Richard Wagner wrote in 1852 that in settling on the theme of the phantom ship he had entered ‘upon a new path, that of Revolution against our modern Public Art’, that is,grand opéra. Wagner’s revolution has often been described in light of the poetics of return and homecoming that contributed a new sense of identity to (German) opera. The present article is written against the grain of this conviction, and highlights the cosmopolitan career of the phantom ship and of the vernacular art forms – the nautical theatre and the phantasmagoria – that maintained the seafaring image at the forefront of the liberal imagination, first in Britain, and then in Paris, where Wagner arguably seized on it. Specifically, it explores the significance of ‘apparitional images’ to mid-nineteenth-century opera and Wagner’s turn to a regime of modern spectacle, inspired by the art of phantasmagoria, inDer fliegende Holländer.

中文翻译：

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飞翔的荷兰人、英国奇观与大歌剧院的整治

理查德·瓦格纳（Richard Wagner）在 1852 年写道，在确定幻影船的主题时，他“走上了一条新的道路，即反对我们现代公共艺术的革命”，也就是说，大歌剧院. 瓦格纳的革命经常被描述为回归和回归的诗意，为（德国）歌剧带来了新的认同感。本文与这一信念背道而驰，强调了幻影船和本土艺术形式——航海剧院和幻影艺术——的国际化生涯，它们将航海形象保持在自由主义想象的最前沿，首先是英国，然后在巴黎，可以说是瓦格纳抓住了它。具体来说，它探讨了“幽灵图像”对 19 世纪中叶歌剧的重要性，以及瓦格纳在幻影艺术的启发下转向现代奇观的制度，战利品.