2000 HSS/PSA Program 1 - History of Science Society
2000 HSS/PSA Program 1 - History of Science Society
2000 HSS/PSA Program 1 - History of Science Society
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their acceptance in scientific botany’s elite inner circles. In this paper I show<br />
how the adoption <strong>of</strong> methodologies promoted by the Royal <strong>Society</strong> allowed<br />
gardeners to address silviculture in a manner which had the appearance, if<br />
perhaps not the content, <strong>of</strong> science. This spurred their acceptance both among<br />
their clients and in the field <strong>of</strong> academic botany.<br />
Charles␣ M. Brotman University <strong>of</strong> Rochester<br />
<strong>HSS</strong> Abstracts<br />
Helmholtzian Acoustics in a Darwinian Key:<br />
James Sully, Edmund Gurney, and the Psychology <strong>of</strong> Music in Victorian<br />
Culture<br />
H<br />
S<br />
S<br />
Although it is widely known that Hermann von Helmholtz’s work On the<br />
Sensations <strong>of</strong> Tone deeply influenced music theory in Anglo-American culture,<br />
we still know little about the reception and modification <strong>of</strong> his ideas in the<br />
second half <strong>of</strong> the nineteenth century. This paper examines the efforts <strong>of</strong> two<br />
English psychologists, James Sully and Edmund Gurney, to reconcile<br />
Helmholtz’s work with evolutionary theories <strong>of</strong> mind and nature known through<br />
the work <strong>of</strong> Charles Darwin and Herbert Spencer. Writing in the years after<br />
Darwin and Spencer had themselves theorized on the evolutionary significance<br />
<strong>of</strong> music, Sully and Gurney both believed that music was important because it<br />
elicited powerful emotional feelings from men and women living in an<br />
increasingly skeptical age. Like many other Victorian scientists, in other words,<br />
Sully and Gurney sensed that aesthetic culture could function as a genuinely<br />
spiritual alternative to religion. If Helmholtz’s work legitimized their quest to<br />
put music on a scientific foundation, the “law <strong>of</strong> evolution,” it seemed, was<br />
still needed to account for the mysterious “power <strong>of</strong> sound.”<br />
Janet Browne Wellcome Centre for the <strong>History</strong> <strong>of</strong> Medicine<br />
Discovery<br />
One well-established way into the literature <strong>of</strong> scientific travel is to consider<br />
specific voyages. Recently we have also become accustomed to thinking <strong>of</strong><br />
the various scientific practices in which travelers engaged, the construction <strong>of</strong><br />
facts in metropolitan centres back home, and the pragmatic consequences <strong>of</strong> a<br />
voyager’s return as seen in the possibilities he or she negotiated for creating<br />
expertise and enhancing a career. Here I would like to approach the theme<br />
from a slightly different perspective and think about the social economy <strong>of</strong><br />
the ships themselves, in this case as laboratories. My case study is the scientific<br />
research vessel Discovery, first commissioned by the Royal Geographical<br />
<strong>Society</strong> for Robert Scott’s National Antarctic Expedition <strong>of</strong> 1901-4. Although<br />
the ship was lavishly fitted up for scientific purposes and the voyage earned<br />
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