| Table of Contents???????????????????????????????????????????????? | 5 |
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| Introduction: Performing Knowledge, 1750–1850???????????????????????????????????????????????????????????????????????????????????????????????????????? | 7 |
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| Part One: Sounds and Stages???????????????????????????????????????????????????????????????????? | 31 |
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| The Making of Acoustics around 1800, or How to Do Science with Words?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 33 |
| The Fate of Rhetoric in the “Long” Eighteenth Century???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 63 |
| Pity Play: Sympathy and Spectatorship in Lessing’s Miss Sara Sampson and Adam Smith’s Theory of Moral Sentiments?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 91 |
| The Sound of Glass: Transparency and Danger???????????????????????????????????????????????????????????????????????????????????????????????????? | 119 |
| Early Schiller Memorials (1805–1808) and the Performance of Literary Knowledge?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 143 |
| Modern Architecture Takes the Stage: Karl Friedrich Schinkel’s Architectural Spectacles???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 171 |
| Part Two: Pedagogies and Publics?????????????????????????????????????????????????????????????????????????????? | 197 |
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| Performance and Play: Lichtenberg’s Lectures on Experimental Physics?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 199 |
| Kant on the Logic of Anthropology and the Ethics of Disciplinarity?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 227 |
| Staging the Knowledge of Plants: Goethe’s Elegy “The Metamorphosis of Plants”???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 253 |
| Playing to the Public: Performing Politics in Heinrich von Kleist???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 275 |
| Constructions of the Present and the Philosophy of History in the Lecture Form?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 301 |
| Eighteenth- and Nineteenth-Century Forms of Musical Knowledge: The Case of the Piano?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 329 |
| Afterword: The Audience, the Public, and the Improvisator Maximilian Langenschwarz?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? | 347 |
| Bibliography?????????????????????????????????????? | 353 |
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| Index???????????????????????? | 383 |
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