Abstract
This article focusses on the discourse surrounding ›projectors‹, autoentrepeneurs, who made plans for innovations of any kind and tried to have potential financiers promote them, from the Baroque to German Romanticism. While the role of projectors in the history of science has been the object of historical study, there is a lack of research regarding the concept’s trajectory and its semantic variation. In the early modern period, the necessity of innovation was emphasized, but also the contingency of project proposals. During the Enlightenment, the tradition of the approval of project-making continued, but projects became detached from projectors. In the late 18th century, the idea of speculation and the fantastic transformed within the area of creativity, due to the primacy of imagination and genius. What happened to the talk about projectors and their ways of self-fashioning after the disappearance of the social figure? What enabled authors to refer to projectors and how was their role historically discussed? Projectors served as a topos of insanity or deception or a sign of unprofessionalism (as shown in examples by Goethe and Schiller). Romanticism carried with it the positive connotations of the project, but also reinterpreted its negative aspects, such as the value of incompletion, insanity and alternative ways of work.