1. On the rise of the Schriftmonopol in the late eighteenth century, see Friedrich A. Kittler, Grammophon Film Typewriter, Berlin 1986, 17. A great deal has been written on the particular concern with the role of visuality in the late eighteenth century and in the works of Goethe in particular; see for example Helmut J. Schneider, Ralf Simon, Thomas Wirtz (eds.), Bildersturm und Bilderflut um 1800. Zur schwierigen Anschaulichkeit der Moderne, Bielefeld 2001
2. also Evelyn K. Moore, Patricia Simpson (eds.), The Enlightened Eye: Goethe and Visual Culture, Amsterdamer Beiträge zur neueren Germanistik 62, Amsterdam 2007.
3. Although methodologically problematic, Irmgard Weithase’s works are an indispensable source of information on cultures of speaking and listening in Germany. See in particular Irmgard Weithase, Zur Geschichte der gesprochenen deutschen Sprache, 2 vols., Tübingen 1961. More recently, Johann-Nikolaus Schneider and Johannes Birgfeld have investigated the relationship between late-eighteenth-century experimental poetics and the oral performance of literature.
4. See Johannes Birgfeld, »Klopstock, the Art of Declamation and the Reading Revolution: An Inquiry into One Author’s Remarkable Impact on the Changes and Counter-Changes in Reading Habits between 1750 and 1800«, Journal for Eighteenth-Century Studies 31/1 (2008), 101–117
5. and Johann-Nikolaus Schneider, Ins Ohr Geschrieben. Lyrik als akustische Kunst zwischen 1750 und 1800, Göttingen 2004. Meanwhile, Reinhart Meyer-Kalkus and Karl-Heinz Göttert’s studies consider the so-called »Sprechkunstbewegung« within larger histories of speaking and listening practices in the German- speaking world