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Dictionary of the History of Ideas

Studies of Selected Pivotal Ideas
  
  

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BIBLIOGRAPHY

J. Addison, Spectator, 160 (3 September, 1711). J. Le Rond
d'Alembert, Discours préliminaire de l'Encyclopédie, ed.
Ducros (Paris, 1930), pp. 47, 53, 64. Y. M. André, Oeuvres
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ed. Cousin (Paris, 1843), p. 59. A. Baeumler,
kants Kritik der Urteilskraft, ihre Geschichte und Systematik
(Halle, 1923); reprinted as Das Irrationalitätsproblem in der
Aesthetik und Logik des 18. Jahrhunderts bis zur Kritik der
Urteilskraft
(Darmstadt, 1967), Part I, A, Ch. 7: pp. 146f.,
Witz; pp. 157f., Baumgarten. Y. Belaval, L'esthétique sans
paradoxe de Diderot
(Paris, 1950), pp. 141, 151f., 156f., 299f.
J. F. Bertram, Einleitung in die sogenannten Schönen
Wissenschaften
(Brunswick, 1728), p. 199. R. Bray, la for-
mation de la doctrine classique en France
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Balzac, p. 87; Vossius, p. 88; Rapin, p. 90. E. de Bruyne,
Geschiedenis van de Aesthetica. De Renaissance (Antwerp
and Amsterdam, 1951), p. 142. G. Cirot, review of “B.
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28 (1926), 106f. E. Bonnot de Condillac, Connoissances
humaines,
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1803), I, 147f. P. Corneille, Cinna (1640-41), Act II, scene
1. B. Croce, Estetica come scienza dell'espressione e lin-
guistica generale
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Tesauro, p. 207; Vico, p. 253. H. Dieckmann, “Diderot's
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1786), pp. 208f. Encyclopédie, ou dictionnaire raisonné des
sciences, des arts et des métiers
(Neufchâtel, 1765), Vol. VIII,
art. “Imagination.” J. Ernst, Der Geniebegriff der Stürmer
und Dränger und der Frühromantiker
(Zurich, 1916): Herder,
pp. 25f.; Lavater, pp. 29f. J. Evelyn, Sculptura: or the history
and art of Chalcography and engraving Copper
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Dubos
(Turin, 1965), pp. 75f. B. Gracián, Obras completas,
ed. del Hoyo (Madrid, 1960): Vives, et al., p. 78n.; genio
and ingenio, pp. 78f.; ingenio and beauty, pp. 239f. P.
Grappin, la théorie du Génie dans le préclassicisme
allemand
(Paris, 1952): Dubos, pp. 112f.; Batteux, pp. 114f.;
J. A. Schlegel, pp. 110f.; Bodmer, p. 62; Baumgarten, pp.
91f.; Trescho, pp. 122f.; Wieland, pp. 125f.; Sulzer, pp. 139f.;
Resewitz, pp. 128f.; Flögel, pp. 134f.; Mendelssohn, pp.
131f.; Hamann, pp. 187f., 207f.; Klopstock, pp. 254, 259f.;
Lessing, pp. 169f.; Herder, pp. 221f., 228f., 247f.; Goethe,
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de ingeniorum in scientiis abusus
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dell'arte greca
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the Nature, Characters and Various Species of Composition

(London, 1774), pp. 46f., 55f., 104f. M. Pagano, I fonti
dell'ingegno ridotti ad arte
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Britannicus (1669), Act III, scene 2. F. J. Riedel, Sämtliche
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(Vienna, 1783), III, 282f. E. Rosenthal, Der
Geniebegriff des Aufklärungszeitalters. Lessing und die
Popularphilosophie
(Berlin, 1933). O. Schlapp, Kants Lehre
vom Genie und die Entstehung der“Kritik der Urteilskraft”

(Göttingen, 1901). H. Sudheimer, Der Geniebegriff des
jungen Goethe
(Berlin, 1935), with many references to the-
ories of genius prior to Goethe. H. Thüme, Beiträge zur
Geschichte des Geniebegriffes in England
(Halle, 1927):
furor poeticus in the Italian Renaissance, pp. 7f.; Cardano,
pp. 17f.; Fracastoro, p. 11; Bruno, pp. 23f.; French Renais-
sance, pp. 29f.; Saint-Evremond, p. 65; Dacier, pp. 72f.;
sixteenth- and seventeenth-century England, pp. 31f., 51f.;
Wolseley, Temple, Rymer, pp. 62f.; Shaftesbury, pp. 67f.;
Addison, pp. 78f.; Young, pp. 87f. G. Tonelli, Kant,
dall'estetica metafisica all'estetica psicoempirica,
Memorie
della Accademia delle Scienze di Torino, Series III, Volume
3, Part II (Turin, 1955): Barclay, Voltaire, p. 115; Kant, p.
61; idem, “Kant's Early Theory of Genius (1770-1779),” The
Journal of the History of Philosophy,
4 (1966); 217f., on the
theory of genius in the eighteenth century; Meier, p. 219.
L. de Clapiers de Vauvenargues, Oeuvres (Paris, 1857), pp.
20f. O. Walzel, Das Prometheussymbol von Shaftesbury zu
Goethe
(Munich, 1932). R. Wittkower, “Imitation, Eclecti-
cism and Genius,” in E. R. Wasserman, ed., Aspects of the
Eighteenth Century
(Baltimore, 1965). H. Wolf, Versuch
einer Geschichte des Geniebegriffes in der deutschen
Aesthetik des 18. Jahrhunderts,
Vol. I, von Gottsched bis auf
Lessing
(Heidelberg, 1923): Dubos, pp. 52f.; Batteux, pp.
57f.; Cahusac, pp. 71f.; Saint-Lambert, p. 73; Helvétius, pp.
60f.; Shaftesbury, pp. 17f.; Addison, pp. 24f.; Young, pp. 30f.;
Gerard, pp. 37f.; Baumgarten, pp. 101f.; Gellert, pp. 108f.;
Wieland, pp. 113f.; Sulzer, pp. 142f.; Resewitz, pp. 115f.;
Flögel, pp. 126f.; Mendelssohn, p. 130. E. Zilsel, Die
Entstehung des Geniebegriffes. Ein Beitrag zur Ideen-
geschichte der Antike und des Frühkapitalismus
(Tübingen,
1926): definition of genius, p. 252; problem of irrationality,
p. 269; invention, pp. 272f.; divine, pp. 276f.; Petrarch, pp.
213f.; Boccaccio, pp. 267f.; Poliziano, Pico, Erasmus, pp.
214f.; Hollanda, p. 246; genius and diligence, pp. 266f.;
genius and memory, pp. 267f.; Scaliger, pp. 284f.; Cardano,
pp. 292f.; Fracastoro, pp. 290f.; Galileo, Torricelli, et al.,
pp. 296f.; translations of ingenium into modern languages,
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297

“A propos du mot génie,” in Zeitschrift für romanische
Philologie
66 (1950): in general, 180f., 186; Mairet, 183;
Bouhours, 191; Boileau, 196; Perrault, 197f.

GIORGIO TONELLI

[See also Art and Play; Beauty; Creativity; Genius, Musical;
Irrationalism.]