Abstract

In what follows I would like to uncover part of this history [of the phantasmagoria], not just as an exercise in romantic etymology but as a way of approaching a larger topic, namely, the history of the imagination. For since its invention, the term phantasmagoria, like one of Freud’s ambiguous primary words, has shifted meaning in an interesting way. From an initial connection with something external and public , the word has now come to refer to something wholly internal or subjective: the phantasmic imagery of the mind. This metaphoric shift bespeaks, I think, a very significant transformation in human consciousness over the past two centuries—what I shall call here the spectralization or “ghostifying” of mental space. By spectralization I mean simply the absorption of ghosts into the world of thought. Even as we have come to discount the spirit-world of our ancestors and to equate seeing ghosts and apparitions with having “too much” imagination, we have also come increasingly to believe, as if through a kind of epistemological recoil, in the spectral nature of our own thoughts—to figure imaginative activity itself, paradoxically, as a kind of ghost-seeing. Thus in everyday conversation we affirm that our brains are filled with ghostly shapes and images, that we “see” figures and scenes in our minds, that we are “haunted” by our thoughts, that our thoughts can, as it were, materialize before us, like phantoms, in moments of hallucinations, waking dream, or reverie. Terry Castle, associate professor of English at Stanford University, is the author of two books: Clarissa’s Ciphers: Meaning and Disruption in Richardson’s “Clarissa” and Masquerade and Civilization: The Carnivalesque in 18th-Century English Culture and Fiction . She is currently working on a study of the literature and psychology of apparitions in the eighteenth and nineteenth centuries entitled “Spectropia: Ghost-Seeing and the Modern Imagination.”