Goethe S Essay On The Metamorphosis Of Plants

Poets, painters, philosophers, and scientists alike debated new ways of thinking about visual culture in the “long eighteenth century”. The essays in The Enlightened Eye: Goethe and Visual Culture demonstrate the extent to which Goethe advanced this discourse in virtually all disciplines. The concept of visuality becomes a constitutive moment in a productive relationship between the verbal and visual arts with far-reaching implications for the formation of bourgeois identity, pedagogy, and culture. From a variety of theoretical perspectives, the contributors to this volume examine the interconnections between aesthetic and scientific fields of inquiry involved in Goethe’s visual identity. By locating Goethe’s position in the examination of visual culture, both established and emerging scholars analyze the degree to which visual aesthetics determined the cultural production of both the German-speaking world and the broader European context. The contributions analyze the production, presentation, and consumption of visual culture defined broadly as painting, sculpture, theater, and scientific practice. The Enlightened Eye promises to invest new energy and insight into the discussion among literary scholars, art historians, and cultural theorists about many aspects of visual culture in the Age of Goethe.

This booklet contains Goethe's treatise on the metamorphosis of plants in 123 paragraphs as well as Rudolf Steiner's essay "The Origin of Goethe's Theory of Metamorphosis." Anyone interested in Goethe's dynamic concept of the metamorphosis of plants should read this original treatise. A prime example of his "perceptive power of judgment," this fascinating little work introduces a radically new way of looking at plants as lively manifestations of dynamic formative principles. Contents Origin of the Theory of Metamorphosis by R. Steiner The Metamorphosis of Plants Introduction Of the Seed Leaves The Development of the Stem-Leaves from Node to Node Transition to the Flower Formation of the Calyx Formation of the Corolla The Formation of the Stamens Nectaries More about the Stamens Formation of the Style and Stigma The Fruits The Immediate Covering of the Seed A Glance Backward and Forward Eyes and their Development Formation of Composite Flowers and Fruits A Proliferous Rose A Proliferous Carnation Linnaeus's Theory of Anticipation Summary

Much has been written about the golden youth and the Olympian old age of Johann Wolfgang Goethe, poet; less has been written, however, about Goethe the scientist, who, pursuing independent research in many fields, opposed the professional men of his day with brilliant theories of his own. The educated world, familiar with Faust, Werther, and Wilhelm Meister, is not so generally aware of the scientific achievements of the man who had a genus of plants (Goethea) and a mineral (goethite) named for him who coined and first used the word morphology; who contributed to the understanding of the physiology of color; who rediscovered and described the intermaxillary bone in man, propounded the vertebral theory of the skull, formulated a concept in botanical morphology that persists to this day; who discovered the volcanic origin of a mountain; who established the first system of weather stations; who made the first systematic classification of minerals and was among the first to use the comparative method in biology; and who came unwittingly close to achieving the greatest concept in biology—some say the greatest concept in the thinking of man—the theory of organic evolution and the descent of man. Even in those few cases where subsequent research has proved Goethe’s theories to be wrong, his supporting accumulation of facts has proved extremely valuable to science. Goethe was born at the beginning of a great scientific era. But he was a creative thinker; his was not the analytic mind that emphasized fine differences but the synthetic mind that sensed the unity behind the differences. He was also an ardent lover of nature, possessed of unlimited curiosity. Consequently, as a contemporary observed, "Whatever Goeth looked upon in nature immediately acquired the character of a living experience for him." Most of the material translated in this volume is taken from notes and essays which Goethe published from 1817 to 1824 in journal form. Occupying a central position is the most famous and lasting of his scientific writings, the essay on the metamorphosis of plants—an essay which is today considered "one of the minor classics of botany." One of the most important episodes in Goethe's life was his flight to Italy, where he was delighted by the climate and the luxuriance of the plant life. A fan palm in particular attracted his attention because its leaves seemed to exhibit a complete series of transitions from the simple lance-shaped first leaves to the most complex fan type. "At my request," Goethe wrote in his diary, "the gardener cut off an entire sequence of modifications for me, and I burdened myself with several pasteboard containers in which to carry these treasures around." From this beginning Goethe started to evolve his theory of plant metamorphosis, and he returned to Weimar convinced that he had found the secret. The literary student will find much to interest him in this translation—the poet's own account of his grief and suffering at the hands of misunderstanding friends, and his victory over a threatening neurosis. Such essays as "The History of My Botanical Studies" and "The Fate of My Manuscript" throw much light on the crucial middle period of Goethe's life. During Goethe's lifetime and after, there was a tendency to ignore his scientific accomplishments in the face of his literary works. Many felt that they were almost a crime against his poetry. A few, however, contended that in science lay the center and focal point of Goethe's mental life. Goethe, himself, toward the end of his life wrote, "For more than a half century I have been known as a poet, in my own country and undoubtedly also abroad; or at any rate I have been permitted to pass for one. But the fact that I have busily occupied myself with Nature in all her general physical and organic phenomena, constantly and passionately pursuing seriously formulated studies—this is not so generally known; still less has it been accorded any attention." "Minds like Goethe's," Thomas Carlyle said, "are the common property of all nations; and, for many reasons, all should have correct impressions of them." This translation will enable those not familiar with the German language to gain a direct impression of Goethe's mind as expressed in his botanical writings.

Covert Plants contributes to newly emerging discourses on the implications of vegetal life for the arts and culture. This stretches to changes in our perception of 'nature' and to the adapting roles of botany, evolutionary ecology, and environmental aesthetics in the humanities. Its editors and contributors seek various expressions of vegetal life rather than the mere representation of such, and they proceed from the conviction that a rigorous approach to thinking with and through vegetal life must be interdisciplinary. At a time when urgent calls for restorative care and reparative action have been sounded for the environment, this essay volume presents a range of academic and creative perspectives, from evolutionary biology to literary theory, philosophy to poetry, which respond to the perplexing problems and paradoxes of vegetal thinking. Representations of vegetal life often include plant analogies and plant imagery. These representations have at times obscured the diversity of plant behavior and experience. Covert Plants probes the implications of vegetal life for thought and how new plant science is changing our perception of the vegetal - around us and in us. How can we think, speak, and write about plant life without falling into human-nature dyads, or without tumbling into reductive theoretical notions about the always complex relations between cognition and action, identity and value, subject and object? A full view of this shifting perspective requires a 'stereoscopic' lens through which to view plants, but also simultaneously to alter our human-centered viewpoint. Plants are no longer the passive object of contemplation, but are increasingly resembling 'subjects, ' 'stakeholders, ' or 'actors.' As such, the plant now makes unprecedented demands upon the nature of contemplation itself. Moreover, the aesthetic, political, and legal implications of new knowledge regarding plants' ability to communicate, sense, and learn require intensive, cross-disciplinary investigation. By doing this, we can intervene into current attitudes to climate change and sustainability, and hopefully revise, for the better, human philosophies, ethics, and aesthetics that touch upon plant life. TABLE OF CONTENTS// Baylee Brits and Prudence Gibson, "Introduction: Covert Plants" - Prudence Gibson and Michael Marder, "Art Expresses Its Own Appearance: A Conversation with Michael Marder" - Prudence Gibson, "The Colour Green" - Baylee Brits, "Brain Trees: Neuroscientific Metaphor and Botanical Thought" - Dalia Nassar, "Metaphoric Plants: Goethe's Metamorphosis of Plants and the Metaphors of Reason" - Stephen Muecke, "Mixed up with Trees: The Gadgur and the Dreaming" - Monica Gagliano, "Eco-psychology and the Return to the Dream of Nature" - Suzanne Anker, "The Blue Rose" - Susie Pratt, "Trees as Landlords and Other Public Experiments: An Interview with Natalie Jeremijenko" - Tessa Laird, "Spores from Space: Becoming the Alien" - Jennifer Mae Hamilton, "Gardening After the Anthropocene: Creating Different Relations between Humans and Edible Plants in Sydney" - Lucas Ihlein, "Agricultural Inventiveness: Beyond Environmental Management?" - Andrew Belletty, "An Ear to the Ground" - Ben Woodard, "Continuous Green Abstraction: Embodied Knowledge, Intuition, and Metaphor" - Lisa Dowdall, "Figures" - Poems by Luke Fischer, Justin Clemens, Paul Dawson, and Tamryn Bennett.

This 1952 study analyses Goethe's writings in the light of his youthful readings in alchemy.