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・ Johann Böhm (politician)
・ Johann Büttikofer
・ Johann Campanus
・ Johann Carion
・ Johann Carl Enslen
・ Johann Anton Ramboux
・ Johann Anton von Pergen
・ Johann Anton Weinmann
・ Johann Appler
・ Johann Arndt
・ Johann Arnold
・ Johann Arnold Ebert
・ Johann Arnold Kanne
・ Johann Arnold Nering
・ Johann Arzberger
Johann August Apel
・ Johann August Carl Sievers
・ Johann August Ephraim Goeze
・ Johann August Ernesti
・ Johann August Georg Edmund Mojsisovics von Mojsvar
・ Johann August Hermann (John) Koch
・ Johann August Just
・ Johann August Kaupert
・ Johann August Nahl
・ Johann August Natterer
・ Johann August Nauck
・ Johann August Nösselt
・ Johann August Unzer
・ Johann August von Starck
・ Johann Augustanus Faber


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Johann August Apel : ウィキペディア英語版
Johann August Apel

Johann August Apel (September 17, 1771 – August 9, 1816) was a German writer and jurist. Apel was born and died in Leipzig.
== Influence ==
His version of the traditional German Freischütz folk tale, "Der Freischütz" was published as the first story of the first volume of his and Friedrich Laun's ''Gespensterbuch'' horror anthology (1811). Johann Friedrich Kind and Carl Maria von Weber drew on this version as the main source for the story of their opera ''Der Freischütz'' (1821), and even abandoned their working title to capitalise on the popularity of Apel's tale. It was republished in its own book after Apel's death.
Two of his other short stories ("Die Bilder der Ahnen" and "Die schwarze Kammer") were included in Jean-Baptiste Benoît Eyriès' ''Fantasmagoriana'' (1812), which was read by Lord Byron, Mary Shelley, Percy Bysshe Shelley, John William Polidori and Claire Clairmont at the Villa Diodati in Cologny, Switzerland during the Year Without a Summer, inspiring them to write their own ghost stories, including "The Vampyre" (1819), and ''Frankenstein'' (1823), which went on to shape the Gothic horror genre. "Die Bilder der Ahnen" (translated by Sarah Elizabeth Utterson in ''Tales of the Dead'' (1813) as "The Family Portraits") especially influenced Mary Shelley, who described it in her introduction to the 1831 edition of ''Frankenstein'':

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