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Relevant bibliographies by topics / Ghost stories

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Academic literature on the topic 'Ghost stories'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Ghost stories"

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Oh, Jeongmi. "Research on world “Water ghost stories”: Focusing on the types of water ghosts and the functions of ‘Seizer’." Institute of Humanities at Soonchunhyang University 42, no. 4 (December 31, 2023): 39–71. http://dx.doi.org/10.35222/ihsu.2023.42.4.39.

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Water demons are beings that have an inseparable relationship with water, seducing people through their voices and eventually leading them to death. Water demons are dual beings, both human and ghost, and the mechanism of seduction and death through their voices is emphasized. Even to this day, ''‘Water ghost’ stories'' stands out among ''modern ghost stories'' more than any other story, and is actively handed down. In addition to beings called ''Water ghosts'', there are also monster-like water fairies, feminine beings with ''恨'' who seduce and eat people. It is found all over the world, including Germanic mythology, Slavic mythology, and Indonesian legends. They are people and ghosts, and monsters and fairies. Until now, this linguistic gap could not be resolved because the standards and foundations for storytelling had not been established. Now these Water ghost types need to be sorted out and redefined. We have experienced various symbolic dimensions of nature through the presence of water ghosts in the story. The archetype of the Water ghost changes over time, from the Water ghost who tempts people to death with voices from the past to the mermaid princess who sacrifices herself for love. In this paper, I have newly introduced the “Water ghost' stories” and have attempted to establish the types and prototype meanings of new theory of “Water ghost' stories” around the world. In addition to comparing stories from Korea and abroad, focusing on stories in which water ghost appear, we will also consider women's ‘Seizure’ and death through their voices. I would also like to classify the types and clarify the meaning of the original form of the World Water ghost.

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Feldman, Michael J. "»Ghost Stories«." PSYCHE 73, no. 03 (March 2019): 153–83. http://dx.doi.org/10.21706/ps-73-3-153.

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Reddy, Maureen T., and Maureen Waters. "Ghost Stories." Women's Review of Books 18, no. 12 (September 2001): 22. http://dx.doi.org/10.2307/4023697.

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Joselyn, Jo Ann. "Ghost stories." Eos, Transactions American Geophysical Union 68, no. 46 (1987): 1601. http://dx.doi.org/10.1029/eo068i046p01601-02.

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Tamas, Sophie. "Ghost stories." Emotion, Space and Society 19 (May 2016): 40–44. http://dx.doi.org/10.1016/j.emospa.2015.10.003.

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Adinkrah, Mensah. "Beliefs about ghosts among the Akan of Ghana." International journal of linguistics, literature and culture 9, no. 4 (June 1, 2023): 121–31. http://dx.doi.org/10.21744/ijllc.v9n4.2278.

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As a thanatologist who specializes in mortuary beliefs and rites in Ghana, I frequently come across information on Akan cultural beliefs about ghosts, as well as individual or personal stories of ghost encounters. Yet, there has been virtually no academic inquiry into the topic. Between January and February 2015, I listened to four consecutive weekly radio programs focusing primarily on ghosts on a commercial radio station in Ghana. The programs were broadcast in Twi, the Akan lingua franca, which the author is fluent in. Following extensive discussions about Akan cultural beliefs regarding ghosts and other superhuman entities by the host and co-hosts of the program, listeners were invited to share their personal stories about ghost sightings and other encounters with ghosts. The current article presents a narrative of the discussion that occurred on the four featured programs. The data show that Akans of Ghana maintain a strong cultural belief in ghosts. Several listeners shared with the host and listeners their personal encounters with ghosts and ghost activities.

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Krebs, Paula M. "Folklore, Fear, and the Feminine: Ghosts and Old Wives' Tales in Wuthering Heights." Victorian Literature and Culture 26, no. 1 (1998): 41–52. http://dx.doi.org/10.1017/s1060150300002266.

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Wuthering heights is haunted, of course. But not only by the ghost of Catherine, who harries Heathcliff and terrifies Lockwood. Not only by the shades of Heathcliff and Catherine (or Laurence Olivier and Merle Oberon) who set off toward Penistone Crag. The ghosts in Wuthering Heights are not Gothic ghosts nor the ghosts from Victorian magazine ghost stories. They represent a different kind of haunting altogether — the haunting of the Victorian middle classes by fear of the people they designated as “the folk.”

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SANGHA, LAURA. "THE SOCIAL, PERSONAL, AND SPIRITUAL DYNAMICS OF GHOST STORIES IN EARLY MODERN ENGLAND." Historical Journal 63, no. 2 (January 16, 2019): 339–59. http://dx.doi.org/10.1017/s0018246x1800047x.

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AbstractIn early modern England, spectral figures were regular visitors to the world of the living and a vibrant variety of beliefs and expectations clustered around these questionable shapes. Yet whilst historians have established the importance of ghosts as cultural resources that were used to articulate a range of contemporary concerns about worldly life, we know less about the social and personal dynamics that underpinned the telling, recording, and circulation of ghost stories at the time. This article therefore focuses on a unique set of manuscript sources relating to apparitions in late seventeenth- and early eighteenth-century England to uncover a different vantage point. Drawing on the life-writing and correspondence of the antiquarian who collected the narratives, it lays bare concerns about familial relations and gender that ghost stories were bound up with. Tracing the way that belief in ghosts functioned at an individual level also allows the recovery of the personal religious sensibilities and spiritual imperatives that sustained and nourished continuing belief in ghosts. This subjective angle demonstrates that ghost stories were closely intertwined with processes of grieving and remembering the dead, and they continued to be associated with theological understandings of the afterlife and the fate of the soul.

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Pirok, Alena. "Specters of the Mythic South: How Plantation Fiction Fixed Ghost Stories to Black Americans." Southern Cultures 29, no. 4 (December 2023): 16–31. http://dx.doi.org/10.1353/scu.2023.a917560.

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Abstract: The author challenges the notion of southern ghost stories as inherently subversive. Beginning with the stories in late nineteenth-century plantation fiction, this essay explores how wealthy white southerners used the genre to redeem and remake the region's past and present. White authors' claims of fraternity with largely nameless and faceless Black contacts are central to the story and reveal how these ghost stories helped to suppress reality, in favor of mythic tales. A comparison of the planation ghost stories and ghost stories accurately attributed to Black southerners shows that rather than faithfully recording the stories or making room for the oppressed to speak, white writers of planation ghost stories made a mockery of their Black neighbors and denied their post-emancipation agency. The roots of today's southern ghost stories are vastly more diverse, and significantly less empowering, than the celebrated Southern Gothic tales.

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Lister, Ashley. "Telling true ghost stories." Short Fiction in Theory & Practice 10, no. 1 (April 1, 2020): 73–87. http://dx.doi.org/10.1386/fict_00015_1.

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The purpose of this research is to consider the language used for telling true ghost stories. True ghost stories, that is, those anecdotes initially shared by friends and family describing personal experiences and encounters with paranormal activity, is an unusual genre for storytellers in that it lives within a space that can be seen as both fiction and non-fiction, with specific vocabulary that joins the two genres. The non-fiction part of such a story, as with all non-fiction narratives, relies on the verbatim reporting of an eyewitness account. The fictional part depends on a writer utilizing specific semantic tropes of the ghost story, such as mysterious shadows, unexplained noises and fluctuations in temperature. Bridging these two areas is the language found in the narrative, where a responsible writer employs careful phrasing to relate the story whilst avoiding a vocabulary that endorses unprovable phenomena. For example, I cannot, in good conscience, write: … and then the ghost attacked her. To be honest to my own scepticism, and to the limited evidence usually presented with such stories, I have to write: …and then she claims the ghost attacked her or …and then it appeared the ghost attacked her. Through a critical analysis of existing narratives and an examination of hedging strategies used, this research intends to demonstrate how some writers in this genre maintain their own truthfulness to present a compelling narrative.

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Dissertations / Theses on the topic "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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Reed, Delanna. "Ghost Stories for Historic Rugby Ghostly Gathering." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1274.

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Celebrate Halloween Rugby style at Historic Rugby’s Annual Ghostly Gathering events with ghost stories, a bonfire, and visits from some of Rugby’s most prominent haunts! Ghost stories also performed during October 2014.

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Marshall, Matt, and n/a. "GHOST STORIES WITHOUT GHOSTS: A STUDY OF AUTHORSHIP IN THE FILM SCRIPT ?THE SEABORNE?" University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20090106.150522.

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In 'The Crypt, the Haunted House of Cinema', Cholodenko argues that film is, metaphorically speaking, a haunted house: an instance of the uncanny. This raises the possibility the film script is also uncanny, from the Freudian notion of das Unheimliche, the strangely familiar and familiarly strange - and thus also a haunted house. This proposition engenders a search as self-reflexive practice for that which haunts the script' an uncanny process to explore the uncanny. The search requires drawing on Barthes, acting 'as dead' with that process' attendant contradictions and problematics' the most likely ghost in the script being the writing self. Establishing the characteristics of the writing self involves distinguishing that figure from the author. This requires outlining the development of theories of the author from the concept of authorial will, as per the argument of Hirsch, to the abnegation of the author as a philosophical certainty. Barthes and Foucault call this abnegation the death of the author. Rather than that marking the end of a particular branch of analysis, the death of the author can be considered an opening to the writing practice. From this perspective, the death of the author becomes a strategy in Foucault's game of writing, effecting the obfuscation of the writing self, by placing a figure as dead, the author figure, within the metaphorical topography of the text. Indeed, the author as dead is akin to a character in the narrative but at a substratum level of the text. What places this dead figure within the text is an uncanny writing self, a figure of transgression, brought into being in the experience of Blanchot's essential solitude. 'The Seaborne' written by Matt Marshall, provides an example of a film script that constitutes a haunted house, a site of the uncanny. In terms of the generic characteristics of the film script as text type, its relative unimportance in relation to any subsequent film based on the script becomes of itself a feature of the film script. This makes the film script a site of negotiation and contestation between the implied author as hidden director on the one hand and the implied reader as implied director on the other. This confirms the film script as, using Sternberg's terminology, a blueprint text type. Examples of the negotiation and relationship between hidden director and implied director are found in analysis of 'The Seaborne' as are the tensions in the relationship between the individualistic impulses of the hidden director and the mechanistic, formal requirements of the text type as blueprint. These tensions are ameliorated by the hidden director who is then effaced within the constructed layers of the film script text to allow interpretive space for the implied director. 'The Seaborne' as representative of the film script text becomes the after-image of a written text and the foreshadowing of a future filmic one. It therefore never finds completion within its own construction process and its formation begins in templates that accord with the Bakhtin's description of the epic, as is shown by comparing the construction notes for 'The Seaborne' with Aristotlean dramatic requirements. But at the same time there is present in 'The Seaborne' a Bakhtinian dialogism that points towards the individual markers of a writing self. This writing self, referring to Kristeva, is a figure of abjection. It transgresses itself and transgresses its own transgressions. It is a ghost in a ghost story without ghosts.

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Marvulli, Pietro <1988&gt. "The Gothic Spirit in Edith Wharton's Ghost Stories." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6666.

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La tesi si propone in un primo momento di dipingere tratti distintivi e peculiari della letteratura gotica Americana, al fine poi di approfondire lo stile e comprendere le tematiche che si celano dietro le "ghost stories" di Edith Wharton.

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Felton, D. "Haunted Greece and Rome : ghost stories from classical antiquity /." Austin : University of Texas Press, 1999. http://www.loc.gov/catdir/toc/texas051/98039213.html.

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Sala, Carlotta <1992&gt. ""Recounting Nightmares": An Analysis of Five Dickens' Ghost Stories." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15227.

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La tesi tratterà cinque racconti di fantasmi di Charles Dickens: The Haunted Man and the Ghost’s Bargain (1848), The Ghost in the Bride’s Chamber (1857), The Haunted House (1859), The Trial for Murder (1865) e The Signalman (1866). L’introduzione parlerà dell’origine e della storia delle Ghost Stories in generale, spiegando l’attenzione verso questo tipo di racconti durante l’epoca vittoriana ed in particolare come mai Dickens vi fosse interessato, tanto da scriverli lui stesso e pubblicarli nelle sue riviste. Nei cinque capitoli verranno analizzati i racconti sopramenzionati, focalizzandosi sulla funzione di ogni fantasma e sul significato nascosto che l’autore intendeva dare ad ognuno di essi. Le conclusioni compareranno le analogie e le differenze presenti nei racconti analizzati, evidenziandone i temi ricorrenti.

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Cadwallader, Jen Taylor Beverly. "Spirits of the age ghost stories and the Victorian psyche /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2278.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.
Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.

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Alsowaifan, Sabah H. "Qasim's short stories, an example of Arabic supernatural/ghost/horror story." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60270.pdf.

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Petersson, Catrine. "Tradition and Development : The Theme of Revenge in Two Ghost Stories." Thesis, Linköpings universitet, Avdelningen för språk och kultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-107174.

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This essay is a literary analysis of two ghost stories, Elizabeth Gaskell’s “The Old Nurse’s Story” (1852) and Susan Hill’s The Man in the Picture (2007). The main focus of the essay is the theme of revenge, which is explored on the basis of similarities and differences in the mentioned ghost stories. It is shown that, in spite of many similarities, The Man in the Picture is a more developed and less conventional ghost story than “The Old Nurse’s Story”. This development is seen in the setting, the narrators and the structure of the story, all of which contain more layers in Susan Hill’s story. The essay also includes a didactic chapter which shows how a teacher can use the two ghost stories in the classroom to teach students in upper secondary school about literary analysis and the Gothic genre.

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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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Books on the topic "Ghost stories"

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D, Seymour St John, and Neligan Harry L, eds. True Irish ghost stories. 2nd ed. London: Fitzhouse, 1990.

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Umeasiegbu, Rems N. Ghost stories. Enugu, Nigeria: Koruna Books, 2006.

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James, M. R. Ghost Stories. Harmondsworth: Penguin books, 1994.

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Lemire, Jeff. Ghost stories. Marietta, Ga: Top Shelf, 2007.

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Jerry, Prosser, Luke Eric, Grant Steven 1953-, Hord Marilee, and Adair Lynn, eds. Ghost stories. Milwaukie, OR: Dark Horse Comics, 1995.

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Jane, Launchbury, ed. Ghost stories. London: Award, 1993.

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Peter, Washington, ed. Ghost stories. New York: Knopf, 2008.

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Robert, Westall, ed. Ghost stories. London: Kingfisher, 2004.

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Ales̆, Haman, Zítková Irena, and Dungel Jan, eds. Ghost stories. London: Treasure, 1987.

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Sturrock, Walt. Ghost stories. Morris Plains, NJ: Unicorn Pub. House, 1993.

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Book chapters on the topic "Ghost stories"

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Heholt, Ruth. "Ghost Stories." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–3. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02721-6_90-1.

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Heholt, Ruth. "Ghost Stories." In The Palgrave Encyclopedia of Victorian Women’s Writing, 661–64. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_90.

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Rolls, Alistair. "Telling Ghost Stories." In Agatha Christie and New Directions in Reading Detective Fiction, 59–73. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003288527-5.

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"Ghost stories." In Petronius and the Anatomy of Fiction, 140–58. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511482359.010.

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DeCaroli, Robert. "Ghost Stories." In Haunting the Buddha, 87–104. Oxford University Press, 2004. http://dx.doi.org/10.1093/0195168380.003.0005.

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Ferguson, Gary. "Ghost Stories." In Same-Sex Marriage in Renaissance Rome, 159–66. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755262.003.0012.

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This chapter proposes ways in which cases studies about same-sex marriage might be “usable” or lend itself to meaningful appropriation in the present. It brings the evidence from Renaissance Rome into dialogue with the issue of same-sex marriage from the perspectives of LGBT politics and queer politics. It also develops lines of reflection concerning forms of desire and resistance, including memory, loss, and place, sexual and social dissidence, creative and transformative appropriation, alternative temporalities, and histories yet unknown. The chapter reviews intimate information concerning the sex lives of a group of men from the sixteenth century, which is considered important for the history of sexuality. It explores the extent to which it was possible in early modern Europe to conceive of a marriage between two masculinities or two femininities.

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"Ghost Stories." In Queen of the Hillbillies, 85–102. University of Arkansas Press, 2022. http://dx.doi.org/10.2307/j.ctv2bz2md3.12.

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"Ghost Stories." In The House You Were Born In, 59–60. McGill-Queen's University Press, 2022. http://dx.doi.org/10.1515/9780228015789-035.

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"GHOST STORIES." In The House You Were Born In, 59–60. McGill-Queen's University Press, 2022. http://dx.doi.org/10.2307/j.ctv360nq1q.37.

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"2 Graham Greene: No Tape Recorder." In Ghost Stories, 29–48. McGill-Queen's University Press, 2024. http://dx.doi.org/10.1515/9780228021568-003.

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Conference papers on the topic "Ghost stories"

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Sarjiati, Upik, and Ayu Nova Lissandhi. "Trio Hantu Cs: A Comic and Animation Series Adaptations of Indonesian Ghost Stories." In 1st International Conference on Folklore, Language, Education and Exhibition (ICOFLEX 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201230.025.

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Lipinskaya, Anastasia. "Vampire and Victim: Two Gender-Oriented Plots in E. F. Benson's Ghost Stories." In 45th International Philological Conference (IPC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ipc-16.2017.17.

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Mori, Masaki. "Ghost Stories of TV, Old and New: A Comparison between Ringu and “TV People”." In 6th Annual International Conference on Language, Literature and Linguistics (L3 2017). Global Science & Technology Forum (GSTF), 2017. http://dx.doi.org/10.5176/2251-3566_l317.83.

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Furno, Antonella. "Ricerca storica e cartografica delle domus federiciane “fantasma” della regione del Principatus et Terra Beneventana." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11535.

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Historical and cartographic research about the ghost domus built by Frederick II in Principatus et Terra Beneventana regionDuring his reign Frederick II built a series of representative fortified constructions in southern Italy, and after reinforcing the defence line of the border with the State of the Church, he decided to build many residential estates called domus or palacium in the fundamental medieval textual source of Statutum de reparatione castrorum. This research is focused on the study of the landscape in the ancient region of Principatus et Terra Beneventana during the thirteenth century: it is noticed the presence of five imperial domus cited in the Statutum with the name domus Castellucci Battipallae, castrum et palacium Sarni, domus imperatoris in Ebulo, domus imperatoris Apicii and the Castel Belvedere Marano palace. Every domus was studied through a historical and cartographic analysis, and in case of the structure is not recognised on the territory it was organized a landscape analysis in order to propose a hypothetical position. The data that was gathered into ArcGIS software to define the probable locations of the ghost domus were the detailed routes of ancient roads related to the positions of the casalia (little rural communities that paid taxes to maintenance of the royal structures), the Church properties, the urban site, and the other castra and domus.

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Krasovec, Aleksandra N. "“KALEIDOSCOPIC” NOVEL OF JOSIP OSTI IN THE ASPECT OF TRANSCULTURALITY." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.10.

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The Slovenian-Bosnian poet, writer, essayist, literary critic, translator and editor Josip Osti (1945–2021) was born in Sarajevo, lived and worked in Slovenia since 1990. Being a recognized poet in his homeland, writing in Croatian, one of the largest translators of Slovenian literature into Serbo-Croatian, since 1997 he has been writing in Slovenian. The transcultural aspects of Josip Osti’s literary works, both poetry collections and novels, are a unique phenomenon. In our study, we turned to the novels of Josip Osti, namely his trilogy — Ghosts of the House of Heinrich Böll (2016), In Front of the Mirror (2016) and Life is a Creepy Fairy Tale (2019). All three works have a strong (auto)biographical component and form a special novel form, which the author calls the “kaleidoscope-mosaic” novel. The latter has a fragmented structure and consists of short stories, life stories, anecdotes, urban legends, essayistic notes, literary-critical digressions, lyrical passages, diary entries, etc. In Osti’s novels, we also find a connection with the tradition of short prose in Bosnian-Herzegovina literature, in particular, with the works of the 1990s by such authors as M. Jergović, D. Karahasan, N. Veličković, K. Zaimović and others. Their texts are characterized by a destabilized genre form, a mosaic narrative, personal and documentary evidence, and a palimpsest narrative model. The kaleidoscopic structure of Osti’s prose texts helps him to reflect the transcultural view characteristic of his intimate and artistic world, to embrace the complex overlap of heterogeneous elements. The novels are written in Slovene, but they are mainly devoted to the space of Sarajevo, the unique multicultural atmosphere of this city, as well as the tragedy unfolding in it; thus, the writer complements the so-called “Sarajevo text”, but already in the field of Slovenian literature, artistically comprehending the interconnectedness of Bosnia and Slovenia. Refs 19.

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Reports on the topic "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/.

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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.

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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.

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