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1
Roch, Alexia. "Ghosts." Master's thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/25535.
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La photographie argentique est receleuse de traces et de mémoire. C’est dans cette optique que j’ai travaillé avec des clichés de mon passé et que j’ai choisi de les altérer afin de les décharger de leur cette charge affective et de cette notion de passé qui leur étaient reliées. Comme dans un rite funéraire, je crée des masques mortuaires pour chacune des mes photographies en utilisant tulle et broderie, pour ensuite insérer le masque selon différents moyens : par empreinte superposée à la photo et par ajout concret sur une forme découpée. Le masque apparaît alors sur l’image. Il se confond dans les traits et les détails de cette dernière et y fait apparaître un fantôme ; forme fantasmagorique qui fait état de survivance, entre le passé et le présent. La nature intrinsèque du cliché est changée, elle n’est plus trace d’un passé et le cliché passe d’image à œuvre.
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Vickhoff, Jaana. "13 Ghosts : En filmanalys av 13 Ghosts (1960) och Thir13en Ghosts (2001)." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77628.
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Syftet och frågeställningarna med uppsatsen är att fastsälla vilka de betydelsebärande skillnaderna är i filmerna 13 Ghosts (1960) och Thir13en Ghosts (2001) gällande hur kvinnor framställs i aspekterna våld, scener med övernaturligt innehåll samt sexualitet. Syftet är även att ta reda på hur övernaturlighet och våldsscener skiljer sig från varandra mellan filmerna utan att väga in ett genusperspektiv, samt vad det finns för stora skillnader i hur kvinnor framställs i förhållande till männen med betoning på remaken.Teorier hämtas från Karen Boyle och Göran Bolins teorier om våld i film och feministisk filmteoretisk forskning med namn som Marianne Kleberg, Elisabeth Cowie, Laura Mulvey och Shohini Chaudhuri, där sexualitet och objektifiering av kvinnokroppen står i centrum. Vidare behandlas teorier av Emely D. Edwards, Carrol F. Fry, Marina Warner samt Tom Ruffles angående populärkultur och andlighet.Metoden som används i denna studie är en semiotisk analys, där Roland Barthes beteckningar denotation, konnotation och myt agerat grundpelare.Resultat påvisar att filmerna skiljer sig till stor del inom alla aspekter och att kvinnor i remaken oftare är mer stereotypa i sina framställningar. Analysen visar att kvinnors roll i scener med våld tenderar att sexualiseras, ofta har de inte samma mål med sina ockulta praktiker som männen samt att det har skett en stor ökning i nyinspelningen vad gäller objektifiering och sexuella anspelningar på kvinnokroppen. Det har även skett en stor ökning av scener med våldsinnehåll och det är dessutom ett brutalare sådant, samt att det övernaturliga ges betydligt mycket mer utrymme i remaken.Det kan i slutsatsen konstateras att filmer idag innehåller mer av allt inom de aspekter som jag hade för avsikt att undersöka i den här studien, och att detta i sin tur kan relateras till en något mer avtrubbad publik idag som möjligtvis kräver att filmer ska vara mer övertydliga i sin framtoning.
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Thompson, Robert C. "Entertaining ghosts Gettysburg ghost tours and the performance of belief /." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8217.
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Thesis (M.A.) -- University of Maryland, College Park, 2008.Thesis research directed by: Dept. of Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Vesely, Garrett. ""Mortal Ghosts"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703380/.
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Crifasi, Michael Aeneas. "Young Ghosts." Cleveland State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1260240698.
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Antoniu, Dan A. Mr. "Integrating Ghosts." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616258287308046.
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Graves, Jesse. "Basin Ghosts." Digital Commons @ East Tennessee State University, 2014. http://amzn.com/1937875539.
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Basin Ghosts is a collection of original poems by Jesse Graves, author of Tennessee Landscape with Blighted Pine. Many poems in Basin Ghosts address places and themes that resonated in Graves's first collection, which won the Weatherford Award, the Thomas and Lillie D. Chaffin Award, and the Appalachian Writers' Association Book of the Year Award in Poetry. The poems in Basin Ghosts examine life in the rural South, changes that have occurred over generations in communities there, and the ways in which the past lives on through memory and attachment to the land.https://dc.etsu.edu/etsu_books/1056/thumbnail.jpg
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Laycock, Rona. "Mindful of ghosts." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa42724.
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This poetry collection explores the concept of memory as a function of identity and is based on the ten years or so that I spent living and working in Islamic countries during the 1970s and 1980s. It is an attempt to create a record of a life lived in unfamiliar territories where cultural and social norms are very different from those with which I was brought up. The collection comprises four sections, each having a distinct character, attributable in part to the use of poetic forms chosen to complement specific periods and places. I experimented with haibun, haiku and prose poetry as well as free verse to achieve the desired effect. Themes of memory, place, people and social comment are woven throughout this collection to create a sense of unity within the whole. The accompanying critical essay, 'Writing Mindful of Ghosts', considers the processes involved in such a venture and refers to some of the poets whose work interests and inspires me, as well as offering information on the places and times that informed the poems.
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Federer, Lisa M. "Ghosts and Lovers." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4521/.
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Ghosts and Lovers is a collection of short stories told from the points-of-view of four related characters. Travis is a bisexual restaurant owner who fears commitment and longs for the idealistic version of love that he remembers from his past. Ezra, his boyfriend, is an artist struggling to accept the inherent imperfections of life. Travis's ex-girlfriend, Beth, attempts to come to terms with the life that she has chosen for herself. Her husband, Richard, deals with feelings of helplessness as he watches the events of his life unfold before him. By depicting the events of the story from multiple perspectives, the collection attempts to create a more objective view of reality than is ordinarily possible in fiction. An introductory preface examines the role of unreliable narrators and how reality is presented in fiction.
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Lake, Marilyn Hope. "Our mothers' ghosts /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3091940.
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Hegmann, Elisabeth Ann. "Emperors, Ghosts, and Fools." NCSU, 2009. http://www.lib.ncsu.edu/theses/available/etd-03232009-124518/.
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Emperors, Ghosts, and Fools is a collection of linked fantasy short stories culminating in a novella. The charactersâ concerns center on trying to reach Modus Perfectus, a musical utopia located in a just-out-of-reach island chain called the Apogean Islands in the Brimful Puddle. Those who yearn for Modus Perfectus include a hideously ugly woman who serves as a town troll, a gonzo architect, a music hater, a music addict, movie actors, rock stars, and sad sack birthday clowns. Their stories unfold, always with plenty of humor, in the form of told-beside-the-fire ghost tales and small town coming-of-age or small town has-been tales, in the gothic lair of a mad scientist, in the suspense of escaping a derailing train, or in the desire for one last chance at love despite being dead. The novella that resolves the action is set inside the Apogean Islands. Here the would-be citizens of Modus Perfectus meet the three Apogeans who will lead them, and discover a future much different than the one they had originally envisioned.
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Cotter, Cara E. "Ghosts That We Knew." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1689.
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McGill, Martha Macinnes. "Ghosts in Enlightenment Scotland." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/30981.
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This thesis analyses perceptions of ghosts in Scotland, with particular focus on the period from 1685 to c. 1830. According to traditional wisdom, this was a time when society was becoming progressively more rational, with magical beliefs melting away under the glare of Enlightenment scholarship. However, this thesis argues that ghosts actually rose to a new cultural prominence in this period, to the extent that Scotland came to be characterised as a haunted nation. The first chapter provides context, sketching attitudes towards ghosts from the Middle Ages to the late seventeenth century. It shows how ghosts were sidelined because of their questionable theological status, especially after the Reformation. The second chapter explores late seventeenth- and eighteenth-century attempts to reincorporate ghosts into Protestant society by converting them into religious propagandists. This endeavour was not only theologically problematic, but also came to be criticised on scientific grounds. Chapter three traces the evolution of sceptical and satirical depictions of ghosts, as well as discussing the debates that sprang up in the late eighteenth century as ghosts increasingly became an interesting object of enquiry. Under the pens of physicians and philosophers a medicalised vision of the ghost became widely influential. Literary works drew upon this interpretation, but also used gothic motifs to re-invest ghosts with horror. The fourth chapter discusses this theme, before exploring how romantic literature and folklore popularised a picturesque ghost that became entangled with conceptions of national identity. Finally, chapter five analyses the place of ghosts within popular culture. It uses ballads, cheap print and folklorists’ accounts to assess how and why ghosts remained important to the ordinary Scottish folk. The thesis as a whole shows how the ghost’s identity splintered in response to changing cultural contexts, allowing ghosts to take on new roles in Scottish society. This in turn reflects on broader questions of religious change, interactions between popular and elite culture, the formation of national identity and the legacy of the Enlightenment.
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Weiss, Katherine. "Animating Ghosts in Samuel Beckett's Ghost Trio and … but the clouds …" Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/2284.
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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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Millbern, Ryan S. "Running down the ghosts : stories." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1337200.
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The four short stories in this collection all take place in Galvin, a rural Midwestern town plagued by its reluctance to acknowledge the problems that are destroying it: methamphetamines, unemployment, and a dwindling police force to name a few. The characters in this collection realize that stasis eventually becomes paralysis, and that escape is both necessary and inevitable, whether it is through uprooting, obsession, or substance abuse. Each character experiences alienation and struggles with the way their past decisions have shaped the trajectory of their lives. There is a sense of danger throughout the collection for the next generation of the town's inhabitants, as small children are usually in trouble or under the guidance of adults who are still struggling to untie the knots of their own lies. These characters are all running down ghosts—of the loved ones they've lost or abandoned, of the innocence they've surrendered, of the lives they lived before regret.Department of English
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Herrmann, Andrew F. "Ghosts, Vampires, Zombies, and Us." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/751.
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In this exploration, I examine how autoethnographers create connections and community through the metaphor of the undead in their various forms. Autoethnography allows us to write and speak about our anxieties, our impolite private issues, and what frightens us at home and at work, including aging, guilt, mortality, shame, and lost love. Through autoethnography, we connect the seen and the invisible, the known and the unknown, the understood and the unexplained, mystery and science. It provides us the opportunity to reenchant the world. Most importantly, autoethnographic writing provides us the opportunity to recognize that our fears are not ours alone but are a basis upon which we can all connect.
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Weston, Brenna Elizabeth. "Ghosts and Graveyards: Colonial Park Cemetery and Memory Construction on Ghost Tours in Savannah, Georgia." Thesis, North Dakota State University, 2016. https://hdl.handle.net/10365/27970.
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This thesis examines memory construction and landscape interaction on ghost tours at
Colonial Park Cemetery in Savannah, Georgia. The research in this thesis centers on the ways in
which ghost tours in the area interact with the cemetery?s landscape and how oral narratives
compare with written sources through the lenses of authority and authenticity. Ghost tour
narratives are included in a larger argument for their usefulness and importance to
archaeologists, especially for introducing dialogues with local communities about site
interpretation and preservation. This may also be useful for archaeologists researching
intersections of landscape interactions and modern interpretations.
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Randall, William Sanford. "How Methane Made the Mountain: The Material Ghost and the Technological Sublime in Methane Ghosts." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460722538.
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Voller, Leslie Abigail. "THE GHOSTS OF GUILT AND BETRAYAL." MSSTATE, 2009. http://sun.library.msstate.edu/ETD-db/theses/available/etd-11042009-180119/.
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This creative thesis is comprised of stories that present characters who deal with guilt and betrayal and explores various points of view. My work is informed by Junot Diazs The Brief Wondrous Life of Oscar Wao, which contains these themes and investigates narration. Surviving Fog centers around survivors guilt, while Coming Full Circle, No Detour in Sight demonstrates how a person can exert expectations on herself due to a religious background and personal values. Perhaps my most provocative story, Beyond the Apple Orchard delves into the emotional and physical betrayal of a father and the daughters struggles to overcome it. Photographic Memories embraces the surreal with a woman who can read photographs, whose story blends past transgressions that bleed into current ones, while Send in the Clowns, Send in the Mob explores herd mentality that stems from fear. Ultimately, each story contains kernels of truth that readers can grasp.
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Morgan, Pauline. "Elizabeth Bowen : a world of ghosts." Thesis, University of Sussex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400027.
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Foreman, Hillary Jo. "The Holy and Other Ghosts: Stories." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1586528590411429.
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McBride, Seth William. "Ghosts of a Life Long Past." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1104.
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"Ghost of a Life Long Past" is a memoir about the necessity of movement and physicality. It chronicles the author's life, both before and after a skiing accident that left him with quadriplegia. The memoir is split into two alternating narratives. One follows the author's post-accident journey to regain physicality and the ability to move through the world and function in his environment. The other is a series of flashbacks, looking[at] the author's pre-accident childhood in Juneau, Alaska. Themes include independence, travel, sports, disability, and the need to test the limits of ones body.
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Vogeler, Kirsten [Verfasser]. "Conformal ghosts on the sphere / Kirsten Vogeler." Hannover : Technische Informationsbibliothek und Universitätsbibliothek Hannover, 2010. http://d-nb.info/1010839462/34.
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Cowdell, Paul. "Belief in ghosts in post-War England." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/7184.
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This project examined, by qualitative investigation, the actual content and mechanics of ghost beliefs in Britain today. Through questionnaire, personal interview, and email correspondence, the beliefs and experiences of 227 people were assessed, and considered against historical and international analogous material. The research began with some basic questions: who believes; what do they believe; how do they narrate their stories; and how do they understand this in the context of other beliefs? This research found a broad social spread of ghost belief. The circulation of ghost narratives takes place within social groups defined in part by their seriousness about the discussion. This does not preclude jokes, disagreements or the discrediting of specific events, so long as the discussion considers ghosts attentively and seriously. Informants brought a sophisticated range of influences to bear on narratives and their interpretation, including some scientific knowledge and understanding. Informants discussed a broad range of phenomena within a consideration of ‘ghosts’: there is no easy correlation of a narrator’s interpretation and the kind of manifestation being described. Some accounts were related as polished stories, but this did not impact directly on their belief content. The interrelationship between oral narrative and artistic representation highlights the shaping and exchange of stories to accommodate belief content. This ability to adjust between apparently different registers of discussion also illustrates how ghost beliefs fit the structures of other, more institutional, belief systems held by informants. A key finding, considering sociological discussions of secularisation and historiographical associations of heterodox beliefs with political radicalism, is that personal folk beliefs are slower developing and more conservative than institutional forms, which respond more quickly to socio-economic changes. Immediate institutional responses to changed conditions may not, therefore, correlate directly with a corresponding change in ghost belief.
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Al-Gailani, Bassam Talib. "Deformability of human red blood cell ghosts." Thesis, University of Leeds, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238724.
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Lipman, Caron W. "The domestic uncanny : co-habiting with ghosts." Thesis, Queen Mary, University of London, 2008. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28168.
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The 'haunted home' has enjoyed a long-standing position as a motif within society, crossing a span of narratives, from anecdotal local stories shared informally between family and friendship networks, to the established Gothic traditions of literature and film. This project uniquely examines the ways in which people who believe their homes to be haunted negotiate the experience of co-habiting with ghosts. It is a qualitative study which has applied a mix of creative methodologies to a number of in-depth case studies in England and Wales. Geographers and researchers in related disciplines have recently expressed interest in the idea of ghosts or haunting, but have tended to focus upon public metropolitan spaces, and to employ the ghost as a metaphor or social figure. In contrast, this project contributes to a growing literature on the material and immaterial geographies of the home, the intangible and affective aspects of everyday life within the particular context of the domestic interior. The project explores the insights uncanny events experienced within this space reveal about people's embodied, emotional, spatial and temporal relationships with 'home' as both physical place and as a set of ideals. It studies the way in which people negotiate experiences which appear to lack rational or natural explanation, and the interpretative narratives employed to explain them. It suggests ways in which different forms of belief influence interpretations of uncanny events. It also suggests ways in which inhabitants of haunted homes negotiate the co-habitation with ghosts through a number of strategies which reinforce their own subjectivity in the face of potential encroachment into their private space.
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Gomez, Michael. "Ghosts and bottlenecks in elastic snap-through." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:11ab7b19-ee4b-4cd6-ac9a-116363a4e4d7.
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Snap-through is a striking instability in which an elastic object rapidly jumps from one state to another. It is seen in the leaves of the Venus flytrap plant and umbrellas flipping on a windy day among many other examples. Similar structures that snap-through are used to generate fast motions in soft robotics, switches in micro-scale electronics and artificial heart valves. Despite the ubiquity of snap-through in nature and engineering, its dynamics is usually only understood qualitatively. In this thesis we develop analytical understanding of this dynamics, focussing on how the mathematical structure underlying the snap-through transition controls the timescale of instability. We begin by considering the dynamics of 'pull-in' instabilities in microelectromechanical systems (MEMS) - a type of snap-through caused by electrostatic forces in which the motions are dominated by fluid damping. Using a lumped-parameter model, we show that the observed time delay near the pull-in transition is a type of critical slowing down - a so-called 'bottleneck' due to the 'ghost' of a saddle-node bifurcation. We obtain a scaling law describing this slowing down, and, in the process, unify a large range of experiments and simulations that exhibit delay phenomena during pull-in. We also investigate the pull-in dynamics of MEMS microbeams, extending the lumped-parameter approach to incorporate the details of the beam geometry. This provides a model system in which to understand snap-through of a continuous elastic structure due to external loading. We develop a perturbation method that systematically exploits the proximity to pull-in to reduce the governing equations to a simpler evolution equation, with a structure that highlights the saddle-node bifurcation. This allows us to analyse the bottleneck dynamics in detail, which we compare with previous experimental and numerical data. The remainder of the thesis is concerned with the dynamics of snap-through in macroscopic systems. In particular, we explore the extent to which dissipation is required to explain anomalously slow snap-through. Considering an elastic arch as an archetype of a snapping system, we use the perturbation method developed earlier to show that two bottleneck regimes are possible, depending delicately on the relative importance of external damping. In particular, we show that critical slowing down occurs even in the absence of damping, leading to a new scaling law for the snap-through time that is confirmed by elastica simulations and experiments. In many real systems material viscoelasticity is present to some degree. Finally, we examine how this influences the snap-through dynamics of a simple truss-like structure. We present a regime diagram that characterises when the timescale of snap-through is controlled by viscous, elastic or viscoelastic effects.
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Gaffney, Michaelle Brett. "Now is the Time to be Ghosts." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1349.
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Smith, Jeannette Ward. "Being incommensurable/incommensurable beings ghosts in Elizabeth Bowen /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04282006-181909/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Marilynn Richtarik, committee chair; Calvin Thomas, Margaret Mills Harper, committee members. Electronic text (84 p.) : digital, PDF file. Description based on contents viewed Apr. 17, 2007. Includes bibliographical references (p. 75-84).
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McLeod, Melissa. "Sounds of terror hearing ghosts in Victorian fiction /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11282007-112908/.
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Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Michael Galchinsky, committee chair; Calvin Thomas, Lee Anne Richardson, committee members. Electronic text (181 p.) : digital, PDF file. Description based on contents viewed Feb. 7, 2008. Includes bibliographical references (p. 174-181).
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Mcleod, Melissa Kendall. "Sound of Terror: Hearing Ghosts in Victorian Fiction." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_diss/25.
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"Sounds of Terror" explores the interrelations between discourses of sound and the ghostly in Victorian novels and short stories. Narrative techniques used by Charles, Dickens, George Eliot, Henry James, and Charlotte Mew are historically and culturally situated through their use of or reactions against acoustic technology. Since ghost stories and nvoels with gothic elements rely for the terrifying effects on tropes of liminality, my study consists of an analysis of an important yet largely unacknowledged species of these tropes: auditory metaphors. Many critics have examined the visual metaphors that appear in nineteenth-century fiction, but, until recently, aural representations have remain critically ignored. The aural itself represents the liminal or the numinous since sounds are less identifiable than visuals because of their ephemeral nature. My study shows the the significance of auditory symbols becomes increasingly intensified as the century progresses. Through analyses of Charles Dickens's David Copperfield, George Eliot's Daniel Deronda, and short stories by Henry James ("The Altar of the Dead" and "In the Cage")and Charlotte Mew ("Passed" and "A White Night"), I argue that Victorian writers using gothic modes employ metaphors and symbolism as an alternative to frightening visual images--what could be heard or not heard proved terrifying and dreadful.
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Gagnon, Martin B. "On the role of ghosts in string theory." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23274.
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In string theory, some techniques have been developed to calculate scattering amplitudes. Because of the $SL(2, doubc)$ invariance for tree-level amplitudes, a physical inconsistency arises; the amplitudes, instead of being finite, diverge. Two techniques can be used to remedy this problem. To avoid the overcounting configurations, we can (a) divide the amplitude by the $SL(2, doubc)$ volume or (b) insert three ghosts in the amplitude integral. Independently of which one of the two ways is followed, a number of two-dimensional integrations over the complex plane remain to be performed. This thesis explores some ways to replace some of these two-dimensional integrals by two unidimensional contour integrals. Consequently, this transformation reveals a new way to think about the ghosts and their role in amplitude calculations. In fact, we can consider the ghosts as perpendicular vectors to the contour along which the integration is performed.
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Kwok, Crystal Lee, and 郭錦恩. "Ghosts and goddesses: women, cinema, & the image." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31950978.
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Christensen, J. Daniel (John Daniel). "Ideals in triangulated categories : phantoms, ghosts and skeleta." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/42695.
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Moore, Kevin M. M. Arch Massachusetts Institute of Technology. "After the crash : reclaiming Bangkok's city of ghosts." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/58172.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010."February 2010." Cataloged from PDF version of thesis.
Includes bibliographical references (p. 67-68).
This thesis addresses the issue of ghost buildings in Bangkok, Thailand - buildings left unfinished since the financial crisis of 1997. Predicated by massive foreign investment, profligate lending and speculative construction, the crash left over five hundred 'interrupted' projects - buildings upwards of fifty storeys - standing as unwelcome monuments to global capital run amok. This project proposes reclamation strategies that would enable 'small agents' to inhabit and revive the abandoned structures. The design intends to echo both the populist, nativist movement that has taken root in post-crash Thailand, as well as the myriad informal systems that allow the overtaxed city of Bangkok to function vibrantly.
by Kevin M. Moore.
M.Arch.
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Verseau, Victoria. "En kropp av spöken : A Body of Ghosts." Thesis, Kungl. Konsthögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-552.
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Based on a series of attempts to capture, focus and preserve memories and what has been lost, A Body of Ghosts evokes what moves in the destructive, towards oblivion or forgetfulness. Before I forget, I want to tell you about the loss of a close friend and about a time that changed us fundamentally. I want you to see the struggles that take place on the periphery of society. I want to talk about the transition, both physical and invisible, from boy to woman. This work is a construction containing our stories, Meril’s and mine, wherein memories and collected objects meet and reconfigure, the everyday and the suggestive intertwine. I find myself in the gap between dream and reality, a process that has led me to an obscure place where a distortion occurs; a place where time uncovers fragments from then and now. Emotions, situations and events have been loaded into these objects: an H&M jacket I wore when I got dumped at the age of 24, and after which I never felt the same kind of youthful, burning love. Casts of a vaginal dilator, at 5, 6, 7, 8, inches, to be used after gender reassignment surgery and forever more. Thus objects undergo transitions into sculptures. Sculptures become symbols of crucial memories, repetitions and imitations of the original. Time has been left in the material, something non-physical placed in the physical. My life mirrors Meril, but something remains out of reach. Screens of latex and metal shield my ambivalence towards this revelation of self. The camera inhibiting the act of remembering, keeping me from a long-lost friend. Photosensitive, only to be kept in the dark. Here, the works are partially concealed; the visitor must enter behind architectural partitions or into a hidden room in order to receive the whole story. The visitor is a voyeur outside the work but once inside it, becomes the observed. Behind each layer is a new fragment of the whole and thus the story unfolds. A Body of Ghosts in the void.
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Borden-King-Jones, Christine A. "Speaking the Unspeakable: Storied Experience and Everyday Ghosts." Case Western Reserve University School of Graduate Studies / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=case1619788906764408.
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Kwok, Crystal Lee. "Ghosts and goddesses : women, cinema, & the image /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14040220.
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Skokan, Michal. "Regularity of ghosts of geodesic X-ray transform /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/5744.
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Skien, Glen Matthew. "Of Ghosts and Atlases: Mythopoetics and Historical Perceptions." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366326.
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As a vast photographic tableau of images sourced from antiquity, the Renaissance and early-twentieth-century popular media, Aby Warburg’s Mnemosyne Atlas (1924-29) was a means to formulating a fluid archive of cultural memory. In this exegesis, I show how Warburg’s mosaic of disparate remnants from the past has resonances with the mythopoetic structures that underpin my studio practice. Specifically, I adopt mythopoetics as both a conceptual and methodological strategy, as a vehicle for exploring first-person narratives and their capacity to formulate more defined and meaningful concepts of historical consciousness.
This exegesis examines the archive as a metonymic framework that supports the ebb and flow of narrative context within the historical, cultural and subjective realms. Through references to the nature of the archive outlined in Jacques Derrida’s Archive Fever (1994) and Walter Benjamin’s concept of material history, I discuss the capacity for artefacts to inform both our historical awareness and current everyday experiences. The act of collecting as a mode of seeking out alternate forms of knowing and interpreting the past presents a counter-argument to the need to totalise historical narratives.
Within this context, I draw parallels between the archival projects of Warburg and Benjamin and the contemporary works of W.G. Sebald, Gerhard Richter and Anselm Kiefer. Specifically, I investigate how Sebald’s literary works poetically explore the historical structures and practices that continue to give meaning to the every day and consider this in relation to Richter’s photographic archive Atlas, (years–ongoing) in which the artist references a mapping of identity through the blending of personal and collective cultural locations. Similarly Kiefer’s artists’ books evidence a conjuncture of first-person narrative and collective history that evokes a continuous liminal transition between present and past experience.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Carroll, Anna. "Holy Ghosts: Romantic Asceticism and Its Figural Phantoms." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19720.
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This dissertation reconsiders sacred tropes in the Romantic poetry of William Wordsworth, Percy Shelley, and John Keats within the context of ascetic performances and written saints’ lives. I argue that reading these poets as ascetic figures helps us to better understand Romantic isolation as a deeply social engagement, for an ascetic rejects his social milieu in order to call for the sanctification of a corrupt community. Asceticism redraws the lines of Romantic immanent critique of nineteenth-century England and newly explains the ghostly afterlives of poets whose literary personae transcend their biographical lives. Furthermore, this study takes up the ways in which the foundational ascetic tropes of Romantic poetry bind the major poets together in an impenetrable canon of writers with holy vows to poetry and to each other. My readings examine different kinds of ascetic vocation at play in the work of each poet, and I ultimately argue that this traditional support for the Romantic canon demands that we reconsider our critical attachments to Romanticism as the beginning of a secular literary tradition.
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Weiss, Katherine. "Lost Ones and Haunting Ghosts: Beckett and Shepard." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/2268.
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Lorenz, Johnny Anderson. "Haunted cartographies : ghostly figures and contemporary epic in the Americas /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Allaway, Jill. "Paper ghosts : the almanack and year book 1790-1860." Thesis, University of Huddersfield, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399951.
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Poltorak, Michael Stephen. "Aspersions of agency : ghosts, love and sickness in Tonga." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407709.
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Henriksen, Line. "In the Company of Ghosts : Hauntology, Ethics, Digital Monsters." Doctoral thesis, Linköpings universitet, Tema Genus, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-127021.
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This thesis explores French philosopher Jacques Derrida’s ’hauntology’ through the lens of digital monsters and feminist theory. Hauntology – a pun on ‘ontology’ and ‘haunting’ – offers an ethics based on responsibility towards that which cannot be said to fully exist, yet has an effect on our everyday lives nonetheless. Like the figure of the ghost, such undecidable existences are neither absent nor present, here nor gone, of the past or the future. In other words: they haunt. By engaging with hauntology through contemporary stories of digital monsters – such as The Curious Case of Smile.jpg, Welcome to Night Vale and Mushroom Land TV - the thesis discusses how such troubling hauntings might be imagined, and what it means to think an ethics based on responsibility towards the undecidable. In this way, the thesis brings together hauntology and digital media, arguing that thinking with and through the figure of the ghost as well as the digital monster may lead to different and critical ways of imagining both the world and ethics. In short, drawing upon feminist theory and creative writing, the thesis maps out a relational ethics of hauntings and internet story-telling.Denna avhandling utforskar den franske filosofen Jacques Derridas ’hauntologi’ genom digitala monster och feministisk teori. Hauntologi - en ordlek på ontology och haunting - erbjuder en etik som bygger på ansvar gentemot det som inte kan sägas helt existera, men ändå har en effekt på vårt dagliga liv. Liksom figuren ’spöket’ är sådana obestämbara existenser varken frånvarande eller närvarande, här eller borta, i det förflutna eller framtiden. Med andra ord: de hemsöker. Genom analyser av samtida berättelser om digitala monster - som The Curious Case of Smile.jpg, Welcome to Night Vale och Mushroom Land TV - diskuterar avhandlingen hur sådan oroande hemsökelser kan bli föreställda, och vad det innebär att tänka en etik baserad på ansvar gentemot det obestämbara. På detta sätt sammanför avhandlingen hauntologi och digitala medier ihop för att argumentera att akten att tänka med och genom spöket som figur och det digitala monstret kan leda till annorlunda och kritiska sätt att föreställa sig både världen och etik på. Avhandlingen bygger på feministisk teori och kreativt skrivande för att utforska en relationell etik baserad på hemsökelser och internet-berättelser.
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Williams, Laura M. "Libby Larsen's Seven Ghosts: A Stylistic and Gestural Analysis." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1335442135.
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Saybasili, Nermin. "Borders and Ghosts : Migratory Hauntings in Contemporary Visual Cultures." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504779.
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The work examines the issue of displacement and migration through the notion of the 'ghost' and in the context of hauntology, that is 'a science of ghosts', a 'science of what returns', proposed by Jacques Derrida. Focussing on the complexities of haunting and the very particular condition of ghostliness, the arguments throughout the text are centred on the production of subjectivities on/through borders/boundaries, in reference to both contemporary art practices and materials circulated in contemporary visual cultures. In its broadest sense, the study addresses fundamental questions such as: What gives the movement its starts? How is it possible to consider the complexities embedded in migratory movements? The study takes up theoretical models, bodies of artistic practice, ethnographgic case studies of specific locations in Turkey and the broader geographical region, to produce an in-depth cross section of migratory effects and perceptions. The main argument in this study is that immigration is not a problem in itself; it is rather produced as a 'problem'. This concern is played out through the theme of haunting. The conditions of haunting emerge when the illusion of coherence, stability, homogeneity and permanence is faced with .t he shadowy realities of displacement, dislocation, unbelonging, with all the other layers of diasporic formations and migration flows, with the crossover and overlap of cultures, and with hybrid identities and new ethnicities that are constantly being formed. It sets up an inquiry into strategies of uncovering hidden structures embedded in the realities of displacement and migration rather than simply focussing on mapping the trajectories and consequences of human movement. In this instance, the' notion of the 'ghost' emerges as a strategic tool in an attempt to connect the past to the present, the living to the non-living, presence to absence, the visible to the invisible, the near to the far, the abstraction to the materialization.
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Smale, Catherine Helen. "Phantom images : the figure of the ghost in the literature of Christa Wolf and Irina Liebmann." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610184.
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