Abstract This article reconstructs the reception history of the illustrations of Andreas Vesalius’s De humani corporis fabrica (1543) by tracing how they were copied, pirated, and plagiarized from the sixteenth century to today. Curiously, Early Modern printers never reused the original woodblocks, even though they were available for sale. Instead, publishers commissioned new, smaller, and corrected illustrations that imitated, but did not exactly replicate, the original woodcuts. As I argue, Early Modern medical publishers engaged with images by continually trying to emulate and improve upon them. It was only in the eighteenth century, when the Fabrica ceased to become a textbook for practicing physicians, that its images became cult objects that needed to be replicated exactly. It was in this era that the original woodblocks were rediscovered and then used to print new editions of the Fabrica. Curiously, William Ivins, Jr., the renowned print scholar, came up with his theory of exactly repeatable pictorial statements when he became engaged with the 1934 re-edition of the Fabrica’s images, the last edition to rely on these woodblocks. It is claimed here that his theory of pictorial statements is a reflection of how modern publishers engaged with the Fabrica’s images, but misrepresented how those images were used in the Early Modern period. Bruno Latour’s work on immutable mobiles drew its inspiration from the work of Ivins. Consequently, a reassessment of Ivins’s claims about the history of printing is also a reassessment of Latour’s claims about the role of inscriptions in the emergence of modernity.

中文翻译：

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从Vesalius到Ivins到Latour：Fabrica中的模仿，仿真和完全可重复的图形陈述

摘要本文通过追溯从16世纪到今天的复制，盗版和窃行为，重构了安德烈亚斯·维萨留斯（Andreas Vesalius）的《 De humani corporis fabrica（1543）》插图的接收历史。奇怪的是，即使可以出售，Earth Modern印刷商也从未重复使用原始的木刻版画。取而代之的是，出版商委托了新的，较小的和更正的插图，这些插图模仿但没有完全复制原始的木刻。正如我所论证的那样，早期现代医学出版商通过不断尝试模仿和改进图像来处理图像。直到18世纪，Fabrica不再成为执业医师的教科书时，其图像才成为需要精确复制的邪教对象。正是在这个时代，原始的木刻版被重新发现，然后用于印刷新版的Fabrica。奇怪的是，著名的版画学者小威廉·艾文斯（William Ivins，Jr.）着迷于1934年对法布里卡（Fabrica）图像的再版，即上一版依靠这些木刻版画的版本，提出了完全可重复的图形陈述的理论。这里声称，他的图像陈述理论反映了现代出版商如何处理Fabrica的图像，却歪曲了这些图像在近代早期的使用方式。布鲁诺·拉图尔（Bruno Latour）在不可变手机上的工作汲取了艾文斯（Ivins）的灵感。因此，对艾文斯关于印刷历史的主张的重新评估，也是对拉图尔关于铭文在现代性出现中的作用的主张的重新评估。