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Journal articles on the topic 'Ghosts in popular culture'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Janeček, Petr. "Prague ghostlore of the late 19th century. Suburban ghosts between moral panic and vernacular spectacle." Estudis de Literatura Oral Popular / Studies in Oral Folk Literature, no. 11 (January 9, 2023): 11–29. http://dx.doi.org/10.17345/elop202211-29.

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    In the mid-1870s, a wave of popular urban hauntings in public spaces swept across Europe. These included sightings of the Park Ghost in Sheffield in 1873 and the Westminster Christ Church Ghost in London in 1874. In early December 1874, probably the most famous Czech ghost, the Podskalí Apparition (Podskalské strašidlo), was born. This haunting was followed by that of similar but less popular ghosts that appeared in industrial, working-class Prague neighborhoods in 1876 and 1907, respectively. This paper analyzes newspaper articles from this period about these ap

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Helmer, Dona J. "Book Review: Ghosts in Popular Culture and Legend." Reference & User Services Quarterly 56, no. 4 (2017): 303. http://dx.doi.org/10.5860/rusq.56.4.303b.

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The co-editors are June Pulliam, who teaches classes in horror literature, YA fiction, and film, and Anthony Fonesca, who has written about horror and also has a background in information literacy. They previously co-authored Hooked on Horror: A Guide to Reading Interests in the Genre, and have now applied their talents and expertise to create a work that contains accessible information about a popular topic.

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Møllegaard, Kirsten. "Popular Ghosts: The Haunted Spaces of Everyday Culture." Folklore 125, no. 1 (2014): 137–39. http://dx.doi.org/10.1080/0015587x.2013.878160.

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Sinnott, Megan. "Baby Ghosts: Child Spirits and Contemporary Conceptions of Childhood in Thailand." TRaNS: Trans -Regional and -National Studies of Southeast Asia 2, no. 2 (2014): 293–317. http://dx.doi.org/10.1017/trn.2014.8.

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AbstractThe currently popular practice of propitiating, or ‘adopting’, child spirits in Thailand reveals an ambivalent attitude towards childhood. According to Buddhist scholars on childhood, Buddhist conceptions of children do not differentiate children in significant ways from adults in terms of their relative purity or innocence, as both children and adults possess countless lifetimes of karma; children are thus agentive beings, although not yet fully realised as adults. The child ghosts reflect the complex, competing conceptions of childhood, where they are both valuable resources to be de

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Bruce, Stuart A. "SUPERNATURAL BELIEF IN JAVANESE CULTURE: INEVITABLE AND ERRONEOUS." Celt: A Journal of Culture, English Language Teaching & Literature 3, no. 2 (2017): 131. http://dx.doi.org/10.24167/celt.v3i2.1091.

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The Javanese people have a healthy beliefin ghosts. magic and the supernatural; one which often seems contradictory to the more scientifically-based beliefs held in the western world. These beliefs are born from ignorance and from culture. Ignorance here has a relationship to levels of both literacy and personal intelligence. and if ignorance causes a lack of understanding. lack of understanding is a breeding ground for belief in ghosts. The culture of the Javanese is the other major factor in producing such strong and widely-held beliefs. Tradit

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Mulia, Sandra Whilla. "REALISME MAGIS DALAM NOVEL SIMPLE MIRACLE DOA DAN ARWAH KARYA AYU UTAMI." Lakon : Jurnal Kajian Sastra dan Budaya 5, no. 1 (2016): 30. http://dx.doi.org/10.20473/lakon.v5i1.2780.

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This study are intend to reach some goals. First, this aimed to uncover the magic realism which is narrated in Ayu Utami’s novel, entitled Simple Miracle DoaDan Arwah. Second, this study aimed to discover socio cultural context which form the background of the emerging of magic realism of narrative in Ayu Utami’s novel entitled Simple Miracle Doa dan Arwah. This research utilizes magic realism narrative theory on the book Ordinary Enchantments Magical Realism andRemystifiction of Narratives written by Wendy B. Faris (2004). This is a qualitative study which employed textual analysis to analyze

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Permatasari, Shita Dewi Ratih, and Ni Made Widisanti. "Hantu Perempuan sebagai “Produk Gagal” dalam dua Film Horor Indonesia: Pengabdi Setan (2017) dan Asih (2018)." Media Bahasa, Sastra, dan Budaya Wahana 25, no. 1 (2019): 86–97. http://dx.doi.org/10.33751/wahana.v25i1.1220.

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AbstractAs a product of popular culture, films are mostly utilized as propaganda to convey certain ideologies. Therefore, the cultural phenomena and reality portrayed in films cannot be separated from the dominant ideology. “Pengabdi Setan” 2017 (Satan’s Slave) and “Asih” 2018 are two Indonesian horror films serving as media to represent the cultural phenomena through female ghost characters. In many Indonesian horror movies, women are mostly represented as ghosts associated with negative social attributes. The purpose of this research is to dismantle the hidden ideologies behind the represent

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Volchkova, Elizaveta. "Death Beyond Death: Jian Spirits in Chinese Popular Belief." Journal of Ethnology and Folkloristics 17, no. 1 (2023): 68–82. http://dx.doi.org/10.2478/jef-2023-0006.

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Abstract This article* examines the origins and development of notions about jian spirits, beings into which, according to Chinese folk tradition, the souls of the dead transform after their demise. An analysis of the few available references to jian in Chinese literature and folklore suggests that the first mention of jian as ‘ghosts of ghosts’ appears relatively late, in the 13th century, as the result of a combination of two independent traditions: the written jian formula used in apotropaic practices from at least the Tang period (618–907), and a complex of ideas about the mortality of gho

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Buchanan, Paul G. "Exorcising Collective Ghosts: Recent Argentine Writings on Politics, Economics, Social Movements, and Popular Culture." Latin American Research Review 25, no. 2 (1990): 177–203. http://dx.doi.org/10.1017/s0023879100023438.

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10

Vandevender, Bryan M. "‘She’s (Not) There’: Musical theatre ghosts, Gwen Verdon and the Broadway revivals of Sweet Charity." Studies in Musical Theatre 19, no. 1 (2025): 7–24. https://doi.org/10.1386/smt_00180_1.

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The memory of acclaimed theatre performances (what Marvin Carlson refers to as ‘ghosts’) pervade the musical theatre repertoire and frequently emerge from a given work’s inaugural first-class production. In many cases, the originating actor’s performance circulates through popular culture for a protracted period of time by way of repeated stage revivals or mediated records: cast albums, television performances and feature film adaptations. The greater the number of performance documents or the longer the association with the role, the more enduring the musical theatre ghost. Gwen Verdon’s turn

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11

Alexander, Hay. "'Towns that go bump in the night': Haunted Urbanity and Ghostly Narratives in the UK." Supernatural Studies: An Interdisciplinary Journal of Art, Media, and Culture 6 (October 7, 2020): 59–83. https://doi.org/10.5281/zenodo.4071815.

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Most if not all towns and cities in the UK have at least one haunted landmark, often several. Locations ranging from Southampton to York to Cardiff, for example, are host to a wide range of venues and locations, from industrial estates to haunted theatres, all said to be host to spectral presences of one sort or another. It is fair to say, then, that paranormal urban landscapes loom large in British culture and its urban experience. Given the sheer number of these occurrences, what does this reveal about how we relate to our towns and cities? Do our large number of haunted cities and towns ref

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Hanks, Michele. "Haunted Objects." Nova Religio 22, no. 4 (2019): 60–74. http://dx.doi.org/10.1525/nr.2019.22.4.60.

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In contemporary England, paranormal investigation has emerged as a popular means of seeking knowledge about reportedly ghostly phenomena. Paranormal investigators are self-fashioned experts who aim to balance scientistic and spiritual perspectives in the hope of proving or disproving the existence of ghosts from an objective perspective. Despite their collective goal to understand the paranormal, many investigators experience profound doubt of its reality and nature. Drawing on long-term ethnographic fieldwork with English paranormal investigators, this essay examines how investigators’ engage

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Millán, Mª Genoveva Dancausa, Ricardo David Hernandez Rojas, and Javier Sánchez-Rivas García. "Analysis of the Demand of Dark Tourism: A Case Study in Córdoba (Spain)." Mediterranean Journal of Social Sciences 10, no. 1 (2019): 161–76. http://dx.doi.org/10.2478/mjss-2019-0015.

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Abstract Visiting places where death is present, either due to a natural tragedy, war, the Holocaust, etc., or because there is the presence of a non-visible entity or paranormal phenomenon, is increasingly more accepted in modern times. It has become a kind of tourism that has grown in demand, though it remains a minority. The city of Cordoba, in the south of Spain, is swarming with houses and places where legends have endured over centuries as a consequence of the coexistence of three cultures – Jewish, Christian and Arab. In turn, popular culture considers these places as having a character

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Winiarski, Douglas L. "Native American Popular Religion in New England’s Old Colony, 1670–1770." Religion and American Culture: A Journal of Interpretation 15, no. 2 (2005): 147–86. http://dx.doi.org/10.1525/rac.2005.15.2.147.

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AbstractIn recent years, historians have turned their attention to the continued presence of Native Americans living “behind the frontier” in eighteenth-century New England. Where a previous generation of scholars once wrangled over the benignity of seventeenth-century Puritan “praying towns” and equated conversion with cultural suicide, current studies of Native religion in the decades preceding the American Revolution suggest that Indians preserved traditional culture by grafting Christianity onto a preexisting grid of beliefs and practices. A case study based on the writings of a lay missio

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Milne, Lesley. "Ghosts and Dolls: Popular Urban Culture and the Supernatural in LiudmilaPetrushevskaia’s Songs of the Eastern Slavs and The Little Sorceress." Russian Review 59, no. 2 (2000): 269–84. http://dx.doi.org/10.1111/0036-0341.00121.

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Marini, Anna Marta, and Jeffrey Andrew Weinstock. "American Gothic: An Interview with Jeffrey Andrew Weinstock." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (2022): 3–15. http://dx.doi.org/10.37536/reden.2022.3.1811.

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 Jeffrey Andrew Weinstock is currently Professor of English at Central Michigan University, where he has been teaching a variety of courses on American literature and popular culture since 2001. He’s a scholar of the Gothic with a vast academic production, in particular on supernatural fiction, film and television. His research interests span topics related to, among many, monsters, ghosts, vampires, and the female Gothic. He is also an associate editor for the Journal of the Fantastic in the Arts and, besides a long list of published essays, he edited three collections of tales by H.P.

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Samanda, Glen Aviaro, and Ade Kusuma. "Analisis Semiotika Terhadap Tokoh Utama Perempuan dalam Film Perempuan Tanah Jahanam." Az-Zahra: Journal of Gender and Family Studies 4, no. 1 (2023): 1–11. http://dx.doi.org/10.15575/azzahra.v4i1.25547.

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Horror is still a popular genre in the growth of Indonesian films. Female characters are often featured iconically in the narrative of a horror film. However, there is a negative stigma about the presence of female characters in horror films who appear as antagonistic characters. Female characters often play the role of ghosts, victims of crimes, and other complementary characters. This study uses qualitative research and Roland Barthes semiotics to analyze the representation of female characters in Perempuan Tanah Jahanam. This research focuses on the main female characters in the movie. The

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Meyer, Birgit. "‘Delivered from the powers of darkness’: confessions of satanic riches in Christian Ghana." Africa 65, no. 2 (1995): 236–55. http://dx.doi.org/10.2307/1161192.

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In Ghana, as well as in other parts of Africa, pentecostal Churches have recently become extremely popular. Within these Churches reference is made frequently to the devil, who is associated with the non-Christian gods and ghosts as well as Western luxury goods. Present Ghanaian popular culture reveals a striking obsession with images of the devil and of evil. By analysing stories told and published in Ghanaian ‘born again’ circles about money received through a contract with the devil or one of his agents, the author attempts to understand (1) what evil is denounced in these movements by mean

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19

Orbaugh, Sharalyn. "Sex and the Single Cyborg: Japanese Popular Culture Experiments in Subjectivity." Science Fiction Studies 29, Part 3 (2002): 436–52. https://doi.org/10.1525/sfs.29.3.0436.

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This paper examines two aspects of subjectivity—sexuality and singularity—that are considered fundamental to a modernist notion of the person. These aspects of subjectivity are under siege as new technologies of reproduction challenge our understanding of sexed bodies and as, simultaneously, a postmodern world-view brings forward the multiplicity of sexual subject positions and embodied hybridity that modernist thinking sought to control or dismiss. In this time of conceptual crisis regarding subjectivity and embodiment, the popular culture media of many advanced countries have produced increa

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Prosser, Ashleigh. "Resurrecting Frankenstein: Peter Ackroyd’s The Casebook of Victor Frankenstein and the metafictional monster within." Australasian Journal of Popular Culture 8, no. 2 (2019): 179–96. http://dx.doi.org/10.1386/ajpc_00004_1.

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This article examines Peter Ackroyd’s popular Gothic novel The Casebook of Victor Frankenstein (2008), which is a reimagining of Mary Shelley’s famous Gothic novel Frankenstein, or, The Modern Prometheus ([1818] 2003). The basic premise of Ackroyd’s narrative seemingly resembles Shelley’s own, as Victor Frankenstein woefully reflects on the events that have brought about his mysterious downfall, and like the original text the voice of the Monster interrupts his creator to recount passages from his own afterlife. However, Ackroyd’s adaption is instead set within the historical context of the or

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Kornilova, Elena. "GHOST, MONSTER, SKULL: POP CULTURE VALUES INTHE AMERICAN TELEVISION SERIES "WEDNESDAY"." Experience industries Socio-Cultural Research Technologies, no. 3 (2023): 116–48. http://dx.doi.org/10.34680/eiscrt-2023-3(4)-116-148.

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the work is devoted to observations of the phenomenon of modern mass culture, which is in demand by viewers on the Internet -the television series "Wednesday", created by order of the «Netflix»streaming service, for children and youth audiences. The author analyzes in detail the gothic elements underlying the fantastic plot scheme, intertextual inclusions in the idea of film writers, in particular, the work of E.A. Poe, motifs from the novels by M. Shelley and R. Stevenson and Old Testament allusions, as well as possible parallels with the equally popular a decade ago with the Harry Potter ser

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Thind, Rajiv. "For the common weal." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (2018): 69–83. http://dx.doi.org/10.1177/0184767818788086.

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While much of recent Hamlet criticism is heavily invested in foregrounding Catholic-nostalgic aspects in the play, I argue that the purgatorial Ghost can also be read as a caricature. Comedic and parodic depictions of Roman Catholic doctrine and beliefs were fairly common in the popular writings of Shakespeare’s age. I situate Shakespeare’s Hamlet within contemporary Protestant culture and its literary aesthetics as well as populist appeal. Finally, I read Hamlet’s mocking of the Ghost at the end of Scene 1.5 along with a popular pamphlet, Tarltons Newes out of Purgatorie (1590). Both, I argue

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23

Germanà, Monica. "Re-possessed Landscape, Haunted Ecology, and Mafia Tourism: Spectrality in Fabio Grassadonia and Antonio Piazza's Sicilian Ghost Story." Gothic Studies 27, no. 2 (2025): 121–41. https://doi.org/10.3366/gothic.2025.0224.

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Justin D. Edwards's political reading of the haunted spaces of Postcolonial, Global, Popular and Eco Gothic informs this article on the use of spectrality in Fabio Grassadonia and Antonio Piazza's film Sicilian Ghost Story (2017). As the self-reflective title suggests, the film deploys a popular paradigm of the Gothic, the ghost story, and an intricate set of global cultural influences, to address a distinctly regional history and locale. In its application of the gothic fairy-tale aesthetics and themes to Sicily's lesser-known woodland and mountains, the film's combination of real and fantast

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Sánchez-Mateos Paniagua, Rafael. "Los destinos cruzados de la imposibilidad. Perspectivas de género en torno al Museo del Pueblo Español en compañía de Carmen Baroja y Nessi = The Crossed Destinies of Impossibility. Gendered Perspectives on the Museum of the Spanish People in the Company of Carmen Baroja y Nessi." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 8 (November 17, 2020): 171. http://dx.doi.org/10.5944/etfvii.8.2020.27418.

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Los museos y archivos de cultura tradicional popular conciernen intensamente a la memoria material de los trabajos reproductivos que sostienen la vida realizados por mujeres, pero también a los lazos intelectuales y profesionales que muchas de ellas, con relativa frecuencia, establecieron con el campo de la etnología y la etnografía y sus instituciones. En el marco de los estudios culturales, este artículo explora estos museos considerados menores, invisibles o irrelevantes para el presente, a menudo almacenados, dispersos y subalternizados, sino desaparecidos. Específicamente, se analiza el c

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Dean, Jim. "Lanterns in the Dark." Ontario History 117, no. 1 (2025): 26–43. https://doi.org/10.7202/1117624ar.

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The inception and growth of Ontario’s ghost tours are showcased, highlighting their blend of history, culture, and the supernatural. Through the pioneering efforts of Glen Shackleton, Danielle Urquhart, and Kyle Upton, who each brought unique innovations to the field, these tours have evolved from niche activities to popular cultural experiences. The influence of technology and media, particularly reality television, on public interest is analyzed, along with the operational challenges in maintaining these immersive experiences. The tours play a crucial role in preserving and promoting local h

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Al-Ulya, Kalimatullah, and Rido Budiman. "MONSTER GLOBAL, KETAKUTAN LOKAL: KISAH HANTU DAN INGATAN KOLEKTIF WARGA KOTA." Makna: Jurnal Kajian Komunikasi, Bahasa, dan Budaya 3, no. 1 (2018): 1–19. http://dx.doi.org/10.33558/makna.v3i1.839.

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Penelitian ini membahas karakter horor yang dihadirkan kembali dalam bentukcerita lisan, gambar komik, film dan sinetron, serta rumah hantu. Dari representasikarakter horor tersebut dapat ditemukan satu budaya dengan budaya lainnyasaling bercampur, yaitu budaya horor global dan budaya horor lokal. Akhirnya,pelokalan karakter horor global pun semakin populer di Indonesia. Di Bekasiditemukan beberapa praktek pelokalan karakter horor global melalui perayaanHalloween di mal-mal Bekasi. Walaupun segala bentuk praktek pelokalankarakter horor global terjadi, ada pula yang mencoba untuk mengangkat kem

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Jacobs, Elizabeth. "The Theatrical Politics of Chicana/Chicano Identity: from Valdez to Moraga." New Theatre Quarterly 23, no. 1 (2007): 25–34. http://dx.doi.org/10.1017/s0266464x06000601.

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Critical opinion over the role of popular culture in relation to ethnic and cultural identity is deeply divided. In this essay, Elizabeth Jacobs explores the dynamics of this relationship in the works of two leading Mexican American playwrights. Luis Valdez was a founding member of El Teatro Campesino (Farmworkers' Theatre) in California during the 1960s. Originally formed as a resistance theatre, its purpose was to support the Farmworkers' Union in its unionization struggle. By the early 1970s Valdez and the Teatro Campesino were moving in a different direction, and with Zoot Suit (1974) he o

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尚昱辰, 三明学院教育与音乐学院. "Fiction and Reality: Aesthetic Implication of the Love Ghost Opera in the Late Ming Dynasty." Sinology 2 (2019) 2 (2019): 81–108. https://doi.org/10.12906/9781682025222_004.

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As one of the main categories of ancient Chinese operas, ghost opera plays an important role in the opera history. And the love ghost subject opera, which contains the two themes of love and death, becomes more and more popular among the dramatists and audiences. The cultural imagination of the “ghost” in ancient Chinese opera is of great importance in the aspects of artistic function, opera adaptation, and image building, especially the “female ghost” images, realizing the ideal realization and aesthetic imagination for the dual-image of human and ghost in an “imaginary reality”. In the late

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Jiamrattanyoo, Arthit. "Singing Crimes, Rhyming News: Folksong Newsprints, Horror Sensibilities, and the Rise of Sensationalist Mass Media in Siam, 1920s–1940s." MANUSYA: Journal of Humanities 27, no. 1 (2024): 1–26. https://doi.org/10.1163/26659077-20242722.

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Abstract The proliferation of print media in early-twentieth-century Siam coincided with the rising popularity of folk vocal music. By the 1920s, certain styles of folk balladry were appropriated by urban writers for news reportage and sociopolitical criticism with doses of sensationalization. Published in periodicals and chapbooks, this popular literature was characterized by its versification of true crimes and its typical focus on the figure of the criminal or the ghost. My article examines this hybrid genre of news entertainment at the nexus of a modern structure of the horror experience,

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Bowers, Katherine. "Ghost Writers: Radcliffiana and the Russian Gothic Wave." Victorian Popular Fictions Journal 3, no. 2 (2021): 152–71. http://dx.doi.org/10.46911/tvct9530.

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Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying,

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Semenova, Natalia V. "From An Optimistic Tragedy to a “Revolutionary Concert”: Recycling of Soviet Historical Past in Contemporary Russian Theatre." Vestnik of Saint Petersburg University. Arts 13, no. 1 (2023): 107–27. http://dx.doi.org/10.21638/spbu15.2023.105.

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The article focuses on the recycling of Soviet culture in productions of contemporary Russian theatre. In 2017, Victor Ryzhakov staged at Alexandrinsky theatre An Optimistic tragedy. A Farewell Ball, Asya Voloshina’s remake of a play written by Vsevolod Vishnevsky in 1932–1933. Such directors as Alexander Tairov, Georgy Tovstonogov, Mark Zakharov, and others had turned to An Optimistic Tragedy during the crucial moments of Soviet theatre history. In the 21st century this play has become claimed again. However, the interpretation of the text and its theatrical language drastically changed. The

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fink, robert. "the story of orch5, or, the classical ghost in the hip-hop machine." Popular Music 24, no. 3 (2005): 339–56. http://dx.doi.org/10.1017/s0261143005000553.

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perhaps the first digital sample to become well known within popular music was actually a piece of western art music, the fragment of stravinsky's firebird captured within the fairlight computer musical instrument, the first digital ‘sampler’, as ‘orch5’. this loud orchestral attack was made famous by bronx dj afrika bambaataa, who incorporated the sound into his seminal 1982 dance track, ‘planet rock’. analysis of kraftwerk's ‘trans europe express’, also sampled for ‘planet rock’, provides an interpretive context for bambaataa's use of orch5, as well as the hundreds of songs that deliberately

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Lin, Grace Cheng-Ying. "Yingling and women imagery in contemporary Taiwanese media culture: The Tag-Along film series as an example." East Asian Journal of Popular Culture 9, no. 1 (2023): 103–18. http://dx.doi.org/10.1386/eapc_00091_1.

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With the assistance of textual analysis, this article examines the images of yingling (spirits of aborted or miscarried foetuses) in The Tag-Along and The Tag-Along 2. This popular cinematic demonology searches for a Taiwanese identity through urban legends and folklore. In the films, yingling are imagined as pitiful and malevolent. The spiritual being has desires, emotions and agency. This feto-centric imagination echoes the religious discourses that frame the newly popularized abortion ritual in Taiwan. Women are depicted as determined, independent and mutually supportive. However, the essen

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Munro, Martin. "The Apocalyptic Creole, from Dessalines to the Chimères." Diaspora: A Journal of Transnational Studies 17, no. 1 (2013): 105–20. http://dx.doi.org/10.3138/diaspora.17.1.105.

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In this article, I explore the idea of the hybrid, creolized subject in Haiti as a kind of living phantom. To do so, I refer initially to the notion of the “Creole Dessalines,” the idea that Haiti’s first leader was island-born and culturally creole. I then move forward in time 200 years, to just before the bicentenary, a time that seemed to usher back into Haitian society figures that appear to echo in many ways the creole Dessalines in their ambiguous, contradictory values, actions, and relations to broader Haitian society. These figures are the so-called Chimères, the term used to refer to

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MANSBRIDGE, JOANNA. "TheZenne: Male Belly Dancers and Queer Modernity in Contemporary Turkey." Theatre Research International 42, no. 1 (2017): 20–36. http://dx.doi.org/10.1017/s0307883317000049.

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This article explores the history and contemporary revival of male belly dancers –zenneorköçek– in Turkey and in cities with large Turkish populations, such as Berlin. What does the current revival of male belly dancing tell us about the relationship between modern ideologies of sex and gender and narratives of modernity as they have taken shape in Turkey? Thezennedancer embodies the contradictions of contemporary Turkish culture, which includes a variety of same-sex practices, along with sexual taxonomies that have developed in collusion with discourses of modernity. The revival ofzennedancin

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Roberts, Les. "Songlines Are for Singing: Un/Mapping the Lived Spaces of Travelling Memory." Humanities 12, no. 3 (2023): 52. http://dx.doi.org/10.3390/h12030052.

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Putting to work the dialectical concept of ‘un/mapping’, this paper examines the immateriality of cultural memory as coalescent in and around songlines: spatial stories woven from the autobiogeographical braiding of music and memory. Borrowing from Erll’s concept of ‘travelling memory’ (2011), the idea of songlines provides a performative framework with which to both travel with music memory and to map/unmap the travelling of music memory. The theoretical focus of the work builds on empirical studies into music, place and cultural memory in the form of interviews conducted across the UK in 201

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Michelsen, William. "Grundtvig på normaldansk." Grundtvig-Studier 41, no. 1 (1989): 308–13. http://dx.doi.org/10.7146/grs.v41i1.16039.

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Grundtvig in Normal Danish.Helge Grell: The Spirit of the Creator and the Spirit of the People. An examination of Grundtvig’s ideas about peoples and popular culture, and their connection with his Christian view. Anis Publishing House, Århus. 346 pp.A Human First, A Christian Next. Helge Grell’s dissertation on Grundtvig under debate. Edited by Jens Holger Schjørring, the writers, and Anis Publishing House. Århus, 1988. 101 pp.Grundtvig’s prose is difficult to read, even for Danes. In this book Helge Grell has made his ideas about people, nations, and popular culture readable and intelligible.

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Paulissen, P. C. J. M. (Jarell). "The Devil’s Music: Satanism and Christian Rhetoric in the Lyrics of the Swedish Heavy Metal Band Ghost." Religions 12, no. 3 (2021): 214. http://dx.doi.org/10.3390/rel12030214.

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This paper is an inquiry into a contemporary heavy metal band from Sweden called Ghost. Ghost released its first studio album in 2010 and, while there is some discussion as to what their genre is exactly, they immediately became a rising star in the metal scene. Yet what is of particular interest from a storytelling point of view, especially with regard to theological answers to philosophical questions in popular culture, is that the band presents itself as a satanic version of the Catholic Church through their stage act and lyrics. This made me curious whether they are trying to convey a mess

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Chambers, Claire. "Banglaphone Fiction:." Crossings: A Journal of English Studies 6 (December 1, 2015): 20–29. http://dx.doi.org/10.59817/cjes.v6i.182.

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Around the time the Raj was disintegrating, Bengalis, many of them from Sylhet, were coming to Britain in large numbers. Settling in areas such as London’s Spitalfields, these Sylhetis pioneered Britain’s emerging curry restaurant trade, labored for long hours and with few rights in the garment industry, and worked as mechanics. Sylhetis’ inestimable contribution to the fabric of British life is recognized, for example, in their association with Brick Lane, a popular road of curry houses in East London. However, too often their contribution to literature is reduced to one novel, Brick Lane, Mo

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Greenfield-Casas, Stefan. "The lament[s] of the (post)human: Existential voice and/in NieR: Automata (2017)1." Journal of Interdisciplinary Voice Studies 9, no. 1 (2024): 79–96. https://doi.org/10.1386/jivs_00088_1.

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Theories of voice have almost exclusively focused on the human voice, generally ignoring or only very briefly accounting for other, nonhuman voices. In this article, I am interested in the voice outside of the assumed (and strictly) human – simply put, posthuman voices. I use these posthuman voices to address a larger phenomenon: that of existentialism in popular culture. What I call the ‘existential voice’ – a voice rooted in song and creation as a way of positioning selfhood within the world – has permeated science fiction since its literary inception with Mary Shelley’s . In more recent yea

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Nascimento, Felipe Gomes, and Amanda Sueli Madeira Pereira. ""I think I saw a ghost": The potential for fright tourism in the city of João Pessoa – PB." Applied Tourism 7, no. 3 (2023): 52–61. http://dx.doi.org/10.14210/at.v7i3.19300.

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Historic centers are plural spaces with memories of great importance to the cultural identity of a people. Besides their cultural and heritage importance, these spaces are ideal for entertainment, specifically, for the development of fright tourism, due to their dark narratives. Fright tourism can be understood as a process in which elements of local tradition are mixed with transnational aesthetics, coming from cinema, pop culture, horror, and cultural industries, promoting feelings of fear for tourists. In this context, this study aims to analyze the potential for the promotion of fright tou

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Fiskesjö, Magnus, Christina Nygren, and Magnus Fiskesjo. "Gastar, Generaler och Gäckande Gudinnor. Resande teatersällskap, religiösa festivaler och populära nöjen i dagens Japan och Kina (Ghosts, Generals, and Gorgeous Goddesses: Travelling Theaters, Religious Festivals, and Popular Amusements in Contemporary Japan and China)." Asian Folklore Studies 60, no. 1 (2001): 162. http://dx.doi.org/10.2307/1178709.

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Campany, Robert F. "Ghosts Matter: The Culture of Ghosts in Six Dynasties Zhiguai." Chinese Literature: Essays, Articles, Reviews (CLEAR) 13 (December 1991): 15. http://dx.doi.org/10.2307/495051.

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Johnson, Stephanie L. "CHRISTINA ROSSETTI'S GHOSTS, SOUL-SLEEP, AND VICTORIAN DEATH CULTURE." Victorian Literature and Culture 46, no. 2 (2018): 381–402. http://dx.doi.org/10.1017/s1060150318000062.

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Ghosts haunt Christina Rossetti's poetry. Amidst the lyrics, devotional poems, and children's verse, poems about ghosts and hauntings recur as material evidence of Rossetti's fascination with spectral presences. That fascination poses a particular interpretive puzzle in light of her religious convictions and piety. We might be tempted to identify the recurring ghosts as just another nineteenth-century flirtation with spiritualism – the spiritualism by which her brothers William and Gabriel were intrigued, attending séances and testing the validity of communications from the dead. Rossetti, how

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Wang, Yuqi. "Folk Culture Adaptation and Ghosts Study." SHS Web of Conferences 158 (2023): 02003. http://dx.doi.org/10.1051/shsconf/202315802003.

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Folk culture is mysterious, but you can still find same traces in our daily life. It is this vagueness that brings subtle feelings of terror and leaves enough space for artistic creation. Folk culture, either classic or fabricated, can lead audience into a mixed world of reality and dreams.

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Friedman, Lawrence M. "Ghosts, Machines, and Asian Law: Some Comments." Asian Journal of Law and Society 1, no. 1 (2014): 5–16. http://dx.doi.org/10.1017/als.2013.1.

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AbstractThis paper asks how globalization relates to legal culture. It argues that there exists, at least in the developed world, a general global culture; it follows, then, that there must be a global legal culture as well. Not everyone in modern societies is completely drawn into the global legal culture, however, as the research of the David and Jaruwan Engel in Thailand suggests. In general, however, the legal cultures of modern, developed societies are strongly convergent. In particular, there is emerging a global and convergent culture of human rights. Some Asian scholars and political f

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Malone, Caroline. "Awakening Ghosts of Grief." Journal of Autoethnography 5, no. 4 (2024): 514–22. http://dx.doi.org/10.1525/joae.2024.5.4.514.

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When the author is thirteen years old, her mother unexpectedly dies, leaving her father a single parent. She uses the event to explore how parental bereavement trauma shaped her adolescent development. The author touches upon several aspects of bereavement trauma including isolation, anxiety, confusion, sadness, anger, withdrawal, abandonment, and shame. The author provides insight into the culture of the parentally bereaved and traumatized adolescent.

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Golianek, Ryszard Daniel. "Systematyka operowych duchów." Poznańskie Studia Polonistyczne. Seria Literacka, no. 42 (September 30, 2022): 183–205. http://dx.doi.org/10.14746/pspsl.2022.42.11.

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Ghosts have been an attractive element of operatic dramaturgy since the beginning of the genre’s history, and their stage presence influences the metaphysical and fantastic features of the works. In seventeenth- and eighteenth-century operas, conventional forms of musical presentation and characteristics of ghosts were developed, and in the nineteenth century a conventionalized method of musical presentation of ghosts in opera was shaped, which was also due to the great popularity of the theme of various spectres and phantoms in romantic culture. The proposed systematics concerns the ghosts pr

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Tarasov, K. A. "The Ghost of a General on a White Horse: The Political Use of the Image and the Anticipation of the Russian Civil War in 1917." Modern History of Russia 14, no. 3 (2024): 558–71. https://doi.org/10.21638/spbu24.2024.302.

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The article examines the usage of the term “general on a white horse” in the political language of the Russian Revolution. Its meaning was influenced by Christian motifs, popular culture, ceremonies of the Tsarist era, and visual images of Napoleon Bonaparte. The image of the “general on a white horse” emerged in public speeches and the press after the revolution and became associated with authoritarianism, mass repression, and a possible return to the Tsarist era. Unlike the images of Napoleon prevalent in the press, the general on a white horse carried exclusively negative connotations. Revi

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Cooper, S. "Haunting Presences: Ghosts in French Literature and Culture." French Studies 64, no. 3 (2010): 384–85. http://dx.doi.org/10.1093/fs/knq069.

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