This paper argues that Goethe's collections, in particular his mineralogical collections, had both public and private purposes. The public purposes were closely tied to the tradition of mineralogizing exemplified by the Freiberg Mining Academy. Abraham Gottlob Werner provided technologies for standardizing mineralogical terminology and identification, and Goethe hoped that these technologies would allow for a vast network of collectors and observers who would collate their observations and develop a model of the Earth's structure. His own cabinet, in particular his collection (...) of rocks , was to be a representative sample of rock formations in particular locations that could reveal features of the Earth's structure and history. Goethe was also responsible for the scientific collections of Jena University. He argued that if such collections were to be useful for teaching and research, a goal he strongly supported, they could no longer be treated as the private property of professors. He recognized that social relations within the University would have to be reordered if museums were to fulfil their epistemic functions. In this respect Goethe was on the side of the modern museum and opposed to the world of the private collection and all its idiosyncrasies. However, his own collections had very private and personal purposes. Using some of the ideas of Walter Benjamin as a foil, this paper tries to uncover some of the private passions that fuelled Goethe's almost insatiable collecting. Though these passions were peculiar to Goethe, I argue that historians of science should attend more to the passions and their place in the sciences. (shrink)

This book advocates a radical shift of concern in philosophical, historical, and sociological studies of the sciences, and explores the consequences of such a shift. The historically-oriented first part of the work deals with the ways in which ranges of questions become real and cease to be real for communities of inquirers. The more philosophically-oriented second part of the work introduces the notion of absolute reality of questions, and addresses doubt about the claims of the sciences to have accumulated absolutely (...) real questions. It is argued that recent studies in the sociology and social history of the science pose strong challenges to the sciences by revealing how appeals to authority, vested interests, and rhetorical and aesthetic sensibilities play substantial roles in the practices of the sciences. The final chapter defends the pragmatic stance of the work, and of its companion, The Fortunes of Inquiry, and draws morals about the roles of criticism and reflection in the philosophy of science and in the sciences themselves. (shrink)

Winckelmann's writing has a richness and density that take it well beyond the bounds of the simple rationalist art history and Neo-classical art theory with which it is usually associated. He often seems to speak disturbingly directly to our present awareness of the discomforting ideological and psychic contradictions inherent in supposedly ideal symbolic forms.

In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...) the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)