Abstract Conflicts can occur between the principle of freedom of information treasured by librarians and ethical standards of scientific research involving the propriety of using data derived from immoral or dishonorable experimentation. While few have disputed the accuracy, artistic, or educational value of the Pernkopf atlas, some have argued that the use of such subjects violates standards of medical ethics involving inhuman and degrading treatment of subjects or disrespect of a human corpse. Efforts were made to remove the book from medical libraries. In this article, the history of the Pernkopf atlas and the controversy surrounding it are reviewed.
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Email Beneath this black roof, on a well-clipped block, in a small midwestern town on the Wabash River, a professor wakes in the dark, confused at first by an outline under the sheets, this limp figure beside him in bed. From some primordial haze slowly comes recognition, then language: bed, sheets, wife… Andrea.
He kisses her and rises. He is 58 years old, and he wakes every morning at this ungodly hour, in his finely appointed brick house with exploding beds of lilies, phlox and begonias.
After three heart attacks, he goes now to cardiac rehab. Once at the medical center, he walks briskly on the treadmill, works the cross-trainer machine and then does some light lifting. After his workout, as he drives to his house, the town glows in a flood of new light; the river bubbles in its brown banks as the flies rise; the lawns are almost too bright, green with beauty and rancor. He takes Lopressor, Altace and aspirin to thin his thick blood. Even now fragments accumulate, arteries begin to clog, his cardiac muscle weakens, slows, speeds again to make up time.
There is so little time. He wears his silvered hair neatly parted. He is a humble, somewhat conservative man, a Roman Catholic whose joy for the most simple things can be overwhelming, inexplicable. After his third heart attack, when they jammed tubes into him and he was pretty sure it was over, he became insistent.
If this man can be oversensitive and a bit obsessive, if he has an exact recall of the little injustices that have been done unto him—he keeps old hurtful letters on file—he knows he must unburden himself now, make peace with those in his life: wife, children, friends, colleagues.
And with the vanished ghosts that roam the rooms of his memory: mother, father, brother. Troubled by the Past Through mere association with the book, David Williams has been chastised as a Nazi apologist. And what of Pernkopf? What of Batke? When considering it, he often conjures the language of some illicit affair: rapture, consumption, shame.
And if he was betrayed by that lover, does it lessen all those days he spent in love? Ah, the Book, the nearly unbearable perfection of its paintings, and then, weltering behind it, armies clashing across the face of Europe, 6 million spectral Jews. Under pressure, history splits in two: the winners and the losers, the righteous and the evil.
It is not like this man to act impulsively, to yield control, to risk missing cardiac rehab, to wander 7, miles from his dear doctor, but he does. He packs a bag with some old journals, drives from West Lafayette to Indianapolis and gets on a plane.
He travels eight hours in coach, through spasms of lightning, wearing his Adidas jumpsuit, hair neatly parted. Fragments accumulate; arteries begin to clog. He naps, wakes, reads his decades-old handwriting again. If he were to die on this plane, in a hotel lobby in Vienna, in the echoing halls of the Institute searching for some truth, will he have been cleansed? No, his sin, if that indeed is what it is, was more quotidian: He found beauty in something dangerous.
A cloudy afternoon, Vienna, A man sits and smokes, a body laid before him. A creature of habit, he wears a white lab coat and a white polyester turtleneck, no matter what the weather. He is small, with a crooked nose and skewed chin that give him the appearance of a beat-up bantamweight. He has a lot of nervous energy, except when he sits like this.
When he sits like this, he seems almost dead, a snake in the heat of day. Before him lies a nameless cadaver that was brought up from the basement of the Institute, from the formaldehyde pools of torsos and limbs, then perfectly prepared like this: an incision, a saw to the breastbone, the rib cage drawn open, the heart removed.
He stares at this open body, looks down at the floor, stares some more. In his right hand, he holds a Habico-Kolinsky, one with long sable hairs, his brush of choice. On the rag paper before him, he has sketched some rough lines, has plotted his colors. And now, after this prolonged stillness, he bursts from his chair. He paints across the entire canvas, maniacally, almost chaotically. He lays in washes of color, gradually building the glazes.
His hand darts back and forth. He goes at the bronchus and then the thoracic duct. With his tongue, he licks the brush and lifts off pigment to show phantasmic light on this internal landscape. He flicks turquoise here and there to make the fascia appear real. He is in deep space, underwater, gravityless.
He works in a fever, shaking and levitating. Weeks pass, and still he stands before this painting, this body. What is his desire? To be a rich man, to paint what he chooses, to hang in museums, to make love to beautiful women, but he is on the wrong side of history.
Now a silver light pours thickly through the tall glass windows. He lifts pigment, then swabs his brush over the Aquarellfarben cake.
He expertly paints in the ascending aorta and pulmonary trunk, giving them ocher and purple colors. He creates this astral penumbra of arteries and air pipes, galaxies within the body.
For one moment, he does it so well he vanquishes memory. It has always been just him and the canvas. The dead have no color. His power is that he gives them color.
The Book is a Technicolor leap forward. He shakes and levitates in his temporary palsy. It is the summer between seventh and eighth grades, Far away, in another world, an unknown man named Franz Batke paints in Vienna while this unknown boy, David Williams, has some sort of infection.
His body has burst with huge open sores on his face, back and chest. The shots put him into a high fever that brings on convulsions. He is a supernova; he could be cursed. Advertisement Outside, the Michigan sun burns, it rains lugubriously, and then there is bright light on the panes again. The floor shines menacingly. There is no explanation for this suffering. No treatment that the doctors can find. Inside him a cell has split in two.
He is a boy who, by some internal chemical flood of testosterone and disease, is fast becoming something else, a different animal. In the fall, he is released from his hospital cell. He lifts weights and runs the sand dunes by the lake to build his body back.
He dreams of being the middleweight champion of the world, the kid from Muskegon, Michigan, hitting someone so hard that he separates the guy from his body. If only he could convert his rage to power and skill, it might happen. After school he takes a football and runs through the cornstalks in the backyard, pretending each stalk is a tackler.
It is twilight now, and the boy has been running through these cornstalks for hours, for days. When he heals, his skin will be runneled and pocked. He will always live a word away from that good-looking upperclassman, the one in the locker room who, before everyone, called him Frankenstein. It will take him decades to understand these scars and what has happened to him. What has happened to him? They talk about the thing they both loved most: art. Sitting in that studio in Innsbruck, David Williams, the would-be middleweight champion of the world from Muskegon, Michigan, who speaks in faltering German, feels immediately at home with this Austrian, Franz Batke, who speaks no English and who, unbeknownst to him, is a former Nazi.
How has this happened? Because they speak only of art. Williams will write in his journal, "I am truly beginning to see this man as a genius. The cell has split in two. There is no diagnosis, no explanation. Clouds cover the city, hyena shaped, turning on themselves. The tanks are rolling, and the people come out of their houses, clutching bouquets to pledge allegiance to their invaders, without fully understanding.
They throw flowers and sing. They are thin already, engraved by rib cages and dark rings beneath their eyes. It is not easy to understand. Their euphoria is blinding. On this morning, Eduard Pernkopf rises at 4 a. He is a short, stout man with gray-blue eyes, dour and phlegmatic, though not entirely humorless. He wears round glasses and diligently reads his well-thumbed Schopenhauer. He has a scar on his left cheek from a duel he once fought.
The Most Dangerous Beauty
Kagor Medicine and Murder Although never charged with war crimes, Pernkopf spent three years in an Allied prison camp near Salzburg after the war. We thank David J. Two of his former colleagues, Alexander Pickler and Werner Platzer, completed it for its publication. Basic science advances can be obtained with non-human tissue e. This raises quite real ethical questions. His article is a must for anybody who wants to know more about this subject.
EDUARD PERNKOPF PDF
Early life[ edit ] Pernkopf was born in in the Lower Austria village of Rappottenstein , near the border with Bavaria. The youngest of three sons, he seemed to be considering a career in music upon his completion of the Gymnasium in Horn. During his time there he became a member of the Student Academic Fraternity of Germany, a student group with a strong German nationalist persuasion. Hochstetter became his mentor and one of his strongest influences. He served in the military as a physician for a year during World War I. In he earned the title of associate professor , with a promotion to full professor two years later.
Email Beneath this black roof, on a well-clipped block, in a small midwestern town on the Wabash River, a professor wakes in the dark, confused at first by an outline under the sheets, this limp figure beside him in bed. From some primordial haze slowly comes recognition, then language: bed, sheets, wife… Andrea. He kisses her and rises. He is 58 years old, and he wakes every morning at this ungodly hour, in his finely appointed brick house with exploding beds of lilies, phlox and begonias. After three heart attacks, he goes now to cardiac rehab.
PERNKOPF ANATOMY EBOOK