Stefan Andriopoulos, Ghostly Apparitions: German Idealism, the Gothic Novel, and Optical Media

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Notes

1. Parts of the introduction and all of the first chapter, “The Magic Lantern of Philosophy: Specters of Kant,” excepting its introductory section, were previously published in English as “Kant's Magic Lantern: Historical Epistemology and Media Archaeology,” Representations 115 (Summer 2011): 42–70, and in German as “Kants Gespenster: Optische Medien, Metaphysik und Geistersehen,” in Kollektive Gespenster: Die Masse, der Zeitgeist und andere unfaßbare Körper, ed. Michael Gamper and Peter Schnyder (Freiburg: Rombach, 2006), 51–73. A version containing material from chapter 2 appeared in German as “Die Lanterna magica der Philosophie: Gespenster bei Kant, Hegel, und Schopenhauer,” Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 80, no. 2 (2006): 173–211. Chapter 3 had its genesis in “Occult Conspiracies: Spirits and Secret Societies in Schiller's Ghost Seer,” in “Dark Powers: Conspiracy in History and Literature,” ed. Eva Horn and Anson Rabinbach, special issue, New German Critique 103 (Winter 2008): 65–81, also published in German as “Dunkle Mächte: Geister und Geheimbünde bei Schiller und Grosse,” in Der Schauer(roman): Diskurszusammenhänge, Funktionen, Formen, ed. Mario Grizelj (Würzburg: Königshausen & Neumann, 2010), 177–94. Much of chapter 4 was initially outlined in “Ethnographie des Jenseits: Justinus Kerners Die Seherin von Prevorst und Edgar Allan Poes Facts in the Case of M. Valdemar,” in Kultur-Schreiben als romantisches Projekt: Ethnographische Praxis im Spannungsfeld von Imagination und Wissenschaft (1750–1850), ed. David Wellbery (Würzburg: Königshausen & Neumann, 2012), 245–56, as well as in “Die Experimental-Metaphysik des animalischen Magnetismus bei Schopenhauer, Kerner und Poe,” in Experiment und Literatur 1790–1890, ed. Michael Gamper, Martina Wernli, and Jörg Zimmer (Göttingen: Wallstein, 2010), 241–53. And chapter 5 has been published in four forms: “Psychic Television,” Critical Inquiry 31, no. 3 (Spring 2005): 618–37; in French translation by Francesco Gregorio as “Télévision psychique,” in La télévision du téléphonoscope à YouTube: Pour une archéologie de l’audiovision, ed. Mireille Berton and Anne-Katrin Weber (Lausanne: Éditions Antipodes, 2009), 57–76; in German as “Okkulte und technische Television,” in 1929: Beiträge zur Archäologie der Medien (Frankfurt: Suhrkamp, 2002), 31–53; and reprinted in Text und Wissen: Technologische und Anthropologische Aspekte, ed. Renate Lachmann and Stefan Rieger, Literatur und Anthropologie, vol. 16 (Tübingen: G. Narr-Verlag, 2003), 105–23.

2. Josh Ellenbogen, review of Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles, by Erkki Huhtamo, Art Bulletin 96, no. 1 (March 2014): 132–34.

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Notes on contributors

Kirstin Ringelberg

is professor of art history at Elon University [Department of Art and Art History, Elon University, Powell House 104, Elon, N.C. 27244].