“The role of the educator is to rhythmize the soul to [moral] virtue.”1 This conclusion to his 1841 faculty address to the Königliche Realschule zu Berlin captures the spirit of Theodor Dielitz’s educational philosophy. As a teacher, Dielitz advocated systematic instruction about the real world to prepare students for a harmonious, moral life within the Prussian state.2 Beyond his classroom activities, he produced both Realschule textbooks and commercial youth-literary publications, works that he saw as complementary parts of his unified pedagogical vision. The connection between these production spheres is easy to overlook when traveling the well-worn paths of his reception as a mass-production author. Dielitz’s history and geography textbooks have long since been forgotten, but his nineteen-volume series of adventure anthologies—Images of Land and Sea (1841–1862)—enjoyed immediate and sustained success throughout the nineteenth century. It was through the Images of Land and Sea that I first encountered Theodor Dielitz.
A lot of interesting material has been published over at Migrant Knowledge since its inception nearly three years ago. If the material could just as easily have found a home here, it was produced for our sister website as part of a specific research program linked to a broad network of scholars, on the one hand, and related research activities coordinated by the GHI’s Pacific Regional Office, on the other. The site’s conceptualization is different from ours, but its contributions deserve to be read by all who are interested in histories of knowledge. Indeed, we have occasionally crossposted on both blogs in order to point out this overlap.
When the writer Anne Brewster (1818–1892) and the sculptor Harriet Hosmer (1830–1908) met in Italy in 1876, their conversation circled mainly around the recently deceased actress Charlotte Cushman. That itself was hardly unusual—Cushman was the talk of the town. During most of her adult life, Charlotte Cushman (1816–1876) was among the most-well known public figures in the Anglophone world. As an American actress who could boast a phenomenal success in Britain with roles as varied as Meg Merrilies and Romeo, Cushman dominated the theatrical scene on both sides of the Atlantic for several decades. While she might be forgotten today,1 she was everywhere during the height of her success. You can’t miss her in databases like ProQuest’s American Periodicals Series and Historical Newspapers or the Library of Congress’s Chronicling America: Historic American Newspapers. Yet if you relied only on these public sources, you’d miss a lot.
In 1908, The Metropolitan Museum of Art purchased from the French art dealer Kleinberger Galleries a sixteenth-century portrait believed to be that of Johann, Duke of Saxony, painted by Lucas Cranach the Elder. The Museum’s paintings curator, Roger Fry, had learned of the availability of this little-known work by the German Renaissance master late in 1907, and through correspondence with Kleinberger confirmed its provenance and attribution, which were attested by the eminent art historians Max Friedländer and Wilhelm von Bode. The picture crossed the Atlantic on the Courraine, arrived at the Met on February 3, and was installed in its galleries soon after. It was the first work by Cranach the Elder in the Metropolitan’s collection.
In the early years of the twentieth century, Catholic libraries in Germany adopted modernized methods of organization to simplify their use: the arrangement of books by subject, alpha-numeric classifying systems, and card catalogs. The adoption may not seem like much, but in the structure and practice of Catholic knowledge the change was fundamental. How did this revolution come about and what did it betoken?
What do governments know? When and why have they generated knowledge about themselves, sovereign territories, the functioning of bureaucracies, legal systems, and the effectiveness of legislation? In other words, how have officials made that capacious concept we call the state legible?
State knowledge took on heightened importance in Central Europe in the nineteenth century with the transition away from remaining vestiges of feudalism. This is especially clear to see during the revolutions of 1848. Over the course of a turbulent two years, revolutionaries protested against a great many things. They most famously called for national unification and the introduction of liberal constitutions, but they also demanded the reform of outdated modes of administration. Such ultimatums were unsettling for governments in two ways. First, they required a rethinking of law, as well as of the kinds of bureaucratic structures and activities needed to bring about a more flexible handling of domestic affairs. And second, they prompted an urgent need to generate knowledge to gage the effectiveness of these initiatives.
Francis Bacon’s belief that “knowledge is power” is one of the great epistemic mottos of all time. In early nineteenth-century Jewish Amsterdam, where civic emancipation had overturned the old corporate hierarchies, the rabbinic elite soon came to experience its merciless truth. In the newly established Kingdom of the Netherlands (1814), both their position and their expertise were pushed to the margins. To make things worse, the centralized organization of the newly constituted Israelite Denomination left no room for German-style Reform–Orthodox dualism. As a result, innovation and consolidation all took shape within a single, outwardly stable, yet inwardly polarized community, in which conservative rabbis and progressive lay executives vied for initiative and control. This perpetual state of discord posed high demands on a rabbi’s personal skills. It was no longer enough to be a competent teacher and judge; in order to survive, the rabbi had to become a kind of statesman. But what in his rabbinic experience would provide him with the wherewithal to become a politician?
The Great Exhibition of 1851 excited curiosity in nineteenth-century contemporaries and continues to garner interest among scholars today. Attracting some six million visitors and comprising over 100,000 exhibits that filled 76,720 square meters of exhibition space, it entered media, memory, and historiography as an emblem of British industrial capabilities, free-trade ideology, and imperial globalization. Yet it is seldom discussed in relation to the consequential contemporaneous transformation of modern sciences into a set of powerful, highly institutionalized social practices.
T. S. Kuhn’s Structure of Scientific Revolutions has had a profound and enduring impact on the social history of knowledge. It has provided an analytical template not only for the history of the natural sciences but also for the history of many other forms of systematic knowledge, including history itself. However, this very versatility has been an object of criticism. A central point of contention has been the central concept of a “paradigm,” which Kuhn understood to be (among other things) a “relatively inflexible box” of accepted scientific rules and procedures for defining and resolving research “puzzles,” whose solutions can be predicted and replicated.1 The question then becomes whether paradigms pertain uniquely to knowledge in the natural-science fields, in which the precise and regular operation of principles can be demonstrated experimentally. If so, the concept of paradigm becomes inappropriate as a guide to the history of humanistic disciplines (like history), in which issues of meaning and human value are central and knowledge is anchored in hermeneutic strategies of inquiry. The validity of paradigms is governed accordingly by the contrasting characteristics of the “two cultures” of knowledge.2
The object of these reflections is not to contest this proposition. It is instead to emphasize that the distinction between the natural and what became known as the “human sciences” has a history of its own (and how could it not?). Continue reading “Kuhn and Lamprecht”
In 1878 Moritz Daniel Oppenheim (1800–1882), probably the most famous nineteenth-century German-Jewish painter, created a work entitled The Heder, or Jewish Elementary School, which re-imagined his first school in Hanau near Frankfurt am Main in the early 1800s.