Novel
| This article is concerned with the literary kind novel. For further meanings see Novel (term clarifying) |
That Novel is - poetologisch and from today defines - under that literary kinds those epische in Prosa, to define in this definition of that Novella and that Kurzgeschichte as the more pointed telling forms, as well as of the Epos in Verses as the older kind of bound language.
In historical perspective the poetologischen definition criteria cannot be kept upright: the word "novel" maintains an origin of the kind in the Verseopos Roman language of the 11. and 12. Century. The kind moved in 17. Century on the other side by the area of the novella and the later kurzgeschichte. Explosiveness won it in 17. and 18. Century on the book market by power, at least in the context of the respective Fiction to be able to negate the own generic borders. Novels successfully imitated Autobiographies, Biographies, Reports on a journey and, with that Letter novel, letter collections. The option to stress area of true history lost in 19. and 20. Century at meaning, as those Literature discussion on a debate decided fiktionaler works narrowed. Novels appear today in the consequence mostly with the word "novel" in the sub-title; the marking "Fiction" on the Buchcover is the equivalent signal in English and on the international book market.
History
A history of the modern novel must deal in particular with the two tradition strands, those in the course 17. Century in Europe converged and in addition led that one today in English as in the Spanish instead of of the "novel", which "Romance", of which "Novela", which speaks "Novel": Was from 1600 to 1720 those Novellistik Engine of novel history. The conceptual differentiations between novel and novella collapsed. In the second half 18. Century differentiated itself the field: The literary novel, which arose now, proved again larger epische width. A differentiation between a long and a short narration became again necessary; one had in English in the consequence in 19. Century the word "Novella" introduce, in order to create replacement for the term of the "Novel" occupied meanwhile by the long form.
A history of the novel must deal secondly with the change of function, to which the novel exposed itself after 1750, when it unlocked into the structure of the kinds, those between 1760 and 1830 to "literary"became. Was demanded here in as "Literature"discussable novel - a novel, that first once qualities of the Epos re-activated itself, a novel in the second step the discussion nature through Interpretableness and discussing bar offered. The result of this development was the division in two parts of the novel market existing today in a discussed, literarily fastidious and one in that remaining novel of the mass-market - a differentiation, which failed hardest in the German-speaking countries, in that the new article Literature considerably one coined/shaped (see more detailed for this the keyword Literature history).
The novel that Antique ones
To reconstruct with difficulty leaves itself today still, which the telling traditions that exerted influence Antique ones on the new reason of the novel in the Middle Ages. Those antique historical writers affected in 17. Century the novel strongly. More clearly still could be attached to fiktionale production: Versepen it had given that with tradition into the before-written cultures world antique. Own variety at telling traditions, which prepared the later novella, was added. With the novels Heliodors, Longos' and Lukians late ancient times of novels left, to those 17. Century anknuefte. Which influence these tradition lines over confusions that People migration time away on Northern Europe had, already employed Pierre Daniel guard in its Traitté de l'origine of the novel 1670. Own northern telling traditions flowed into the Epik, which finally lodged a complaint the word "novel" for itself.
The word for seal in that Roman language: Tradition of the Epos, 1100-1600
The word "novel" arose - as reference to the "Roman" language - with the old-French Versepen, in 12. and 13 century European fashion became. With a dear relationship as Sujet, settled in the environment of the aristocracy and the knights, they sat down here of Hero pos northern tradition off, as also of the hoefischen and church historiography. Its most important development found the new novel in Artusroman, the novel of acid tests, those its heroes in a consequence of Aventiurien, "adventures" had. As essential structure a chain of individual samples was established, frequently a "double course" - a first round of samples ends with the first meeting between the hero and the Mrs. admired by it, a second chain of adventures separates the pair again and proves then the worthyness of the hero finally. The novel stepped with the Artusepos into 14. Century of the verse adjustment into the Prosa over. A condition for it was still the development of a commercial book production before arising the printing - the Prosaroman required copying workshops, which multiplied books handwritten, but books were still expensive very and thus a Privilegium of the aristocracy and the rich urban Patriziats. With the arising of the pressure a Trivialisierung seized the old Epos. Its stories were sold to the then no longer only hoefischen public very rapidly in dearless edited versions of hero adventures (from the Germanistic literature science became this later than People books classified). Doubtful point of gloss of the Epos in the times of the printing on the other one, endeavors venerable, side production of the Amadis - of the Rodríguez de Montalvo, one over several continuations developed romance, into middle 18. Century synonym for the rejected antiquated tradition line of the novel remained.
In relation to the "novel": the novella, 1300-1600
The Epos was already socially located in its size - a spreading unit, in 12 and 13. Century a hoefische financing required, whose precipitation at the end took place in a splendour handwriting equipped with miniatures, then remained a multiplicity of further verbal telling traditions as socially low classified: Telling stories was art in the everyday life and in all layers far common. Category unfolded of Joke over that Exemplum (with that a lecture was garniert) into those Novella, whose became standard the telling cycle, with which within a telling round a topic arises, to which then individual stories involved contributes. The materials were freely selectable in the cycle of Fairy tale over those Fable up to the Sujets of the Epik. However the "occurences" won central interest, which zutrugen themselves, so the asseveration, recently at a material place. The debate article tended to be openly formulated maintenance SAM and: Are women or men unfaithful? Are men, who marry all too young women, not at their own misfortune debt? Which handicraft is the respectable? Which vice is the worst?
With outgoing 13. Century is stated the Novellistik as serious alternative to the verse romance. The novella cycles Giovanni Boccaccios open high materials, is simultaneous in individual novella cycles an extensive contest of the telling traditions: In Geoffrey Chaucers Canterbury of valley lose those Romances symptomatically the favour in relation to the round cruder "valley", which the storytellers of lower conditions give to the best one - in the hand of the author Chaucer the low subject becomes equal against it the high ones in Verses set he raises it into that Canterbury of valley to poetic art, which places the high art of the "Romances" into the shade.
With that Printing the Novellistik in countless collections spread. The spannbreite hands here of that Schwaenken the Nuernbergers Hans Sachs up to the finely observing novellas Niccolò Machiavellis, still in 18. Century as classical authors of the "Novel" were acted (see down with title page quoted SELECT Collection OF Novels, London, 1720-22).
The fight against that Amadis and the triumphant advances of the novella on the field the chronique scandaleuse, 1600-1700
The early book market developed a division in two parts. The market that was highly settled Literature, the market of the international science enterprise, its publications primarily up Latin were submitted. The market for the Illiterati, the not academic public, which was content with books of rough design, was low. Novels could interest the high market only conditionally in itself. Their status remained unsettled, to itself with the turn in 17. Century a third production herauskristalisierte: those that belles lettres, the production of books, which - written in the living languages - did not belong to the academic gel honouring SAMNESS, those in style, taste and equipment (Copper passes instead of Woodcuts, more finely Sentence, December duck title) however far rather the scholarly public as the Illiterati addressed. Characteristic of new production became in 17. Century orientation at French fashions and the play with the female public. Pure specialized publications remained reserving the science enterprise dominated by men. In that against it straight educated women became the central, customer group and most important Beitraeger: Authoresses conquered center it 17. Century the parquet.
The novel and the novella pulled into the new market segment with a discussing production (the secondary discourse over literature still ignored this subject) - to a production, purposefully distinguished themselves from the cheap and dearless arranged texts, those of the simple public without large consciousness for Fiktionalitaet were devoured. The course broke 1605 and 1615 to that Don Quixote - the novel over the hero of the same name threatened by novels, that in the process that Amadis the ridiculousness abandoned. An alternative to the heroischen novel admittedly could not offer the satirische Parodie however. Cervantes put the possible alternative with that November-read copy forwards. The high by examples teaching novel would keep itself away, so the final speech, from the heights of the Epos and thus its ridiculousnesses would avoid. It would look for its traditions in the European Novellistik - which examples could supply morally good like despicable human interactions.
On the book market that belles lettres won the Novellistik not immediately weight. Alternative ones to the romance the back meditation offered on the novel to that Antique one, the Hirtenroman Heliodors. Honoré d'Urfés L'Astrée (1607-27), set yardsticks. John Barclays Argenis (1625-26) justified itself as more political Key novel. Became famous in the middle 17. Century the novels that Scudéry: In their composition they were large novels after antique models, under the surface against it society novels, with those the authoress stories from its next environment, z. B. , told procedures at the yard or the literary life in Paris. Into early 18. Century inside the novels of the franzoesin were celebrated as masterpieces of human observation as as training works of intelligent behavior in society - Anton Ulrichs Roman Octavia offers a last attempt to published volumes with their from 1679 to 1714 after the former success prescription. As kind the potentially heroische large novel lost despite the actualization, which succeeded to it as key novel, end 17. Century its meaning. A commercial production more operaful "Asiatic novels"of antique princes and princesses, who did not offer larger coding, stood at the end of the line of development and justified in 18. Century until category of the dear novels settled existing today in history. Most popular author was here in German in late 17. Century August Bohse alias "valley other", with that that novel "galante" in German opened, a production, a little later with a urbanen German, at the novella trained chronique scandaleuse a second current found - here became Christian Friedrich Hunold alias "Menantes" the most important author of the first forty years 18. Century.
17. Century became first of all the century of the last heroischen large novels, secondly one them in relation to flourishing satirischen production and thirdly - trend-setting - the Novellistik, which took of France public into the 1650ern for itself. The development of Novellistik initiated Paul Scarrons Novel Comique (1651/57/63) as the French counterpart of the Don Quixote with the call to the nation to submit novels in the shorter kind as one celebrated it in Spain. The high novel, if it did not want to fall back to the knight romance, was a product of small national coinage - a Imitat Heliodors and a play with Greek and Roman historiography - in such a way the Novellistik opened the way to national contest. Stories of married men racing before jealousy might have fit the ' proud Spaniards ', not however the ' more refined ' and ' in handling freer ' Frenchman. These would have to tell quite own stories, around moral and customs in the own country would make discussable. Into the 1680ern one could already look back in France on the triumphant advances of the new telling art: The novels had largest attention Marie larva line de La Fayettes won (the authoress remained hidden): 1670 had it with that Zayde - proved themselves to "Spanish history" in the category of Spanish Novellistik. With the title was Pierre Daniel Huets World history of the novel, its Traitté de l'origine of the novel on the market come - the call to quite interpret lay fictions like religious to read it as a sign from times and (national) cultures to. The authoress carried for the French novel taste 1678 with that Princesse de Clèves Calculation, the novel, which was designated later often than the first psychological.
The new fashion of short novels ("Novels", the word in English) aimed, so the contemporary secondary literature (see the added bibliography with described left e-writing the text), not at the highest art of the poetry off, an art, which at any time with their epischen heroes of highest virtues as exaggerated and burning market could become hollow. The storyteller committed itself rather, on a moral (any procedural instruction - this was not yet the moral term 19. To tell century), on an aspect, which its narration would illustrate, on a "example", which gave it in the good one or in the bad one. The old novel had lived on a chain of adventures, which could be extended at will. The new novel was told on a precarious idiom, in its center stood a plot, a secret plan, and the observation of humans, who sought to achieve goals here secretly. Am Ende riskierten die Beteiligten eine überraschende bis dramatische Pointe - den Punkt, mit dem der Erzähler die Geschichte der weiteren Diskussion in der Runde übergeben würde. Autoren im neuen Genre entschuldigten sich regelmäßig dafür, dass sie auf "schöne" Sprache keinen Wert legten. Ihre Romaneno large Heroen and no distant past looked for, it looked for stories, from which one could believe that they just zutrugen themselves. That was not at all only part (on realism aiming) of the fiction. The new novel actually flourished on the spreading market of the international scandal press. Under the pretext, one tells here only whether the example grassierten straight narrations of actual occurences: Narrations of dear plots from the cities of Europe, which were suited, the involved ones (without denomination, but often enough well recognizably) anzuprangern. Delicate stories appeared inLetter collections, "curieusen" Memoires, popular Journals like that Mercure Gallant.
The novel had 17 with the novella in the center. Century the presence as material suppliers discovers; a special production developed it in the second half 17. Century with the politically scandalous novels, those were brought primarily from France in the Netherlands on the market and a special, by one European mode if public seized, responded. Most of the authors acted here anonymous; their publishers remained protected - abroad residing - against pursuit. The explosive commodity addressed readers of France, that acquired those in the Netherlands printed books in Paris and Rouen on the black market. Openly they addressed of Europe public with life stories, histories and letter collections, into which truth and fiction changed into one another. The most fascinating author became on the field of the large political novels Gatien de Courtils de Sandras (1644-1712) with histories, which were not made purposefully improbable by novelful Nebengeschichten for more, into which main histories however public history with would background equipped, of which anybody say could whether them infamously invented, or by indiscretion to the daylight brought were (its history became famous d'Artagnans, the collecting main, that itself Alexandre Dumas (father) with that Three Musketieren governing the just assumed with its assumption, Ludwig XIV. at all the legitimate ruler of France is not so simple.)
, in the long run the novel in need of reform settled in history, 1680-1720
The novel 17. Century belonged in its elevated production into the field that belles lettres. It belonged in this into the field of the historical writings (those Measuring catalogs in early 18 offered it. Century even there). From the poetic, in verses set, production he differed, if he not how Fénelons Telemach verse pos imitated, both in its materials and in its handling language. Predominant novel production embedded itself thereby owing to the Novellistik deeply into history. Early 18. Century brought a uninhibited private use of the scandalous field as innovation in addition. Young ladies and Mr. told their dear occurences in London in small "Novels", student did it with their own production galanter novels in Germany. The novel offer early 18. Century could bring one at the end after the Vorreden and the title pages clearly under the following pattern - it was in the center fiktional and seized at the edges into true history out:
| 3.1 Heroi novels: Fénelons Telemach (1699) |
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| 1 Allegedly invention, novel, actually protects public Historrie? Manley's New Atalantis (1709) |
2 Allegedly invention, novel, actually protects private Historrie? Menantes ' Satyri novel (1706) |
3.2 Classical author of the novella and the novel of that Stories from 1001 night up to M. de La Fayettes Princesse de Clèves (1678) |
4 Allegedly does private history, actually however invention, protect novel? Defoes Robinson Crusoe (1719) |
5 Allegedly does public history, actually however invention, protect novel? La Guerre d'Espagne (1707) |
| 3.3 Satiri novels: Cervantes ' Don Quixote (1605) |
Pattern after Olaf Simons, Marteaus Europe (Amsterdam, 2001), S. 194. |
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In the center of the novel market was located title, which was novels - heroische novels, satirische novels and, as middle style situation, old novella production. Modern here the imported goods from the Arab world were around 1700. Those Stories from 1001 night became read in Europe just as "novel" (respectively "Novels" in English); they proved that even the Arabs preferred the short exemplary narrations in relation to the old adventure novels. The novel market was seized with the titles, which could be appreciated as fictions, however not to the half.
To the side it seized straight into history out with titles, which gave to be novels however to doubt left. Keys circulated also Delarivier Manleys Atalantis (1709) and it revealed that the prominent politicians of the Whigs with their illegitimen Amouren were exposed here. "Venice" was in Menantes' Satyri novel (the more private, romanhafteren product of the left side of the pattern) actually Hamburg; the theatre actresses, whom the author attacked, were star that Hamburg opera.
On the other side titles of itself made talk, which do not partout novels to be wanted - title, those insisted on their truthfulness. One had to doubt straight ones to it however that there was really a "Robinson Crusoe", which had survived so for a long time on an island, or that anonymous Marquis, in La Guerre d'Espagne as prototype of the later James bond its Amouren with the political plots of France abandoned.
The novel market early 18. Century raised straight in the liberty, with which it embedded itself into historical production, reform need. It seemed with difficulty bearable that arbitrary private stories under novel pretexts circulated publicly. Which weighed still more heavily: The Novellistik had never attached importance to a increased moral requirement. Were told prefer stories, which were scandalous, if they were true - allegedly for deterrence before the Lastern, actually celebrated themselves therein however often enough those, which bruesteten themselves here with own secret Amouren.
A public debate over the moral of the new novels became at the beginning 18. Century increasingly called in, their platform found it for the time being in the novel. (the secondary discourse over Literature 18 remained into the second half. Century to the sciences reserved, the scholarly poetry discussion, which used with the 1730ern, took the novel in its Prosa to the knowledge, it initially hardly demanded a heroisches Epos in verses.) the reform way seemed end 17. Century the wiederentdeckung of a novel, which returned to the virtues of the Epos: a novel with a hero, who went through acid tests. Fénelons Telemach became at the beginning of the century as this novel with his open tying on Vergil and Homer and one selected the youth responding didactics celebrated.
 English expenditure of Fénelons Telemach (1715). |  Design of the adventurous "Romance" not "novel" - the first edition of Defoes Robinson Crusoe (London: W. Taylor, 1719). |
To tie novel did not leave itself however, it was promoted within fewer years to the modern classical author and created distance around itself at Fénelons. A completely different one Adventure novel, which like the Novellistik avoided the terrain the chronique scandaleuse, against it 1719 appeared also Defoes Robinson Crusoe. With him the reader remained in the present, which had conquered the Novellistik; also look up-exciting occurences remained the topic. Differently than with the scandalous novellas the protested truth was now however now straight questionably, if necessary deeper truth might one the adventurous life Crusoe's have granted, if one read its fate as Allegorie. The life of this hero had become novelful - against his will -, not after the sample of the plot novellas, far rather after the sample, which the young Telemach had expenditure-cost (at its title Design the first edition Robinson Crusoes because attached also consistently). The new novel did not purge so easily on a cheap Auskosten of explosive adventures; it protected this in relation to distance: its hero gave to recognize verachtung for novelful actions, he became their victim. It worked thereby however not as a ridiculous victim like the heroes of satirischer novels before, but as humans, who fought with all means for its surviving.
With Robinson Crusoe 1719 the model of a novel were won, which found the way back to epischer width and human virtues. The novel criticism appreciated the step in 19. Century, by designing a history of the novel, in that the scandalous Novellistik 17. Century no more role played. Ian of Watt book The Rise OF the Novel (1957) made Robinson Crusoe to the first modern "Novel". The word gave it, defined thus to Watts, but it already before nobody being entitled. The modern "Novel", the modern novel, became in 19. Century that Defoes, which, so Watt, which swept "Romance away", the baroque novel of the Scudéry of the market. That is seen retrospectively extremely shortened. Robinson Crusoe appeared even as potential "Romance", when break with the "Novels" plot-fallen in love, and this at one time, when the "Novels" had swept the novels of the Scudéry long from the market.
The market reform: The novel conquers the literature discussion, 1700-1780
For the observers early 18. Century came Robinson Crusoe as reform work not in question. The reason for it was simple: Robinson Crusoe still the play of the entire played it surrounding scandalous market. His publisher still permitted in the autumn 1719 Heathcot, a newspaper publisher, to bring this novel out in daily rations not when novel, fiction, in which separate newspaper as possibly true report, about whose truth however each newspaper reader might have thought. The individual expenditures of Heathcot's Intelligence opened in each case with the next ration, the messages from all world followed at the end over two years smallprinted on page 2.
Arise the classical author market
The reform of the novel came with the development of the classical author market, which covered a handful of titles per year around 1700 hardly. Classical authors were novels, which wanted to be discussed as fictions: The novels Heliodors, those Stories from 1001 night, the novellas of Machiavelli over Cervantes to La Fayette, Fénelon's Telemach. With the classical authors a special scientific secondary discourse came on (also it was still led into the Vorreden to the novels themselves, not in own review organs). Guard set here the yardstick. The question was, which the classical authors betrayed over their time and the nations - a question for formed discussions, and no longer scandalous question. A comparably interesting discussion did not offer neither the poetry debate with its question about the poetic rules, still the literature discussion, so for a long time this anything as the discussion of the sciences to be wanted.
Beginning of the 1720er became the classical author market in London for living authors interesting. Delarivier Manley their novel-suited biography under their own name brought out, the "Novels" Aphra Behns appeared for some years in representative expenditures for work. With Eliza Haywood 1719 a young authoress stepped on the market and specified for itself very rapidly that she did not want to be inferior competitor inside as Klassikerin from the outset - she published starting from the second part of her Erstlings under their own name.
The pattern, under in early 18. Century of novels were sold, became void with the development of the classical author market. Novels of the side fields had only one chance of survival, if they became discussable as classical authors of the fiction in the center of the offer. Defoes Robinson Crusoe became this in the time Jean Jacques Rousseaus and since then a classical author of the English novel is, Delarivier Manley's Atalantis appeared into the 1990ern for the first time as "Penguin Classic "and thus as discussable fiction: "Fiction" noted the Titelcover apart from the bar code in the crucial self understanding. The majority of the market, how it had developed before 1720, became undiskutierbar with its border courses between history and scandal and escaped that Literature historiography.
The novel becomes as the modern counterpart of the drama fastidious literature - diskutable fictions are asked
Center 18. Century changed itself the novel market - it conquered the literature debate and opened a special, fastidious production line exclusively for the current discussion. Samuel Richardsons Pamela or Virtue Rewarded 1740/41 played a central role during this process. Already the title looked for hardly still the usual question whether possibly true history under the cover of the novel arose here. "publicou agora primeiramente a fim cultivar os princípios do virtue e da religião nas mentes da juventude de ambos os sexos, uma narrativa que tivesse a fundação na verdade e na natureza; e ao mesmo tempo que entertains agreeably... " Sein roman de Fiktion do durchaus do konnte do neue de Der. It called a discussion in of the fiction: Was plausible, which was invented here? And was history konstelliert to the moral the best public? With the novels Delarivier Manley's one had discussed against it whether Marlborough, which should have actually come famous politicians, with such bed stories to power, or whether this career was maliciously subordinated to him - the report might have been shifted thereby on a perfectly unplausibeles isle "Atalantis" and nothing might at it have seemed probable - and nevertheless discussed one, whether everything was not at stories of the Manley bright truth, indiscretely under the cover of the fiction launched truth. With the novel Richardsons placed itself the question about the art, which the author had, if he let the world arise in the fiction in such a manner again, a world now much deeper truth.
Richardsons novel appeared in the middle during the transformation process, into which the literature debate came: Literature magazines rezensierten since that 17. Century of novels in the exceptional case. Beside the sciences, the "lettres", straight were in addition "belles lettres"defines. The interesting topics were missing however for a long time: Beginning 18. Century discussed one Fénelons Telemach under the question whether a novel in Prosa could not quite determine the course of poetry history - France would have created but remained the long-longed Epos of the modern trend with this novel in this case, this debate poetologisch and more zirkulaer (depending on, like one those Poetry defined, belonged to that Telemach to it or he remained in the field of the fiktionalen historical writings, thus Nicolaus Hieronymus Gundling over here led the idle debate in Gundlingiana 12 (1717), S.138). The volumes that Atalantis Delarivier Manleys interested the political commentator that German Acta Eruditorum 1713 after the shifts of power in London - they had written, remained English home policy however otherwise rather bad novels and so scandalously that only heavily a scientific discourse could be led across them. Into the 1740er the scholarly poetry criticism obligated the gel honouring SAMNESS on toilsome, expert reserved generic debates.
As itself the scholarly poetry debate in the middle 18. Century on the civil tragedy in Prosa, could and had it let in itself the novel Samuel Richardsons open. It stood for the new tragedy completely obviously godfather. The novel Richardsons and its generation was not subjected to place on however the poetry debate - it successfully complained its own debate. Of guard brought into the 1670ern in notice Interpretation of the fictions by the scientific review nature one took up and one expanded on the entire poetry discussion. With the text interpretation a lever was won, the discourse over fiktionale to make poetic literature arbitrarily exciting. The new specialist for literature concentrated on poetry and fictions and acted as an offerer of a deeper understanding over texts and their cultural background. Its special attention applied soon for the literature of respective nation. That was particularly in the German-speaking countries, to which each alternative debate was missing over the condition of the nation, an explosive topic: Über ihre gesamte sprachliche Produktion definiert gewann sie plötzlich Konturen über alle konfessionellen und territorialen Grenzen hinweg.
Die Aufteilung des Romanmarkts in einen hohen, Interpretation verlangenden, und einen trivialen belletristischen
The debate, those the novels Samuel Richardsons, Henry of falling thing, Christian fear God Gellert, Jean Jacques Rousseaus, Denis Diderots in the second half 18. Century looked for, brought a transformation of the book market with itself. Into the 1750er 20-50 novels in the production-strong languages appeared French, English and German per year. In the Scandinavian and slawischen languages there was hardly its own novel production. Western European production was embedded into the field the "belles lettres", which brought it per year on some hundred titles of more general interest of public in elegant commodity. The production of 1.500 to 3.000 titles of the total market in the three languages large of the production volume "literature" (the field of the sciences) and "theology" distributed themselves into the 1750er against it on the areas (under inclusion of religious customs literature).
As the literature criticism itself in the middle 18. Century on the field that belles lettres einließ und dabei dem Drama und dem Roman zentralen Stellenwert einräumte, erlange die Belletristik die eigene Werbeplatform mit der ihr nun geltenden Diskussion. It gave in it from now to mass-produced goods, which could not be abolished any longer, even if it to be often scandalous might, and a high commodity, which earned alone public attention. The secondary discourse over literature distributed the attention: it refused to ' all right in the social exchange low ' to employ and settled the market thereby indirect: Scandals were defused, if attention were extracted from them. The indiscretely launched message left the high like that unattractively becoming trivial novel at the end. In its own scandal journalism she found the more promising Wirkunsgfeld.
In relation to the market of the Belletristik a market of selected, discussion-worthy works of poetic quality and interpret-worth Fiktionalitaet developed. The two discussion fields are the inheritance of the poetry and the that the inheritance of the novel discussion. Beginning 19. Century had the word "Literature"to be redefined: Dramas, poems and novels were the discussion article of the general literature debate and thus "literature" in the central sense of word. Fastidious novels had from now on
- within the again-written Literature history discussably its: their authors must appear the world literature of Homers Epen up to the newest poetry consciously, stress decidedly a place in literature history;
- "literary qualities" exhibit (poetic qualities the former word would have been);
- deeper truth hold themselves - than Texts interpret leave, in order to offer itself into the school teaching down there to a similar practice, as religious texts before (literature won in the saekularen nationalnational education systems tasks of the old religious text corpus);
- society-far debates take up or kindle, in order by these debates to be promoted if necessary - each group of interests represented in the society tries to implement literature of their choice and debates of their interest society far.
Fiktionale production lost a part of its scandalous production - the uninhibited expenditure reef into history - it won new explosiveness with the debate over the role, those in the modern society would play.
The subject of the literature debate and the commercial book market, the novel since that 19. Century
The novel market, as it itself in 19. Century developed, is divided into a new high and a new low production. Which belongs to the high, in the literature discussion one decides: the works, which can raise Anpruch on it, for literature to be judged. They are sorted according to national tradition lines, where them so far article international market that belles lettres were. The low market trains against it internationally equipped itself category, which follow the sample that of category to a large extent, in 17. Century trained:
1. Literary novels
The subject of the literature discussion
| Spanish literature after national Epochs arranged |
French literature after national Epochs arranged |
English literature after national Epochs arranged |
German literature after national Epochs arranged |
Literature of the languages and nations |
2. Trivial literature
as literature one does not discuss
| 1 Modern Schluesselromane(Primary Colours) |
2 Sex and pornography |
3 Historical novels (as inheriting the heroischen novel), crime films (as inheriting the novella) |
4 Adventure and Science Fiction |
5 Espionage and conspiracy theory |
Reference works
Novel history in contemporary perspectives
- 1651: Paul Scarron, The Comical Romance, Chapter XXI. "Which perhaps wants emergency found very Entertaining" (London, 1700). Call at of France authors, instead of writing large novels short exemplary stories, how they publicise the Spaniards as "Novels". Marteau
- 1670: Pierre Daniel guard, "Traitté de l'origine of the novel", Vorrede to Marie Madeleine Pioche de La Vergne comtesse de La Fayette, Zayde, histoire espagnole (Paris, 1670). World history of the novel and the Fiktionalen at all. pdf edition Gallica France
- 1683: [ you Sieur, ] "Sentimens sur l'histoire" out: Sentimens sur les lettres et sur l'histoire, avec the scruples sur le styles (Paris: C. Blageart, 1680). Appreciates the novels of the LaFayette as novels in the new style of short exemplary narrations. Marteau
- 1702: Abbe barking guard, "Lettre à une lady de la Cour, qui lui avoit demandé quelques reflection sur l'Histoire" out: Lettres curieuses de littérature et de morale (La Haye: Adrian Moetjens, 1702). Paraphrase of the text you Sieurs now with scarcer debate of the advantages of exemplary stories in relation to the long novels. Marteau
- 1705/ 1708/ 1712: [ Anon.] on English, French and German the preface to Secret History OF Queen Zarah and the Zarazians (Albigion, 1705) Bellegarde's offers articles plagiiert. Marteau
- 1713: German Acta Eruditorum, review of the French translation of Delarivier Manleys New Atalantis 1709 (Leipzig: J. L. Gleditsch, 1713). Debate of a political scandal novel in a literature magazine. Marteau
- 1715: Jane Barker, Vorrede too Exilius OF the Banish'd novel. A new Romance (London: E. Curll, 1715). Call "Romances" after the sample of the Telmach, instead of writing the modern novels. Marteau
- 1718: [ Johann Friedrich Riederer, ] "Satyra of the dear novels", out: The abentheuerliche world in a Pickelheerings cap, 2 ([ Nuernberg, ] 1718). Satire over the novel reading umsichgreifenden in all layers of the population Marteau
- 1742: Henry falling thing, Vorrede too Joseph Andrew (London, 1742). Poetologie "comic epic into prose" Blackmask
Secondary literature
- George Lukács, Theory of the novel (1916).
- Watt, Ian, The Rise OF the Novel. Studies in Defoe, Richardson, and falling thing (London, 1957). Discusses Robinson Crusoe when first modern "novel" and the ascent of the modern - realistic - novel as achievement of the English literature, which was exposed to new influences with capitalism and development of the individual.
- Davis, Lennard J., Factual Fictions. The Origins OF the English Novel (New York, 1983). To read with large caution, there here Robinson Crusoe (in the time as adventurous Romance seen) and those Secret History OF Queen Zarah (a politiscge satire, which appears with geklautem preface as "Novel") paradigm tables texts of the Novel tradition, in the theses the genesis of the Novel from the newspaper (they ignore like newspapers around 1700 looked) nevertheless important work in the criticism at Ian Watts become catastrophic.
- McKeon, Michael, The Origins OF the English Novel 1600-1740 (Baltimore, 1987). Criticism at Davis and Watts, very theoretically and around large spirit-historical elbows endeavors.
- Simons, Olaf, Marteaus Europe or the novel, before it became literature (Amsterdam, 2001). A market study with review of the history of the novel from the perspective early 18. Century.
More detailed Wikipedia articles
To the national development strands and for the history of the novel since 1800: see Link list under the keyword Literature
Kinds and category of the novel
- Adventure novel
- Arrival novel
- Anti-war novel
- Asiatic novel
- Education novel
- Letter novel
- Campus novel
- Development novel
- Experimental novel
- Society novel
- Historical novel
- War novel
- Detective story
- Dear novel
- Post office-modern novel
- Shower novel
- Key novel
- Espionage novel
- Utopian novel
- Seduction novel
- Game west novel
- Time novel
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