I argue that Goethe’s scientific writings carry in them the seeds of the theory of evolution. Goethe’s works on plant morphology reflects the conflicting ideas of his era on the discreteness and on the stability of species. Goethe’s theory of plant morphology provides a link between the discontinuous view of nature, as exemplified in works of the Swedish botanist Carl Linnaeus (1707-1778), and the continuous view of nature, as exemplified in the work of the English naturalist Charles Darwin (...) (1809-1882). (shrink)

The paper aims to understand whether morphology can be framed as a language for aesthetics. In particular, whether Olaf Breidbach’s contribution can determine its fundamental terms. These are related to the notion of forms and images. Hence, the paper is structured into three parts: i) framing of research on morphology in Ger-many; ii) analysis of Goethe’s method and vocabulary from an aesthetic standpoint; iii) presentation of Breidbach’s proposal in relation to Goethe.

Maurice Merleau-Ponty beschreibt die Phänomenologie als einen erkennbaren, praktischen Denkstil, der als Bewegung schon bestand bevor er sich als Philosophie bewusst war. Im Folgenden wird gezeigt, wie Goethe’s naturwissenschaftliches Denken in diesen erkennbaren, praktischen Denkstil der phänomenologischen Bewegung hineinpaßt. Diese Studie über Goethe und die Phänomenologie ist auf drei Themenkreise beschränkt: die phänomenologische Weltanschauung, die von Husserl’s Werk geprägt wurde; die phänomenologische Methode, die ihren Ursprung in Husserl, aber ihre Ausarbeitung in neueren Phänomenologen hat; und letztlich die phänomenologische Naturphilosophie, die (...) ihre Ansätze im Spätwerk Merleau-Ponty’s findet. (shrink)

This article proposes an empirical approach to understanding the life of an organism that overcomes reductionist and dualist approaches. The approach is based on Immanuel Kant’s analysis of the cognitive conditions required for the recognition of an organism: the concept of teleology and the assumption of a formative power of self-generation. It is analyzed how these two criteria are applied in the cognition of a developing organism. Using the example of a developmental series of a plant leaf, an active and (...) relational process between observer and developing organism is shown, within which the teleology and self-generating power of the organism can be empirically observed through the mental faculties of understanding and will. Furthermore, it is emphasized that, according to Kant, even physical objects are not readily given, but are actively constituted through the unification of sense perceptions with concepts. This Kantian mode of objectification facilitates cognition of the physical properties of an organism. It can be supplemented with a participatory and co-constitutive mode of realization, in which the life of the organism (its teleologically organizing and self-generating power) can become an object of empirical research. Furthermore, it is argued that the participatory mode also facilitates an expanded conception of nature that allows for the existence of living beings within it. Finally, an analogy to Goethe’s approach to the living organism is highlighted. In summary, it is stated that to understand life, one must consciously participate in it. (shrink)

What role does the concept of naturalness play in the development of scientific knowledge and understanding? Whether naturalness is taken to be an ontological dimension of the world or a cognitive dimension of our human perspective within it, assumptions of naturalness seem to frame both concepts and practices that inform the partitioning of parts and the kinding of kinds. Within the natural sciences, knowledge of what something is as well as how it is studied rely on conceptual commitments. These conceptual (...) commitments shape how entities and processes are categorized _as_ natural depending on how naturalness has been understood within that discipline. In this paper, I explore how commitments to naturalness shape different conceptualizations of what were previously and what are now considered to be fundamental parts in plant morphology. Relying on an historically informed epistemological approach, I trace the origins and development of models of plant morphology from (1) Goethe’s classical LEAF-ROOT-STEM archetype model; (2) Agnes Arber’s revisions to Goethe’s model reconceived in her partial-shoot theory of the leaf; and (3) Rolf Sattler’s proposal for a processual model of plant morphology. These influential models posit ontologically and epistemologically inconsistent conceptualizations of the natural fundamental parts of plants and how they are related to each other. To explain what this inconsistency means for the concept of naturalness and the role it plays in plant morphology, I suggest naturalness might best be conceived of as a contextually bound classificatory concept that is made and remade through its operationalized use within a model, theory, set of practices, or discipline. (shrink)

This book shows that in the naturalistic and Darwinian explanation of life and its evolution, a decisive factor is overlooked, namely the human, knowing mind. The questions about life and its evolution can be answered if consciousness is taken into account not as a spectator, but as an integral part of reality. In the first-person-perception of cognition, the forces and laws of organic development can be observed and explored. It becomes apparent that evolution was not a random event, but the (...) organic overall process of the becoming of man. (shrink)

Rarely does research in the history and philosophy of science lead to new empirical results, but that is exactly what has happened in one of the essays of this special issue: Rang and Grebe-Ellis have developed new experimental techniques to perform measurements Goethe proposed 217 years ago. These measurements fit neatly with Goethe’s idea of polarity—his complementary spectrum is not only an optical, but also a thermodynamical counterpart of Newton’s spectrum. I use the new measurements, firstly, to argue against the (...) asymmetries between light and darkness posited by Lyre and Schreiber; and, secondly, to explicate the alternative theory that Goethe had introduced to urge scientific pluralism. In my replies to exegetical criticism by Böhler, Hampe and Zemplén, I show that the main goal of Goethe’s Farbenlehre was indeed to expose symmetries between light and darkness. Furthermore, I argue that it is worthwhile to focus on the experiments, arguments and hypotheses of the Farbenlehre, and not merely on rhetorical, narrative or stylistical aspects, as Böhler and Hampe would have it. Goethe’s criticism of Newton is often dismissed, but it is in fact surprisingly relevant today. (shrink)

Considers Goethe's Italienische Reise in regard to Adorno's notion of "late style," with especial focus on the role of Ovid's poetry in the work.

In Byron, Shelley, and Goethe’s Faust, author Ben Hewitt has provided us with a carefully done and convincing study. Given this, it would have been interesting to see Hewitt’s effort to integrate Mary Shelley’s work into his narrative. Apart from any similarities between Faust and Frankenstein, it bears remembering that Goethe himself remained unconvinced by efforts to clearly demarcate works as “tragic” or “epic”; a fact that becomes especially clear in the number of works he’d devoted to rewriting the story (...) of Prometheus. One cannot help but wish that Hewitt had considered the connection between these works and Shelley’s own “Modern Prometheus” in juxtaposition to his reading of P.B. Shelley’s Prometheus Unbound, for this would have made for an especially good ending to Hewitt’s story. Wayne Deakin’s consideration of Hegel and the English Romantic Tradition does indeed close with a brief consideration of Mary Shelley’s Prometheus, but this comes only at the end of a much longer set of considerations. In this book Deakin adopts a similar strategy as that of Hewitt, namely, foregoing any historical recovery of Hegel’s direct influence on the English Romantics—in Deakin’s case, Coleridge, Wordsworth, and P.B. Shelley—to focus instead on a reading of key poetic works in concert with their Hegelian framework. This reading essentially flows from Deakin’s effort to rethink Hegel’s relatively early notion of self-consciousness through his late lectures on aesthetics. For Deakin, this leads to “aesthetic recognition”; a situating of the self in relation to the world that remains in tension so far as the subject’s drive for autonomy will automatically be humbled by its reception of and to alterity—be that other “Nature” or other subject. (shrink)

Goethe carried out an enormous number of experiments before criticizing Newton's theory of light and colours in the Farbenlehre (1810). He managed to show that Newton's reasoning is based on a rather narrow choice of experiments, in which parameters such as the distance between the prism and the screen are fixed arbitrarily: Newton's famous spectrum (with its green centre) occurs only at a specific distance. Once you reduce the distance, the green centre disappears, and you see the two border spectra (...) instead. Newton can of course explain these border spectra; but things can be explained just as well the other way around: Then you start with a theory based on the two border spectra in order to derive the Newtonian spectrum. Both accounts fit many data (available in Newton and Goethe's days) equally well. Thus by insisting that the step to theory is not forced upon us by "reason and experiments" alone (as Newton would have it), Goethe revealed our own free, creative contribution to theory construction. And surprisingly, his theory of the prismatic colours seems no worse off than Newton's, even taking into account additional criteria of theory choice, such as simplicity or elegance. (shrink)

Goethe's objections to Newton's theory of light and colours are better than often acknowledged. You can accept the most important elements of these objections without disagreeing with Newton about light and colours. As I will argue, Goethe exposed a crucial weakness of Newton's methodological self-assessment. Newton believed that with the help of his prism experiments, he could prove that sunlight was composed of variously coloured rays of light. Goethe showed that this step from observation to theory is more problematic (...) than Newton wanted to admit. By insisting that the step to theory is not forced upon us by the phenomena, Goethe revealed our own free, creative contribution to theory construction. And Goethe's insight is surprisingly significant, because he correctly claimed that all of the results of Newton's prism experiments fit a theoretical alternative equally well. If this is correct, then by suggesting an alternative to a well-established physical theory, Goethe developed the problem of underdete... (shrink)

Objective: The measurement of international publication activities is one of the essential indicators used to evaluate the scientific development level of countries. Although many studies are using the bibliometric method in the literature, it is seen that there are very few bibliometric studies in the field of anatomy. This study aimed to analyze the articles bibliometrically which conducted by researchers at institutions from Turkey and indexed in Science Citation Index Expanded (SCI-E) of the Web of Science database in the category (...) of Anatomy and Morphology. Materials and Methods: According to 2019 data, journals in the Anatomy and Morphology category and indexed in the SCI-E were determined. Publications from Turkey that were published in these journals was determined. The full-texts of these articles were examined, and study types were defined. Also, VOSviewer software was used to create a collaboration and word co-occurrence network. Results: It was determined that there were 48,002 publications in 21 journals. It was found that 1,461 publications (3.04%) have at least one author from Turkey. The total number of citations was 11,728 for these publications. The average number of citations was 8.02±11.95. The radiological studies have increased statistically more than both experimental animal and cadaveric studies by years. In addition, it has been determined that the total number of articles, especially the radiological studies, has increased significantly over the years. Conclusion: The increase in the number of scientific studies in the field of anatomy is important in terms of the contribution of Turkey to literature in this area. (shrink)

Abstract: This essay addresses three specific moments in the history of the role played by intuition in Kant's system. Part one develops Kant's attitude toward intuition in order to understand how ‘sensible intuition’ becomes the first step in his development of transcendental idealism and how this in turn requires him to reject the possibility of an ‘intellectual intuition’ for human cognition. Part two considers the role of Jacobi when it came to interpreting both Kant's epistemic achievement and what were taken (...) to be the outstanding problems of freedom's relation to nature; problems interpreted to be resolvable only via an appeal to ‘intellectual intuition’. Part three begins with Kant's subsequent return to the question of freedom and nature in his Critique of Judgment. With Goethe's contemporaneous Metamorphoses of Plants as a contrast case, it becomes clear that whereas Goethe can embrace the role of an intuitive understanding in his account of nature and within the logic of polarity in particular, Kant could never allow an intuition of nature that in his system would spell the very impossibility of freedom itself. (shrink)

İslam dininin kutsal kitabı olan Kur’an-ı Kerim’in Orta Çağ Hristiyan Batı dünyasında yüzyıllar boyu ön kabullerle incelendiği ve uzun polemiklere konu edildiği bilinmektedir. Kur’an’ın farklı ve nispeten daha objektif okumaları ancak Aydınlanma dönemi sürecin-de kilisenin hegemonyasının kırılması sonrasında mümkün olabilmiştir. Alman şair Jo-hann Wolfgang von Goethe (1749-1832) bu yeni perspektifin en önemli temsilcilerinden biridir. Gençlik yıllarından itibaren Kur’an ile meşgul olan Goethe, farklı meallere ve kaynaklara da müracaat ederek Kur’an hakkında zengin bir bilgi birikimine sahip olmuş-tur. Yapılacak yüzeysel bir inceleme, (...) onun Kur’an ve İslam dünyasından aldığı ilhamları meşhur Doğu-Batı Divanı’nda şiirlerine yansıttığını göstermeye yetecektir. Elinizdeki bu makalede kısaca Kur’anʼın Hristiyan Batı dünyasındaki algısı anlatılacak, ardından Goet-he’nin Kur’an ile olan meşguliyeti ortaya konulacaktır. Son bölümdeyse, Kur’an’ın Doğu-Batı Divanı’ndaki yansımalarının izi sürülecektir. (shrink)

This essay details the reception of Bruno's works in Goethe's unpublished texts, with a special emphasis on the Frankfurt Poems. Puccini analyzes Goethe's interpretation in the light of his studies in the field of natural sciences. In particular, she aims to show how Goethe's research interacts with Bruno's meditations on the unity and infinity of the universe/nature. After a first period (1770-1802) in which Goethe's interest in the Nolan philosopher is dominated by a Neoplatonic reading of (...) Bruno's cosmology, between 1812 and 1829 the scientist-poet's criticism of nineteenth-century scientifìc culture recalls Bruno's attacks against the conformity of the "insani", those intellectuals who passively follow the dominant paradigms. Their interpretation of natural phenomena is irredeemably corrupted by the passive acceptance of wrong hypotheses. (shrink)

Goethe und Schelling begannen ihre Zusammenarbeit mit intensiven optischen Experimenten. Schelling lernte von Goethe, dass sich viele Farbphänomene bipolar anordnen lassen und dass eine optische Symmetrie bzw. Dualität zwischen weißem Licht und schwarzem Schatten besteht. Goethe lernte von Schelling, dass man das Prinzip der Bipolarität als forschungsleitende Idee verstehen kann (als eine regulative Idee in Kants Sinn). In der optischen Forschung kommt man mit dieser Idee wesentlich weiter, als gemeinhin angenommen wird; ihr Potential ist bis heute nicht ausgeschöpft. Sie ist (...) u.a. deshalb in der Versenkung verschwunden, weil ihre Verfechter mit ihr unseriös über die Stränge schlugen – außerhalb der Optik. Wenn sich das hätte vermeiden lassen, wäre Goethes Farbenlehre von Physikern möglicherweise weniger feindselig aufgenommen worden. Pech für Goethe. (shrink)

In Germany, between the last decades of the 18th and the first decades of the 19th centuries, four fundamental figures of German and European culture emerged: Lessing the great playwright, Herder the promoter of the epistemological foundations of modern linguistics and of the emerging historical-social sciences, Goethe the supreme poet and novelist, and Fichte the eminent philosopher. They were all Freemasons and basic authors of Masonic thought. The most significant works of these authors have been chosen, which summarize the interpretative (...) modalities of the complex Masonic reality of the 18th century. The book analyses Lessing's five Dialogues for Freemasons, highlighting his austere vision in the search for the essence of Freemasonry. Of Herder's two Masonic Dialogues, the connotation in the sense of Humanity of a Freemasonry that leaves the Enlightenment to set out towards new goals of pure and spiritual thought is noted. Among Goethe's poetic works, two in particular highlight the depth of a Masonic thought pervaded by a sophisticated and modern hermeticism. Fichte's Lessons on Freemasonry are framed in his complex philosophical thought and in his complicated experience of Masonic life. ========== Nella Germania tra gli ultimi decenni del XVIII e i primi del XIX secolo emergono quattro figure fondamentali della cultura tedesca ed europea: Lessing il grande drammaturgo, Herder promotore delle basi epistemologiche della moderna linguistica e delle nascenti scienze storico-sociali, Goethe il sommo poeta e romanziere, Fichte l’eminente filosofo. Erano tutti Massoni e autori basilari del pensiero massonico. Di questi Autori sono state scelte le opere più significative che sintetizzano le modalità interpretative della complessa realtà massonica del ‘700. Nel libro si analizzano i cinque Dialoghi per Massoni di Lessing evidenziando la sua visione austera nella ricerca dell’essenza della Massoneria. Dei due Dialoghi massonici di Herder è rilevata la connotazione nel senso dell’Humanität di una Massoneria che esce dall’Illuminismo per avviarsi a nuove mete di pensiero puro e spirituale. Tra le opere poetiche di Goethe due in particolare evidenziano la profondità di un pensiero massonico pervaso di un sofisticato e moderno ermetismo. Le Lezioni sulla Massoneria di Fichte sono inquadrate nel suo complesso pensiero filosofico e nella sua complicata esperienza di vita massonica. (shrink)

This essay focuses on the attention paid to Prometheus by Goethe and Schlegel. Prometheus serves as an archetypal figure for Goethe, in particular, and as such the Titan can be viewed as a figure whose various appearances represent genuine metamorphoses or transformations of the archetype in much the same manner that Goethe takes the archetypes of leaf or vertebrae to function in the plant and animal kingdoms. Schlegel’s treatment of Prometheus takes the organic analogy even further. In his fragmentary work (...) Lucinde Schlegel exploits the metaphorical possibilities provided by plant life when thinking about not only the sessile structure of the text as a whole but indeed the internal literary devices capable of simulating the environmental impacts required for the flowering of the plot. The fact that Goethe and Schlegel deliberately leave their discussions in a fragmentary form is discussed in the final section of the essay in a manner that ties the open-ended quality of such productions to Gadamer’s discussion of the Vollzug or performative character of poetry and other works of art. (shrink)

This essay connects Kafka's German and his Jewish linguistic sources, and explores the trans-national perspective on literary tradition they helped him create. I begin with a critique of Deleuze and Guattari's view of Kafka as a minority writer, showing how their cold war nationalism scants the positive contributions that Yiddish and Hebrew made to his work. I continue with an examination of the "twilight of containment," when this postcontemporary Kafka began to break through his cold war canonization after 1989. Other (...) sections include: "German-Jewish Traditions: The Echoes of Yiddish," on Kafka's cultural politics; "Hebrew: Zionism in a Transnational Key"; and "Goethe's Jewish Voices," on Yiddish as a model for Kafka's new conception of national writing. I conclude by considering the Jewish and other sources of Kafka's "linguistic turn," and the general, transnational focus on tradition that Jewish languages brought to his classic texts. (shrink)

Hegel's reading of Hafez as part of his Berlin aesthetics lectures. The jargon of the prosaic world -/- This essay deals with Hegel's reading (Georg Wilhelm Friedrich Hegel, 1770 - 1831) of Hafez' poetry (Moḥammad Schams ad-Din Hafez Schirazi, around 1315 - 1390) during his lectures on the Aesthetics or Philosophy of Art at the University of Berlin (1820/21; 1823; 1826; 1828/29). Hegel's writings, Lectures on Aesthetics, were published from his remains by Heinrich Gustav Hotho (1802 - 1873) in three (...) volumes (1835 - 1838) and in a second edition from 1842 onwards. The posthumously published writings of Hegel are, considering the preserved archive material and the unreliable editing work by Hotho, a thoroughly complex research topic. Therefore, this problem area also forms the starting point of the present analysis of Hegel's reading of Hafez. -/- Within the framework of this essay, Hegel's categories of historical frameworks (Symbolic, Classical, and Romantic Art), especially that of the "Symbolic Art", are examined in his lectures on Aesthetics . This will do in three steps: starting with the current state of research, problematizing of Hegelian concepts in his Lectures on Aesthetics like "oriental Pantheism" or Vorkunst, ("the threshold of art" or "praeambula": T. M. Knox' translation, 1975, part I); extending the discussion by focusing on similarities and differences between Hegel's reading of Goethe (part II) and Hegel's reading of Hafez (part III) in his Berlin Aesthetics Lectures of the 1820's. For this purpose, material from Goethe's literary remains (II), as well as a masterpiece of Dutch painters van Eyck analyzed by Hegel (Ghent Altarpiece) during his lectures (III), will be included in the analysis and explored from an interdisciplinary and intercultural perspective. In doing so, Goethe's “Space of Experience and Horizon of Expectation” (Koselleck) in imitating Arabic script and calligraphy (II) is linked to Hegel's reading of Hafez during his Berlin lectures on aesthetics (III). Thus, a dialogue of cultures unfolds between poetry and philosophy. The main questions are: How does the German philosopher Hegel interpret and receive Hafiz's poetry in the context of German idealist philosophy as a topic of his lectures on aesthetics? What epistemological aspects can be gained from Hegel's reading of Hafez for a cultural studies analysis, especially regarding the history of the ideas? In addition to analyzing the historical aspects, the aim is also to uncover new perspectives in order to look with Hafez and Rumi at Hegel's problem child of ‘history’. Of particular interest are epistemological aspects and problems of reception and translation studies in sense of interdisciplinary and intercultural research (e. g. connected/entangled histories; boundary objects). Interculturality is understood in the context of the present essay as a cross-disciplinary theoretical framework in the sense of entangled histories research work interwoven with communication, aesthetic and cultural techniques approaches or resilience studies in a historical perspective. (shrink)

In the seventeenth century, Newton used bis famous prism to found the physics of spectral light, thus revolutionising our thinking about colours; more than a hundred years later, Goethe protested against Newton's theory and discovered a number of new prismatic colour phenomena. Did these episodes in the history of science have any influence on the visual arts? For a decade now my visits to art museums have had an agenda: I have been looking for nineteenth-century paintings with certain spectral colour (...) (which will be described in the first half of this paper). While my search has been unsuccessful in traditional Western art, I found what I was looking for in Japa­nese art: in woodblock prints by Hokusai and Hiroshige. This is surprising; little Western science had reached Japan in their time. The second half of the paper pre­sents this riddle, which I am nowhere near solving. Even without a solution, however, a riddle can be instructive. In this case, it may help to bring into focus the fascinating exchange between two distant cultures. Much has been written on the cultural relativ­ity of colour perception, colour systematisation and colour aesthetics; I want to intro­duce a new and so far unknown case that might contribute to this debate - though the debate itself remains beyond the scope of this paper. (shrink)

This dissertation re-examines the principal philosophical thrusts of the German Enlightenment period, from the perspective of their totalizing-mythological function, and investigates how this function is criticized by the non-totalizing function of myth found within the primary mythical images in the work of Goethe, Nietzsche, Rilke, and Walter Benjamin. ;Utilizing the revolutionary book by Hans Blumenberg on the function of myth in German Idealism and Romanticism, I instigate a discourse between Blumenberg's totalizing work on myth and the negative-dialectical work on myth (...) as proposed by Theodor Adorno. I locate the German origins of this negative-dialectical myth-making in the work of Goethe, specifically his non-totalizing image, Wilhelm Meister. I locate the development of this use of myth in Nietzsche's Zarathustra, and, finally, trace a similar function at work in Rilke's Malte and Walter Benjamin's historical materialist. ;Contrary to Habermas, who argues that Nietzsche opened up two roads to postmodernity, one leading to the "ontologization of aesthetics" and the other to the "totalizing critique" of reason , I put forth the argument that the Nietzschean "two roads" metaphor is useful but needs to be re-shaped, configuring one road toward the mythological history and historical mythology of Rilke and Walter Benjamin, and another road the Theodor Adorno's "thorough critique" of reason. ;The need to revise Habermas's "two roads to post-modernity" theory mythographically, rests on the primary investigation of this dissertation: to trace by de-scription the practical incarnation of the word on German soil . I define this process of "practical incarnation" as that word which subversively desires to de-scribe and trans-figure the neurotic -psychotic structure that has defined the parameters of Western discourse, at least since neo-Platonic Christianity influenced cultural codifications of the West. Finally, I maintain that the primary image of criticism which emerges from the dialectical work of the writers herein, is the image of man-child, a classless, non-totalizing image implicit in Goethe's Wilhelm Meister, and developed in the Kind-Mensch constellation in the work of Nietzsche, Rilke, and Walter Benjamin. (shrink)

One of the theories that have been produced in linguistics in the light of J. E. McTaggart’s influential essay “The Unreality of Time” (1908) is a critique of reality that may be attributed to the semantics of tenses in natural languages. This chapter from my book The Linguistic Picture of the World: Alice’s Adventures in Many Languages proposes an alternative approach to the semantics of time, not as a dubious product of linguists’ imagination, i.e. not as something that can easily (...) be discarded from the philosophy of language but rather as a firm category of human thinking. Particular emphasis is placed on the idea of time as it is expressed by the seemingly rather contradictory morphology of the past, present, and future. (shrink)

In this paper, I attempt to find a middle ground between the formalist critic, Vladimir Propp, and the psychoanalytic critic, Carl Jung. I argue that, instead of regarding Russian formalism and psychoanalysis as irreconcilable adversaries, the theories of the two figures can (and should) be unified; the result of which can be devised to establish a theory of what I call an ‘‘archetypal narrative’’. To be more explicit, Propp’s Morphology and Jung’s archetypal psychoanalysis are reconciled to bring about an (...) archetypal narrative theory, in which the underlying structure of narratives lies in the collective unconscious of humanity. (shrink)

Johann Joachim Winckelmann (1717–68) was not a philosopher. In fact, Winckelmann had a strong interest in distancing himself from academic philosophy as he knew it. As Goethe reports, Winckelmann “complained bitterly about the philosophers of his time and about their extensive influence.” Still less was Winckelmann a Kantian philosopher; the first edition of Immanuel Kant’s Critique of Pure Reason did not appear until 1781, thirteen years after the fifty-year-old Winckelmann was shockingly murdered in Trieste. Nevertheless, many of Winckelmann’s ideas were (...) philosophically rich and suggestive and interestingly relevant to the philosophical problems that were later to be addressed by Kant and his philosophical contemporaries. It is no wonder, then, that Winckelmann’s influence can be detected in the works of some of the most important philosophically oriented thinkers of Germany in the late eighteenth and early nineteenth centuries. In addition to Kant himself, these thinkers included Gotthold Ephraim Lessing (1729–81), Johann Gottfried von Herder (1744–1803), Johann Wolfgang von Goethe (1749–1832), Friedrich Schiller (1759–1805), Friedrich Hölderlin (1770–1843), Friedrich Wilhelm Joseph Schelling (1775–1854), and Georg Wilhelm Friedrich Hegel (1770–1831). (shrink)

In this analysis of one of the most difficult and neglected topics in Hegelian studies, Songsuk Susan Hahn tackles the status of contradiction in Hegel's ...

In this paper, I argue that culture plays a pivotal role for understanding Nietzsche’s own normative commitments. My argument develops as follows: Section 2 shows that Nietzsche advances an ideal of self-cultivation (Bildung) which is derived from the existential role of culture, elevating a peculiar concept of artistic creativity to ground his perfectionist understanding of value. Section 3 traces Nietzsche’s image of Goethe as exemplar of creative excellence. I contend that Nietzsche portrays Goethe as a male genius, rendering his concept (...) of self-cultivation entrenched in the cultural imagery of his time. The fin de siècle was obsessed with the image of genius as well as the relationship of creativity and gender. Moreover, as towering figure of German culture after the founding of the German Empire in 1871, Goethe was a frequent example of creative genius. Section 4 deepens the discussion of the role of gender in Nietzsche’s concept of creativity, exploring how the essentialist gender psychology of his mature works curtails the creative potential of women and explains his dismissal of feminism. (shrink)

Two hundred years after Darwin’s birth, the evolution of living systems is an accepted fact but there is scope for controversy on the mechanisms involved in such a process. Mainstream neo-Darwinism champions the role of natural selection (NS) as the fundamental cause of the evolutionary process as well as of random, contingent events at the genetic level as the main source of variation upon which NS performs its causal role. Thus, according to neo-Darwinism the course of biological evolution is quite (...) unpredictable and the past can only be partially reconstructed by means of a historical narrative.This second-class status for biology within the natural sciences as a merely descriptive, historical science results from the chronic neglect of biological form in the neo-Darwinian discourse. Hereunder I discuss the need for reintroducing form as the central object of biology, aiming at the identification of the general and fundamental principles of biological form. Such a formal biology may go beyond simple historical description achieving a complete, rational explanation of how previous and current morphologies corresponding to identifiable species were established, and so providing a rational foundation for predicting the possible outcomes of future biological evolution on earth and perhaps elsewhere in the universe. (shrink)

Starting with Aristotle and moving on to Darwin, Marco Solinas outlines the basic steps from the birth, establishment and later rebirth of the traditional view of living beings, and its overturning by evolutionary revolution. The classic framework devised by Aristotle was still dominant in the 17th Century world of Galileo, Harvey and Ray, and remained hegemonic until the time of Lamarck and Cuvier in the 19th Century. Darwin's breakthrough thus takes on the dimensions of an abandonment of the traditional finalistic (...) theory. It was a transition exemplified in the morphological analysis of useless parts, such as the sightless eyes of moles, already discussed by Aristotle, which Darwin used as a crowbar to unhinge the systematic recourse to final causes. With many excerpts, a chronological sequence and an analytical approach, this book follows the course of the two conceptions that have shaped the destiny of life sciences in western culture. (shrink)

Conventional approaches to consciousness assume that our current science tells us within tolerable limits what physical nature is. Because nature so understood cannot explain consciousness as we seem to experience it ourselves, explaining consciousness becomes a problem. One solution is to rethink what consciousness is so that it becomes the sort of thing our current natural science could in principle explain. Whitehead takes the opposite approach, using the existence of consciousness as a clue to what nature must be if it (...) can generate something like consciousness. The justification for this approach can be found in Whitehead’s implicit indictment of descriptive phenomenology. According to Whitehead, the seemingly insoluble problem of explaining consciousness naturalistically is an artifact created by the assumption that consciousness faithfully samples the world, when in fact it obscures the very aspects of nature that are indispensable to understanding how anything, including consciousness itself, could emerge through a physical process. (shrink)

Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and (...) Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building. (shrink)

It is a remarkable thing to find oneself suddenly surprised by an author after having spent years analysing, interpreting, and teaching their works. And yet, that is precisely the experience of many Kant specialists in recent times, as greater attention than ever has been placed on Kant’s discussions of gender and race. Part of the disorientation for Kantians surely comes from the way in which these investigations—oriented as they are by questions of empire as opposed to say, metaphysics—are able to (...) make a body of work that has been long-familiar seem strange and new. It is in this vein that I want to use my discussion here as an opportunity to reconsider one of Kant’s most familiar texts, the Groundwork of the Metaphysics of Morals, in order to focus on the case of moral failure presented by the person who has chosen an easy path in life: one who has ‘seine Talente verrosten ließ’ (4:423; let their talents rust, 75), to use Kant’s phrase.1 With this in focus, I will identify four subsequent counter examples offered up by Kant, each meant to offer specific cases of non-Europeans in a manner that can provide further moral instruction on this point. What this approach should reveal is not only Kant’s unsurprising consistency regarding the need for self-improvement, but also the compatibility he evidently saw between engaging his readers in moral guidance, on the one hand, and identifying non-European others as counterexamples of a morally worthless existence, on the other. (shrink)

I am not going to solve in this paper the plethora of problems and riddles surrounding Spinoza’s scientia intuitiva, but I do hope to break some new ground and help make this key doctrine more readily understandable. I will proceed in the following order (keep in mind the word ‘proceed’). I will first provide a close preliminary analysis of the content and development of Spinoza’s discussion of scientia intuitiva in the Treatise on the Emendation of the Intellect and the Ethics. (...) In the second part, I will address two closely related questions which have drawn the attention of many readers: (i) Is scientia intuitiva a cognition that is inferential? and (ii) Is scientia intuitiva a kind of cognition that is closely tied to causation? To the surprise of many, I will argue that Spinoza’s intuitive knowledge is both inferential and causal (in a certain rigid sense of ‘inferential’ and ‘causal’ to be explained below). In the third and final part, I will explain Spinoza’s preference for scientia intuitiva and his frequent use of mathematical examples, and then attempt to map the major remaining questions and problems surrounding the doctrine. (shrink)

This article examines the influence of the Persian mystic poet Hafi z on western poets. Interest in Hafiz started in England in the eighteenth century with the translations of Sir William Jones. In the nineteenth century, the German translation of Baron von HammerPurgstall inspired Goethe to create his masterpiece Westöstliche Divan (West-Eastern Divan). The poetry of Hafiz evoked such passion in Goethe that he referred to him as ‘Saint Hafiz’ and ‘Celestial Friend’. Inspired by Westöstliche Divan, a number of German (...) poets including Rückert and Platen composed volumes of poetry on the model of ghazal, the popular poetic form perfected by Hafi z in Persian literature. Prominent among the German thinkers influenced and fascinated by Hafiz was Friedrich Nietzsche who repeatedly mentioned him in his works. The influence of Hafiz stretched to America in 1838 when Ralph Waldo Emerson read Goethe’s West-Eastern Divan. In Hafiz, Emerson found a man who derived pleasure in the very elements which others found mean. Under the influence of Hafiz’s Saki-nameh or the Book of Wine, he created his finest poem Bacchus which, according to Harold Bloom, set the terms for the dialectic of American poetry. (shrink)

Traditionally, the ideas of “intuitive” and “discursive” forms of understanding have been seen as near opposites. Whereas an intuitive understanding could have a direct grasp of something, a discursive understanding would always depend on what is given to it, as mediated by concepts. In this essay, I suggest that Paul Ricoeur’s conception of analogy presents a way of overcoming this opposition. For Ricoeur, an analogy works within discursive understanding, but it depends on an eventful insight that leads beyond what is (...) merely given in discourse. The analogy “gives more” for thought. Yet, as I argue, what analogy gives for thought is always explicable in conceptual terms: any intuitive understanding is commensurate with a discursive one. I illustrate Ricoeur’s mediation of discursive and intuitive understanding in particular with his conception of metaphor, which vividly depends on overcoming a discursive contradiction by analogical and intuitive means. Before introducing Ricoeur’s conception, I discuss the Kantian background of the intuitive/discursive distinction. In particular, I suggest how Goethe’s attempt to revitalize a notion of intuitive understanding can be compared to Ricoeur’s conception, though Ricoeur improves upon Goethe by grounding intuition in the specific phenomenon of analogy. (shrink)

This book is an attempt to make sense of the tension in Nietzsche’s work between the unashamedly egocentric and the apparently mystical. While scholars have tended to downplay one or other of these aspects, this book shows that the two are not only compatible but mutually illuminating. Supporting both of these aspects of Nietzsche’s philosophy is a conception of the one and the many that develops from the thought of Goethe. Goethe is not typically given a lot of attention in (...) Anglophone philosophy, and this is the case even in Nietzsche studies. This is a severe limitation as Goethe had an immense influence on many subsequent thinkers, and this is especially true of Nietzsche. Goethe’s conception of the relationship of the one to the many is unique - as Cassirer wrote, such a view “can hardly be found elsewhere in the history of philosophy or of natural science”. Nietzsche as Egoist and Mystic shows how this “Goethean” conception of the one and the many was further developed by Nietzsche, and how it helps to illuminate Nietzsche’s complex and much disputed religious thought. This book is a mediation between Nietzsche and major currents in mystical thought both East and West which shows how previous interpretations fail to adequately account for crucial aspects of Nietzsche’s thought, including his egoism. (shrink)

This essay aims to provide conceptual tools for the understanding of Wittgenstein’s theory of color as a grammar problem instead of a phenomenological or purely scientific one. From an introduction of his understanding of meaning in his early and late life, his notion of grammar will be analyzed to understand his rebuttal of scientific and phenomenological discourse as a proper means for dealing with the problem of color through his critique of Goethe. Then Wittgenstein’s take on color will become clear (...) as his sympathy for Runge, the painter that Goethe criticizes, is analyzed to understand color as a language-game regarding kinds of colors as numbers and geometrical figures, in that grammar rather than experience is used to acknowledge them. (shrink)

Aristotle’s influence on D’Arcy Thompson was praised by Thompson himself and has been recognized by others in various respects, including the aesthetic and normative dimensions of biology, and the multicausal explanation of living forms. This article focuses on the relatedness of organic forms, one of the core problems addressed by both Aristotle’s History of Animals (HA), and the renowned chapter of Thompson’s On Growth and Form (G&F), “On the Theory of Transformations, or the Comparison of Related Forms.” We contend that, (...) far from being an incidental inspiration stemming from Thompson’s classicist background, his translation of HA played a pivotal role in developing his theory of transformations. Furthermore, we argue that Thompson’s interpretation of the Aristotelian method of comparison challenges the prevailing view of Aristotle as the founder of “typological essentialism,” and is a key episode in the revision of this narrative. Thompson understood that the method Aristotle used in HA to compare animal forms is better comprehended as a “method of transformations,” leading to a morphological arrangement of animal diversity, as opposed to a taxonomical classification. Finally, we examine how this approach to the relatedness of forms lay the foundation for a causal understanding of parts and their interconnections. Although Aristotle and Thompson emphasized distinct types of causes, we contend that they both differ in a fundamental sense from the one introduced by Darwin’s theory of natural selection, which was formulated as a solution to the species problem rather than the form problem. We conclude that Thompson’s interpretation of Aristotle’s approach to form comparison has not only impacted contemporary scholarship on Aristotle’s biology, but revitalized a perspective that has regained significance due to the resurgence of the problem of form in evo-devo. (shrink)

This is a review of a volume comprising 18 of Eckart Förster’s most important essays. Written between 1987 and 2022, all of them touch upon the theme of limits of cognition. Among the issues tackled are Kant’s Opus Postumum, Goethe’s project of a scientia intuitiva or science of the intuitive understanding, the significance of §§76–77 of the third Critique for post-Kantianism, the case for Hölderlin’s authorship of the Oldest System-Programme of German Idealism, and Hegel’s early ideas on logic and phenomenology. (...) My discussion of the volume focuses on three aspects. (i) I give a brief outline of its structure and goals; (ii) I investigate some of its highlights and central themes; and (iii) I place Förster’s picture of Kant and post-Kantianism within current scholarship and confront it with an alternative interpretive option: a reading of Kant as concerned with non-contrastive limits of cognition and intelligibility. (shrink)

This is a phenomenologically grounded ethnographic study of the life-world of ecstasy users in the socio-cultural contexts of raving and clubs in Sydney, Australia. The thesis espouses existential-phenomenology as a framework for describing and understanding these experiences. I argue against and reject the widespread mechanistic-materialist paradigms that inform bio-medical and bio-psychological interpretations of drug-use and non-ordinary states of consciousness. -/- As an alternative to these dominant reductionist perspectives I draw on a holistic organismic approach and the application of phenomenology to (...) ethnographic field research. More specifically, my exploration of the experiences of ecstasy is based upon a dialogal phenomenology which enabled me to generate a processual morphology of the varieties of ecstasy experience and the users’ mode of being-in-the-world. Through this endeavour I also argue for a phenomenological foundation of the study of drug-use and non-ordinary states of consciousness in general. (shrink)

This is a short academic book based on Shakespeare’s Macbeth (original). The approach and procedure on writing critical answers of the play is authored on advanced thoughts of the Council for Indian School (XI and XII, ISC). This book can also be used by college students on preliminary understanding to analyse this Shakespearian play as The Prologue of Evil. .....In the play, Hecate is presented as a separate character from three witches who first appear in Act 1, Scene 1. Hecate's (...) role is primarily that of an observer and commentator on actions of Macbeth and the other characters. She serves as a counterpart to Lady Macbeth, as she rules the three witches and is drawn from the Greek goddess of feminine magic. Goethe's judgment of Lady Macbeth as a super witch is the most well-known evaluation of calling her a witch. This is used to describe evil forces she has that are more terrible than three witches in the play.” . (shrink)

This paper analyzes and discusses Mephisto's famous remark in Goethe's FAUST. It turns out that he is being incoherent in interesting ways.

Synthetic cells spark intriguing questions about the nature of life. Projects such as BaSyC (‘Building a Synthetic Cell’) aim to build an entity that mimics how living cells work from basic components. But what kind of entity would a synthetic cell really be? I assess this question from a philosophical perspective, and show how early fictional narratives of artificial life – such as the laboratory scene in Goethe’s Faust – can help us to understand the challenges faced by synthetic biology (...) researchers. (shrink)

This chapter draws upon Michael Freeden's morphological approach to examine the various ways freedom has been conceptualized within the anarchist tradition. It determines how and to what extent these conceptions serve to differentiate anarchism from liberalism and other ideologies that claim freedom as a core concept. The chapter explores the role they play in the formulation of diverse anarchist tendencies. It argues that prevailing anarchist conceptions of freedom uniformly obviate the "assumed tension between the freedom of the individual and the (...) good of society" as well as "between negative and positive definitions of the concept". The rejection of such dichotomies is a unifying theme in anarchism more generally and a key aspect of its ideological distinctiveness. When anarchism is defined solely in terms of what it opposes, the underlying motivations for that opposition tend to be obscured. For social anarchists, any concept of freedom that lacks an explicitly teleological dimension is an abstraction devoid of concrete moral significance. (shrink)

This chapter draws upon Michael Freeden’s morphological theory of ideology to examine diverse conceptions of the State within the anarchist tradition. Its principal aim in so doing is twofold: first, to determine how and to what extent these conceptions serve to distinguish anarchism from other libertarian ideologies, and second, to explore the role they play in the formulation of diverse anarchist tendencies. As I shall argue, the particular meaning and degree of relative significance that a given conception assigns to the (...) State depends on the internal arrangement of its ‘micro-components’ and/or on its relation to other concepts within the ideological morphology. Both of these factors must be taken into account in order to understand anarchism’s internal diversity as well as its distinctiveness among ideologies. (shrink)

In attempting to determine why the Enlightenment project had derailed and how this failure might be remedied, Walter Benjamin and Theodor Adorno both turned to canonical literary narratives. The resultant works, Benjamin’s major essay on Goethe’s Elective Affinities and Adorno’s meditation on the Odyssey in Dialectic of Enlightenment, are centrally concerned with the very act of narration. The Saving Line reconstructs a hitherto unnoticed, wide-ranging dialogue between these foundational texts of the Frankfurt School. At the heart of Dornbach’s argument is (...) a critical model that Benjamin built around the concept of caesura, which Adorno subsequently reworked. Countering an obscurantism that would become complicit in the rise of fascism, the two theorists aligned moments of arrest in narratives mired in unreason. The Saving Line throws fresh light on the intellectual exchange and disagreements between Benjamin and Adorno, the problematic conjunction of secular reason and negative theology in their thinking, and the philosophical significance of literary narration. (See PDF file below for a more detailed précis). (shrink)

As Francis Bacon put it on the frontispiece of his Novum Organum, grafting an apocalyptic vision on a research program, multi pertransibunt et multiplex erit scientia. The development of science becomes steadily associated with the end of earthly life, a theme that would resound deeply in Western thought up until Goethe’s Faust. What grounds then the multiplicity of knowledge? What is the common trunk out of which all realms of knowledge unfold, like the burgeoning branches of the celebrated tree? After (...) the Augustinian imprint of the first Christian centuries and after the admirable effort of the high scholastics’ Aristotelian and Christian synthesis, the seventeenth century undertakes new scientific work with the need of a new steady ground. All the big names of the modern era, Francis Bacon, Galileo, Descartes, Robert Boyle, Spinoza or Leibniz, found themselves engaged in the search for a common trunk of wisdom, each of them nourishing the intimate conviction that they possessed the philosophical core which would satisfy the learned men’s newly found appetite for indefinitely extending knowledge. In doing this, all of these masters needed to confront the philosophical tradition that they received, reworking and merging together the old structures of science through this epistemological prism of the search for the unity of knowledge. (Vlad Alexandrescu). (shrink)

Rudolf Steiner, who draws attention with his multi-faceted works, is known for his important works in the fields of medicine, education, art and agriculture, as well as esotericism and occultism in particular. In this article, it is explicated to the intellectual infrastructure, the effect of the anthroposophy founded by Steiner and deals with the Spiritual Science, which Steiner created in a unique way. Rudolf Steiner has established an eclectic system by dissolving different schools such as Goethe's doctrine of nature, (...) Rosicrucianism, Kabbalah, Hinduism, Gnostic and Mystic Christianity in his system. The universality is dominant in Steiner's work. His inclusive ideas for all humanity suffered the reaction of the Nazis in his time. Steiner drew attention to the potential of discovering the senses of people by making a distinction between the sensory and the sensual world. The drive and power of discovering the spiritual world in humans has a significant share in his work. Steiner, who says he has seen and experienced the supernatural world personally, is intended to have more knowledge of other people about the supernatural world. The literature review was chosen as a method. Information gathered from different sources may provide a better understanding of Steiner's work. (shrink)

After an introduction into the history of book illustrations from the second half of the 18th century to the late 19th century follows a sketch of the evolution of illustrations for Johann Wolfgang Goethe’s novel “The Sorrows of Young Werther” from 1775 to 1870. The featured illustrations can be divided into groups of approximately 10 central motives. The resting points of the narrative were chosen as highlights of many illustrations: They depict the sentimental and idyllic scenes. The interpretation of the (...) illustrations is focused on the possibilities to gain new, esp. social psychological ways of understanding the novel. (shrink)

Resumen: En La actualidad de lo bello, Gadamer hace una referencia reveladora a la improvisación musical y a la importancia de la escucha musical, además de poner en primer plano la necesidad de justificación del arte. Situando este debate a través de Goethe y Platón, junto con las Lecciones de Estética de Adorno de finales de la década de 1950 y una discusión sobre Nietzsche y la Antigüedad, es posible establecer que lo que está en juego es la afinación, así (...) como una tensión que invita a un debate ulterior tanto sobre la detención del amante en Carson como el demorarse en Heidegger. Al revisar la hermenéutica gadameriana de la programación y la interpretación musical, incluida la improvisación y el desafío de la nueva música, las reflexiones de Gadamer sobre la cultura musical en el contexto de la cultura social y su reflexión no solo pueden ser leídas a través de Platón y Goethe, sino también a partir de las concepciones de "lo bello" en Hölderlin y Rilke. Se trata de una "conversación" cultural en la que la contribución del público puede estar en tensión con la programación musical progresiva, además de la dinámica de respuesta que surge en la energeia de la improvisación tanto para el intérprete como para el oyente.// Abstract: Gadamer’s On the Relevance of the Beautiful makes telling reference to musi-cal improvisation and the importance of musical listening in addition to fore-grounding the need for justification. Situating this discussion via Goethe and Plato along with Adorno’s late 1950s lectures on Aesthetics together with a discussion of Nietzsche and antiquity, what is at stake is attunement and a tension which invites a discussion of Carson on the lover’s arrest and Heidegger on tarrying. By reviewing Gadamer’s hermeneutic of musical pro-gramming and performance, including improvisation and the challenge of new music, Gadamer may be read on music culture in the context of social culture and his reflection not only via Plato and Goethe but Hölderlin and Rilke on ‘the beautiful.’ At work is a cultural ‘conversation’ where audience input can be in tension with progressive musical programing along with the dynamic of response emergent in the energeia of improvisation for performer and listener. (shrink)