Eschewing the symbolic in favour of commitment to the unmediated replication of exactly that which is actually observed, Hunter's attitude to the images in his Anatomy of the Human Gravid Uterus embraces a juridical ideal of scientific representation: images should tell the truth, the whole truth and nothing but the truth. Contemporary scholars have questioned this appeal to objectivity, maintaining representation always exists inside culture and arguing gender frequently inflects purportedly neutral scientific vision. I extend that debate via a reading of Plate XXVI, which is frequently misunderstood as representing something completely different to what it actually depicts. Its sequence of images, I argue, chart a narrative of enlightenment wherein folk mythologies of the uterus are subdued by the controlling scientific gaze. I also suggest a previously unrecognised correspondence between Plate XXVI and one of the plaster casts of the dissected bodies preserved in the University of Glasgow's Anatomy Museum.

中文翻译：

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子宫上的窗户和光的引导列车：在威廉·亨特的《人类妊娠子宫解剖》第二十六版中描绘真实

亨特对他作品中的图像的态度避开了象征性的东西，而是致力于对实际观察到的事物进行无中介的复制。人类妊娠子宫的解剖拥抱科学再现的司法理想：图像应该讲述真相，全部真相，除了真相之外别无其他。当代学者质疑这种对客观性的诉求，认为文化中始终存在代表性，并且认为性别经常影响所谓中立的科学视野。我通过阅读第 26 版图画来扩展这场辩论，该图版经常被误解为所代表的事物与其实际描述的完全不同。我认为，它的一系列图像描绘了一种启蒙叙事，其中有关子宫的民间神话被科学的控制目光所压制。我还提出了第 26 版板与格拉斯哥大学解剖博物馆保存的解剖尸体石膏模型之间的先前未被识别的对应关系。