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A major rethinking of the European novel and its relationship to early evolutionary scienceThe 120 years between Henry Fielding's Tom Jones (1749) and George Eliot's Middlemarch (1871) marked both the rise of the novel and the shift from the presumption of a stable, universal human nature to one that changes over time. In Human Forms, Ian Duncan reorients our understanding of the novel's formation during its cultural ascendancy, arguing that fiction produced new knowledge in a period characterized by the interplay between literary and scientific discourses-even as the two were separating into distinct domains.Duncan focuses on several crisis points: the contentious formation of a natural history of the human species in the late Enlightenment; the emergence of new genres such as the Romantic bildungsroman; historical novels by Walter Scott and Victor Hugo that confronted the dissolution of the idea of a fixed human nature; Charles Dickens's transformist aesthetic and its challenge to Victorian realism; and George Eliot's reckoning with the nineteenth-century revolutions in the human and natural sciences. Modeling the modern scientific conception of a developmental human nature, the novel became a major experimental instrument for managing the new set of divisions-between nature and history, individual and species, human and biological life-that replaced the ancient schism between animal body and immortal soul.The first book to explore the interaction of European fiction with "the natural history of man" from the late Enlightenment through the mid-Victorian era, Human Forms sets a new standard for work on natural history and the novel.

1700-1899

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›Das Wahre, Schöne, Gute‹ bildet das Leitgestirn am kulturellen Himmel vom Ende des 18. bis über das Ende des 19. Jahrhunderts hinaus. Entstanden ist die Trias im frühen 18. Jahrhundert, initiiert durch die Rezeption der platonischen Philosophie, die Debatte um den guten Geschmack und die Erweiterung der Philosophie um die Wissenschaft der Ästhetik. Während Kant und Schiller mit kritischem Bewusstsein den Zusammenhang und die Differenz des Wahren, Schönen und Guten erforschten, stand die Trias im 19. Jahrhundert als ubiquitäre Formel für das ›Höhere‹, die bürgerliche Bildungs- und Kunstreligion. Ihre Verwendung in Goethes ›Epilog zu Schillers Glocke‹ weihte sie mit beider Namen. Daran entzündete sich eine ideologiekritische und ästhetische Polemik. Fontane sah in dieser Trias nur ein Umcouren des Geldes. Für die europäische Avantgarde seit Mitte des 19. Jahrhunderts war sie Ausdruck einer banausischen Zweckentfremdung der Kunst. Der Fall der Trias begann. Ihre Anrufung war verpönt. Einher ging aber ihr stilles Fortbestehen, wie die Kunst- und Literaturkritik und die Debatten z. B. um Adornos Satz, wonach ein Gedicht nach Auschwitz zu schreiben, barbarisch sei, oder den »Fall Esra« belegen. Es geht immer noch um die Frage, ob und wie in der Erfahrung der Kunst ästhetische mit moralischen und Wahrheitsansprüchen verbunden sind.

Goethe --- Klassik --- Platonismus --- 1700 - 1899

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Item no. 868 in Two centuries of French drama, 1760-1960, a collection of 2,014 dramas housed in the Department of Special Collections, University of Florida Libraries.

French drama --- French drama. --- Molière, --- 1700-1899.

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The Romantic Stage: A Many-Sided Mirror examines late eighteenth- and early nineteenth-century British theatre and drama with the conviction that they made an essential contribution to the aesthetic and ideological complexity of the British culture of the day. The essays collected in this volume seek to capture the richness and diversity of British Romantic theatre and drama and situate them at the centre of the multiple, and often radical, literary and social transformations that the Age brought about. The volume is divided into four main sections: “Contextualizing Romantic Theatre and Drama”, “Drama across the Arts”, “Staging the Gothic (Fear on Stage)” and “Texts, Theories and Contexts”. Each section is dedicated to a particular aspect of English Romantic drama examined through interdisciplinary, international and inter-generic perspectives.

Theater --- Romanticism --- History --- 1700 - 1899 --- Great Britain.

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Displaying a talent for combining aesthetic sensibility with scientific rigor, the author has given new life to something that once excited European passions: an original, non-academic art at the forefront of the 'new technology' of the time. For decades, aristocrats of the Old World and then American collectors (the latter at the end of the eighteenth and beginning of the nineteenth centuries) spent countless sums on the purchase of these works, which were worth a fortune. These wealthy collectors of curiosities of all types were also most certainly great dreamers seeking a worthy setting for their dreams. Unbeknownst to them, their endeavours had much greater scope, creating and nourishing the conditions for a rare encounter between two worlds: a golden age of atypical collaboration, a combined adventure between China and Europe.

Glass underpainting --- History --- 1700-1899 --- China.