Argument

The purpose of this volume is to investigate a number of selected examples of contact zones between the sciences and literature. We will be dealing with prominent cases of how science and literature encounter and interact with each other and profit by this recourse to their corresponding other, yielding aspects of self-reflection and self-representation. The volume will not attempt to address the question whether the so-called “two cultures” can be brought closer together or superseded by a third (Lepenies 1988, passim). We will be dealing neither with science and literature in an autobiographical or “life-world” sense, nor with popular scientific texts with quasi-literary claims, such as Stephen Hawking's theory of time, nor, in the parallel universe of popular fiction, with science fiction.

Argument

In his Philosophia practica universalis (1738–39), Christian Wolff proposes a “mathematical” theory of moral action that includes his statements on the Aesopian fable. As a sort of moral example, Wolff claims, the fable is an appropriate means to influence human conduct because it conveys general truths to intuition. This didactic concept is modeled on the geometrical figure: Just as students intuit mathematical demonstrations by looking at figures on a blackboard, one can learn how to execute complex actions by listening to a fable. Wolff's “scientific” fable theory met with an ambivalent reception. Lessing, who in his fable treatises re-translates Wolff's suggestions into the conceptual framework of poetics, interprets the geometric model as a stylistic ideal. The famous passage on Homer's successive descriptions in Lessing's Laokoon can be seen as another attempt to apply the representational model of geometry to literature. Herder, reading Wolff in a way that might be called deconstructive, replaces Wolff's geometric theory of poetry by a poetic anthropology of geometry.

Argument

This essay seeks to identify the cultural significance of Goethe's scientific writings. He reformulates, in the light of his own concrete experience, “crucial turning-points” (Hauptmomente) in the history of science – key ideas, the historical understanding of which is vital to present understanding – thus situating his own scientific work at the bi-polar center of the Western scientific tradition, conceived as the dramatic interplay over centuries of two opposing modes of thought. For in his experimentation he recaptures the glimpse of living form gained in aesthetic perception (Anschauung), from which such inherited theoretical positions are ultimately derived. At each stage of this process, imagination, in its aesthetic modality, is essential, for it alone reveals the world as it truly is. The literary quality of his writings on nature, as on culture, reveals Goethe's stylistic achievement in devising a medium in which the insights gained in contemplation may be so transmitted as to make a similar, imaginative, appeal to his reader – re-enacting the abstract-concrete equilibrium characterizing all aesthetic experience. Matching his style to the subtle, delicate, connectedness of Nature, Goethe recreates the delights of participating in natural creativity. His Janus-faced, scientific-literary, style illustrates “binary synthesis,” the principle that unites Goethe's science with his art.

Beauty is the normal state.

(Ralph Waldo Emerson, The Conduct of Life)

There can be no such thing as an eclectic philosophy, but there can be eclectic philosophers. But an eclectic is anyone who, from whatever exists and is happening round about, appropriates the things he or she finds congenial to her or his nature; and this context validly includes all that can be called culture and progress in a theoretical and practical sense. It follows that two eclectic philosophers could turn into the greatest opponents if they are antagonistic to one another, each picking out whatever suits him or her in every traditional system of philosophy.

(Goethe, Wilhelm Meister's Journeyman Years)

Argument

Cultivated by a number of writers and studied by psychologists, the phenomenon of déjà vu is an invention of the nineteenth century and is part of a broader exploration of how the mind experiences memory and time. Thus this typically benign mental aberration provides an entry-point into the mechanisms that preside over the regulation of the flow of consciousness. The theories of the mind developed recently by neuroscientists help us understand, meanwhile, why investigations into this mental “event” necessarily invoke concepts of representation and narrative. In fact, our increasingly sophisticated models for processes of memory and perception depend on literary representations. This article relies on the paramnesiac writings of Gérard de Nerval, seen through the lens of Proust's analysis, to argue that a consideration of the aesthetic and representational features of déjà-vu can bring us closer to solving the epistemological challenges we face in studying this phenomenon.

For Gregory T. Polletta

Argument

When Copernicus pointed out that the apparent movement of the sun was in fact the effect of the rotation of the earth, he explained his view by referring to a passage in Virgil's Aeneid. Thus he established the link between science and literature. This topic recurred frequently in both science and literature whenever the question of the relativity of motion arose. In this article, I will focus above all on two authors who took up this question: Ernst Mach and Hugo von Hofmannsthal. Moreover I will try to show the different roles of scientific and literary prose in the works of Mach and in Hofmannsthal's Das Glück am Weg (1893).

Argument

This paper examines the role of metaphors in science on the basis of a historical case study. The study explores how metaphors of “genetic information,” “genetic code,” and scripture representations of heredity (i.e. the metaphorical comparison of DNA with text and alphabet) entered molecular biology and reshaped experimentation during the 1950s and 1960s. Following the approach of the philosopher Hans Blumenberg, I will argue that metaphors are not merely a means of popularization or a specific kind of modeling (by building analogies) but rather are representations that can unfold an operational force of their own.

While the influence of cybernetics and information theory on molecular biology is well documented in historical analysis throughout recent years, this paper offers new insights into the metaphysical and religious resonances of textual metaphors in the life sciences. The main focus will be on developments in Germany, in particular on the work of the German biochemist Gerhard Schramm. In this historical case study the interaction between metaphors and experimental practices will be discussed. The paper analyzes different phases in the use of metaphors during the 1950s and 1960s: it will explore how the metaphors of a “genetic alphabet” or of “genetic code” (which were used with an illustrative purpose in the 1950s) developed into a new research program and eventually attained ontological status in the early 1960s. At that time Schramm's use of textual metaphors was reminiscent of nineteenth-century German natural philosophy. In this case, the metaphorical shift shows how the metaphor of a “genetic text” or a “genetic code,” which were central for the emerging molecular biology, drew on older cultural traditions with all of their metaphysical and religious preoccupations.

Argument

In calling psychoanalysis a “school of suspicion” (Ricoeur 1970, 32), Ricoeur marks at once its use in a disposition characteristic of modernity: the disposition of suspicion. Modernity gives rise to various forms of suspicion, to modern forms of ressentiment and practices of disciplining oneself (the suspicion of oneself) as well as to an epistemology of suspicion. In this essay, I shall analyze the epistemological function of suspicion – which as the “paradigm of clues” (Ginzburg 1988) becomes the leading paradigm of the human sciences in the last third of the nineteenth century – and its close interrelationship with the techniques of power. As I shall demonstrate through a comparative reading of psychoanalytical, literary, and criminological texts, the modern production of knowledge in the human sciences cannot be separated from the modern “micro-physics of power,” which for Foucault was established in the eighteenth century, and the technologies of the self. I shall situate the paradigm of clues within the framework of the modern disposition of suspicion in order to combine the epistemological reflections with an analysis of cultural history. Thus I will first examine the paradigm of clues from the perspectives of cultural theory (Foucault and Nietzsche) and semiotics (Peirce), in order to illuminate the structural unreliability of the episteme as well as the way it is closely linked to the techniques of power. In what follows, I will apply this view to Bertillon's photographic identification system, the psychoanalytical concept of the trace, and Kafka's short story The Burrow.