在光与眼之间：歌德的色彩科学与自然的两极现象学
Between light and eye: Goethe's science of color and the polar phenomenology of nature
摘要：
歌德在19世纪20年代接受埃克曼采访时，将他的《色彩理论》称为他最伟大和最终的成就。它在1810年出版后的接受和随后在物理科学史上的评论并没有反映这种自我评估。即使是赫尔曼·冯·亥姆霍兹，他在一定程度上模仿歌德的科学工作，最初也认为歌德的诗歌天才阻止了他理解物理科学。为什么歌德在他的《法本莱尔》被几乎所有人摒弃的多年后仍如此热烈地拥护它？在回答这个问题时，本文将试图通过在歌德的自然哲学背景下考虑歌德的颜色理论来增加现有的学术研究，并概括他的颜色理论所引用的各种概念的客观化及其与歌德的认识论和牛顿力学的关系。在这种方式下，我试图表明，歌德的自我评价的原因，他的颜色理论是不那么神秘的，从它的检查似乎只是作为一个物理工作。相反，Zur Farbenlehre是歌德最普遍的原型-对立的极性-的最清晰的表达，它弥合了歌德与康德和斯宾诺莎的认识论的冲突，并以一种过度的方式作为歌德艺术和科学的宇宙学基础。
英文摘要：
In his interviews with Eckermann in the 1820s, Goethe referred to his Theory of Colors as his greatest and ultimate achievement. Its reception following publication in 1810 and subsequent reviews throughout the history of physical science did not reflect this self-assessment. Even Hermann von Helmholtz, who in part modeled his scientific work after Goethe's, initially thought that Goethe's poetic genius prevented him from understanding physical science. Why did Goethe champion his Farbenlehre so ardently even years after it was dismissed by almost everyone else? In answering this question, this essay will attempt to add to the existing scholarship by considering Goethe's Theory of Colors in the context of his natural philosophy, and generalizing the variety of objectifications of the concepts invoked by his color theory and their relationships to Goethe's epistemology and Newton's mechanics. In this fashion, I attempt to show that the reason for Goethe's self-assessment of his Theory of Colors is less enigmatic than appears from its examination solely as a work of physics. Rather, Zur Farbenlehre was the clearest expression of Goethe's most universal archetype-- polarity of opposites-- which bridged Goethe's conflicts with Kant's and Spinoza's epistemologies, and in an over-reaching way served as a cosmology underlying Goethe's art and his science.
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