ABSTRACT Therese Huber’s Abentheuer auf einer Reise nach Neu-Holland (1793–94) was the first European novel to be set in the Antipodes, emerging directly out of post-revolutionary German romanticism. It ventriloquises the voice of Huber’s estranged husband, Georg Forster, a revolutionary, naturalist and Pacific voyager, to tell the story of Forster’s return to Australia, and thence to imagine a mode of liberation centred on family and community rather than the nation-state or cosmopolitan politics. The newly established penal colony is constructed as a terra nullius in which ‘love and humanity’ as well as sacrifice can replace the old hierarchical social order. This essay explores unnoticed connections between Huber’s European and female-orientated colonialist fantasy of Australian emptiness and the emerging genre of the political novel in Britain, as spearheaded by William Godwin and his circle and as later developed in Mary Wollstonecraft Shelley’s Frankenstein (1818). It does so in order to acknowledge and affirm Huber’s neglected German-language contribution to the early Australian literary archive and to extend our understanding of the global dynamics that underpinned emerging eighteenth-century literary forms.

中文翻译：

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在科学怪人之前：特雷塞·胡贝尔（Therese Huber）与政治小说的对立出现

摘要特雷塞·胡伯的《阿本特故居》，《新荷兰》（1793–94年）是第一部在对映体中创作的欧洲小说，直接起源于革命后的德国浪漫主义。它刻画了胡贝尔（Huber）疏远的丈夫乔治·福斯特（Georg Forster）的声音，他是一位革命家，博物学家和太平洋航海家，讲述了福斯特重返澳大利亚的故事，并因此设想了一种以家庭和社区而不是民族国家为中心的解放方式。世界政治。新建立的刑事殖民地被构造为土地，其中“爱与人性”以及牺牲可以取代旧的等级社会秩序。本文探讨了胡贝尔（Huber）的欧洲人和以女性为导向的殖民主义者对澳大利亚空虚的幻想与英国政治小说的新兴流派之间的鲜为人知的联系，由威廉·戈德温（William Godwin）和他的圈子带头，后来发展成玛丽·沃尔斯通克拉夫特（Mary Wollstonecraft）雪莱的《科学怪人》（Frankenstein）（1818）。这样做是为了承认和肯定胡伯对澳大利亚早期文学档案馆所做的德语工作所作出的贡献，并扩大了我们对支撑新兴的18世纪文学形式的全球动力的理解。