Drawing together literature, media, and philosophy, Ghostly Apparitions provides a new model for media archaeology and its transformation of intellectual and literary history. Stefan Andriopoulos examines new media technologies and distinct cultural realms, tracing connections between Kant’s philosophy and the magic lantern’s phantasmagoria, the Gothic novel and print culture, and spiritualist research and the invention of television. As Kant was writing about the possibility of spiritual apparitions, the emerging medium of the phantasmagoria used hidden magic lanterns to startle audiences with ghostly projections. Andriopoulos juxtaposes the philosophical arguments of German idealism with contemporaneous occultism and ghost shows. In close readings of Kant, Hegel, and Schopenhauer, he traces the diverging modes in which these authors appropriated figures of optical media and spiritualist notions. The spectral apparitions from this period also intersect with the rise of popular print culture. Andriopoulos explores the circulation of ostensibly authentic ghost narratives and the Gothic novel, which was said to produce “reading addiction” and a loss of reality. Romantic representations of animal magnetism and clairvoyance similarly blurred the boundary between fiction and reality. The final chapter of Ghostly Apparitions extends this archaeology of new media into the early twentieth century. Tracing a reciprocal inter_action between occultism and engineering, Andriopoulos uncovers how theories and devices of psychical research enabled the emergence of television.

"A timely and much-needed analysis and critique of Hollywood's representation of Native Americans in mainstream films"--Provided by publisher.

This groundbreaking book looks at the major approved Marian apparitions of the last five centuries and relates them to important historical moments: the Reformation, the French and Russian Revolutions, the rise of Nazism. These Marian apparitions, and particularly Fatima, are not historically unimportant events, but rather follow a preordained plan: they have a crucial role in helping us to see how the modern world, with all its problems, has developed. Donal Foley makes clear the fascinating and intriguing connections between Marian apparitions and the Scriptural types of Mary found in the Bible, a crucial element in the theology and exegesis of the early Church Fathers. By understanding these biblical types and their symbolism we see that each of the apparitions has a much greater significance for both the Church and the modern world than has generally been recognised. Here is a convincing demonstration that the future of the Church, and the papacy, is intimately bound up with a proper understanding of the role of Mary: there will only be true peace in the world when her message is accepted and lived. If you thought you really understood how the modern world developed, and the role and meaning of Marian apparitions, then this book will make you think again. 'Donal Foley has written a book with an extraordinary message.' Aidan Nichols, O.P.

"Based on thorough archival research combined with stunning visual analysis, Maya Stanfield-Mazzi demonstrates that Andeans were active agents in Catholic image-making and created a particularly Andean version of Catholicism. Object and Apparition describes the unique features of Andean Catholicism while illustrating its connections to both Spanish and Andean cultural traditions"--Provided by publisher.

Cinema and opera have become intertwined in a variety of powerful and unusual ways. Vocal Apparitions tells the story of this fascinating intersection, interprets how it occurred, and explores what happens when opera is projected onto the medium of film. Michal Grover-Friedlander finds striking affinities between film and opera--from Lon Chaney's classic silent film, The Phantom of the Opera, to the Marx Brothers' A Night at the Opera to Fellini's E la nave va. One of the guiding questions of this book is what occurs when what is aesthetically essential about one medium is transposed into the aesthetic field of the other. For example, Grover-Friedlander's comparison of an opera by Poulenc and a Rossellini film, both based on Cocteau's play The Human Voice, shows the relation of the vocal and the visual to be surprisingly affected by the choice of the medium. Her analysis of the Marx Brothers' A Night at the Opera demonstrates how, as a response to opera's infatuation with death, cinema comically acts out a correction of opera's fate. Grover-Friedlander argues that filmed operas such as Zeffirelli's Otello and Friedrich's Falstaff show the impossibility of a direct transformation of the operatic into the cinematic. Paradoxically, cinema at times can be more operatic than opera itself, thus capturing something essential that escapes opera's self-understanding. A remarkable look at how cinema has been haunted--and transformed--by opera, Vocal Apparitions reveals something original and important about each medium.

Did Jesus rise physically from the dead, or did he rise as a real, non-bodily apparition, like those reported in the parapsychological literature? In this book, which is the first book-length examination of the question in over fifty years, Jake O'Connell argues in favor of the physical resurrection hypothesis. In order to do so, he employs Bayes' Theorem, a mathematical theorem which encapsulates the way humans think when they analyze the probability of a hypothesis. In addition, he provides a thorough overview of the evidence for the reality of apparitions of the dead.