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For the first time in history, scholars working on language and culture from within an evolutionary epistemological framework, and thereby emphasizing complementary or deviating theories of the Modern Synthesis, were brought together. Of course there have been excellent conferences on Evolutionary Epistemology in the past, as well as numerous conferences on the topics of Language and Culture. However, until now these disciplines had not been brought together into one all-encompassing conference. Moreover, previously there never had been such stress on alternative and complementary theories of the Modern Synthesis. Today we know that natural selection and evolution are far from synonymous and that they do not explain isomorphic phenomena in the world. ‘Taking Darwin seriously’ is the way to go, but today the time has come to take alternative and complementary theories that developed after the Modern Synthesis, equally seriously, and, furthermore, to examine how language and culture can merit from these diverse disciplines. As this volume will make clear, a specific inter- and transdisciplinary approach is one of the next crucial steps that needs to be taken, if we ever want to unravel the secrets of phenomena such as language and culture.
This book draws on over twenty years’ investigation of scientific archives in Europe, Australia, and other former British settler colonies. It explains how and why skulls and other bodily structures of Indigenous Australians became the focus of scientific curiosity about the nature and origins of human diversity from the early years of colonisation in the late eighteenth century to Australia achieving nationhood at the turn of the twentieth century. The last thirty years have seen the world's indigenous peoples seek the return of their ancestors' bodily remains from museums and medical schools throughout the western world. Turnbull reveals how the remains of the continent's first inhabitants were collected during the long nineteenth century by the plundering of their traditional burial places. He also explores the question of whether museums also acquired the bones of men and women who were killed in Australian frontier regions by military, armed police and settlers.
In this classical work Choulant traced the evolution of anatomical illustration from the early schematic plates up to his own time, including a valuable bibliography. This English edition, translated by Frank, is enriched by the chapter on anatomical illustration since Choulant, by Garrison. -- H.W. Orr.
The essays of this collection explore how ideas about 'blood' in science and literature have supported, at various points in history and in various places in the circum-Atlantic world, fantasies of human embodiment and human difference that serve to naturalize existing hierarchies.
A riveting account of the ways in which man's darkest impulses conflict with common sense. From the lessons learned in "Paradise Lost" and the events which transpired in the tales of "Dr. Jekyll and Mr. Hyde" and "Frankenstein" to unlocking the secrets of the atom, Shattuck's brilliant synthesis of history and literature is utterly relevant to our times and addictively readable.
Starting with the hypothesis that not only human intelligence but also its antithesis 'intellectual disability' are nothing more than historical contingencies, C.F. Goodey's paradigm-shifting study traces the rich interplay between labelled human types and the radically changing characteristics attributed to them. From the twelfth-century beginnings of European social administration to the onset of formal human science disciplines in the modern era, A History of Intelligence and 'Intellectual Disability' reconstructs the socio-political and religious contexts of intellectual ability and disability, and demonstrates how these concepts became part of psychology, medicine and biology. Goodey examines a wide array of classical, late medieval and Renaissance texts, from popular guides on conduct and behavior to medical treatises and from religious and philosophical works to poetry and drama. Focusing especially on the period between the Protestant Reformation and 1700, Goodey challenges the accepted wisdom that would have us believe that 'intelligence' and 'disability' describe natural, trans-historical realities. Instead, Goodey argues for a model that views intellectual disability and indeed the intellectually disabled person as recent cultural creations. His book is destined to become a standard resource for scholars interested in the history of psychology and medicine, the social origins of human self-representation, and current ethical debates about the genetics of intelligence.
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The frontier romance, an enormously popular genre of American fiction born in the 1820s, helped redefine 'race' for an emerging national culture. The novels of James Fenimore Cooper, Lydia Maria Child, Catharine Maria Sedgwick and others described the 'races' in terms of emotional rather than physical characteristics. By doing so they produced the idea of 'racial sentiment': the notion that different races feel different things, and feel things differently. Ezra Tawil argues that the novel of white-Indian conflict provided authors and readers with an apt analogy for the problem of slavery. By uncovering the sentimental aspects of the frontier romance, Tawil redraws the lines of influence between the 'Indian novel' of the 1820s and the sentimental novel of slavery, demonstrating how Harriet Beecher Stowe's Uncle Tom's Cabin ought to be reconsidered in this light. This study reveals how American literature of the 1820s helped form modern ideas about racial differences.
Disgust is among the strongest of aversions, characterized by involuntary physical recoil and even nausea. Yet paradoxically, disgusting objects can sometimes exert a grisly allure, and this emotion can constitute a positive, appreciative aesthetic response when exploited by works of art -- a phenomenon labelled here "aesthetic disgust." While the reactive, visceral quality of disgust contributes to its misleading reputation as a relatively "primitive" response mechanism, it is this feature that also gives it a particular aesthetic power when manifest in art. Most treatments of disgust mistakenly interpret it as only an extreme response, thereby neglecting the many subtle ways that it operates aesthetically. This study calls attention to the diversity and depth of its uses, analyzing the emotion in detail and considering the enormous variety of aesthetic forms it can assume in works of art and --unexpectedly-- even in foods. In the process of articulating a positive role for disgust, this book examines the nature of aesthetic apprehension and argues for the distinctive mode of cognition that disgust affords -- an intimate apprehension of physical mortality. Despite some commonalities attached to the meaning of disgust, this emotion assumes many aesthetic forms: it can be funny, profound, witty, ironic, unsettling, sorrowful, or gross. To demonstrate this diversity, several chapters review examples of disgust as it is aroused by art. The book ends by investigating to what extent disgust can be discovered in art that is also considered beautiful.
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