science Museums provides an invaluable resource for museum professionals who are interested in creating and hosting controversial exhibitions, and for scholars and students working in the fields of museum studies, science communication, and social studies of science. Anyone wishing to engage in an examination and critique of the changing roles of science museums will find this book relevant, timely, and thought provoking.
Gross anatomy, the study of anatomical structures that can be seen by unassisted vision, has long been a subject of fascination for artists. For most modern viewers, however, the anatomy lesson—the technically precise province of clinical surgeons and medical faculties—hardly seems the proper breeding ground for the hybrid workings of art and theory. We forget that, in its early stages, anatomy pursued the highly theatrical spirit of Renaissance science, as painters such as Rembrandt and Da Vinci and medical instructors like Fabricius of Aquapendente shared audiences devoted to the workings of the human body. Anatomy Live: Performance and the Operating Theatre, a remarkable consideration of new developments on the stage, as well as in contemporary writings of theorists such as Donna Haraway and Brian Massumi, turns our modern notions of the dissecting table on its head—using anatomical theatre as a means of obtaining a fresh perspective on representations of the body, conceptions of subjectivity, and own knowledge about science and the stage. Critically dissecting well-known exhibitions like Body Worlds and The Visible Human Project and featuring contributions from a number of diverse scholars on such subjects as the construction of spectatorship and the implications of anatomical history, Anatomy Live is not to be missed by anyone with an interest in this engaging intersection of science and artistic practice.
Possessing the Dead by Helen Patricia MacDonald Pdf
London, 1868: visiting Australian Aboriginal cricketer Charles Rose has died in Guy's Hospital. What happened next is shrouded in mystery. The only certainty is that Charles Rose's body did not go directly to a grave. Written with clarity and verve, and drawing on a rich array of material, Possessing the Dead explores the disturbing history of the cadaver trade in Scotland, England and Australia, where laws once gave certain officials possession of the dead, and no corpse lying in a workhouse, hospital, asylum or gaol was entirely safe from interference. With a rare blend of curiosity, delight in the unexpected and an eye for detail, award-winning historian Helen MacDonald brings to life this gruesome past to reveal the chicanery at play behind the procuring of bodies for dissections, autopsies and collections.
