Abstract

In the age of historicism, stylistic choices were simultaneously projections of identity. At the same time, the idea that the recovery of a historic style would also resurrect the “spirit” of a particular era represented both the supreme hope and the greatest fear of historicism. Ghosts therefore acted as figures of memory who were summoned as correctives of current conceptions of history, and who call attention to their own (often forgotten) stories. The neo-styles themselves were either discredited or legitimised as the undead ghosts of their reference styles. With reference to Johann Wolfgang von Goethe's “Von Deutscher Baukunst” (On German Architecture) (Berliner Ausgabe. Kunsttheoretische Schriften und Übersetzungen 20 ([1772] 1960): 28–38) and other texts, the article demonstrates that (metaphorical) consultations with ghosts represented attempts to close gaps in the historical research while “clarifying” unresolved questions of cultural inheritance.

摘要

在历史主义时代，风格选择同时也是身份的投射。同时，历史风格的恢复也会使特定时代的“精神”复活，这既是对历史主义的至高希望，也是对历史主义的最大恐惧。因此，鬼魂充当了记忆的形象，被召唤来纠正当前的历史观念，并引起人们对自己（通常被遗忘的）故事的关注。新风格本身要么名誉扫地，要么被合法化为他们参考风格的不死鬼。参考约翰·沃尔夫冈·冯·歌德的“Von Deutscher Baukunst”（论德国建筑）（Berliner Ausgabe. Kunsttheoretische Schriften und Übersetzungen20 ([1772] 1960): 28-38) 和其他文本，文章表明（隐喻的）与鬼魂协商代表着试图弥合历史研究中的空白，同时“澄清”未解决的文化遗产问题。