Academic literature on the topic 'English Ghost stories'
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Journal articles on the topic "English Ghost stories"
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Abd Rahman, Ain Nur Iman, and Zainor Izat Zainal. "HUMAN AND GHOST ATTACHMENT IN HANNA ALKAF’S THE GIRL AND THE GHOST." Platform : A Journal of Management and Humanities 5, no. 1 (June 30, 2022): 2. http://dx.doi.org/10.61762/pjmhvol5iss1art17206.
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For centuries, authors of literary works have sought to bewitch and enchant readers with accounts of supernatural elements such as monsters, spirits and ghosts. Ghosts especially are often depicted as representations of evil and the polar opposite of mankind. In Hanna Alkaf’s The Girl and The Ghost (2020) the adolescent protagonist, Suraya, develops an unusual bond with a ghost, Pink. This is indeed refreshing, considering the human-ghost relationship in the local literary scene is often represented as antagonistic, opposing forces, resulting in ghosts being portrayed as evil, vengeful creatures set to taunt, haunt and wreck humans’ lives. Critical examination of the human-ghost bond in the local literary-critical practice is lacking. This research aims to fill this gap by examining the human-ghost bond in The Girl and The Ghost and how this bond contributes to the (human) protagonist’s personal development. In this paper, The Girl and The Ghost is read using John Bowlby’s theory of attachment due to its robust approach to understanding human beings' emotional bond, or attachment, with their attachment figures. We argue the human-ghost bond in The Girl and The Ghost sets the novel apart from other local ghost stories filled with wicked, destructive ghosts. The findings suggest other possibilities of attachment figures when the relationship between a mother and child grows apart. The unusual but enduring relationship between Suraya and Pink demonstrates that a child’s secure attachment need not be limited to motherly figures.
Keywords: Malaysian literature in english, the girl and the ghost, hanna alkaf, ghost tales, attachment theory
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Carter, Michael. "Byland Abbey: Using the Dead to Bringa Medieval Monastery to Life." Preternature: Critical and Historical Studies on the Preternatural 11, no. 1 (March 1, 2022): 8–24. http://dx.doi.org/10.5325/preternature.11.1.0008.
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ABSTRACT The twelve ghost stories written by a monk at Byland Abbey, North Yorkshire, around 1400 CE have received extensive comment by scholars of medieval ghost stories and the supernatural. Public interpretation of the site, which has been in State care since 1921, has largely focused on the acknowledged importance of Byland's buildings in the development of Cistercian architecture in the British Isles in the late twelfth century. With a strong architectural focus, Byland's English Heritage guidebook makes no mention of the stories or indeed medieval beliefs about death, the afterlife, and the supernatural. This article aims to demonstrate that the ghost stories, together with the architectural, artifactual, and documentary evidence pertaining to monastic beliefs and observance about death, burial, and spiritual salvation, are in fact key to the interpretation of Byland—indeed, to all medieval monasteries—for twenty-first-century visitors.
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Lipinskaya, A. "Good English boys. Constructing the gender and the national in British ghost stories." Philology and Culture, no. 2 (June 24, 2024): 146–51. http://dx.doi.org/10.26907/2782-4756-2024-76-2-146-151.
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The article describes how gender and national aspects are constructed in late 19th–early 20th century British ghost stories. Both categories are seen within the context of the fearful Other so characteristic of the genre: deviations from the ideal of healthy British masculinity are perceived as potentially dangerous. It can be expressed as appearance of feminine or juvenile features gravitating towards heathen cults, and here gender is combined with the national: often a portion of non-British blood (e.g. Jewish or Italian) influences the choice of the particular cult and the way the protagonist’s appearance and manners change in the course of the narrative. All these phenomena are often complemented with the presence of animalistic features in the character, even if only metaphorically: any decline from masculinity and Christianity is perceived as a partial loss of humanity. Here, the influence of theories by Ch. Lombroso, M. Nordau, J. Fraser etc. is evident. But the authors of high quality stories (J. Buchan, A, Conan Doyle, E. F. Benson) do not preach these ideas straightforwarldly, they create original texts with quite ambivalent treatment of the topics discussed.
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Murphy, Patrick Joseph. "Old English Enigmatic Poems and Their Reception in Early Scholarship and Supernatural Fiction." Humanities 11, no. 2 (February 28, 2022): 34. http://dx.doi.org/10.3390/h11020034.
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The scholarly reception history of the Old English riddles and adjacent “enigmatic poems” of the Exeter Book reveals a long process of creating intelligibility and order out of a complicated and obscure manuscript context. Understanding this history of reception allows us to see the influence of Old English poetry on modern creative medievalism, including the unexpected influence of medieval “enigmatic” poetry on the modern genre of supernatural fiction. Specifically, it is argued that the scholarly reception of folios 122v–123v of the Exeter Anthology was instrumental in inspiring one of the acknowledged classic ghost stories of the twentieth century, M.R. James’s “Oh, Whistle, and I’ll Come to You, My Lad”.
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Mohamed Ali, Halimah. "A Review of the Folk Tales of Bengal." International Journal of Social Science Research 11, no. 2 (September 28, 2023): 93. http://dx.doi.org/10.5296/ijssr.v11i2.21093.
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Lal Behari Dey was a Bengali Indian. He was journalist and converted to Christianity. After his conversion he became a missionary. He wrote profoundly in English and edited several magazines. This paper discusses Lal Behari Dey’s collection of Bengali folktales titled Folk Tales of Bengal. Four tales are chosen to be analyzed. They are The Indigent Brahman, The Ghost Brahman, A Ghostly Wife and The Story Of A Brahmadaitya. These tales are analysed using Vladimir Propp’s theory of the function of the dramatic personae. The similarities between the stories will also be determined in this reading of the folktales.
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Daimari, Esther. "The EcoGothic and Contemporary Sri Lankan English Literature: Reading Ecophobia in Patricia Weerakoon’s Empire’s Children and Roma Tearne’s Mosquito." Southeast Asian Review of English 59, no. 1 (July 25, 2022): 29–50. http://dx.doi.org/10.22452/sare.vol59no1.4.
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This paper explores contemporary Sri Lankan fiction as expressions and experiments in postcolonial EcoGothic writing by highlighting an intense relationship between ecology and place. By examining the novels of three contemporary Sri Lankan writers – Roma Tearne’s Mosquito, Michael Ondaatje’s Anil’s Ghost, and Patricia Weerakoon’s Empire’s Children, the article examines how certain landscape tropes such as the sea, the forest, ruins, caves, and tea plantations are shaped by the writers as gothic spaces to share their ecological concerns. The eerie plantations in Empire’s Children and the fecund forest, groves and the sea in Mosquito, and the caves and mass graves in Anil’s Ghosts allude to traumas related to postcoloniality, war, and military territorialization. Building upon theories of landscape, ecocriticism, and more specifically, the EcoGothic, the article draws upon works by Sharae Deckard and others to suggest how in these novels, the landscape is not just a setting for the stories but palimpsests of multiple histories of violence on both the people and the environment. The article examines how the novel enacts violence and spatial disorientation, closely connected with the gothic genre, suggesting Anglophone contemporary Sri Lankan fiction writers’ recurrent exploration of gothic and ecology in their works.
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Navarro Romero, Betsabé, and Toby Litt. "Coming Terms with 21st Century Bristish Politics : An interview with Toby Litt." Journal of English Studies 9 (May 29, 2011): 265. http://dx.doi.org/10.18172/jes.177.
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English novelist and short story writer, Toby Litt is the author of the novels Beatniks: An English Road Movie (1997), Corpsing (2000), Deadkidsongs (2001), Finding Myself (2003), Ghost Story (2004), Hospital (2007), I Play the Drums in a Band Called Okay (2008), Journey into Space (2009), and King Death (2010). He is also known for his collections of short stories Adventures in Capitalism (1996) and Exhibitionism (2002). Toby Litt was nominated by Granta magazine as one of the 20 “Best of Young British Novelists” in 2003. He is an authorised voice among young writers deconstructing contemporary consumer society. In this interview, held at the University of Almería during the 34th AEDEAN Conference (11-13 November 2010), he provides an assessment of modern politics, shares his ideas concerning the recent political affairs in the UK, such as the ideological modernisation during the previous New Labour years or the latest social changes in Britain, and he finally examines the position of writers and intellectuals as regards to power and their political commitment.
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Baderoon, Gabeba. "The Ghost in the House: Women, Race, and Domesticity in South Africa." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (June 17, 2014): 173–88. http://dx.doi.org/10.1017/pli.2014.17.
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AbstractIn South Africa, the house is a haunted place. Apartheid’s separate publics also required separate private lives and separate leisures in which to practice ways of living apartheid’s ideological partitions into reality. This essay analyzes the compulsive interest in black domesticity that has characterized South Africa since the colonial period and shows that domestic labor in white homes has historically shaped the entry of black women into public space in South Africa. In fact, so strong is the latter association that theDictionary of South African English on Historical Principlesreveals that in South African English the wordmaiddenotes both “black woman” and “servant.” This conflation has generated fraught relations of domesticity, race, and subjectivity in South Africa. Contemporary art about domestic labor by Zanele Muholi and Mary Sibande engages with this history. In their art, the house is a place of silences, ghosts, and secrets. Precursors to these recent works can be found in fiction, including Sindiwe Magona’s short stories about domestic workers in her collectionLiving, Loving and Lying Awake at Night(1994) and Zoë Wicomb’s novelPlaying in the Light(2006), in which a woman passing for white allows her mother into her house only under the pretense that she is a family servant. Muholi and Sibande have engaged the legacy of black women in white households by revisiting the ghosts of the house through performance, sculpture, and photography. Both were inspired by the intimate reality of their mothers’ experiences as domestic servants, and in both cases the artist’s body is central to the pieces, through installations based on body casts, performance, embodied memories, and the themes of haunted absences, abandonment, and longing.
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Fix, Andrew. "What Happened to Balthasar Bekker in England? A Mystery in the History of Publishing." Church History and Religious Culture 90, no. 4 (2010): 609–31. http://dx.doi.org/10.1163/187124110x545182.
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AbstractThis article looks at the fate of Balthasar Bekker's De Betoverde Weereld in England. The famous work opposing the earthly activity of evil spirits, rejecting the reality of witchcraft, and debunking spirit stories by suggesting natural causes for the supposed supernatural events, was published in Amsterdam (following a rowe with the original Leeuwarden publisher) by Anthony van Dale in 1692–1693 and caused an intense controversy. Bekker was a strict monotheist unwilling to hand over any of God's power to evil spirits or the Devil, an advocate of the accomodationist school of Scriptural interpretation that had landed Galileo in jail in 1633, a serious student of spirit “superstition” with works such as those of Reginald Scot, Abraham Paling, and Anthony van Dale in his library. And he was a Cartesian: he owned Clauberg, Heereboord, Sylvain-Regis, etc. His opponents said that if one did not believe in evil spirits one could not believe in God. Bekker's book went through several Dutch printings, was right away translated into French and German, stirring reaction in those countries (the new book by Nooijen, Unserm Großen Bekker ein Denkmahl? looks at the German reaction). In England plans were afoot to translate the Betoverde Weereld by 1694, and Book I was translated and published. But that was all that got done. The highly controversial Book II and the final two books remained untranslated and unpublished. Why? Not for a lack of interest in evil spirits in England: witness the works of Glanvill, Henry More, George Sinclair, John Webster, and many others. Ghost stories were not lacking—just see the “Devil of Tedworth” and “Beckington Witch” stories. I argue the failure was a result of the vicissitudes of the London publishing industry, especially the relatively new periodical publishing, and of the eccentric, intellectual, but unfocussed general publisher John Dunton, who ruined himself and the Bekker project with his poor business sense (his wife ran the shop for him and when she died he was lost) which led him to travel to Dublin and Boston in search of publishable manuscripts (even on spirits!) instead of allowing him to concentrate his resources on Bekker. As a result, Bekker's work remained little known in the English-speaking world and its significance was almost totally overshadowed by the work of Locke. Would Daniel van Dalen, Jan ten Hoorn, or Willem Blaeu have made the same mistake? Also, Dunton put a goodly amount of his resources into the risky new periodical market and lost money that could have financed publication of the last three books of De Betoverde Weereld. Just because of the controversial nature of what he said, Bekker deserved better in England.
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Prentice, Chris Ortiz y. "RUDYARD KIPLING'S TACTICAL IMPRESSIONISM." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 17–33. http://dx.doi.org/10.1017/s1060150316000413.
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A story titled “The Impressionists”that was published in 1897 should have something to say about art, but does it? The sixth installment in Rudyard Kipling'sStalky & Co.series, “The Impressionists” follows the antics of M'Turk, Stalky, and Beetle, three cunning boys at a dreary English military preparatory school. Suspecting these boys of cheating on their schoolwork, housemaster Mr. Prout turns them out of their private study into the main house dormitory. For revenge, and hoping to win back their room, Stalky & Co. becomeagents provocateurs. They start a fight in their house and manage to involve the other housemasters’ houses: “Under cover of the confusion the three escaped to the corridor, whence they called in and sent up passers-by to the fray. ‘Rescue, King's! King's! King's! Number Twelve form-room! Rescue, Prout's – Prout's! Rescue, Macrea's! Rescue, Hartopp's!’” (102). The three boys then allow Mr. Prout to overhear a conversation that makes money-lending seem common practice in the houses: “‘Where's that shillin’ you owe me?’ said Beetle suddenly. Stalky could not see Prout behind him, but returned the lead without a quaver. ‘I only owed you ninepence, you old usurer’” (103). Stalky & Co. rile up the other boys by telling ghost stories and spreading slanderous ditties; they turn the house against the prefects and undermine Mr. Prout's authority; and in the end they win back their room, but they are also found out by the headmaster, who mixes corporeal punishment with his admonishments: “There is a limit – one finds it by experience, Beetle – beyond which it is never safe to pursue private vendettas, because – don't move – sooner or later one comes – into collision with the – higher authority, who has studied the animal.Et ego– M'Turk, please –in Arcadia vixi” (117). The boys take the headmaster's attentions as a compliment, and they take his advice. Never again do they stake the school's peace in the pursuit of their own ends.
Dissertations / Theses on the topic "English Ghost stories"
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Stewart, Clare. "Fighting spirit : Victorian women's ghost stories." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/1610/.
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Bissell, Sarah Jane. "Haunted matters : objects, bodies, and epistemology in Victorian women's ghost stories." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/6402/.
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Haunted Matters interrogates objects, bodies, and epistemology in a selection of Victorian women’s ghost stories, arguing that these things provided a means through which the chosen writers could critique women’s troubled cultural position in mid- to late-nineteenth-century Britain. The four authors considered – Charlotte Riddell, Margaret Oliphant, Vernon Lee, and Edith Nesbit – were all fundamental figures in the development of the ghost story genre, using this popular fiction form to investigate social arenas in which women were subjugated, professional venues from which they were excluded, and the cultural construction of femininity. Each chapter is thus keyed into a specific aspect of women’s material lives: money and the financial market (Riddell); visual science and the male gaze (Oliphant); object culture and ‘feminine’ mysteriousness (Lee); and fin de siècle marriage and the female corpse (Nesbit). This study argues that these writers – in making things, bodies, and forms of perception central to their ghost stories – implicitly condemned the patriarchal society which perpetuated a range of contradictory assumptions about women, as being both bodily and spiritual, overly invested in the material world or too prone to flights of fancy. Their diverse literary endeavours in this popular fiction form enabled the selected writers to earn money, engage in public discourse, and critique the dominant culture which sanctioned women’s subjugation. Haunted Matters thus questions the ghost story’s designation as an anti-materialist genre through a focus on gender, instead foregrounding the form’s explicit connections to the material world.
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Bann, Jennifer Patricia. "Spirit writing : the influence of spiritualism on the Victorian ghost story." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/373.
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This thesis investigates the connection between the spiritualist movement and the literary ghost story, both of which came to prominence and mass popularity during the second half of the nineteenth century. While existing critical literature has viewed both phenomena as symptomatic of a wider Victorian fascination with the supernatural and the nature and possibility of an afterlife, little attention has been paid to the relationship between the two movements. By examining spiritualist literature alongside the work of both canonical and lesser-known writers, I attempt to address this area. My thesis argues for an understanding of the post-1850 ghost story as a dramatic representation of a new conception of the dead largely created by spiritualism, and reads the appearance, actions, behaviour and narratives of literary ghosts as an ongoing reflection and discussion of this idea.
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Handley, Sasha. "'Visions of an unseen world' : the production and consumption of English ghost stories, c.1660-1800." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/2843/.
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This thesis traces the cultural significance of ghost beliefs in English society from c.1660 to c.1800. It is an attempt to partially re-enchant these years and to nuance historical characterisation of eighteenth-century England as an enlightened, secularising and ‘anti-superstitious’ nation. Moreover, I aim to restore ghost beliefs to historical legitimacy and my central argument is that they played a crucial role in shaping the specific social, political, economic and religious contours of eighteenth-century life. Ghosts have been largely exorcised from existing accounts of this period and so this research represents a fresh contribution to historical understandings of the long eighteenth century and to historiographies of the supernatural more generally. The following chapters describe how ghost beliefs blended with the religious cultures of Anglicanism and Methodism by reinforcing orthodox theological teachings. The idea that dead souls could return to earth also complemented clerical initiatives to reform lay spirituality and to temper the extremes of rational religion. I chart how ghost beliefs fared in the face of new enlightenment philosophies, and how they informed discourse of politeness, individuality and interiority. This is accompanied by explorations of the relevance of ghost beliefs in everyday life. I describe the places and spaces in which ghost stories were told, the people who narrated them and those who listened. This ‘thick description’ emphasises how the spread of ghost stories was encouraged by contemporary labour relations, by the expansion of British imperial and trading interests overseas, and by patterns of sociability that were intrinsically linked to the realities of eighteenth-century life. I have harnessed insights from socio-linguistics and the sociology of literature to theorise the relationship between ghost stories and ghost beliefs. I have examined the production, circulation and consumption of ghost stories, as well as their form and content, to explain how these texts reflected and shaped the opinions of a variety of readers. In so doing, this thesis suggests an important relationship between literary forms and historical change.
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Smith, Jeannette Ward. "Being Incommensurable/Incommensurable Beings: Ghosts in Elizabeth Bowen’s Short Stories." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/english_theses/11.
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I investigate the ghosts in Elizabeth Bowen’s short stories, “Green Holly” and “The Happy Autumn Fields.” By blending psychoanalytic feminism and social feminism, I argue that these female ghosts are the incommensurable feminine—a feminine that exceeds the bounds of phallocentric logic and cannot be defined by her social or symbolic manifestations. An analysis of Bowen’s ghosts as actual ghosts is uncharted territory. Previous Bowen critics postulate that Bowen’s ghosts are imaginary figments or metaphors. These critics make Bowen’s stories “truthful” representations of the world, but, as such, Bowen’s ghosts become representations of the world’s phallocentric order. In contrast, I argue that these stories adopt a mestiza consciousness. Gloria Anzaldùa postulates that through a subaltern perspective developed outside of western logic, the mestiza reclaims the supernatural that exists outside of the masculine, symbolic order. The female ghosts are the feminine that Luce Irigaray explains, “remain[s] elsewhere” (76) as they live incommensurably in an alternate supernatural realm, disrupting phallic logic.
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Rostedt, Erica. "The Tween Ghost Story: Articulating the Tween Experience." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1665.
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In the early 1980s, a particular kind of “tween” (children aged 10-14) ghost story emerged. Through examining multiple examples of tween ghost stories (such as Wait Till Helen Comes by Mary Downing Hahn, Stonewords by Pam Conrad, and Time Windows by Kathryn Reiss), this paper illustrates the ways in which these stories are remarkably consistent in nature, and then investigates this sub-genre’s specific and consistent articulation of the struggle of moving away from childhood and into the teenage years. By using a ghost to create a situation so off balance (a ghost who is stuck, a protagonist who is in flux), the tween ghost story is uniquely and cleverly designed to help the protagonist navigate through the scary situation of growing up.
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Callaghan, Jennefer. "Spectral realism the ghost stories of William Dean Howells, Henry James, and Sarah Orne Jewett /." Restricted access (UM), 2009. http://libraries.maine.edu/gateway/oroauth.asp?file=orono/etheses/37803141.pdf.
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Thesis (Ph. D.)--Emory University, 2008.Title from PDF title page (viewed on May 25, 2010) Available through UMI ProQuest Digital Dissertations. Includes bibliographical references (leaves 236-269). Also issued in print.
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Foley, Matt. "Haunting modernisms : appropriations of the ghostly in Eliot, Woolf, Bowen and Lawrence." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/10994.
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This thesis is an extended reading of the topos of the ghostly as it is staged in the modernist writings of T.S. Eliot, Virginia Woolf, Elizabeth Bowen and D.H. Lawrence. As I argue, their distinct appropriations of haunting are innately tied to their individual theories of the aesthetic; there are also a number of recurring motifs throughout their respective oeuvres, which time and again evoke a ghostly register. Consistently appearing in the texts I read here, most of which were published between the years 1919 and 1935, are figurations of the ghostly as a symptom of ‘ontological uncertainty’, as well as renderings of purgatorial subjectivity, and aporias of mourning. I locate my reading in response to the scholarly fields of haunting studies, mourning modernisms and Gothic modernisms. In a move common to contemporary theoretical studies of haunting, I draw also from the latter work of Jacques Derrida, a theoretical lens that facilitates my reading of a complex modernist ethics of mourning and alterity, one that often courts the ghostly, but resists what Derrida terms ‘hauntological’ work. The Derridean figure of the ethical apparition, in its status as the Absolute Other, is consistently complicated or rejected in these texts. This resistance mirrors a purgatorial mode of subjectivity that recurs in a range of guises in the modernisms I read here. In uncovering the economies that lie beneath these haunted subjectivities Jacques Lacan’s metapsychology of the subject helps also to conceptualise Bowen and Lawrence’s handling of the spectral. Bowen’s is a distinctly visual imagination, and her staging of a haunted subjectivity is elucidated by calling upon Lacan’s formulation of the gaze. Lawrence, whose work is consistently concerned with a-symbolic bodily registers, bypasses a number of the purgatorial aporias staged in the writings of Woolf, Eliot and Bowen. Viewing his appropriation of haunting through a Lacanian understanding of feminine jouissance suggests Lawrence’s welcoming of a radical ghostly other that may transcend the aporias of subjectivity, ethics and mourning that characterise these haunting modernisms.
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Stansberry, Tonya Faye. "Imprisoned and Empowered: The Women of Edith Wharton's Supernatural Fiction." [Johnson City, Tenn. : East Tennessee State University], 2003. http://etd-submit.etsu.edu/etd/theses/available/etd-0712103-091758/unrestricted/StansberryT072203f.pdf.
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Thesis (M.A.)--East Tennessee State University, 2003.Title from electronic submission form. ETSU ETD database URN: etd-0712103-091758. Includes bibliographical references. Also available via Internet at the UMI web site.
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Scott, Joline L. "Shells." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1285194565.
Full textBooks on the topic "English Ghost stories"
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Ales̆, Haman, Zítková Irena, and Dungel Jan, eds. Ghost stories. London: Treasure, 1987.
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1929-, Westall Robert, and Eckett Sean, eds. Ghost stories. London: Kingfisher, 1991.
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Robert, Westall, and Eckett Sean ill, eds. Ghost stories. New York: Kingfisher, 1993.
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Sladja, Blazan, and American Comparative Literature Association, eds. Ghosts, stories, histories: Ghost stories and alternative histories. Newcastle, UK: Cambridge Scholars Pub., 2007.
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1824-1889, Collins Wilkie, and Grafton John, eds. Classic ghost stories. Mineola, N.Y: Dover Publications, 1998.
Find full textBook chapters on the topic "English Ghost stories"
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Bender, Jacob L. "Interlude: “There’ll Be Scary Ghost Stories”—English Ghosts of Christmas Past." In Modern Death in Irish and Latin American Literature, 127–38. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-50939-2_6.
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Robbins, Ruth. "Ghost Stories and Supernatural Tales." In The Cambridge History of the English Short Story, 395–410. Cambridge University Press, 2016. http://dx.doi.org/10.1017/9781316711712.024.
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Jones, Darryl. "M. R. James’s Libraries." In Libraries in Literature, 114—C7.P36. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192855732.003.0008.
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Abstract M. R. James is the pre-eminent ghost story writer in English. He was also the pre-eminent manuscript scholar of his day. This chapter argues that these two activities were, for James, intimately linked. His ghost stories are, in fact, a kind of imaginative surplus or by-product of his formal scholarship, which was largely made up of cataloguing the manuscripts of numerous ancient libraries, including most of the libraries of the Cambridge colleges. In James’s stories, scholarly and archival research unleashes terrible supernatural entities, very often various kinds of Old Testament demons, or else a variety of unappeasable ghosts. The chapter looks at a section of James’s stories in which library researchers uncover more than they had bargained for, and closes with an extended reading of James’s most librarianly story, ‘The Tractate Middoth’, which has deep roots in both the catalogue and the physical architecture of Cambridge University Library.
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Conolly, Jez, and David Owain Bates. "‘I’m not frightened…I’m not frightened…’." In Dead of Night, 59–70. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9780993238437.003.0005.
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This chapter evaluates ‘Christmas Party’, the first of two stories directed by Alberto Cavalcanti. The story is told from the perspective of teenager Sally O'Hara (Sally Ann Howes) who relates a spooky encounter that she had at a festive gathering. During a game of ‘Sardines’, after spurning the amorous adolescent advances of fellow partygoer Jimmy Watson (Michael Allan), she finds herself in the high attic reaches of the party's large country house setting where she happens upon a weeping child dressed in Victorian clothes. Sally comforts the child, who identifies himself as Francis Kent, and sings him to sleep before returning to the party downstairs, only then realising that she has just seen a ghost. The chapter assesses ‘Christmas Party’ in relation to the very English tradition of the festive ghost story and charts how the rendering of Sally's tale negotiates the territory of adolescent liminality.
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Evangelista, Stefano. "Lafcadio Hearn and Global Aestheticism." In Literary Cosmopolitanism in the English Fin de Siècle, 72–116. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198864240.003.0003.
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Lafcadio Hearn’s writings provide a radically different understanding of literary cosmopolitanism from Wilde’s. This chapter studies Hearn’s attempts to translate and transpose aestheticism onto a global stage. It argues that Hearn’s works compound a commitment to preserving cultural differences with essentialism, exoticism, and even, paradoxically, elements of cultural nationalism. Hearn’s early translations of Théophile Gautier’s fantastic stories created a dialogue between metropolitan European aestheticism and the cosmopolitan culture of nineteenth-century New Orleans. In his writings on Japan, Hearn employed literary impressionism and ghost narratives (some of which look back to Gautier) to interrogate his own authority as Western essayist and to capture the peculiar temporality of turn-of-the-century Japan, a country caught between traditional culture and modernization, nationalist and cosmopolitan tendencies. In Japan, Hearn also lectured extensively on British aestheticism, encouraging his students to draw inspiration from it for the creation of a cosmopolitan Japanese literature of the future.
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Herland, Emmy. "Ghosts Across Borders: Don Juan de Castro and his Grateful Dead." In La comedia entre mundos: intersecciones críticas en el teatro de la temprana modernidad, 295–312. Sociedad Menéndez Pelayo, 2024. http://dx.doi.org/10.55422/ppsmp.9.15.
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El mejor amigo el muerto (co-written by Luis Belmonte Bermúdez, Francisco de Rojas, and Pedro Calderón de la Barca) and Don Juan de Castro (by Lope de Vega) both follow the same basic plot; they tell the story of Don Juan, a Spaniard, who is shipwrecked in England. Each play then follows the folktale of the Grateful Dead: a dead man’s burial rituals are first neglected by those who should perform them and then carried out by Don Juan, a stranger, thereby indebting him to the living man. The dead man’s ghost returns to save Don Juan’s life and help him find love and rise to power in England. Multiple meetings of worlds occur in these plays. The first is the encounter of the living with the dead; the second is the confrontation between the Spanish and the English. Importantly, caring contact across one border (that of living and dead) is what allows the success of the other connection (of the English and Spanish). This paper examines the interplay between these two dichotomous contacts to understand this story’s attitudes towards borders, crossings, and the necessity of compassionate contact between oppositional worlds.
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Faragher, Megan. "The Morass of Morale." In Public Opinion Polling in Mid-Century British Literature, 174–215. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192898975.003.0006.
Full textAbstract:
The Ministry of Information (MoI) had a robust morale-research apparatus which, more often than not, failed to successfully appeal to the public in high-profile information campaigns. Cecil Day-Lewis, who worked in the Publications division of the MoI during the war, allegorized such failures through his detective fiction; in both Malice in Wonderland and Minute for Murder, he alludes to Ministry campaigns like the “Silent Column Campaign,” which failed to appropriately respond to public criticism elicited from Home Intelligence morale reports. Day-Lewis’s subtle critiques of MoI morale assessment are also mirrored in the wartime work of Elizabeth Bowen, who used her information work in Ireland to encourage the MoI to take on more sympathetic public stances towards the neutral nation during the war. While Bowen attempted to read and translate the desires of the Irish public to English officials, The Heat of the Day likewise emphasizes characters’ struggles in interpreting and mastering the desires of others. In both The Heat of the Day and in her wartime short stories, Bowen returns to early psychographic symbols of ghosts and apparitions to elucidate the precarious position of the public opinion worker during wartime. In this chapter, both Bowen and Day-Lewis remind readers that the desire to manifest interiority as material produces fear and anxiety amongst citizens who feel themselves spied upon and who see psychographics as just another means of control for governments and institutions against its citizens.
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Hardin, Garrett. "From Jevons's Coal to Hubbert's Pimple." In Living within Limits. Oxford University Press, 1993. http://dx.doi.org/10.1093/oso/9780195078114.003.0018.
Full textAbstract:
In a commercial society like ours it is understandable that money-makers should be the ones who pay the greatest attention to the implications of economics. Historians have been a breed apart, with most of them (until recently) paying little heed to the ways in which economics affects history. Yet surprisingly, a basis for the eventual integration of economics, ecology, and history was laid in the nineteenth century. The Victorian who tackled history from the economic side was William Stanley Jevons (1835-1882). The distinction made in the previous chapter between living in a area and living on it was a paraphrase of what Jevons wrote about the material basis of English prosperity: "The plains of North America and Russia are our cornfields; Chicago and Odessa our granaries; Canada and the Baltic are our timber forests; Australia contains our sheep farms, and in South America are our herds of oxen;.. . the Chinese grow tea for us, and our coffee, sugar, and spice plantations are in all the Indies. Spain and France are our vineyards, and the Mediterranean our fruit-garden.'" A century before the term "ghost acres" was coined, Jevons had clearly in mind the idea behind the term. Half a century before Jevons was born—in fact in the year the Bastille was stormed by French revolutionaries (1789)—an English mineral surveyer by the name of John Williams had asked, in The Limited Quantity of Coal of Britain, what would happen to the blessings of the industrial revolution when England no longer possessed the wherewithal to power the machinery that produced her wealth? Optimism is so deeply engrained a characteristic of busy people that this warning, like most first warnings, was little noted. It remained for Jevons to rouse the British public in 1865 with the publication of his book, The Coal Question. Jevons's life coincided in time with the period when the nature and significance of energy (in its prenuclear formulation) was becoming manifest to physical scientists. Since energy was needed to turn the wheels of industry, and coal was the most readily available source of energy, Jevons reasoned that the continued political dominance of Great Britain was dependent on the bounty of her coal. This naturally led to the double question, How long would English coal and the British Empire last?
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Dasgupta, Ranita Chakraborty. "Bangla Translations of Latin American Poetry: A Critical Study." In Contemporary Translation Studies, 47–108. CSMFL Publications, 2021. http://dx.doi.org/10.46679/978819484830103.
Full textAbstract:
The aim of this study is to map the reception of Latin American Poetry within the corpus of the Bangla world of letters for three decades, from 1980 to 2010. In the 1970s and the 1980s, the influence and reception of Latin American Literatures in Bangla was reflected primarily in the introductions to translations, preludes, and conclusions of translations. During the late 1960s and the early 1970s Latin American poets like Pablo Neruda, Victoria Ocampo, Octavio Paz, and Jorge Luis Borges had caught the attention of eminent Bangla poets like Bishnu Dey, Shakti Chattopadhyay, and Shankha Ghosh who started taking interest in their works. This interest soon got reflected in the form of translations being produced in Bangla from the English versions available. The next two decades saw the corpus of Latin American Literatures make a widespread entry into the world of academic essays, journals, and articles published in little magazines along with translations of novels, short stories and poetry collections by leading Bangla publication houses like Dey’s Publishing, Radical Impressions, etc. This period was marked by a proliferation of scholarship in Bangla on Latin American Literatures. By the 21st century, critical thinking in Latin American Literatures had established itself in the Bangla world of letters. This chapter in particular studies the translations of Latin American poetry by Bengali poets like Shakti Chattopadhyay, Subhas Mukhopadhyay, Bishnu Dey, Buddhadeb Bhattacharya, Shankha Ghosh, Biplab Majhi among many others. The analysis relates to issues they focus on including themes like self, modernity, extension of time and space, political and poetic resonances, and untranslatability. Through a step by step research of the various stages of translation activities in Bengal and Bangla, it traces how translations of Latin American Literatures begin to take place on literary grounds that had already become sites of engagement with these issues. The chapter further explores the ways in which all these poet-translators situate their translations in relation to the issues of concern. In addition, it also addresses the question of what they hence contribute to Bangla literature at large. I first chose to explore the ways in which these issues are framed in the reflections and debates on translation in India and Bengal in the 20th century. Thereon I have tried to show how these translations of Latin American poetry developed their own thrust in relation to these issues and concerns.
Reports on the topic "English Ghost stories"
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Ahmed, Zainab, Matthew Azar, Sabrina Camarda, Larissa Duggan, David Dupont, Stephanie Emmanouil, Araceli Ferrara, et al. Victorian Ghosts, 1852-1907. York University, 2020. http://dx.doi.org/10.25071/10315/.
Full textAbstract:
Victorian Ghosts 1852-1907 is a collection of Victorian Ghost Stories collated and annotated by scholars at York University enrolled in the fourth-year Victorian Ghosts course offered through the department of English during Fall 2020. Starting with Elizabeth Gaskell’s “The Old Nurse’s Story” (1852)—a staple of many Victorian Ghost Story Anthologies—and ending with Ambrose Bierce’s “The Moonlit Road” (1907), this collection includes 21 ghost stories spanning six decades. Each story includes a short introduction and explanatory notes. This is supplemented by accompanying essays that helps guide readers through the anthology.
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Azar, Matthew, Sabrina Camarda, Larissa Duggan, David Dupont, Stephanie Emmanouil, Araceli Ferrara, Taylor Grigg, et al. Victorian Ghosts, 1852-1907. Edited by Matthew Dunleavy. York University, 2021. http://dx.doi.org/10.25071/10315/41231.
Full textAbstract:
The following collection of Victorian Ghost Stories was collated and annotated by scholars at York University enrolled in the fourth-year Victorian Ghosts course offered through the department of English during Fall 2020. Starting with Elizabeth Gaskell’s “The Old Nurse’s Story” (1852)—a staple of many Victorian Ghost Story Anthologies—and ending with Ambrose Bierce’s “The Moonlit Road” (1907), this collection includes twenty-one ghost stories spanning six decades. As our classes were moved online for the 2020-21 academic year, this Scalar project functioned as a collaborative space with each student responsible for one ghost story (writing a short introduction and creating explanatory notes) and then finding links between those texts (and texts outside the course) to create a critical apparatus that helps guide readers through the anthology. This is the first edition and attempt at creating a project of this kind for this course and I hope it offers a foundation for future projects for EN 4573 (Victorian Ghosts) at York University. I cannot praise the students enough for their effort and enthusiasm during our time together when faced with learning a new software and completing unfamiliar assignments—not to mention, doing this all while navigating a (new to many of them) completely remote learning environment.