ArgumentDarwin's narrative of the earthquake at Concepción, set within the frameworks of Lyellian uniformitarianism, romantic aesthetics, and the emergence of geology as a popular science, is suggestive of the role of the sublime in geological enquiry and theory in the early nineteenth century. Darwin'sBeaglediary and later notebooks and publications show that the aesthetic of the sublime was both a form of representing geology to a popular audience, and a crucial structure for the observation and recording of the event from the (...) beginning. The awesome spectacle of the earthquake proved in turn the magnitude of the forces at stake in earth history, and helped to make geology an epic conjoining the history of civilization with the history of the earth. (shrink)

Alexander von Humboldt’s depictions of mountain vegetation are among the most iconic nineteenth century illustrations in the biological sciences. Here we analyse the contemporary context and empirical data for all these depictions, namely the _Tableau physique des Andes_ (1803, 1807), the _Geographiae plantarum lineamenta_ (1815), the _Tableau physique des Îles Canaries_ (1817), and the _Esquisse de la Géographie des plantes dans les Andes de Quito_ (1824/1825). We show that the Tableau physique des Andes does not reflect Humboldt and Bonpland’s field (...) data and presents a flawed depiction of plant occurrences and vertical succession of vegetation belts, arising from Humboldt’s misreading of La Condamine’s description (1751). Humboldt's 1815 depiction, by contrast, shows a distribution of high-vegetation belts that is consistent with La Condamine’s description, while the 1824 depiction drops innovations made in 1815 and returns to simply showing numerous species’ names, thus not applying Humboldt’s own earlier zonation framework. Our analysis of contemporary reactions to Humboldt’s TPA includes Francis Hall’s posthumously published 1834 illustration of Andean plant zonation near Quito and Humboldt’s reaction to Hall’s critique. Throughout his work on plant geography, Humboldt disregarded some of his own observations, or confused them. At stake was his reputation as an innovator in the field of plant geography and a discoverer of the sequence of high-elevation vegetation belts on the world’s mountains. (shrink)

There have been constant and multiple endeavours to argue for Darwin's both epistemic and practical debt to Romanticism. Almost all of these arguments emphasise Darwin's theoretical and aesthetic associations with Alexander von Humboldt, who, from a prevailing Darwin-centred perspective, is in turn usually oversimplified as an undisputed incarnation of Romanticism. The antagonistic view, however, develops nothing other than another stereotype of Humboldt as an anti-idealistic, pro-French, and even highly Anglophone empiricist naturalist, and accordingly rejects the claim of a romantic Darwin (...) in terms of his Humboldtian inheritance. In this paper, I will first portray a balanced figure of Humboldt in terms of both his critical incorporation of romantic philosophy and the idiosyncratic history of his science. Then, I will thematically compare Darwin with Humboldt and other romantics so as to elucidate Darwin's peculiar appropriation of romantic tenets. Three interrelated romantic themes are examined, along with a discrimination of different senses in which the term romanticism is used: a) the literature-science relation, b) the pursuit of the unity in and through multiplicity, and c) the epistemic role of imagination. On the basis of this triadic dissection, both Humboldt's and Darwin's adherence to and departure from romanticism are reevaluated. (shrink)

This article provides a transnational analysis of the campaigns for the organization of expeditions to the central Arctic region by the American explorer Elisha Kent Kane and the Prussian cartographer August Petermann between 1851 and 1853. By adopting a comparative approach, this study focuses on three interventions in the history of Arctic science and exploration: the construction of scientific expertise surrounding the relationship between the ‘armchair’ and the field, the role of transnational networks, and the significance of maps as travelling (...) epistemic objects in the production of knowledge about the Arctic regions. In bringing both campaigns in conversation with each other, this article demonstrates that the histories of Kane's and Petermann's campaigns did not constitute isolated episodes but form part of a transnational nexus of imperial science and Arctic exploration in the nineteenth century. Moreover, based on research in libraries and archives in the United States, Germany and England, this study reconnects otherwise siloed collections and contributes new findings on the interpersonal networks of science and exploration. Finally, this article illustrates the importance of adopting comparative transnational approaches for understanding the fluid and reciprocal nature of Arctic science throughout the transatlantic world. (shrink)

ArgumentThe historiography of botanical maps has mainly concentrated on their alleged “golden age,” on maps drawn by famous first-generation plant geographers. This article instead describes botanical maps after the age of discovery, and detects both a quantitative explosion and qualitative modification in the late nineteenth century. By spotlighting the case of the plant geographer Oscar Drude (1852–1933), I argue that the dynamics of botanical mappings were closely linked to a specific milieu of knowledge production: the visual culture of Imperial Germany. (...) The scientific upgrading of maps was stimulated by a prospering commercial cartographical market as well as a widespread practice of mediating between professionals and amateurs via maps in the public sphere. In transferring skills and practices from these “popular” fields of knowledge to scientific domains, botanists like Oscar Drude established maps as an indispensable element of botanical observation. This wholesale dissemination of botanical maps had thus a formative influence on collective perception – the botanist's “period eye” – regarding plant distribution. (shrink)

There have been attempts to subsume Charles Darwin's theory of evolution under either one of two distinct intellectual traditions: early Victorian natural science and its descendants in political economy (as exemplified by Herschel, Lyell, or Malthus) and the romantic approach to art and science emanating from Germany (as exemplified by Humboldt and Goethe). In this paper, it will be shown how these traditions may have jointly contributed to the design of Darwin's theory. The hypothesis is that their encounter created a (...) particular tension in the conception of his theory which first opened up its characteristic field and mode of explanation. On the one hand, the domain of the explanandum was conceived of under a holistic and aesthetic view of nature that, in its combination with refined techniques of observation, was deeply indebted to Humboldt in particular. On the other hand, Darwin fashioned explanations for natural phenomena, so conceived, in order to identify their proper causes in a Herschelian spirit. The particular interaction between these two traditions in Darwin, it is concluded, paved the way for a transfer of the idea of causal laws to animate nature while salvaging the romantic idea of a complex, teleological and harmonious order of nature. Copyright © 2015 Elsevier Ltd. All rights reserved. (shrink)

ArgumentThe discovery of the Alps in the second half of the eighteenth century spawned an aesthetics of sublimity that enabled overwhelmed beholders of mountains to overcome their confusion symbolically by transforming initial speechlessness into pictures and words. When travelers ceased to be content with beholding mountains, however, and began climbing them, the sublime shudder turned into something else. In the snowy heights, all attempts to master symbolically the challenging landscape was thwarted by vertigo, somnolence, and fatigue. After 1850, physiologists intervened, (...) using the Alpine terrain as a laboratory landscape that was ideally suited to examine one of the most threatening concerns offin de siècleindustrial societies: fatigue. This essay examines how the picturesque voyage turned into an experimental physiology of fatigue, and how the “wordless subjectivity” of romantic travelers turned into the “wordless objectivity” of life scientists. (shrink)

The role of verticality in 19th- and 20th-century fields of knowledge-making has received increased attention among historians of science. Correspondingly, cultural historians have explored the growing importance of a bird's eye view in popular culture throughout the 1800s. The elevated positions created in science and public discourse have both contributed to a modern ability to see the bigger picture. This article investigates how the Swedish geographer Sven Hedin produced an elevated view through his expedition to the Karakoram mountain range in (...) Tibet between 1906 and 1908. Focusing on his travel narrative as a place where the elevated view was created and defined, I interpret Hedin's expedition as a part of initiatives in geography, at the turn of the 20th century, to find a vertical means of representing the world. In particular, this article demonstrates how the overview, both literally and metaphorically, became an ideal in Hedin's narrative. Moreover, I argue that Hedin's elevated view contributed to an emotional economy of elevation. The alleged rational gaze of the overview was combined with emotions and experiences of cold climate, thin mountain air, vertigo, and awe. This article indicates how affective states were included in the collection of data, even when they threatened to blur the sensorium of the observer. Third, through the analytical lens of an emotional economy of elevation, I argue that Hedin's elevated view mimicked the affective language of a Humboldtian tradition, while at the same time it contributed to the popular culture of the late 19th century with its fascination for ascents and bird's-eye views. As a European celebrity, Hedin reached massive crowds and contributed to the establishment of the outlook from above as a crucial technique for understanding nature. (shrink)

The insight that scientific theories are “practice-laden” has animated scholarship in the history of science for nearly three decades. This article examines a style of geographical thought that was, I argue, movement-laden. The thought-style in question has been described as a “vertical consciousness that engulfed science in the early nineteenth century,” and is closely associated with the geographical vision of Alexander von Humboldt (1769–1859). Humboldt’s science spanned nature’s horizontal and vertical axes, from Saxon mines to Andean summits, and from the (...) currents of the ocean to those of the aerial ocean. In probing the origins of Humboldt’s vertical thinking, this article opens up a broader history about the industrial practices and travel cultures that originally animated it. Humboldt’s “global physics” first emerged within a context of vertical travel, up mountains and into mines and caverns. Rhythms of the body—lethal for some, “sublime” for others—became rhythms of the mind. A view of nature as set of vertically complementary spaces rippled through mining culture, Romantic art, and the geographical sciences. To trace the earliest routes of Humboldt’s science is to acknowledge the many actors—some celebrated, most unsung—who took part in the making of a vertical consciousness. (shrink)