During the nineteenth century physiologists and clinicians developed several graphical recording systems for the mechanical registration of heart sounds. However, none of these replaced traditional methods of auscultation. The paper describes criticism of the aural sense as one of the driving forces behind the development of phonocardiography and analyses its variants from a technological and clinical perspective. Against the background of the physiological “method of curves,” the parameters that prevented the implementation of phonocardiography against overwhelming odds are highlighted. Contemporaries denied (...) specific evidence beyond auscultation. Many clinicians also feared that the art of auscultation was being undermined by the new, reproducible mechanical methods. The paper argues that phonocardiography was on the one hand regarded as impractical in clinical settings; on the other hand—and even more important—implicit practices, tacit knowledge and cultural models fostered skepticism against the new method. The argument of “self-evidence”—often connected to medical images, curves, graphs or tables—was not valid for the visualization of cardiac sounds in the opinion of the promoters of acoustic heart sound registration and its individual interpretation. Rather, the acts of subjective hearing and objectively reporting what was heard seemed “self-evident” for pathophysiological characteristics and the development of a diagnosis. Therefore, auscultation and phonocardiography coexisted with different emphases. While auscultation remained the method of choice for a bedside diagnosis, phonocardiography played its role in differential diagnostics or research settings. (shrink)

This paper investigates the production and circulation of the illustrations in Fritz Kahn’s five-volume series The Life of Man, one of the most popular medical publications in the German interwar period. In 1912 Kahn (1888–1968), together with a staff of illustrators, began producing what would later become his best-selling series. Illustrations of this series (in particular, the poster The human factory/der Mensch als Industriepalast) were widespread throughout Germany during the Weimar Republic. With the rise of National Socialism, Kahn was forced (...) to emigrate in 1933. While his books were forbidden by the Nazi regime, their illustrations continued to play an important role in popular scientific discourse: they reappeared in the Nazi health-education programme and were adapted for Kahn’s publications in exile at the same time. This paper discusses how their production process and collective authorship made this complex and heterogeneous reception possible. (shrink)