Anthropology and Antihumanism in Imperial Germany by Andrew Zimmerman

By Andrew Zimmerman

With the increase of imperialism, the centuries-old eu culture of humanist scholarship because the key to knowing the realm used to be jeopardized. Nowhere used to be this truer than in nineteenth-century Germany. It used to be there, Andrew Zimmerman argues, that the conflict traces of modern day ''culture wars'' have been first drawn while anthropology challenged humanism as a foundation for human clinical wisdom. Drawing on assets starting from clinical papers and executive correspondence to pictures, pamphlets, and police stories of ''freak shows,'' Zimmerman demonstrates how German imperialism opened the door to antihumanism. As Germans interacted extra usually with peoples and items from far-flung cultures, they have been compelled to reevaluate not only these peoples, but additionally the development of German id itself. Anthropologists effectively argued that their self-discipline addressed those matters extra productively—and extra accessibly—than humanistic reviews. students of anthropology, ecu and highbrow background, museum experiences, the background of technological know-how, pop culture, and colonial reports will welcome this booklet.

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Even the anthropologists who eventually did get positions on the philosophy faculty were so outnumbered that they could do little to promote their subject. 32 Franz Boas’s brief employment in Germany illustrates the dismissive attitude of traditional academicians toward anthropology. In 1886, at the age of twenty-eight, Boas applied to teach physical geography as a private docent at the University of Berlin. He presented a number of published articles in support of his application, mostly about the Inuit he had encountered during his travels on Baffin Island in 1884 and 1885.

Some performers were able to create 34 chapter 1 counterhegemonic representations in the portrait photographs, but, ultimately, Germans were able to subordinate this resistance to a colonialist discourse. ” He enlisted the help of his spouse, Emma von Hochstetter, and seven of his students to go out to the village by the carp pond early each morning, before the exhibition opened to the public, and measure the performers. However, it was particularly difficult to secure voluntary cooperation because nineteenth-century anthropological measurements were often painful.

However, like many of his colleagues, he refused to allow Luschan to photograph him in this costume. 8 (left) Anthropological portrait of Mschúngo, a performer from the Masai group at the 1896 Berlin Colonial Exhibition. Mschúngo wears some of his performance accessories but has evidently refused to remove his European-style jacket for the photograph. , Deutschland und seine Kolonien im Jahre 1896 (Berlin: Dietrich Reimer, 1897). 9 (right) Amonin, a Togolese performer at the 1896 Berlin Colonial Exhibition.

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