{"id":581,"date":"2020-03-31T07:12:40","date_gmt":"2020-03-31T07:12:40","guid":{"rendered":"https:\/\/dgej.hab.de\/?p=581"},"modified":"2021-12-16T09:28:14","modified_gmt":"2021-12-16T09:28:14","slug":"581","status":"publish","type":"post","link":"https:\/\/dgej.hab.de\/index.php\/2020\/03\/31\/581\/","title":{"rendered":""},"content":{"rendered":"\n<h1>Jahrgang 40 (2016) Heft 1 <\/h1>\n\n\n\n<p><strong>Heft<\/strong><br>1 (2016)<\/p>\n\n\n\n<p><strong>Jahrgang<\/strong><br>40<\/p>\n\n\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Aus der Arbeit der DGEJ<\/strong><\/p>\n\n\n\n<ul><li>Zu diesem Heft (Carsten Zelle)<\/li><li>Internationale Panels der DGEJ auf dem 14. International Congress for Eighteenth Century Studies (ISECS\/SIEDS), 27.-31. Juli 2015, in Rotterdam. Berichte (Sabine Volk-Birke, Hans-J\u00fcrgen L\u00fcsebrink, Hanco J\u00fcrgens)<\/li><li>Zwei deutsch-amerikanische Panels auf der 47. Tagung der American Society for Eighteenth-Century Studies (ASECS), Pittsburgh, PA, 31. M\u00e4rz bis 3. April 2016. Berichte (Silke F\u00f6rschler, J\u00fcrgen Overhoff) <\/li><\/ul>\n\n\n\n<p><strong>Beitr\u00e4ge<\/strong><\/p>\n\n\n\n<ul><li>Christina Randig: \u203aHonn\u00eate homme\u2039 und \u203afemme des Lumieres\u2039: Charlotte Sophie Reichsgr\u00e4fin von Bentinck, geb. von Aldenburg. Zur 300. Wiederkehr ihres Geburtstags. S. 15-29 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> Charlotte Sophie von Bentinck, Countess of the Empire from northern Germany with roots in the French high nobility, used to receive the attention and the recognition of the European courts and scholars in the 18th century. Aristocratic thinking on the one hand and the ideas of Enlightenment from France on the other shaped her biography in a different but complementary manner. The perfect mastery of courtly manners \u2013 a result of an education according to French ideals befitting her rank \u2013 and her unfailing desire for self-enlightenment as well as her friendly relationship with Voltaire made her an outstanding, emancipated personality. \/ Charlotte Sophie von Bentinck, Comtesse de l\u2019Empire d\u2019Allemagne du Nord, descendant en partie de la haute noblesse fran\u00e7aise jouissait de l\u2019attention et de la reconnaissance des cours europ\u00e9ennes et du monde savant au XVIIIe si\u00e8cle. La pens\u00e9e propre \u00e0 l\u2019aristocratie de son temps, d\u2019une part, et les id\u00e9es des Lumi\u00e8res fran\u00e7aises, d\u2019autre part, ont impr\u00e9gn\u00e9 sa biographie de mani\u00e8re certes diff\u00e9rente mais compl\u00e9mentaire. Sa parfaite ma\u00eetrise des m\u0153urs courtoises \u2013 r\u00e9sultat d\u2019une \u00e9ducation proche des id\u00e9aux fran\u00e7ais et conforme \u00e0 son rang \u2013 mais aussi sa volont\u00e9 ind\u00e9fectible d\u2019adh\u00e9rer \u00e0 la philosophie des Lumi\u00e8res et sa relation amicale avec Voltaire ont contribu\u00e9 \u00e0 faire d\u2019elle une personnalit\u00e9 exceptionnelle et \u00e9mancip\u00e9e.<\/div><noscript><div class=\"spoiler-body\"> Charlotte Sophie von Bentinck, Countess of the Empire from northern Germany with roots in the French high nobility, used to receive the attention and the recognition of the European courts and scholars in the 18th century. Aristocratic thinking on the one hand and the ideas of Enlightenment from France on the other shaped her biography in a different but complementary manner. The perfect mastery of courtly manners \u2013 a result of an education according to French ideals befitting her rank \u2013 and her unfailing desire for self-enlightenment as well as her friendly relationship with Voltaire made her an outstanding, emancipated personality. \/ Charlotte Sophie von Bentinck, Comtesse de l\u2019Empire d\u2019Allemagne du Nord, descendant en partie de la haute noblesse fran\u00e7aise jouissait de l\u2019attention et de la reconnaissance des cours europ\u00e9ennes et du monde savant au XVIIIe si\u00e8cle. La pens\u00e9e propre \u00e0 l\u2019aristocratie de son temps, d\u2019une part, et les id\u00e9es des Lumi\u00e8res fran\u00e7aises, d\u2019autre part, ont impr\u00e9gn\u00e9 sa biographie de mani\u00e8re certes diff\u00e9rente mais compl\u00e9mentaire. Sa parfaite ma\u00eetrise des m\u0153urs courtoises \u2013 r\u00e9sultat d\u2019une \u00e9ducation proche des id\u00e9aux fran\u00e7ais et conforme \u00e0 son rang \u2013 mais aussi sa volont\u00e9 ind\u00e9fectible d\u2019adh\u00e9rer \u00e0 la philosophie des Lumi\u00e8res et sa relation amicale avec Voltaire ont contribu\u00e9 \u00e0 faire d\u2019elle une personnalit\u00e9 exceptionnelle et \u00e9mancip\u00e9e.<\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>Olaf Kramer: Poetik der Ausgrenzung. Zur Konturierung von Empfindung und Vernunft bei Christian F\u00fcrchtegott Gellert. S. 30-46 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> This article examines the regime of emotional expression in Christian F\u00fcrchtegott Gellert\u2019s theoretical (especially Moralische Vorlesungen) and literary (especially Leben der schwedischen Gr\u00e4fin von G***) texts. It is shown here how the initial effort to control and shape emotions is weakened by the dynamism of fiction (e.g. in Inkle und Yariko). Literary expression proves to be an instrument of critical analysis and insight that is capable of developing a critical perspective on the enlightenment movement. \/ Le texte \u00e9tudie le r\u00e9gime de la sensibilit\u00e9 dans les \u00e9crits de Christian F\u00fcrchtegott Gellert en s\u2019appuyant sur ses \u0153uvres th\u00e9oriques (entre autres, Moralische Vorlesungen) et litt\u00e9raires (entre autres, Leben der schwedischen Gr\u00e4fin von G***). Il appara\u00eet que la tentative initiale de r\u00e9guler et de modeler les \u00e9motions tend \u00e0 se fragiliser sous l\u2019influence de la dynamique de la fiction (p.&nbsp;ex. dans le r\u00e9cit Inkle und Yariko). L\u2019\u00e9criture litt\u00e9raire s\u2019av\u00e8re \u00eatre un outil de connaissance pouvant mettre en lumi\u00e8re de mani\u00e8re critique les cons\u00e9quences du mouvement des Lumi\u00e8res. <\/div><noscript><div class=\"spoiler-body\"> This article examines the regime of emotional expression in Christian F\u00fcrchtegott Gellert\u2019s theoretical (especially Moralische Vorlesungen) and literary (especially Leben der schwedischen Gr\u00e4fin von G***) texts. It is shown here how the initial effort to control and shape emotions is weakened by the dynamism of fiction (e.g. in Inkle und Yariko). Literary expression proves to be an instrument of critical analysis and insight that is capable of developing a critical perspective on the enlightenment movement. \/ Le texte \u00e9tudie le r\u00e9gime de la sensibilit\u00e9 dans les \u00e9crits de Christian F\u00fcrchtegott Gellert en s\u2019appuyant sur ses \u0153uvres th\u00e9oriques (entre autres, Moralische Vorlesungen) et litt\u00e9raires (entre autres, Leben der schwedischen Gr\u00e4fin von G***). Il appara\u00eet que la tentative initiale de r\u00e9guler et de modeler les \u00e9motions tend \u00e0 se fragiliser sous l\u2019influence de la dynamique de la fiction (p.&nbsp;ex. dans le r\u00e9cit Inkle und Yariko). L\u2019\u00e9criture litt\u00e9raire s\u2019av\u00e8re \u00eatre un outil de connaissance pouvant mettre en lumi\u00e8re de mani\u00e8re critique les cons\u00e9quences du mouvement des Lumi\u00e8res. <\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>Maximiliane J\u00e4ger-Gogoll: \u00bb\u2026 wo noch keines Menschen Fu\u00df-Tritt gewandelt \u2026\u00ab \u2013 Synthese und Transgression in Salomon Gessners <em>Der Tod Abels<\/em>. S. 47-65 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\">&nbsp;In this paper, Gessner\u2019s Der Tod Abel\u2019s is studied as a literary experience that deals with moments of \u203asynthesis\u2039 and \u203atransgression\u2039 as constituent elements of the \u203aPatriarchade\u2039 in a particularly productive way. Not only does Gessner apply the genre of the epic and the sublime in the text for the first time, but also deals with biblical topics and a theme which places the motives of envy, hate and murder, i.e. the phenomenon of human aggression and destruction, at the centre of events. Our thesis is that Gessner in this constellation puts to a profound literary test the fundamental characteristics of his own idyllic poetry, which has consequences for the concept of idyll both for himself and for his contemporaries. \/ Dans cette \u00e9tude, La Mort d&#8217;Abel de Gessner est explor\u00e9e comme une exp\u00e9rience litt\u00e9raire ayant pour objet les moments de la \u2039&nbsp;synth\u00e8se&nbsp;\u203a et de la \u2039&nbsp;transgression&nbsp;\u203a en tant qu\u2019\u00e9l\u00e9ments constitutifs de la \u2039&nbsp;Patriarchade&nbsp;\u203a de fa\u00e7on particuli\u00e8rement \u00e9difiante. Dans ce texte, Gessner aborde, non seulement, pour la premi\u00e8re fois le genre de l&#8217;\u00e9pop\u00e9e et du sublime mais aussi des sujets bibliques ainsi qu\u2019un th\u00e8me pla\u00e7ant les motifs de l&#8217;envie, de la haine et du meurtre \u2013 \u00e0 savoir le ph\u00e9nom\u00e8ne de l\u2019agression humaine et de la destructivit\u00e9 \u2013 au centre des \u00e9v\u00e9nements. Nous soutenons la th\u00e8se que, dans cette constellation, Gessner met consid\u00e9rablement \u00e0 l&#8217;\u00e9preuve litt\u00e9raire les caract\u00e9ristiques fondamentales de sa propre po\u00e9sie idyllique, ce qui a des r\u00e9percussions sur la notion de l&#8217;idylle aussi bien pour lui que pour ses contemporains.<\/div><noscript><div class=\"spoiler-body\">&nbsp;In this paper, Gessner\u2019s Der Tod Abel\u2019s is studied as a literary experience that deals with moments of \u203asynthesis\u2039 and \u203atransgression\u2039 as constituent elements of the \u203aPatriarchade\u2039 in a particularly productive way. Not only does Gessner apply the genre of the epic and the sublime in the text for the first time, but also deals with biblical topics and a theme which places the motives of envy, hate and murder, i.e. the phenomenon of human aggression and destruction, at the centre of events. Our thesis is that Gessner in this constellation puts to a profound literary test the fundamental characteristics of his own idyllic poetry, which has consequences for the concept of idyll both for himself and for his contemporaries. \/ Dans cette \u00e9tude, La Mort d&#8217;Abel de Gessner est explor\u00e9e comme une exp\u00e9rience litt\u00e9raire ayant pour objet les moments de la \u2039&nbsp;synth\u00e8se&nbsp;\u203a et de la \u2039&nbsp;transgression&nbsp;\u203a en tant qu\u2019\u00e9l\u00e9ments constitutifs de la \u2039&nbsp;Patriarchade&nbsp;\u203a de fa\u00e7on particuli\u00e8rement \u00e9difiante. Dans ce texte, Gessner aborde, non seulement, pour la premi\u00e8re fois le genre de l&#8217;\u00e9pop\u00e9e et du sublime mais aussi des sujets bibliques ainsi qu\u2019un th\u00e8me pla\u00e7ant les motifs de l&#8217;envie, de la haine et du meurtre \u2013 \u00e0 savoir le ph\u00e9nom\u00e8ne de l\u2019agression humaine et de la destructivit\u00e9 \u2013 au centre des \u00e9v\u00e9nements. Nous soutenons la th\u00e8se que, dans cette constellation, Gessner met consid\u00e9rablement \u00e0 l&#8217;\u00e9preuve litt\u00e9raire les caract\u00e9ristiques fondamentales de sa propre po\u00e9sie idyllique, ce qui a des r\u00e9percussions sur la notion de l&#8217;idylle aussi bien pour lui que pour ses contemporains.<\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>Hans-Joachim Jakob: Johann Friedrich Schinks <em>Grazer Teaterchronik<\/em> (1783) \u2013 ein rares \u00f6sterreichisches Theaterjournal. S. 66-78 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\"> The dramatic adviser Johann Friedrich Schink describes in his Grazer Teaterchronik the stagings of the drama society led by Johann Joseph and Maria Rosalia Nouseul, which took place in Styria from April to August in 1783. The presentation of a demanding repertoire of moralising stage plays creates numerous difficulties for the actors and the audience. \/ Dans sa Grazer Teaterchronik, le dramaturge et critique de th\u00e9\u00e2tre Johann Friedrich Schink d\u00e9crit les repr\u00e9sentations th\u00e9\u00e2trales de la troupe de th\u00e9\u00e2tre de Johann Joseph et Maria Rosalia Nouseul mises en sc\u00e8ne en Styrie entre les mois d\u2019avril et d\u2019ao\u00fbt 1783. La pr\u00e9sentation d\u2019un r\u00e9pertoire ambitieux des spectacles moralisants cr\u00e9e un certain nombre de difficult\u00e9s, tant pour les acteurs que pour le public. <\/div><noscript><div class=\"spoiler-body\"> The dramatic adviser Johann Friedrich Schink describes in his Grazer Teaterchronik the stagings of the drama society led by Johann Joseph and Maria Rosalia Nouseul, which took place in Styria from April to August in 1783. The presentation of a demanding repertoire of moralising stage plays creates numerous difficulties for the actors and the audience. \/ Dans sa Grazer Teaterchronik, le dramaturge et critique de th\u00e9\u00e2tre Johann Friedrich Schink d\u00e9crit les repr\u00e9sentations th\u00e9\u00e2trales de la troupe de th\u00e9\u00e2tre de Johann Joseph et Maria Rosalia Nouseul mises en sc\u00e8ne en Styrie entre les mois d\u2019avril et d\u2019ao\u00fbt 1783. La pr\u00e9sentation d\u2019un r\u00e9pertoire ambitieux des spectacles moralisants cr\u00e9e un certain nombre de difficult\u00e9s, tant pour les acteurs que pour le public. <\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<ul><li>Elena Agazzi: Tiecks und Wackenroders Diskurs \u00fcber das Theater: Dramaturgie und Bestimmung des Geschmacks. S. 79-96 <div><div class=\"spoiler-wrap\"><div class=\"spoiler-head no-icon  collapsed\" title=\"Expand\">Abstract<\/div><div class=\"spoiler-body\" style=\"display: none;\">The late Eighteenth century lacked clear-cut criteria to define the line between Hoch- and Trivialdramaturgie. In the two centuries that ensued, literary critics attempted to classify the plays in a more definite way, yet sometimes employed questionable criteria. In the development of Wackenroder\u2019s and Tieck\u2019s aesthetic taste, which can be interestingly followed in their correspondence between 1792 and 1793, the two friends show critical positions regarding works staged that highlight both Wackenroder\u2019s debt towards Lessing\u2019s and Mendelssohn\u2019s Gef\u00fchlstheorien and also Tieck\u2019s orientation towards the study of Stoic doctrines in Antiquity and the Renaissance, which is linked to his interest in the works of Shakespeare. This study seeks to further Tieck\u2019s investigation into the esthetic and ethical-moral \u203asublime\u2039 and triggers a lively debate with his friend on the values that make the conduct of man exemplary on the scene and, above all, in daily life. \/ \u00c0 la fin du XVIIIe si\u00e8cle, il n\u2019existe pas de crit\u00e8res clairs permettant de d\u00e9finir la limite entre la Hochdramaturgie et la Trivialdramaturgie. Si, au cours des deux si\u00e8cles suivants, la critique litt\u00e9raire s\u2019est efforc\u00e9e de proposer une classification plus pr\u00e9cise des \u0153uvres th\u00e9\u00e2trales, celle-ci s\u2019appuyait parfois sur des crit\u00e8res discutables. Dans le cadre de leur \u00e9ducation du go\u00fbt esth\u00e9tique que l\u2019on peut suivre avec int\u00e9r\u00eat dans leur correspondance entre 1792 et 1793, les deux amis Wackenroder et Tieck sont porteurs de positions critiques \u00e0 l&#8217;\u00e9gard des pi\u00e8ces alors mises en sc\u00e8ne. Celles-ci mettent en lumi\u00e8re, d\u2019une part, les emprunts que Wackenroder tire des Gef\u00fchlstheorien de Lessing et Mendelssohn et, d\u2019autre part, l&#8217;orientation de Tieck vers l&#8217;\u00e9tude des doctrines sto\u00efciennes anciennes et de la Renaissance, en lien direct avec son int\u00e9r\u00eat pour les \u0153uvres de Shakespeare. Cette \u00e9tude vise \u00e0 poursuivre l&#8217;enqu\u00eate de Tieck sur le \u2039 sublime \u203a au sens esth\u00e9tique et \u00e9thico-moral, donnant naissance \u00e0 un d\u00e9bat anim\u00e9 avec son ami sur les valeurs qui rendent la conduite de l&#8217;homme exemplaire sur la sc\u00e8ne et, surtout, dans la vie quotidienne.<\/div><noscript><div class=\"spoiler-body\">The late Eighteenth century lacked clear-cut criteria to define the line between Hoch- and Trivialdramaturgie. In the two centuries that ensued, literary critics attempted to classify the plays in a more definite way, yet sometimes employed questionable criteria. In the development of Wackenroder\u2019s and Tieck\u2019s aesthetic taste, which can be interestingly followed in their correspondence between 1792 and 1793, the two friends show critical positions regarding works staged that highlight both Wackenroder\u2019s debt towards Lessing\u2019s and Mendelssohn\u2019s Gef\u00fchlstheorien and also Tieck\u2019s orientation towards the study of Stoic doctrines in Antiquity and the Renaissance, which is linked to his interest in the works of Shakespeare. This study seeks to further Tieck\u2019s investigation into the esthetic and ethical-moral \u203asublime\u2039 and triggers a lively debate with his friend on the values that make the conduct of man exemplary on the scene and, above all, in daily life. \/ \u00c0 la fin du XVIIIe si\u00e8cle, il n\u2019existe pas de crit\u00e8res clairs permettant de d\u00e9finir la limite entre la Hochdramaturgie et la Trivialdramaturgie. Si, au cours des deux si\u00e8cles suivants, la critique litt\u00e9raire s\u2019est efforc\u00e9e de proposer une classification plus pr\u00e9cise des \u0153uvres th\u00e9\u00e2trales, celle-ci s\u2019appuyait parfois sur des crit\u00e8res discutables. Dans le cadre de leur \u00e9ducation du go\u00fbt esth\u00e9tique que l\u2019on peut suivre avec int\u00e9r\u00eat dans leur correspondance entre 1792 et 1793, les deux amis Wackenroder et Tieck sont porteurs de positions critiques \u00e0 l&#8217;\u00e9gard des pi\u00e8ces alors mises en sc\u00e8ne. Celles-ci mettent en lumi\u00e8re, d\u2019une part, les emprunts que Wackenroder tire des Gef\u00fchlstheorien de Lessing et Mendelssohn et, d\u2019autre part, l&#8217;orientation de Tieck vers l&#8217;\u00e9tude des doctrines sto\u00efciennes anciennes et de la Renaissance, en lien direct avec son int\u00e9r\u00eat pour les \u0153uvres de Shakespeare. Cette \u00e9tude vise \u00e0 poursuivre l&#8217;enqu\u00eate de Tieck sur le \u2039 sublime \u203a au sens esth\u00e9tique et \u00e9thico-moral, donnant naissance \u00e0 un d\u00e9bat anim\u00e9 avec son ami sur les valeurs qui rendent la conduite de l&#8217;homme exemplaire sur la sc\u00e8ne et, surtout, dans la vie quotidienne.<\/div><\/noscript><\/div><\/div><\/li><\/ul>\n\n\n\n<p><strong>Aus der Forschung<\/strong><\/p>\n\n\n\n<ul><li>Hanspeter Marti \u00fcber Melk in der barocken Gelehrtenrepublik. Die Br\u00fcder Bernhard und Hieronymus Pez, ihre Forschungen und Netzwerke. Hg. Cornelia Faustmann, Gottfried Glassner OSB, Thomas Wallnig 2014) <\/li><li>Ali Zein \u00fcber Lesen, Schreiben, Kopieren. Lese- und Exzerpierkunst in der europ\u00e4ischen Literatur des 18. Jahrhunderts. Hg. Elisabeth D\u00e9cultot (2014) <\/li><li>Kristin Eichhorn \u00fcber Uwe Hentzschel: Vom Lieblingsautor zum Au\u00dfenseiter. Ein Beitrag zur Kanondebatte des 18. Jahrhunderts (2015)<\/li><li>Martin Rector \u00fcber Herbert Kraft: J. M. R. Lenz. Biographie (2015) <\/li><li>Kai Torsten Kanz \u00fcber Johann Friedrich Blumenbach: Beytr\u00e4ge zur Naturgeschichte (G\u00f6ttingen 1790-1811). Reprint. Hg. Mario Marino (2014) <\/li><li>Maryvonne Hagby \u00fcber Historische Wunder-Beschreibung von der so genannten Sch\u00f6nen Melusina. Die \u00bbMelusine\u00ab (1456) Th\u00fcrings von Ringoltingen in einer wiederentdeckten Fassung aus dem fr\u00fchen 18. Jahrhundert. Hg. Andr\u00e9 Schnyder (2014) <\/li><li>Damien Tricoire \u00fcber Jesuit Accounts of the Colonial Americas. Intercultural Transfers, Intellectual Disputes, and Textualities. Hg. Marc-Andr\u00e9 Bernier, Clorinda Donato, Hans-J\u00fcrgen L\u00fcsebrink (2014)<\/li><li>Paul Kahl \u00fcber Der Briefwechsel zwischen Johann Martin Miller und Johann Heinrich Vo\u00df. Hg. Manfred von Stosch (2012)<\/li><li>Guglielmo Gabbiadini \u00fcber Volksaufkl\u00e4rerische Reformkalender des 18. Jahrhunderts. <em>Der Curieuse Bauer (1739), Historisch- und Geographischer Calender<\/em> (1779), <em>Des J\u00fcngern Wilhelm Denkers Haus-Calender<\/em> (1792). Reprint. Hg. Klaus-Dieter Herbst (2014) <\/li><li>Michael Multhammer \u00fcber Lessings <em>Hamburgische Dramaturgie<\/em> im Kontext des europ\u00e4ischen Theaters im 18. Jahrhundert. Hg. Monika Fick (= <em>Lessing Yearbook\/Jahrbuch<\/em> 41) (2014) <\/li><li>Flemming Schock \u00fcber Zeitschriftenliteratur\/Fortsetzungsliteratur. Hg. Nicola Kaminski, Nora Ramtke, Carsten Zelle (2014) <\/li><li>Daniela Kohler \u00fcber \u00bbHeute war ich bey Lisette in der Visite.\u00ab Die Tageb\u00fccher der Basler Pfarrersfrau Ursula Bruckner-Eglinger 1816-1833. Hg. Bernadette Hagenbuch (2014) <\/li><li>Georg Eckert \u00fcber Edward Gibbon im deutschen Sprachraum. Bausteine einer Rezeptionsgeschichte. Hg. Cord-Friedrich Berghahn, Till Kinzel (2015) <\/li><li>Anna Christina Sch\u00fctz \u00fcber Kathrin Baumeister: Die beste aller Welten. K\u00fcnstler illustrieren Voltaires <em>Candide.<\/em> Chodowiecki, Monnet, Moreau, Unold, Klee, Kubin (2015) <\/li><li>Thomas Wallnig \u00fcber Philippe Lenain: Histoire litt\u00e9raire des b\u00e9n\u00e9dictins de Saint-Maur. Tome IV (1724\u20131793) (2014)<\/li><li>Kai Torsten Kanz \u00fcber Matthias Sch\u00f6nhofer: Letters from an American Botanist. The Correspondences of Gotthilf Heinrich Ernst M\u00fchlenberg (1753-1815) (2015)<\/li><li>Laurenz L\u00fctteken \u00fcber Rainer Theobald: Die Opern-Stagioni der Br\u00fcder Mingotti. 1730-1766. Ein neues Verzeichnis des Spielorte und Produktionen. Chronologie aus Quellen zur Verbreitung und Rezeption der venezianischen Oper n\u00f6rdlich der Alpen (2015) <\/li><li>Claudia \u00d6hlschl\u00e4ger \u00fcber Nicola Kaminski, Volker Mergenthaler: \u00bbZuschauer im Eckfenster\u00ab oder Selbstreflexion der Journalliteratur im Journal(text). Mit einem Faksimile des <em>Zuschauers<\/em> vom April\/Mai 1822 (2015)<\/li><li>Stefan Borchers \u00fcber Die Causa Christian Wolff. Ein epochemachender Skandal und seine Hintergr\u00fcnde. Hg. Andreas Pe\u010dar, Holger Zaunst\u00f6ck, Thomas M\u00fcller-Bahlke (2015) <\/li><li>G\u00fcnter Arnold \u00fcber Kulturlandschaften. Auf Herders Spuren zwischen Mohrungen und K\u00f6nigsberg. Hg. Herbert Fitzek, Friederike Krause, Alina Kuzborska (2012)<\/li><li>Katrin Keller \u00fcber Innsbruck 1765. Prunkvolle Hochzeit, fr\u00f6hliche Feste, tragischer Ausklang \u2013 Noces fastueuses, fetes joyeuses, fin tragique \u2013 Magnificent wedding, joyous feasts, dramatic end. Hg. Renate Zedinger (2015) <\/li><\/ul>\n\n\n\n<p><strong>Sonstiges<\/strong><\/p>\n\n\n\n<p>Eingegangene B\u00fccher<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jahrgang 40 (2016) Heft 1 Heft1 (2016) Jahrgang40 Aus der Arbeit der DGEJ Zu diesem Heft (Carsten Zelle) Internationale Panels der DGEJ auf dem 14. International Congress for Eighteenth Century Studies (ISECS\/SIEDS), 27.-31. Juli 2015, in Rotterdam. Berichte (Sabine Volk-Birke, Hans-J\u00fcrgen L\u00fcsebrink, Hanco J\u00fcrgens) Zwei deutsch-amerikanische Panels auf der 47. Tagung der American Society for Eighteenth-Century Studies (ASECS), Pittsburgh, PA,<\/p>\n<p><a class=\"more-link\" href=\"https:\/\/dgej.hab.de\/index.php\/2020\/03\/31\/581\/\">Weiterlesen<\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/posts\/581"}],"collection":[{"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/comments?post=581"}],"version-history":[{"count":5,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/posts\/581\/revisions"}],"predecessor-version":[{"id":1348,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/posts\/581\/revisions\/1348"}],"wp:attachment":[{"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/media?parent=581"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/categories?post=581"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dgej.hab.de\/index.php\/wp-json\/wp\/v2\/tags?post=581"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}