William Hunter's anatomical inquiry employed all of his senses, but how did his personal experiences with the cadaver become generalized scientific knowledge teachable to students and understandable by fellow practitioners? Moving beyond a historiographical focus on Hunter's images and extending Lorraine Daston's (2008) concept of an ‘ontology of scientific observation’ to include non-visual senses, I argue that Hunter's work aimed to create a stabilized object of the cadaver that he and his students could perceive in common. Crucial to this stabilization (...) was the sense of touch and its interaction with other senses, creating intersensory knowledge of the cadaver. Through a close reading of his neglected posthumous publication An Anatomical Description of the Human Gravid Uterus (1794), I demonstrate that Hunter wrote extensively about touch and other sensory experiences, using comparative metaphors and other linguistic strategies to engender clear ideas of the cadaver in the mind of the reader. That these ideas could be consistent between practitioners was guaranteed by God, but required practitioners to appropriately reflect on their sensory experiences with cadavers. Hunter's experimental practice encompassed both simple and complex methods, all aimed at increasing the range of sensorial experiences he had with the gravid uterus. His preservations of these experiences in text, image and preparation could then be used to support further anatomical investigations. (shrink)

Medical schools are among the most important spaces for the history of the body. It is here that students come to know the anatomical bodies of their future patients and, through a process of cognitive and embodied practice, that the knowing bodies of future clinicians are also shaped. Practical and theoretical understandings of medicine are formed in these affective and historied buildings and in collaboration with a broad material culture of education. Medical schools are, however, both under-theorised and under-historicised. This (...) article integrates ‘materialist’ considerations of the body with Henri Lefebvre’s philosophy of space and rhythm in order to compare two markedly different spaces – the 19th-century Anatomy Department at Semmelweis University in Hungary and the mid-20th-century ‘skills laboratory’ at Maastricht University in the Netherlands. This comparison suggests that biomedical bodies are variously shaped by the agential and affective material histories present in the everyday experience of contemporary medical education. (shrink)