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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
"The exhibition is the first to focus on the implications of Darwinism for the fine arts. All of the artists featured in the exhibition shared an interest in the natural sciences and either read texts by Darwin or by those who reacted to him. With approximately 150 paintings, drawings, and lithographs as well as rare documentary material, the exhibition showcases artists such as Martin Johnson Heade, František Kupka, Odilon Redon, George Frederic Watts, Arnold Böcklin, Gabriel von Max, Alfred Kubin, and Max Ernst, and thus spans the period from 1859 to the mid twentieth century."--Schirn Kunsthalle website (viewed July 26, 2009).
This is the first book that engages with the history of diagrams in physical, evolutionary, and genetic anthropology. Since their establishment as scientific tools for classification in the eighteenth century, diagrams have been used to determine but also to deny kinship between human groups. In nineteenth-century craniometry, they were omnipresent in attempts to standardize measurements on skulls for hierarchical categorization. In particular the ’human family tree’ was central for evolutionary understandings of human diversity, being used on both sides of debates about whether humans constitute different species well into the twentieth century. With recent advances in (ancient) DNA analyses, the tree diagram has become more contested than ever―does human relatedness take the shape of a network? Are human individual genomes mosaics made up of different ancestries? Sommer examines the epistemic and political role of these visual representations in the history of ‘race’ as an anthropological category. How do such diagrams relate to imperial and (post-)colonial practices and ideologies but also to liberal and humanist concerns? The Diagrammatics of 'Race' concentrates on Western projects from the late 1700s into the present to diagrammatically define humanity, subdividing and ordering it, including the concomitant endeavors to acquire representative samples―bones, blood, or DNA―from all over the world. Contributing to the ‘diagrammatic turn’ in the humanities and social sciences, it reveals connections between diagrams in anthropology and other visual traditions, including in religion, linguistics, biology, genealogy, breeding, and eugenics.