Goethe's Theory of Knowledge


Book Description

Written 1884-1885; first published 1886 (CW 2) As the editor of Goethe's scientific writings during the 1880s, Rudolf Steiner became immersed in a worldview that paralleled and amplified his own views in relation to epistemology, the interface between science and philosophy, the theory of how we know the world and ourselves. At the time, like much of the thinking today and the foundation of modern natural science, the predominant theories held that individual knowledge is limited to thinking that reflects objective, sensory perception. Steiner's view was eventually distilled in his Anthroposophical Leading Thoughts in 1924: There are those who believe that, with the limits of knowledge derived from sensory perception, the limits of all insight are given. Yet if they would carefully observe how they become conscious of these limits, they would find in the very consciousness of the limits the faculties to transcend them. In this concise volume, Steiner lays out his argument for this view and, moreover, begins his explication of how one goes beyond thinking to the observation of thinking itself. Goethe's Theory of Knowledge is essential reading for a deeper understanding of Rudolf Steiner's seminal work, Intuitive Thinking as a Spiritual Path: A Philosophy of Freedom. CONTENTS: Introduction by Christopher Bamford Preface to the Edition of 1924 by Rudolf Steiner Foreword to the First Edition (1886) by Rudolf Steiner A. Preliminary Questions 1. The Point of Departure 2. Goethe's Science According to Schiller's Method 3. The Purpose of Our Science B. Experience 4. Establishing the Concept of Experience 5. Examining the Essence of Experience 6. Correcting the Erroneous View of Experience as a Totality 7. The Experience of Each Individual Reader C. Thinking 8. Thinking as a Higher Experience within Experience 9. Thinking and Consciousness 10. The Inner Nature of Thinking D. Knowledge 11. Thought and Perception 12. Intellect and Reason 13. The Act of Cognition 14. Cognition and the Ultimate Ground of Things E. Knowing Nature 15. Inorganic Nature 16. Organic Nature F. The Humanities 17. Introduction: Mind and Nature 18. Psychological Cognition 19. Human Freedom 20. Optimism and Pessimism G. Conclusion 21. Knowledge and Artistic Creation Notes to the First Edition 1886] Annotations to the Edition of 1924 A Theory of Knowledge is a translation from the German of Grundlinien einer Erkenntnistheorie der Goetheschen Weltanschauung, mit besonderer R cksicht auf Schiller (GA 2). Previous translations were published as The Science of Knowing (1988) and The Theory of Knowledge implicit in Goethe's World-Conception: Fundamental Outlines with Special Reference to Schiller (1940).







Nature's Open Secret


Book Description

This collection of Steiner's introductions to Goethe's works re-visions the meaning of knowledge and how we attain it. Goethe had discovered how thinking could be applied to organic nature and that this experience requires not just rational concepts but a whole new way of perceiving. In an age when science and technology have been linked to great catastrophes, many are looking for new ways to interact with nature. With a fundamental declaration of the interpenetration of our consciousness and the world around us, Steiner shows how Goethe's approach points the way to a more compassionate and intimate involvement with nature.




The Will To Create


Book Description

Better known as a poet and dramatist, Johann Wolfgang von Goethe (1749–1832) was also a learned philosopher and natural scientist. Astrida Orle Tantillo offers the first comprehensive analysis of his natural philosophy, which she contends is rooted in creativity.Tantillo analyzes GoetheÆs main scientific texts, including his work on physics, botany, comparative anatomy, and metereology. She critically examines his attempts to challenge the basic tenets of Newtonian and Cartesian science and to found a new natural philosophy. In individual chapters devoted to different key principles, she reveals how this natural philosophy—which questions rationalism, the quantitative approach to scientific inquiry, strict gender categories, and the possibility of scientific objectivity—illuminates GoetheÆs standing as both a precursor and critic of modernity.Tantillo does not presuppose prior knowledge of Goethe or science, and carefully avoids an overreliance on specialized jargon. This makes The Will to Create accessible to a wide audience, including philosophers, historians of science, and literary theorists, as well as general readers.




The Metamorphosis of Plants


Book Description

Goethe's influential text, newly illustrated with stunning color photographs. The Metamorphosis of Plants, published in 1790, was Goethe's first major attempt to describe what he called in a letter to a friend “the truth about the how of the organism.” Inspired by the diversity of flora he found on a journey to Italy, Goethe sought a unity of form in diverse structures. He came to see in the leaf the germ of a plant's metamorphosis—“the true Proteus who can hide or reveal himself in all vegetal forms”—from the root and stem leaves to the calyx and corolla, to pistil and stamens. With this short book—123 numbered paragraphs, in the manner of the great botanist Linnaeus—Goethe aimed to tell the story of botanical forms in process, to present, in effect, a motion picture of the metamorphosis of plants. This MIT Press edition of The Metamorphosis of Plants illustrates Goethe's text (in an English translation by Douglas Miller) with a series of stunning and starkly beautiful color photographs as well as numerous line drawings. It is the most completely and colorfully illustrated edition of Goethe's book ever published. It demonstrates vividly Goethe's ideas of transformation and interdependence, as well as the systematic use of imagination in scientific research—which influenced thinkers ranging from Darwin to Thoreau and has much to teach us today about our relationship with nature.







Goethe's Concept of the Daemonic


Book Description

The first book to examine Goethe's writings on the daemonic in relation to both Classical philosophy and German Idealism. For Plato, the daemonic is a sensibility that brings individuals into contact with divine knowledge; Socrates was also inspired by a "divine voice" known as his "daimonion." Goethe was introduced to this ancient concept by Hamannand Herder, who associated it with the aesthetic category of genius. This book shows how the young Goethe depicted the idea of daemonic genius in works of the Storm and Stress period, before exploring the daemonic in a series of later poetic and autobiographical works. Reading Goethe's works on the daemonic through theorists such as Lukács, Benjamin, Gadamer, Adorno, and Blumenberg, Nicholls contends that they contain arguments concerning reason, nature, and subjectivity that are central to both European Romanticism and the Enlightenment. Angus Nicholls is Claussen-Simon Foundation Research Lecturer in German and Comparative Literature at the Centre for Anglo-German Cultural Relations in the Department of German, Queen Mary, University of London.




The Romantic Conception of Life


Book Description

"All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people who held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology.




Goethe’s Faust and the Divan of Ḥāfiẓ


Book Description

This book explores the poetic articulations of a shift from a transcendent to an immanent worldview, as reflected in the manner of evaluation of body and soul in Goethe’s Faust and Ḥāfiẓ’ Divan. Focusing on two lifeworks that illustrate their authors’ respective intellectual histories, this cross-genre study goes beyond the textual confines of the two poets’ Divans to compare important building blocks of their intellectual worlds.




The Romantic Absolute


Book Description

The absolute was one of the most significant philosophical concepts in the early nineteenth century, particularly for the German romantics. Its exact meaning and its role within philosophical romanticism remain, however, a highly contested topic among contemporary scholars. In The Romantic Absolute, Dalia Nassar offers an illuminating new assessment of the romantics and their understanding of the absolute. In doing so, she fills an important gap in the history of philosophy, especially with respect to the crucial period between Kant and Hegel. Scholars today interpret philosophical romanticism along two competing lines: one emphasizes the romantics’ concern with epistemology, the other their concern with metaphysics. Through careful textual analysis and systematic reconstruction of the work of three major romantics—Novalis, Friedrich Schlegel, and Friedrich Schelling—Nassar shows that neither interpretation is fully satisfying. Rather, she argues, one needs to approach the absolute from both perspectives. Rescuing these philosophers from frequent misunderstanding, and even dismissal, she articulates not only a new angle on the philosophical foundations of romanticism but on the meaning and significance of the notion of the absolute itself.