ABSTRACTThe historical process underlying Darwin’s Origin of Species did not play a significant role in the early editions of the book, in spite of the particular inductivist scientific methodology it espoused. Darwin’s masterpiece did not adequately provide his sources or the historical perspective many contemporary critics expected. Later editions yielded the ‘Historical Sketch’ lacking in the earlier editions, but only under critical pressure. Notwithstanding the sources he provided, Darwin presented the Origin as an ‘abstract’ in order to avoid giving sources; (...) a compromise he acknowledged and undertook to set right in later editions, yet failed to provide throughout the six editions under his supervision. Darwin’s reluctance to publish the historical context of his theory and his sources, particularly sources which were also ‘precursors’, may be attributed as much to the matter of intellectual ownership as science, or even good literary practice. Of special concern to Darwin were issues of priority or originality over ‘descent with modification’ and especially over Natural Selection. Many later historians have argued that Darwin was unaware of the work of his precursors on Natural Selection. Darwin’s theory was an example of independent discovery, albeit along with such obscure precursors as Matthew or Wells, who were unknown to Darwin until after the publication of the Origin. Both Matthew and Wells had a medical education, like James Hutton or Erasmus Darwin earlier in the eighteenth century, or even Charles Darwin. Evolutionary theory, at least in Britain was a product largely of the medical evolutionists rather than the natural historians which ‘history’ has chosen to select for the focus of attention; and among the medical evolutionists the figure of John Hunter stands out as theorist, experimentalist and teacher: the medical evolutionists were predominantly the product of Hunter’s legacy or of the medical profession and particularly the Scottish Universities. Much recent Darwin scholarship has focused on the private Notebooks, to establish Darwin’s discovery of Natural Selection around 1837–1838 and demonstrate Darwin’s ignorance of his precursors; requiring an explicit acknowledgement by Darwin as the legitimate substantiation of any claim to prior influence. The precursors have been categorized as uniformly obscure or irrelevant to the science of evolution which may be defined exclusively as ‘Darwinian’. The inclination to acknowledge influences, however was not something Darwin was gratuitously given to doing, especially on matters of priority. The Notebooks are not Darwin’s private thoughts; from an early stage he considered them incipient public documents and later sought to protect them as proof of his originality. William C. Wells was not an obscure thinker, but a celebrated scientist whom Herschel, Darwin’s guide to scientific methodology, had recommended as providing a model of scientific method. Darwin discovered Wells through Herschel, and quickly acquired a copy of Wells’ recommended work, no later than 1831, and held it thereafter in his library at Down House. This book, the 1818 edition of Wells’ Two Essays contains a third essay, Wells’ account of Natural Selection. Later, in the Descent of Man Darwin acknowledged his separate discovery of the correlation of colour and disease immunity in man, also earlier recounted by Wells. (shrink)

El presente artículo proporciona un marco para una lectura unificada del pensamiento de Adam Smith. Se basa en la síntesis de dos líneas de investigación que aún no se han unido convincentemente: la que ha esclarecido la metodología newtoniana de la parte económica de su producción y la que ha recurrido al modelo dramático para interpretar su pensamiento ético. Como estrategia expositiva en él se subsume el modelo newtoniano bajo el modelo dramático y se identifica como referente para Smith el (...) análisis de la fábula trágica desarrollado por Aristóteles en su Poética. Con ello se destaca la centralidad de la imaginación productiva en su propia obra, tanto en la construcción de sus objetos como en la organización didáctica de sus textos, concluyéndose que la creatividad estética fue para él la metodología básica que subyacía al rigor científico. (shrink)