Johann Wolfgang von Goethe is most famous for his work on color theory, but he was also an accomplished all-round scientist, studying and writing on anatomy, geology, botany, zoology and meteorology. This book draws together, in Goethe's own words, his key ideas on nature, science and scientific method. Goethe believed that we should study our world and nature as people at home in it, rather than removedly, as if we were aliens from another planet. He (...) adopted a qualitative approach to science at odds with Newton's quantitative methods that were so popular in his day. His is a sensitive science which does not ignore our relationship to nature. The extracts in this book are fascinating and essential reading for anyone who feels that we've lost our spiritual connection to nature. (shrink)

Goethe’s religiosity appears at the same time profoundly sincere yetescaping confessional labels. It has been claimed that Goethe was Christian,theist, mason, and even a pagan. Our work aims at studying Goethe’sreligiosity throughout his life, and in particular in his relationship with Islām.Of all religions Goethe studied and interacted with, Islām is remarkably absentfrom literary critic, yet he elaborated it throughout his life. We will proposea periodisation which divides his relationship with Islām into four stages, inwhich specific (...) religious themes echo in his letters and works, most of whichhave not been pointed out before, such as in the Faust. Finally, we will discussour findings in the context of religious studies scholarship, and approach theissue of what can Goethe suggest for the meaning of a European Islām today. (shrink)

Johann Wolfgang von Goethe's texts on the philosophy of science (The Experiment as Mediator Between Object and Subject, 1793) and (Meteors of the Literary Sky, 1820) both discuss the fundamental epistemological question how knowledge emerges: They ask how scientists can gain universally valid knowledge by observing natural phenomena and to what extent the individual researcher is affected by the scientific community. In this paper, Goethe's writings are presented as alternatives to the contemporary discussions on scientific plagiarism. (...) Goethe shows that the linking of knowledge to an individual subject is less an effect of scientific practice than the result of a specific practice of attribution. Plagiarism thus appears as a logical consequence of the principle of priority in modern scientific culture. (shrink)

Johann Wolfgang von Goethe's texts on the philosophy of science (The Experiment as Mediator Between Object and Subject, 1793) and (Meteors of the Literary Sky, 1820) both discuss the fundamental epistemological question how knowledge emerges: They ask how scientists can gain universally valid knowledge by observing natural phenomena and to what extent the individual researcher is affected by the scientific community. In this paper, Goethe's writings are presented as alternatives to the contemporary discussions on scientific plagiarism. (...) Goethe shows that the linking of knowledge to an individual subject is less an effect of scientific practice than the result of a specific practice of attribution. Plagiarism thus appears as a logical consequence of the principle of priority in modern scientific culture. German In Johann Wolfgang von Goethes wissenschaftstheoretischen Texten Der Versuch als Vermittler von Objekt und Subjekt (1793) und Meteore des literarischen Himmels (1820) geht es um die grundlegende epistemologische Frage, wie Wissen entsteht: Sie fragen danach, wie Wissenschaftler aus den Beobachtungen der Naturphänomene allgemeingültige Erkenntnisse gewinnen können und inwieweit der einzelne Forscher von der wissenschaftlichen Gemeinschaft beeinflusst wird. Goethes Schriften werden hier als Alternativen zu den aktuellen Diskussionen um wissenschaftliche Plagiate – mit ihrer Neigung zur Personalisierung und zum Skandal – vorgestellt. Goethe zeigt, dass die enge Kopplung von Wissen an ein einziges Subjekt weniger der wissenschaftlichen Praxis entspricht, als vielmehr das Ergebnis einer spezifischen Zuschreibungspraxis ist. Das kritikwürdige Plagiat erscheint somit auch als eine logische Konsequenz des Prioritätsgebots der modernen Wissenschaftskultur. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Johann Wolfgang von Goethe was well acquainted with Isaac Newton's work on refraction and his theory of light and colours. Indeed, he had painstakingly repeated those experiments in Newton's Opticks , which clearly demonstrate that light is heterogeneous. Yet Goethe never abandoned his belief that light is immutable and that colours result from the interaction of light and darkness. It is argued here that the origin of Goethe's refusal to accept Newton's theory was not psychological, (...) as is commonly supposed, but theological. It stemmed from his pantheistic belief in the spiritual nature of light, which he believed rendered it unknowable and not open to analysis. (shrink)

Johann Wolfgang von Goethe's approach to natural scientific research has unmistakable parallels to phenomenology. These parallels are clear enough to allow one to say confidently that Goethe's delicate empiricism is indeed a phenomenology of nature. This paper examines how Goethe's criticisms of Newton anticipated Husserl's announcement of the crisis of the modern sciences, and it describes how Goethe, at a critical juncture in cultural history, addressed this emerging crisis through a scientific method that is (...) virtually identical to the method of contemporary empirical-phenomenological research in the human sciences. Goethe's practice of science shares with phenomenology a participatory, morally-responsive, and holistic approach to the description of dynamic life-world phenomena. Delicate empiricism has its own version of the phenomenological epoché, and, like Husserl's technique of imaginative variation, it strives to disclose the essential or archetypal structure of the phenomenon through the endowment of human imagination. However, a close reading of Goethe suggests that the tendency amongst some scholars to distinguish phenomenology as human science from the natural sciences is actually a costly error which unwittingly falls prey to implicit Cartesian assumptions. Goethe, however, manages to avoid these problems by performing from the first a phenomenology of nature's sensibility. (shrink)

Johann Wolfgang von Goethe hat sich fur seine Naturstudien ofter "an den Tisch der Griechen gesetzt". Seine Gedanken uber das Wesen des Lichtes, der Pflanzen und der Tiere fand er vor allem bei Aristoteles angelegt. "Die Natur macht nichts umsonst", so Aristoteles, und "in jedem Geschopf der Natur ist etwas, das man bewundern kann". Durch ruhiges Anschauen eine Vertrautheit mit den Erscheinungsformen der Natur zu erwerben, gehorte fur Aristoteles und Goethe zum tiefsten Empfinden, Mensch zu sein.

The entry on Johann Wolfgang von Goethe (1749–1832) for the Cambridge Spinoza Lexicon, edited by Karolina Hübner and Justin Steinberg. This is the second (August 2022) draft; please do not quote, but comments are very welcome.

This book explains the background and rationale of the German poet Johann Wolfgang von Goethe's notorious attack on Isaac Newton's classic theory of white light and colors. Though the merits of Goethe's color science, as advanced in his massive Zur Farbenlehre, have often been acknowledged, it has been almost unanimously proclaimed invalid as physics. How could Goethe have been so mistaken? In his book, Dennis Sepper shows that the condemnation of Goethe's attacks on Newton (...) has been based on erroneous assumptions about the history of Newton's theory and the methods and goals of Goethe's color science. By illuminating the historical background and the experimental, methodological, and philosophical aspects of Goethe's work, the author shows that his color theory is in an important sense genuinely physical and that, as simultaneously poet, scientist, historian, and philosopher, Goethe managed to anticipate important twentieth-century research not only in the history and philosophy of science, but even in color science itself. (shrink)

"Die Gedanken, die ich in diesem Buche mitteile, sollen die Grundstimmung festhalten, die ich in der Weltanschauung Goethes beobachtet habe. Im Lauf vieler Jahre habe ich immer wieder und wieder das Bild dieser Weltanschauung betrachtet. Besonderen Reiz hatte es fur mich, nach den Offenbarungen zu sehen, welche die Natur uber ihr Wesen und ihre Gesetze den feinen Sinnes- und Geistesorganen Goethes gemacht hat. Ich lernte begreifen, warum Goethe diese Offenbarungen als so hohes Gluck empfand, dass er sie zuweilen hoher (...) schatzte als seine Dichtungsgabe. Die Eindrucke, welche Goethe von den Erscheinungen der Natur empfangen hat, muss man kennen, wenn man den vollen Gehalt seiner Dichtungen verstehen will. Die Geheimnisse, die er dem Wesen und Werden der Schopfung abgelauscht hat, leben in seinen kunstlerischen Erzeugnissen und werden nur demjenigen offenbar, der hinhorcht auf die Mitteilungen, die der Dichter uber die Natur macht. Niemand kann in die Tiefen der Goetheschen Kunst hinuntertauchen, dem Goethes Naturbeobachtungen unbekannt sind." [...] Rudolf Steiner war ein osterreichischer Esoteriker und Philosoph. Auf Grundlage seiner Lehre entstand unter anderem die Waldorfpadagogik. Der Verlag der Wissenschaften verlegt historische Literatur bekannter und unbekannter wissenschaftlicher Autoren. Dem interessierten Leser werden so teilweise langst nicht mehr verlegte Werke wieder zugangig gemacht. Das vorliegende Buch ist ein unveranderter Nachdruck der historischen Originalausgabe aus dem Jahr 1897.". (shrink)

Artykuł dotyczy dwóch bardzo mało znanych utworów słynnych twórców literatury niemieckiej. Johann Wolfgang von Goethe, twórca Fausta, ma w swym dorobku moralizatorski wiersz pt. Dziennik. Jednak z obawy o posądzenie go o niemoralne treści, nigdy za życia poety utwór ten nie został opublikowany. Również Siedem wierszy Rainera Marii Rilkego jest bardzo rzadko drukowanych. Mimo, iż Rilke długo wzbraniał się przed lekturą utworów niemieckiego wieszcza, to jednak Dziennik stanowił wyjątek. Wiersz Goethego poświęcony jest kryzysowi seksualnemu i twórczemu bohatera, (...) za którym kryje się sam poeta. Wiersze Rilkego stanowią cykl poświęcony aktowi miłosnemu dwojga kochanków. Artykuł stara się przeanalizować wzajemne związki obu tych tak różnych dzieł i odpowiedzieć na pytanie, czy R. M. Rilke wzorował się na twórczości J. W. Goethego. (shrink)

Thiis essay explores Johann Wolfgang von Goethe*s reaction to Newtonian science and its quantification of nature. In particular, Goethe insisted that Newton's mechanistic portrayal of light and color was but a partial account of their reality. Broadening the understandings upon which science is practiced, Goethe developed ideas that presuppose mind-world intimacy and the consequent need to acknowledge the limited utility of mathematical modeling and theory construction. Such an approach values human subjectivity and sees it as (...) partly constitutive of nature. While Goethe's treatment of color and light is not religious in a traditional sense, it resonates overtones consonant with religious belief. Rejecting the materialistic emphasis of Newtonian physics, Goethe felt that science may expand our spiritual horizons by helping us see the many ways we are patterned into the phenomenological splendor of the world This outlook aligns with Goethe's belief-illustrated in Faust-that the soul holds out for something more than a materialistic metaphysics. (shrink)

This article examines the ideal of Bildung within the philosophy of nature and the natural sciences by investigating the methodological and scientific writings of Johann Wolfgang von Goethe. It arg...

My focus in this article is on a small group of German theorists, designers and patrons who thought extensively about the relationship between national identity and garden design: Christian Hirschfeld, Prince Franz von Anhalt-Dessau and his wife Luise, Johann Wolfgang von Goethe, and Prince Pückler. These garden enthusiasts knew one another through personal contact or their writings, and they responded to and developed their ideas in relation to the newly framed creative enterprise in German lands of “garden-landscape-art”. (...) What they shared was a conviction that garden forms affect feelings, with the role of the garden artist to determine paths that would alter and diversify the visitor’s experience of place. This essay explores how spontaneous emotions, elicited by movement through the garden, were linked with a growing sense of patriotism that contrasted with cosmopolitan judgments in the writings of Hirschfeld, Pückler, and Goethe. (shrink)