Rezension: Lebendiges Wissen des Lebens. Zur Verschränkung von Plessners Philosophischer Anthropologie und Canguilhems Historischer Epistemologie von Thomas Ebke
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Of the Merits of History for Philosophy of Science. This essay is inspired by some of the contributions to the two special issues “History of Science and Philosophy of Science” of the journal Berichte zur Wissenschaftsgeschichte. I consider possible roles of historical study for philosophy of science. The first part of the essay discusses contributions to the Anglo-American debate about history and philosophy of science in the 1960s and 1970s. I present two approaches. According to Larry Laudan and others, philosophy of science should be regarded as an empirical theory of science, which has to be tested against historical episodes. I show why this conception of philosophy of science is problematic. According to Dudley Shapere and others, by contrast, philosophical analysis of science requires hermeneutic understanding and should include the study of the development of scientific knowledge. I agree that the method of philosophy of science is best described as hermeneutic. To defend a genuine historical-hermeneutic philosophy of science, however, one would have to demonstrate the privilege of historical analysis over other forms of science studies, such as sociology of science or studies of science communication. I do not think that such a demonstration can be made.
Military-Psychiatric Theater. French Cinematography of “War Hysteria”, 1915–1918. During the First World War, the use of a new form of media technology was applied within French military neuro-psychiatry: scientific cinematography. This visual technique was used to represent and produce symptoms of so-called “war hysteria”. “War hysteria” among soldiers and officers not only seemed to symbolize the weakness, inefficiency, and vulnerability of the military collective body, the corps, but challenged the borders of medical cinematography as it was considered to be able to capture ‘real’ symptoms on celluloid. By shivering and shaking, “war hysterics”, firstly, transgressed the classical image of the brave and potent warrior and, secondly, mirrored the flaws of the film technique by emphasizing its limits, twitches, and aesthetical “hysteria”. Analyzing several French medical films, it can be seen that they contain diverse dramaturgical means, just as aesthetical and narrative strategies adopted from forms in the field of illusion, including theater, ballet, cabaret, and feature film. The filmic portrayal of male “hysteria” presented both a transgression and a phantasmatic regaining of the social and military functionability of the strong masculine soldier. The theatrical film rhetoric manages to contrast the shift from the concept of “pithiatisme”, favored by the bulk of the French physicians, in the first half of what was refered to as “la Grande Guerre”, towards a “genuine”, somatic, and physiological aetiology of “war hysteria” cases since 1916.
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