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Originally published in 1946, this volume contains the complete text of the Tabulae anatomicae sex (1538) by Vesalius, together with a detailed analysis of its significance by Charles Singer and C. Rabin. This analysis provides a wealth of information on Vesalius and contextualizes his achievements in terms of the contemporary context, numerous illustrations from other anatomical documents are also included. The reader is thus given an insight into the importance of the Tabulae, both for the development of anatomy and the creation of a modern scientific method. This is a well-presented edition of an important text that will be of value to anyone with an interest in anatomy, the Renaissance, or the history of science.
The birth of modern science was linked to the rise in Western Europe of a new sensibility, that of the scientific intellectual. Such a person was no more technician, looking at science as just a job to be done, but one for whom the scientific stand-point is a philosophy in the fullest sense. In The Scientific Intellectual, Lewis S. Feuer traces the evolution of this new human type, seeking to define what ethic inspired him and the underlying emotions that created him.Under the influence of Max Weber, the rise of the scientific spirit has been viewed by sociologists as an offspring of the Protestant revolution, with its asceticism and sense of guilt acting as causative agents in the rise of capitalism and the growth of the scientific movement. Feuer takes strong issue with this view, pointing out how it is at odds with what we know of the psychological conditions of modern societies making for human curiosity and its expression in the observation of and experiment with nature.Feuer shows that wherever a scientific movement has begun, it has been based on emotions that issue in what might be called a hedonist-libertarian ethic. The scientific intellectual was a person for whom science was a 'new philosophy,' a third force rising above religious and political hatreds, seeking in the world of nature liberated vision, a intending to use and enjoy its knowledge. In his new introduction to this brilliantly readable volume, Professor Feuer reviews the book's critical reception and expands the scope of the original edition to include fascinating discussions of Francis Bacon, Thomas Edison, Charles Darwin, Thomas Hardy, and others. The Scientific Intellectual will be of interest to scientists and intellectual historians.
We usually see the Renaissance as a marked departure from older traditions, but Renaissance scholars often continued to cling to the teachings of the past. For instance, despite the evidence of their own dissections, which contradicted ancient and medieval texts, Renaissance anatomists continued to teach those outdated views for nearly two centuries. In Books of the Body, Andrea Carlino explores the nature and causes of this intellectual inertia. On the one hand, anatomical practice was constrained by a reverence for classical texts and the belief that the study of anatomy was more properly part of natural philosophy than of medicine. On the other hand, cultural resistance to dissection and dismemberment of the human body, as well as moral and social norms that governed access to cadavers and the ritual of their public display in the anatomy theater, also delayed anatomy's development. A fascinating history of both Renaissance anatomists and the bodies they dissected, this book will interest anyone studying Renaissance science, medicine, art, religion, and society.
This is the first complete defined vocabulary for all parts of the human nervous system that can be seen with functional imaging methods. One main part is a lexicon of standard and nonstandard terms, and another main part is a set of hierarchical nomenclature tables of standard terms.
Because of their spectacular, naturalistic pictures of plants and the human body, Leonhart Fuchs’s De historia stirpium and Andreas Vesalius’s De humani corporis fabrica are landmark publications in the history of the printed book. But as Picturing the Book of Nature makes clear, they do more than bear witness to the development of book publishing during the Renaissance and to the prominence attained by the fields of medical botany and anatomy in European medicine. Sachiko Kusukawa examines these texts, as well as Conrad Gessner’s unpublished Historia plantarum, and demonstrates how their illustrations were integral to the emergence of a new type of argument during this period—a visual argument for the scientific study of nature. To set the stage, Kusukawa begins with a survey of the technical, financial, artistic, and political conditions that governed the production of printed books during the Renaissance. It was during the first half of the sixteenth century that learned authors began using images in their research and writing, but because the technology was so new, there was a great deal of variety of thought—and often disagreement—about exactly what images could do: how they should be used, what degree of authority should be attributed to them, which graphic elements were bearers of that authority, and what sorts of truths images could and did encode. Kusukawa investigates the works of Fuchs, Gessner, and Vesalius in light of these debates, scrutinizing the scientists’ treatment of illustrations and tracing their motivation for including them in their works. What results is a fascinating and original study of the visual dimension of scientific knowledge in the sixteenth century.