Showing 1 - 3 results of 3 for search '"Metamorphosis of Plants"', query time: 0.02s Refine Results
  1. 1

    The vegetative soul : from philosophy of nature to subjectivity in the feminine / by Miller, Elaine P., 1962-

    Published 2002
    Table of Contents: “…KANT: The English Garden""; ""2. GOETHE: The Metamorphosis of Plants""; ""3. HÃ?LDERLIN: Gleaning""; ""4. …”
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  2. 2

    The form of becoming : embryology and the epistemology of rhythm, 1760-1830 / by Wellmann, Janina

    Published 2017
    Table of Contents: “…Sense and verse : Goethe's Metamorphosis of plants ; 6. The rhythm of the living world : physiology circa 1800 -- Part III: Serial iconography. 7. …”
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  3. 3

    Performing knowledge, 1750-1850 /

    Published 2015
    Table of Contents: “…Introduction: Performing knowledge, 1750-1850 / Mary Helen Dupree and Sean Franzel -- Sounds and stages / Viktoria Tkaczyk -- The making of acoustics around 1800, or how to do science with words / Dietmar Till -- The fate of rhetoric in the "long" eighteenth century / Ellwood Wiggins -- Pity play: sympathy and spectatorship in Lessing's Miss Sara Sampson and Adam Smith's Theory of moral sentiments / Rebecca Wolf -- The sound of glass: transparency and danger / Mary Helen Dupree -- Early Schiller memorials (1805-1808) and the performance of literary knowledge / Hans-Georg von Arburg -- Modern architecture takes the stage: Karl Friedrich Schinkel's architectural spectacles: pedagogies and publics / Claire Baldwin -- Performance and play: Lichtenberg's lectures on experimental physics / Chad Wellmon -- Kant on the logic of anthropology and the ethics of disciplinarity / Michael Bies -- Staging the knowledge of plants: Goethe's elegy "The metamorphosis of plants" / Edgar Landgraf -- Playing to the public: performing politics in Heinrich von Kleist / Sean Franzel -- Constructions of the present and the philosophy of history in the lecture form / Adrian Daub -- Eighteenth- and nineteenth-century forms of musical knowledge: the case of the piano / Angela Esterhammer -- Afterword: the audience, the public, and the improvisator Maximilian Langenschwarz.…”
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