Faradays candle
Faradays Candle is a lesson in teaching art didactics . Inspired by Martin Wagenschein it was developed in the mid-1980s and is listed on Michael Faraday Christmas Lecture Lectures on the Chemical History of a Candle ( a candle Natural History ) from 1860 ajar. It genetically treats the physical and chemical processes in a candle and also introduces the fundamentals of biology , especially ecology .
Faraday's candle is not only one of the oldest, but also the most frequently staged didactic piece of teaching arts didactics; it is particularly widespread outside the "inner circles" of teaching. It was an essential subject in three dissertations with Hans Christoph Berg , all of which were supervised by the great educational didactic specialist Wolfgang Klafki , including the last supervision by Klafki at all. Two of the three dissertations led to professorships, the third was the initial step towards widespread distribution of the play in Waldorf schools .
Faraday's original and Wagenschein's example
Michael Faraday , known for his significant findings in the field of electrostatics , had been a leading researcher in the field of analytical chemistry from a young age . Didactically he was strongly influenced by Isaac Watts ' principles, whose work The Improvement of the Mind from 1741 he had studied. Watts had accorded a special rank to observation, which was supposed to include all the senses. In addition, the teacher should not only give lectures and, especially in the instruction , demonstrate all thought and practical experiments that have led him to knowledge and give the learner time for "meditation".
After Faraday since 1827 regularly by the Royal Institution organized Christmas lectures was held, he held the year 1848/1849, the first lecture entitled Lectures on the Chemical History of a Candle ( The Chemical History of a Candle ), to which, edited by Charles Dickens , an article was published the following year. However, the Christmas lecture 1860/1861 was not to be published in full. This book was also translated into German and became a very popular standard work.
Martin Wagenschein turned out to be an admirer of this lecture, like his words from The Pedagogical Dimension of Physics. (1962) prove:
“In Michael Faraday's natural history of a candle, the physical (and chemical) experiences radiate from a single thing. In addition, this thing is a candle:
it attracts the eyes, it rounds the eyes and gathers the heads around it, it arouses reflection in them in a peculiarly gentle way and gives us connections to the whole of physics (of the foreground). Every teacher should know Faraday's candle! "
Wagenschein completely excludes chemistry in his considerations in the book and puts physics in the foreground, from the handicraft of candle-drawing to the states of aggregation and heat theory to optics. In 1979 he quotes in the Nordbayerischer Kurier :
“According to a letter from a mother (PhD in chemistry): The youngest (10) remembers that you can light a candle, just blown out, without touching the wick with a match. The older sisters (13 and 14) confirm: that is because it is still so warm near the candle. The little one - differently - wanted to check again and observe the distance from which the candle could be re-lit. Then she suddenly and firmly declares: “Now I know: It's the fog over the extinguished candle that is starting to burn again!” The big ones, amazed, admit it. - The little one found the completely correct scientific and methodological procedure alone. The great ones, who had fabulous physical laws and grandiose definitions in their books, were at a loss; not used to being stimulated to solution procedures by problems. "
The "jump of flames" dealt with here should also play a central role in the didactic play; however, there is no plausible reason to ignore the chemistry that is in the foreground at Faraday. It should be clear, however, that a didactic piece on the topic could hardly stick closely to Faraday's framework, since this can only be genetically carried out to a limited extent . Faraday performed around 100 experiments in just 6 hours - which corresponds to one experiment every three and a half minutes (!) ! . In the spirit of Isaac Watts, the content of Faraday's lectures should be streamlined.
Faraday had also made air pressure the subject of his lecture and in particular demonstrated the Magdeburg hemispheres . This area is dealt with within the teaching art in Pascal's barometer and also distracts somewhat from the focus of the candle.
Development of the didactic piece
One of the first productions of the didactic play was that by Hartmut Klein, which was documented in 1986. A lesson report on his production in a seventh class of the seminary St. Johann to Amöneburg he published in 1990. In that year also gave Ortwin Johannsen a visiting period in a 9th grade on traditional Ecole d'Humanité in Switzerland Goldern (municipality Hasliberg ), for which he also wrote a didactic report, which, however, was to remain a gray publication. In 1993 a report by Ueli Aeschlimann followed about the production in the 4th grade of an elementary school near Bern ; In 1994 Aeschlimann received the Wagenschein Prize.
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In 1995 the main work Lehrkunst was published by Hans Christoph Berg and Theodor Schulze . Didactic textbook. , in which Eberhard Theophel delivers a lesson report in a 9th grade of the Kestner comprehensive school in Wetzlar from 1992. Aeschlimann, who is named as co-author in the book (not in the relevant chapter), decided at that time to write a second dissertation, in addition to his physics degree in 1982, with Hans Christoph Berg, for which Wolfgang Klafki could be won as a second reviewer. This was completed in 1999 and was much more detailed than anything before; In addition to documenting older productions, including his own, Aeschlimann reports on one in front of teachers' students in 1998. Since 2005, he has taught at the University of Education in Bern , where he retired as a professor in 2017.
When Aeschlimann completed his dissertation, Berg and Klafki were already doing a second one, which had the candle as the main theme: Dirk Rohde staged the didactic play at the Free Waldorf School in Marburg ; As a specialist teacher in the Waldorf sense, he had the opportunity to stage the didactic play in epoch lessons in a very compact manner, i.e. without spreading it over a few hours within many weeks. On the other hand, the technical lessons only take place from the 9th grade, for which he staged the candle. For him, the focus was clearly on the chemical cycles, and he extended the piece to include a chemically detailed treatment of the carbon cycle .
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Rohde completed his dissertation in 2003. At this time, Susanne Wildhirt, previously significantly involved in the main Berg / Schulze work (1995), was co-director (next to Berg) of the collegial teaching arts workshop in the canton of Thurgau , where the lesson was for various classes and teachers (next to Wildhirt: Annemarie Hensinger, Markus Koller , Adrian Spirgi, Ulrike Bühler, Andreas Suhner and Regula Schaufelberger) was declined. Wildhirt did his doctorate in 2007 with Berg and Klafki and shaped today's most common production in a 5th grade at the high school in Michelstadt in the Odenwald ; She has been teaching at the Lucerne University of Education since 2005 , now as a professor.
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The number of productions is now difficult to keep track of; At the Elisabethschule Marburg there was a regular staging for students of the mountain seminar at the Philipps University Marburg by the chemistry teacher Astrid Höhle and her husband, the physics teacher Bernd Köber, who did his doctorate with Hans-Jürgen Stöckmann .
While the first stagings were structured purely in lessons, since Areschlimann's dissertation there has been provision for a structure in acts, with Wildhirt merging the two middle acts of Aeschlimann (Why does the candle flame? / What happens when it is burned?) . Since Rohde's dissertation, both the last act and the piece itself have been accompanied by the pair of questions “ Where from? - where? " downtown. Each act has its own organizational pull question :
- "What actually burns with a candle - the wax or the wick?" (Physical candle)
- "What makes the candle shine?" (Chemical candle)
- "Where does the candle come from, where does it go?" (Biological candle)
It has become customary to ask the pull question of the 3rd act in advance in a more spiritual overture and later, after the knowledge gained from physics, chemistry and biology, to illuminate it again from a higher point of view. Aeschlimann suggests a story and finally Friedrich Nietzsche's poem Ecce homo .
Whether and to what extent Faraday appears as a person depends not least on the responsible teacher. In her staging, Wildhirt also let students who wanted to formulate theses slip into the role of researcher, although this is somewhat incoherent.
The lesson
The chronology of the following didactic portrait is mainly based on the most common staging by Susanne Wildhirt, who also created the illustrations, but contains various varieties of other productions, in particular that by Aeschlimann. The didactic piece is designed for around 20 lessons.
overture
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The didactic piece begins in the spiritually inspiring atmosphere of a darkened room in which four candles, arranged in stages, are burning, which have already burned down to different degrees. The students are asked to pause to look carefully at the flames at the same time. How are candles actually made? And what happened to them when they burned down?
Glasses with earth, water, air and “light” are symbolically placed in the room.
In the next lesson the candles are missing and it is the task of the students to draw a candle from memory. Where does which color shine ? Only after drawing can we compare the memory candles with burning ones, which trains the eye again.
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Only then is the person Michael Faraday introduced, who leads us on to the first act in his own words:
"On an earlier occasion I chose the natural history of a candle as the subject of my lecture, and if the choice were entirely up to me, I would probably take this topic at the end of my lectures every year, so many interesting things, so many different ways of looking at nature in general offers the same thing. All laws operating in the universe come to light in it, and it is difficult to find a more convenient gateway to the study of nature. "
The physical candle
Flame jump
A candle that has just been blown out can be lit again from a few centimeters away from the wick. After seeing the phenomenon, the students try it out on their own. What actually happens there, how do you have to proceed? And does that help us to find out what is actually burning? As a result, wax can occur in solid, liquid and gaseous form - i.e. in all classic states of aggregation .
Sea of flames
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Apparently it is wax vapor that burns. A cotton wick alone can only glow weakly. And a sea of wax? In fact, a vessel with wax that has been sufficiently heated can be ignited to create a "sea of flames". The role of the wick becomes clear when you watch a coffee filter soak up. The capillary force that pulls the liquid wax up here also ensures that the foliage of tall trees can get to the water sucked up by the roots.
Flame dance
And what does it look like inside the flame? In fact, the flame can be more or less “cut open” with a wire mesh placed horizontally just above the wick. If you insert it from above, the flame breaks off at the grille and you can see the flame core, a chalice with a hollow center, from above. Further up you can re-ignite the steam to a dancing flame; If the grille is inserted slowly and carefully from the side, the “dancing” upper flame remains, even without additional lighting, which can be connected to the main flame again downwards and which floats higher and higher when the grille is raised until it finally dissolves .
Daughter flame
If you insert a glass tube inside the flame, you can ignite a “daughter flame” at its upper end. Wax vapor can also be diverted into a vessel and poured out over the flame, creating a flash of flame. The wax vapor is only combustible if there is sufficient room air around it. The candle itself can also be "smothered".
The jump of flames
The capillary action of the wick
The flame dance
The daughter flame
Collect wax vapor
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So much has been researched about the physics of the candle and the glow of the flame comes to the fore:
“It is important for us to get to know the state in which the candle mass is last at the point where in the flame there is such a beautiful appearance that cannot be observed in any other process. We know the splendid beauty of gold and silver, the even more beautiful shimmer and sparkle of jewels like rubies and diamonds - but nothing rivals the brilliant beauty of a flame. What diamond can sparkle as brightly as the flame? It owes its glow at night only to the very flame that shines on it. The flame illuminates the darkness - but the light of the diamond is nothing, it is only there when the ray of a flame falls on it. The candle alone shines for itself and by itself, for those who have arranged their components with one another! "
The chemical candle
Black soot from a white candle
Many have made the experience: if you interrupt the burning process of the candle, it will soot . Always black, regardless of the color of the candle. Obvious tests can even be used to determine that it forms a ring of soot, not in the flame core. If you look closely, you can see that the yellow flame is sooty, the blue one not.
If you project the candle flame onto a wall, you can see that the core of the flame is transparent and the jacket - where the soot is produced - casts a clear shadow. So something has to be done with the soot here. Is he responsible for the glow?
When blowing out, the core of the flame suddenly also casts a shadow. The transparent wax vapor turns into white wax mist - exactly the mist that we were able to ignite when the flame jumped.
Fireworks
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A Bunsen burner is much less bright than a candle, but if you increase the supply of air and thus oxygen , it becomes significantly hotter. Apparently the different colors also stand for zones of a certain temperature.
One after the other, chips of aluminum , iron , magnesium and copper are blown into a Bunsen burner flame. Aluminum shines white yellow, iron reddish yellow, magnesium white in asterisks and copper green. On the other hand, if you blow in soot, the burner glows in the warm colors of a candle. Obviously it's burning soot that makes our candle shine. However, the soot disappears again with undisturbed combustion, so it is probably only an intermediate product of the combustion. It's made from wax vapor, but where is it going?
At this point it is worthwhile to pause and then exchange spontaneous thoughts. As a rule, people are uncomfortable at the thought that things disappear into nothingness. Only Antoine Laurent de Lavoisier was able to resolve the apparent contradiction in the 18th century.
Firewater
You can't see what will become of the soot, but there must be something in the room air. Can that be absorbed?
If you hold a glass diagonally over the candle, it will fog up, similar to glasses when the steam is boiling. Is that a clue? And how could one substantiate emerging theses?
The air above the flame can be sucked off with a pump and fed into a U-tube with a cold trap . After a while, a significant amount of a clear liquid will develop there. It has the same boiling point as water and other possible analyzes show that it is mainly water .
Is nothing really created except water? That doesn't seem so conclusive. Ultimately, one can realize that the cold trap does not have the same effect on all gases.
Coal air
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If you direct the air flow over the flame in lime water , this immediately experiences a milky cloudiness. The same cloudiness occurs when we blow in the air we breathe, but not noticeably through room air. The flame “breathes” similarly to us humans. An experiment with pure carbon dioxide results in a similar turbidity. Every student has probably heard the term before; now it is somewhat filled with content.
Wax - or other "fuels" - and oxygen produce soot, which eventually turns into carbon dioxide, and water. Depending on the grade level, the chemical formulas can also be listed here.
Proportions
A candle weighing 80 g produces 50 g carbon black as an intermediate product and 90 g water (steam) as an end product. Together, these products are significantly heavier than the candle was. These quantities are symbolically placed next to each other in test tubes.
Black soot from a white candle
Projection of the flame
Firewater
The fire division
The candle burns in the glass with green plants
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The fact that people and candles "breathe out" similar products and some other analogies led Faraday to a conclusion which from today's point of view seems quite progressive for the year 1860, but which has long since found its way into our everyday language although it is questionable. whether the student had understood it in its depth like Faraday or only perceived it as a metaphor:
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“We have now learned to know carbonic acid from its first source, the candle, and then in its most important physical properties, especially in its weight, and at our next meeting I think to show you what it consists of and where it comes from Elements takes. (...) I want to make a comparison between the burning of our candle and the living kind of burning that goes on in our body. Yes, a living combustion process takes place in all of us, very similar to that of the candle. The comparison of human life with a candle is not only correct in the poetic sense; if you want to follow me, I think I can make it clear to you that it is also scientifically justified and justified. "
The biological candle
The chemical candle made it clear to us that no substances are lost, but that they only form other compounds. If you take Faraday's last quote seriously, it would mean that the people and animals living there had burned the earth for thousands of years, which should have permanently changed the composition of the atmosphere. It is worth pausing here to come to the genetic conclusion that there must be other processes in parallel that ensure that the composition nevertheless remains constant, in equilibrium .
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Many students have already heard that green plants convert carbon dioxide into oxygen and that cutting down the rainforests is partly responsible for climate change . Through the heavy use of internal combustion engines, we are constantly increasing the carbon dioxide content of our earth's atmosphere and, at the same time, reducing the number of living things that naturally lower this content and that managed to do this consistently and without problems until the 19th century. The pyrolysis is opposed to the photosynthesis and in the ideal case (if the disturbance by humans is too strong) it is in equilibrium within the atmosphere.
The role of green plants can even be confirmed experimentally with simple means. A candle burns in a glass in which a plant has been standing in the sun for a day with water, for as long (although only for a few seconds) as in a glass with fresh air, while it goes out immediately in the coal air. And here, too, earth, water, air and light have their special roles.
Overall, the “biological” act is a little less experimental than the previous two. In place of the experiments, there are many descriptive materials that introduce the basics of ecology and sensitize the students in particular. The carbon cycle and the role of carbohydrates in our diet become clear:
“And so we see everything moving towards the one great work, to make the two living kingdoms of creation subservient to one another. All trees, shrubs and herbs on earth take up carbon; they take it out of the air through the leaves into which we and all animals have sent it in the form of coal air, and they grow and thrive in it. Give them completely pure air, as it is most useful to us - they will wither and wither; give them coal air and they will grow and be well. All coal in wood and in plants comes from the atmosphere, which absorbs the coal air, which is harmful to us but useful to others - what would bring death to one, it brings life to another. And so we humans see ourselves not only dependent on our fellow human beings, but dependent on all fellow creatures, we see ourselves connected to the universe of creation to a great whole through the laws according to which each member lives, weaves and creates for the benefit of the other. "
The final
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At the end, the learners process their impressions and accumulated knowledge in a thought image in the form of a poster. Texts and poems can also be written - and of course poems and stories can also be quoted .
Even a Friedrich Nietzsche had already dealt with the matter in detail:
“ Ecce homo
yes! I know where I come from!
Unsaturated like the flame
I glow and consume myself.
Light becomes everything I grasp,
coal everything I leave:
I am certainly flame. "
The last word, however, is kept by Michael Faraday, whose closing sentence seems hardly less poetic:
"And so, at the end of our lecture, I wish you that you will be lifelong compared to a candle, that you will be a lamp like it for your surroundings, that you will reflect the beauty of a candle flame in all your actions, that you work beautiful, good and noble for humanity in the faithful fulfillment of your duty. "
Didactic analyzes
The didactic piece Faraday's candle has been analyzed quite intensively as such in the three dissertations in which it is the subject - which means that these analyzes are of course made from the perspective of didactics of the art of teaching. Nonetheless, these analyzes deal critically with the conflict between the demands of the discipline and its concrete implementation in the didactic piece. Some important information for the directing teachers.
Ueli Aeschlimann dedicates a total of 17 pages to this topic in the "Didactic Analysis" section , while Susanne Wildhirt has 10 pages in the "Composition Analysis" section . Both Wagenschein and Klafki's claims take up a certain amount of space. Dirk Rohde spreads his analyzes a little within the representations of the didactic play and also compares the didactic play with a lesson draft by Eugen Kolisko on the subject of "fire".
Method triad
In his considerations, Aeschlimann puts Martin Wagenschein 's triad of methods at the beginning, i.e., also in the order, Genetic – Socratic – Exemplary , only then to devote himself separately to the dramaturgical that replaces or includes the Socratic in teaching . To begin with, he compares the explanations of two standard works on chemistry, Baars / Christen on the one hand and Arni on the other, on the subject of “combustion” with the approach to the didactic piece. He directs the focus to the concept of "rooting" , the car license, based on Simone Weil , attaches a special meaning:
“Nowadays a person can belong to the so-called educated circles without, on the one hand, having the slightest idea of what the essence of human destiny could be, or, on the other hand, knowing that not all constellations are visible in every season of the year. One is usually of the opinion that a little farm boy who has only attended elementary school knows more about this than Pythagoras, because he docilely parroted that the earth revolves around the sun. In reality he no longer looks at the stars. For him, the sun that is mentioned in the class has nothing in common with the sun that he sees. One tears him out of the totality of his environmental experiences. "
The chemical consideration of the candle does not replace the emotional one, but complements and enriches it in the sense of a rooting. This could only happen if the knowledge-based He knowledgeable and will not give up pure knowledge, as for the genetic instruction was general and for the candles lesson in particular the case. Aeschlimann quotes an aphorism by Georg Christoph Lichtenberg that Wagenschein also liked to bring forth :
"Those who only understands chemistry, of course , the not right."
Aeschlimann attaches particular importance to the phenomenon, which has the property that one “stumbles” over it, as Wagenschein once called it. In this regard, he criticizes Theophel's production and emphasizes the “jump of the flame” as an example of such a phenomenon. The task of the teacher is to gently moderate a Socratic conversation without actively increasing the cognitive process.
In the section on the exemplary , he states that an important goal is that the pupil must learn what a model is, what it can do and where its limits are. The range and the limits of viewing nature should also be made tangible.
Finally, Aeschlimann emphasizes an aspect that only affects the student if the teacher guides him carefully: He should learn "how technical (inventive) thinking differs from discovery" . Wagenschein had used the following metaphor:
“To discover means: I listen to a new wild animal until I know it. I ask: “Who are you?” To invent means: I now know the animal and can try to train it. I ask: "Do you want to?" "
The pupil must recognize that the object being analyzed, the candle, is already an invention that could only be made when more elementary phenomena were discovered.
In the section on the dramaturgical, Aeschlimann compares the didactic play with Bertolt Brecht's play The Life of Galilei . One problem with a didactic piece is that the roles of the students are not predetermined or predictable. As a teacher, however, you can rely on the fact that central thoughts are always expressed by a student. The reactions of the audience in the theater intended by the author and the director correspond to the learning processes intended by the teacher that would be initiated by the didactic play.
Wildhirt's analyzes in the corresponding sections are overall significantly shorter and less on a meta level; they consist more of explanatory assignments than of supplementary information. The candle especially helps to “understand one's own position in nature”.
The candle - a human issue?
Rohde points out that the candle itself is basically not a human issue, but rather the human use of fire . He also points out that although the candle played a prominent role in the Christian liturgy, in the everyday life of ordinary people - for which wax candles were almost unaffordable - until the end of the 19th century, no real role was played. And even among the rich who can afford the candle, its heat and soot development was not without problems. So the wicks, which at that time did not bend, had to be cut off regularly by the responsible employees, the so-called "wax blowers", in order to curb the soot supply. Rohde especially quotes Johann Wolfgang von Goethe :
"I don't know what better way to invent than if the lights were burning without cleaning."
It is also crucial to work out that the candle is not capable of the transformations that can ensure an equilibrium in our earth's atmosphere. Lively metabolic processes and many other transformations peculiar to living things cannot be derived from it.
Categorical education
For Wolfgang Klafki , the period of Aeschlimann's dissertation coincided with the years in which he developed from a critical observer to an explicit promoter of the art of teaching. In 1997, in the book Lehrkunstwerkstatt I published by Hans Christoph Berg and Theodor Schulze , Klafki wrote from a semi-critical distance the contribution Example of highly qualified teaching culture , in which he used the term for his model of categorical education, the epoch-typical "key problems", to the more culturally oriented " Human issues " delimited:
“As such, the substance of the teaching arts topics has so far not or rarely [and then not centrally] conflicted, controversial, ambivalent, possibly threatening. The unsolved, controversial problems of the present remain - for the time being? - outside of the topic that moves the teaching art concept into the field of vision of young people. "
He did not deny the great importance of human issues:
"In my opinion, it is or would be fruitless to play these two perspectives [the cultural tradition in Berg / Schulze and the epoch-typical key problems in Klafki, UA] against each other, to declare them incompatible, thus to deny their theoretically demonstrable, mutual need for supplementation."
Aeschlimann points out that in the now revised version of the candle lesson, not only human issues, but also key problems are in focus, namely in the form of the problem of the greenhouse effect . In Theophel's production from Berg / Schulze (1995) this was not the focus at all; his “biological candle” was limited to a single lesson at the end and in the end did not extend beyond Faraday's references to the cycles.
Wildhirt dedicates a total of 3 pages to the categorical formation of Klafki, namely in the section on the newly added teaching piece component “categorical information” . In it she declines the criteria of categorical education established by Klafki in 1959. In the didactic play, formal and material educational aspects come into play, which Wildhirt assigns to the four "main directions" in a table.
Regarding the aspect "Formation of forces and factual method congruence" she writes in particular:
“The candle lesson has an introductory character and, in the second and third act, provides basic elementary education with regard to sensitization to questions of ecological balance. It implicitly conveys the necessary insight and the given responsibility of people to handle (raw) materials carefully, not to release excess carbon dioxide through uncontrolled combustion processes in the household, traffic and industry and thus destroy the basis of life. This does not happen as a normative appeal or by depicting an ecosystem that has gotten out of control, but constructively in the proof of a successful equilibrium between pyrolysis and photosynthesis through the photosynthesis experiment based on Robert Priestley .
See also
literature
The following list is in chronological order:
- Charles Dickens (Eds.), Michael Faraday : The Chemistry of A Candle . In: Household Words . Volume 1, Number 19, Aug. 3, 1850, pp. 439-444, online
- Michael Faraday: The Chemical History of a Candle. London 1861 ( online version at www.gutenberg.org)
- Michael Faraday: Natural History of a Candle. Berlin 1871 ( online version at Die Zeit )
- Michael Faraday: The forces of nature. 1860, reprint (edited by Peter Buck) Franzbecker, Bad Salzdetfurth 1984 (in Fraktur ); ISBN 978-3-88120-084-4
- Simone Weil : The rooting, introduction to the duties towards the human being (French original title: L´Enracinement. Paris, 1949). Translated by Friedhelm Kemp , Kösel-Verlag, Munich 1956; DNB 455424500
- Martin Wagenschein : On the concept of exemplary teaching. Lecture at the conference of the University for International Educational Research in Frankfurt a. M. on “The importance and yield of experimental school work for the German school”, March 15, 1956. In: Zeitschrift für Pädagogik. 1956; exp. Beltz, Weinheim / Berlin 1959, DNB 455336156 ; Online reprint (PDF; 300 kB)
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Wolfgang Klafki : Studies on educational theory and didactics . Beltz, Weinheim / Bergstrasse 1963; DNB 452 428 467 ; in this:
- Second study: categorical formation. For the educational theory interpretation of modern didactics. In: Zeitschrift für Pädagogik , 5th year 1959, pp. 386–412
- Martin Wagenschein: The Pedagogical Dimension of Physics. Westermann, Braunschweig 1962; DNB 455336199 ; individual sections also in Wagenschein (1980)
- Martin Wagenschein: On the problem of genetic teaching. Lecture in the seminar for didactics of mathematics at the University of Münster, December 7, 1965; Online reprint (PDF; 330 kB)
- Martin Wagenschein: The moon travels with you to Ulm . North Bavarian Courier , 17./18. November 1979
- Martin Wagenschein: Seeing and understanding natural phenomena. Genetic courses. Published by Hans Christoph Berg. Klett, Stuttgart 1980; ISBN 3-12-928421-4 / hep (Volume 4), Bern 2009; ISBN 978-3-03905-511-1
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Hans Christoph Berg , Heidi Gidion , Horst Rumpf (eds.): Thanks to Wagenschein. Martin Wagenschein on his 90th birthday. Focus issue of the Neue Sammlung 4/1986, therein:
- Hartmut Klein, Gunter Langenbach: Faradays candle. Pp. 566-570
- Hans Christoph Berg (with the assistance of Gerold Becker and Georg Pflüger): Lehrkunst . Focus issue of the Neue Sammlung 1/1990, therein:
- Peter Buck: Faraday's candle and / or Kolisko's flame. Pp. 46-56
- Hartmut Klein: Faradays candle in a 7th grade in Amöneburg. Pp. 67-75
- Ortwin Johannsen: Faradays candle in a 9th grade in Goldern. Report on a guest epoch from January 29th, 1990 to February 3rd, 1990 in the Ecole d'Humanité (Goldern, Switzerland). Unpublished manuscript
- Hans Christoph Berg, Günther Gerth , Karl Heinz Potthast (eds.): Teaching renewal with Wagenschein and Comenius. Attempts at Protestant Schools 1985–1989. Comenius Institute, Münster 1990; ISBN 978-3-924804-41-1 ; in this:
- Werner Sperrle: Faraday's natural history of a candle - an attempt at teaching in an eighth grade. Pp. 177-186
- Ursula Döttling-Vogt: Natural history of a candle after M. Faraday. Pp. 186-190
- Ueli Aeschlimann: Why is the candle flame lit? Series of publications by the Swiss Wagenschein Society, No. 4 (1993), can also be read in Aeschlimann (1999), pp. 70–76
- Hans Christoph Berg, Theodor Schulze : teaching art. Didactic textbook (Teaching Art and School Diversity Volume 2). Luchterhand, Neuwied 1995; ISBN 3-472-01520-9 ; in this:
- Eberhard Theophel: "All laws that work in space ..." pp. 283–304 (PDF; 340 kB)
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Wolfgang Klafki : An example of a highly qualified teaching culture.
In: Hans Christoph Berg, Theodor Schulze (Hrsg.): Lehrkunstwerkstatt I. Didactics in teaching examples. Luchterhand, Neuwied / Kriftel / Berlin 1997, pp. 13–35; ISBN 978-3-472-03010-2 - Ueli Aeschlimann: With a car license to the art of teaching. Design, testing and interpretation of three teaching examples on physics, chemistry and astronomy using the genetic-dramaturgical method. Marburg 1999; DNB 969920059 ( download of the original dissertation ), therein:
- Faraday's candle - a second lesson. (Pp. 62–120)
- Dirk Rohde: What does "lively" teaching mean? Faraday's candle and Goethe's plant metamorphosis in a free Waldorf school
(= Hans Christoph Berg, Wolfgang Klafki , Theodor Schulze (eds.): Lehrkunstwerkstatt V ). Tectum, Marburg 2003; ISBN 978-3-8288-8508-0 ( Google Books ) - Ernst-Michael Kranich: Lively teaching (PDF; 370 kB). Review of Rohde (2003) in: Erziehungskunst.de. Waldorf Education Today.
- Heinz Schmidkunz: experiments with candles. In: Chemistry lessons , issue 82/83. Issue 4/5/2004, 15th year, pp. 21-23. Friedrich-Verlag, Seelze
- Hans Christoph Berg, Susanne Wildhirt: Thurgauer Lehrstückernte 2004. Collegial teaching arts workshop in the elementary school: A Thurgau pilot model ( teaching arts workshop vol. VI ). Heer, Sulgen / CH 2004; zip download (PDFs, 20 MB in total); in this:
- Susanne Wildhirt, Markus Koller, Adrian Spirgi, Ulrike Bühler, Annemarie Hensinger, Andreas Suhner, Regula Schaufelberger: Faradays candle, freely based on the license. (Pp. 37–82; PDF, 3.2 MB)
- Susanne Wildhirt: Designing teaching pieces. Linnaeus meadow flowers, Aesop's fables, Faraday's candle. Exemplary studies on didactic composition theory. Marburg 2007; DNB 989814939 ( download of the original dissertation ), therein:
- Faradays candle. Pp. 220-299
- Susanne Wildhirt: Designing teaching pieces. "You should be able to look into the flame." hep (Volume 2), Bern 2008 ISBN 978-3-03905-496-1 (reprint by Wildhirt (2007))
- Hans Christoph Berg: "All laws acting in the universe ..." column The mountain calls in:
school management 06/2007 (PDF, 70 kB) - Hans Christoph Berg among others: The work dimension in the educational process. The concept of teaching arts didactics. hep (Volume 1), Bern 2009; ISBN 978-3-03905-509-8 ; including Berg (2007)
-
Willi Eugster , Hans Christoph Berg (Ed.): Collegial teaching art workshop. Great moments of mankind in lessons at the Trogen Cantonal School . hep (Volume 3), Bern 2010; ISBN 978-3-03905-510-4 ; Pp. 115–196: Lehrstückführer für Trogen [= Eugster / Berg (2010 *)] (PDF; 3.3 MB), therein:
- Andreas Trepte, Roman Spannring, Christian Eggenberger: Faradays candle - more than an introduction to chemistry. P. 134–137 (P. 12–13 in PDF)
Web links
The following list is in chronological order:
- Faradays candle on lehrkunst.ch
- Michael Faraday (1860): The Chemical History of a Candle at www.gutenberg.org (Engl.)
- Michael Faraday (1860/1871): Natural history of a candle at Die Zeit
- W. Helmert, A. Salinger (1990): The candle - a teaching unit in chemistry for the 8th grade
- Eberhard Theophel in Berg / Schulze (1999): "All laws that work in space ..." pp. 283–304 (PDF; 340 kB)
- Ueli Aeschlimann (1999): Faradays candle - a second teaching piece , pp. 62–120;
- Susanne Wildhirt et al. (2004): Faraday's candle, freely based on the license. Pp. 37–82 (PDF; 3.2 MB)
- Susanne Wildhirt (2007): Faradays Kerze , pp. 220–299
- Hans Christoph Berg (column 2007): »All laws that work in space ...« (PDF; 70 kB)
- Andreas Trepte, Roman Spannring, Christian Eggenberger in Eugster / Berg (2010 *) (PDF; 3.3 MB): Faradays candle - more than an introduction to chemistry . Pp. 12-13
Footnotes
- ↑ s. Wildhirt (2007), pp. 229-231
- ↑ s. Dickens / Faraday (1850)
- ↑ s. Faraday (1961)
- ↑ s. Faraday (1871)
- ↑ See Wagenschein (1962), p. 203 of the 4th edition.
- ↑ cf. Wagenschein (1979), cited in Aeschlimann (1999), p. 68
- ↑ s. Berg / Gidion / Rumpf (1986)
- ↑ s. Berg (1990); Summary in Aeschlimann (1999), pp. 108-109
- ↑ s. Johannsen (1990); Summary in Aeschlimann (1999), pp. 111-112
- ↑ s. Aeschlimann (1993) and Aeschlimann (1999), pp. 70-76
- ↑ a b c Ueli Aeschlimann at the PH Bern, Memento from February 2017
- ↑ s. Theophil in Berg / Schulze (1995)
- ↑ s. Wildhirt et al. (2004)
- ↑ s. Wild Shepherd (2007)
- ↑ Susanne Wildhirt at the PH Lucerne
- ^ Alumni of the Quantum Chaos Working Group (head: Hans-Jürgen Stöckmann ) of the Philipps University of Marburg
- ↑ s. Wildhirt (2007), pp. 241 and 296
- ↑ A successful short version in the form of a so-called didactic piece can be found in Wildhirt (2007) on pages 288–294; a summary with a somewhat different chronology can be found in Aeschlimann (1999), pp. 114–120.
- ↑ The symbolic test tubes are the first to come from a production by Andreas Trepte; they are also used in caves and Köber.
- ↑ s. Aeschlimann (1999), pp. 91-107
- ↑ s. Wildhirt (2007), pp. 278-287
- ↑ cf. Rohde (2003), especially p. 103 ff
- ↑ in Weil (1949/56), quoted in Wagenschein (1965), p. 3
- ↑ s. Aeschlimann (1999), pp. 92/93
- ↑ cited in Wagenschein (1956), p. 14 and in Aeschlimann (1999), p. 93
- ↑ s. Aeschlimann (1999), p. 97
- ↑ cited in Aeschlimann (1999), p. 98
- ↑ s. Aeschlimann (1999), pp. 102-104
- ↑ s. Wildhirt (2007), p. 278
- ↑ cf. Rohde, pp. 103-105
- ↑ cf. Rohde, pp. 103-104, also highlighted in Kranich (2003)
- ↑ s. Klafki (1997), p. 23
- ↑ s. Klafki (1997), p. 26
- ↑ s. Aeschlimann (1999), pp. 100-101
- ↑ s. Theophel in Berg / Schulze (1995)
- ↑ Wildhirt (2007), pp. 282-284
- ↑ s, Klafki (1959)