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Journal articles on the topic 'Ghots stories'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Uche, Nnyagu PhD Ozoh Ngozi Jacinta PhD. "Ghost in African Literature: an Appraisal of Selected Ghost Stories from Umeasiegbu's Abandoned Ghost Babies and Ghost Stories." SSAR Journal of Arts Humanities and Social Sciences (SSARJAHSS) 1, July-Aug (2024): 34–43. https://doi.org/10.5281/zenodo.14837745.

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One major indispensable role of Literature is its ability to mirror the author’s society. By mirroring the society, Literature helps the unwary to understand and appreciate the society. Obviously, each society is distinct from another and while some societies are of the view that death is an end point of every individual, the Igbo people and some other tribes in the Eastern Nigeria believe that after death, the soul of the deceased hovers as a result of conditions. The deceased persons still appear to people and some migrate to far away places to continue their life. This belief is well

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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 (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, incl

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3

Chos, skyong skyabs ཆོས་སྐྱོང་སྐྱབས། (Qiejiangjia切江加). "RDO RJE'S GHOST RESEARCH (a Tibetan short story)." ASIAN HIGHLANDS PERSPECTIVES 63 (August 30, 2023): 394–97. https://doi.org/10.5281/zenodo.8300798.

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Chos skyong skyabs ཆོས་སྐྱོང་སྐྱབས། (Qiejiangjia切江加). 2023. . Rdo rje's Ghost Research. 2023.<em> Asian Highlands Perspectives</em> 63:394-397.  There are many stories and definitions of ghosts and much ongoing vigorous debate about what a ghost is. Many knowledgeable people, including religious scholars, have debated ghost questions for ages: When did ghosts first appear? When did humans first have the idea of ghosts? What, exactly, is a ghost? Do ghosts even exist?   Rdo rje returned home to complete research for his Ph.D. thesis. Enrolled in the Paraps

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Adinkrah, Mensah. "Beliefs about ghosts among the Akan of Ghana." International journal of linguistics, literature and culture 9, no. 4 (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 gh

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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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Osoliová, Viktória. "Emma Liggins. The Haunted House in Women's Ghost Stories: Gender, Space and Modernity, 1850-1945." FOCUS: Papers in English Literary and Cultural Studies 13, no. 1 (2022): 119–21. http://dx.doi.org/10.15170/focus.13.2022.1.119-121.

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People have always been interested in the supernatural, which reveals our fascination with ghosts, spectral appearances and haunting. The popularity of the ghost story in the Victorian period has been thoroughly explored in relation to spiritualism, superstition, funerary practices, despite skepticism about the supernatural. Ghost literature became increasingly popular, especially among female authors. The Haunted House in Women’s Ghost Stories: Gender, Space and Modernity, 1850–1945 by Emma Liggins focuses on Victorian and modernist haunted house narratives in ghost stories by female authors

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SANGHA, LAURA. "THE SOCIAL, PERSONAL, AND SPIRITUAL DYNAMICS OF GHOST STORIES IN EARLY MODERN ENGLAND." Historical Journal 63, no. 2 (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

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Subair, Muh, Muhammad Amir, Abu Muslim, et al. "Forest conservation strategies: Integrating ghost fear as a social conditioning mechanism." Journal of Infrastructure, Policy and Development 8, no. 9 (2024): 7643. http://dx.doi.org/10.24294/jipd.v8i9.7643.

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The fear of ghosts is a common thing that can be managed as a social condition that turns out to have an impact on the continuity of forest maintenance. Applying a qualitative approach supported by in-depth interview methods, observation, and literature study. This research does not attempt to prove the existence of ghosts or discuss the psychological conditions of people who fear ghosts. The main finding of this research is the reality of the reproduction of stories and experiences of fear of ghosts, as well as the implementation of traditions or rituals related to community activities in the

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Abd Rahman, Ain Nur Iman, and Zainor Izat Zainal. "HUMAN AND GHOST ATTACHMENT IN HANNA ALKAF’S THE GIRL AND THE GHOST." Platform : A Journal of Management and Humanities 5, no. 1 (2022): 2. http://dx.doi.org/10.61762/pjmhvol5iss1art17206.

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For centuries, authors of literary works have sought to bewitch and enchant readers with accounts of supernatural elements such as monsters, spirits and ghosts. Ghosts especially are often depicted as representations of evil and the polar opposite of mankind. In Hanna Alkaf’s The Girl and The Ghost (2020) the adolescent protagonist, Suraya, develops an unusual bond with a ghost, Pink. This is indeed refreshing, considering the human-ghost relationship in the local literary scene is often represented as antagonistic, opposing forces, resulting in ghosts being portrayed as evil, vengeful creatur

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Ye, Hanwen. "An Analysis of the Female Ghost Images in Ancient Chinese Novels on the Theme of Romantic Relationship Between Man and Ghost." Communications in Humanities Research 28, no. 1 (2024): 1–7. http://dx.doi.org/10.54254/2753-7064/28/20230005.

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From Jin to Qing Dynasty of China, there are a large number of novels depicting human-ghost romance. In this literature, female images, femininity and gender relationship patterns reflect the patriarchal values of a specific historical period. Previous research on ancient Chinese female ghost novels often focused on their romantic story with a male human and the awakening consciousness of female, but the research on Character depiction of female ghost was very few. Therefore, this paper aims to investigate the relationship between the image shaping of female ghosts and the values of contempora

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Halimah, Umi. "HANTU PEREMPUAN JAWA DALAM ALAMING LELEMBUT SEBAGAI REPRESENTASI FEMME FATALE." Sabda : Jurnal Kajian Kebudayaan 10, no. 1 (2017): 1. http://dx.doi.org/10.14710/sabda.v10i1.13302.

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This research entitled “The Javanese Female Ghost in “Panjebar Semangat” as a Representation of Femme Fatale”aims to show the feminist value in Javanese horror stories with female ghost as a villain and men as most of their victims. This research uses feminism as a main approach and femme fatale theory as the specific approach theory. This research shows that there are three kinds of of female ghost, they are female ghosts who experienced a miserable life before her death, sensual women and women whose background is not known. For the three kinds of women it can be revealed the causes of the f

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Laterza Filho, Moacyr. "A PLAUSIBILIDADE DOS FANTASMAS." Em Tese 2 (December 31, 1998): 151–58. https://doi.org/10.17851/1982-0739.2..151-158.

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One can see, both in the oral tradition and literary production of Minas Gerais, the presence of ghost stories. In these cases, ghosts are a metaphor for a certain "desire" of social identity, built and destroyed in these same narratives.

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13

Eyong, Kingsley A., Louis Aghogah Wihbongale, Tabe Roy-Cluivert Mbi, Mbwoge Divine Ngome, and Yebega Ndjana Junior. "The Role of Death, Burial Rituals, and Ghost Spirits in the Banyang Traditional Political System: An Anthropological Investigation." EAS Journal of Humanities and Cultural Studies 6, no. 05 (2024): 161–72. https://doi.org/10.36349/easjhcs.2024.v06i05.004.

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The implications of ghost stories are deeply embedded in the thoughts of the Banyang people. The epistemology of ngu’h-menem (ghost or die comot) in Banyang Country is passed down to youths as a living culture, narrated by parents and grandparents around the three-stone fireside. This oral tradition begins when someone dies, with rituals performed before burial to either prevent or encourage the appearance of ghost spirits. Ghosts are believed to possess continued influence over the living, playing crucial roles in governance, conflict resolution, and maintaining order within families and the

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14

Lipinskaya, A. A. "Ghost hunt: Elliot O’Donnell’s non-fiction." Philology and Culture, no. 3 (October 4, 2023): 131–37. http://dx.doi.org/10.26907/2782-4756-2023-73-3-131-137.

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The article deals with the author’s strategies, used by E. O’Donnell in his Twenty Years’ Experience as a Ghost Hunter, and compares this peculiar text with ghost stories – a genre of fiction very popular those days. O’Donnell’s book is a part of a long tradition of occult ‘non-fiction’, but it is positioned as the author’s memoirs, a true story of his own life (his other books are basically collections of ‘real’ ghostly appearances in various regions of England), and begins with his (or his alter ego’s) youth and his first traumatic encounter with a ghost that influenced his career choice, bu

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Razali, Geofakta, and Wirawan Wirawan. "Social Criticism through Ghost Storytelling on Tirto.id Podcast Contents." Jurnal Communio : Jurnal Jurusan Ilmu Komunikasi 13, no. 2 (2024): 241–57. http://dx.doi.org/10.35508/jikom.v13i2.9383.

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This research aims to identify the pattern of ghost storytelling in podcasts produced by Tirto.id journalists. It attempts to answer the question whether ghost storytelling on the Tirto.id podcast channel is a means of audience entertainment or whether it truly reflects the function that journalists play in educating the public and actualising societal criticism. Implementing a qualitative content analysis method, this study explores five ghost episodes on Tirto.id’s INSENTIF podcast channel. We argue that the selected podcast episodes exemplify the hybridity of journalism which amalgamates in

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16

Kim, Hye-jin. "Ghosts Remembering and Healing - Ghost Stories from Toni Morrison's Beloved." Convergence English Language & Literature Association 9, no. 1 (2024): 277–97. http://dx.doi.org/10.55986/cell.2024.9.1.277.

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This paper aims to explore the presence of a ghost and discuss how it carries memories of the past into the present while also telling stories. The ghost connects the past to the present, heals lives, and unites the black community in Beloved by Toni Morrison. The appearance of the ghost of “Beloved” breathes new life into the lives of people who have been living as if they were dead because of past traumas. The ghost, Beloved, initially appears as symbolic of individual trauma. As Sethe's story progresses, Beloved brings Sethe and Denver out of isolation and into the love and positive change

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17

Bergengruen, Maximilian. "Heilung des Wahns durch den Wahn." Daphnis 44, no. 3 (2016): 374–95. http://dx.doi.org/10.1163/18796583-04403005.

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Andreas Gryphius’ Cardenio und Celinde is a ghost story which at the same time is also a psychological healing story and one of theological conversion. Both stories would not have been possible had the technical preconditions offered by Baroque theater not been available to let ghosts appear on stage with public appeal. For analyzing the entertaining function of these ghosts the mentioned three levels provide orientation. This article will therefore examine psychology (1), then turn to theology (2) in order to finally address the technical preconditions of their presentability (3).

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18

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

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19

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

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20

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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21

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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22

Luan, Nguyen Van, and Dinh Tran Ngoc Huy. "Witches Character in Chinese Classic Novels in Medieval Vietnam Legends." International Journal of Language, Literature and Culture 3, no. 2 (2023): 01–05. http://dx.doi.org/10.22161/ijllc.3.2.1.

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Witches (female ghosts) are characters that appear frequently in medieval Vietnamese legends. Its origins are in folk tales. In fairy tales, female ghost characters often have beautiful, intelligent, and active characteristics in love stories. In relations with earthly people, witches sometimes cause harm, sometimes they are a helping force. Legendary writers created this type of character to reflect the world of human consciousness such as: crime, lust, dreams of free love, resistance to power.

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23

Dinu, Cristina. "The Narrative Motif of the Ghost in Classical Chinese Literature." International Journal of Linguistics, Literature and Culture 9, no. 1 (2022): 1–9. http://dx.doi.org/10.19044/llc.v9no1a1.

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The first part of this paper presents a brief history of the ghost narrative motif in classical Chinese literature, arguing that this motif first appears in Chinese culture during the Shang Dynasty (16 c. - 1066 BC), and it is a recurring concept defined in the Book of Liezi and it is also present in the Daoist principle yin - yang. Despite the Confucian tradition of rejecting the belief in ghosts and any other metaphysical elements, ever since the Tang Dynasty (618 – 907) the literary motif of the ghost appears in the so-called fantastic stories chuanqi which will later influence the strange

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Ebenezersdóttir, Eva Þórdís. "Re-fitting the Misfit." Journal of American Folklore 137, no. 546 (2024): 424–41. http://dx.doi.org/10.5406/15351882.137.546.02.

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Abstract Using an interdisciplinary approach combining folkloristics and disability studies, I argue that a specific category of nineteenth-century Icelandic ghost stories reflects a sociocultural process of re-defining human individuals with intellectual disabilities as supernatural beings. The legends depicting this process of re-fitting are revealed as narratives offering culture-specific guiding principles for understanding and engaging with people with intellectual disabilities. As ghosts, disruptive and challenging human misfits could be accepted as “normal” supernatural beings.

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Delijani, Clare Finburgh. "The Afterlives of Enslavement: Histories of Racial Injustice in Contemporary Black British Theatre." Modern Drama 65, no. 4 (2022): 471–98. http://dx.doi.org/10.3138/md-65-4-1239.

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Over the past five years, a number of Black British women authors have written what might be called postcolonial ghost plays. This article focuses, to varying degrees, on four: ear for eye (2018), debbie tucker green’s dissection of enslavement and its afterlives; Rockets and Blue Lights (2020), Winsome Pinnock’s historical film-within-a-play about the Middle Passage; The Gift (2020), Janice Okoh’s semi-biography of an African girl who became Queen Victoria’s ward; and Selina Thompson’s salt. (2018), an autobiographical performance piece tracing her ancestors’ enslavement. Ghosts and haunting,

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Nayla, Muthia Rahman, and Suryanto. "Adolescents’ Perceptions of Ghosts: A Phenomenological Study on the Influence of Culture and Digital Media." Philanthropy: Journal of Psychology 9, no. 1 (2025): 88–105. https://doi.org/10.26623/philanthropy.v9i1.11387.

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Ghost stories are part of the culture that plays a role in shaping adolescents' understanding and perception of the immaterial world. However, culture and the role of digital media can also influence adolescents' understanding and perception. This study aims to determine the perception of ghosts in adolescents and understand the subjective experiences of late adolescents (aged 17–19 years) in forming these perceptions. This study employed a qualitative approach with a phenomenological method with Interpretative Phenomenological Analysis data analysis. Subjects were selected purposively. The da

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Eaton, Marc A. "Manifesting Spirits: Paranormal Investigation and the Narrative Development of a Haunting." Journal of Contemporary Ethnography 48, no. 2 (2018): 155–82. http://dx.doi.org/10.1177/0891241618756162.

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Using a paranormal investigation of a reportedly haunted hotel as a model, I propose a five-phase narrative development process that integrates media representations of ghosts, place-based tales of hauntings, and accounts that emerge through processes of interactive interpretation. By attending to both preexisting and emergent supernatural stories, the model illustrates how idiocultures function as mediating structures between established narratives and accounts that result from shared experiences. The narrative account of a haunting is thus a product of interpretive processes in which establi

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Chongjie, Chen, Yoan Yoan, and Kelly Kelly. "Analysis of Society Conditions/Reality During Chinese Feudal Era in the Novel Liaozhai Zhiyi." Lingua Cultura 4, no. 2 (2010): 173. http://dx.doi.org/10.21512/lc.v4i2.365.

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Liaozhai Zhiyi is a compilation of short stories created by the Qing Dynasty novelist, Pu Songling. The main concept is not centered on regular ghost stories, but the author told a story on real life and the fantasy world by describing realities of society life in the feudal era. The author, through stories in Liaozhai Zhiyi, analyses social reality in their education, politics, love, economic and moral aspects. The author of Liaozhai Zhiyi uses of a lot of stories concerning fox spirits, ghosts, and other types of spirits in portraying his critics and anger towards incidents happening in feud

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Cucarella-Ramon, Vicent. "Black Ghosts of the Diasporic Memory in Jesmyn Ward’s Sing, Unburied, Sing." Roczniki Humanistyczne 69, no. 11 (2021): 63–77. http://dx.doi.org/10.18290/rh216911-5.

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This article reads Jesmyn Ward’s Sing, Unburied, Sing (2017) as a novel that follows an African American family facing the ghosts of their past and present to resurrect buried stories that are unrelentingly interlocked with the legacy of slavery and the draconian racist practices of Jim Crow. I posit that the novel participates in the re-examination of the trope of the ghost as a healing asset that needs to be accommodated within the retrieval of memory work. Thus, the enactment of this African diasporic memory facilitates the encounter with their ghosts so that the family can start their heal

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Łowczanin, Agnieszka. "“My unfortunate sex”: Women, Ghosts and Empires in the First Polish Ghost Stories." Women's Writing 28, no. 4 (2021): 453–71. http://dx.doi.org/10.1080/09699082.2021.1985276.

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Fick, Thomas H. "Authentic Ghosts and Real Bodies: Negotiating Power in Nineteenth-Century Women's Ghost Stories." South Atlantic Review 64, no. 2 (1999): 81. http://dx.doi.org/10.2307/3201983.

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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 (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 tha

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Frąś, Jacek. "Afterlives of Photographs: The Artist’s Point of View." Slavic Review 76, no. 1 (2017): 72–79. http://dx.doi.org/10.1017/slr.2017.10.

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As a comic book artist who combines surrealistic and realistic imagery, I am often forced to use different types of photographs. Some of them are just typical references for artists—anatomy, poses, gesture, facial expressions. I prefer, however, to use old photographs from family archives, documentary books, and vintage postcards, in addition to numerous photographs found on the web. I enjoy putting together and mixing various kinds of visuals because every element has its own ghost from the past and the sum of these ghosts, including some added from my imagination, gives me a sense of fullnes

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Leighton, Angela. "GHOSTS, AESTHETICISM, AND “VERNON LEE”." Victorian Literature and Culture 28, no. 1 (2000): 1–14. http://dx.doi.org/10.1017/s1060150300281011.

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“TO RAISE A REAL SPECTRE of the antique is a craving of our own century” (104) writes “Vernon Lee” in her early collection of essays on aesthetics, Belcaro. The nineteenth century is indeed, as Julia Briggs has pointed out, an age which craves ghost stories of all kinds. Sceptical of the supernatural yet nostalgic for it (Briggs 19), the age turns to ghost stories to assuage its lost faith. Ghosts, if nothing else, might still glimmer in the empty spaces of a universe vacated by the gods but not yet filled with the space journeys of science and science fiction. Their questionable shapes thus c

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Lister, Ashley. "Telling true ghost stories." Short Fiction in Theory & Practice 10, no. 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 utiliz

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Muñoz-González, Esther. "Posthuman Gothic Tale." International Journal of English Studies 24, no. 1 (2024): 209–22. http://dx.doi.org/10.6018/ijes.557681.

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It is at the intersection of Posthuman thought, Gothic narratives, and the New Weird mode where “Two Houses” from Kelly Link’s Get in Trouble (2016) can be framed. In the story, six female astronauts alternate years of hibernation and moments of wakefulness in search of a habitable planet. The House of Secrets spaceship is controlled by the AI Maureen. Isolated in space, the astronauts amuse themselves by telling ghost stories. Through the stories, the reader is gradually dislocated from the recognizable landscape of a technologically plausible speculative fiction story to be plunged into a Go

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Ehnes, Caley. "“Winter Stories — Ghost Stories... Round the Christmas Fire”: Victorian Ghost Stories and the Christmas Market." Illumine: Journal of the Centre for Studies in Religion and Society of Graduate Students Association 11, no. 1 (2012): 6–25. http://dx.doi.org/10.18357/illumine.ehnesc.1112012.

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38

Shane, Anna. "‘The ghost I expected to see’: Vernon Lee, the Gothic, and the Spectrality of Perception." Victoriographies 14, no. 2 (2024): 117–37. http://dx.doi.org/10.3366/vic.2024.0529.

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Vernon Lee considered the conventional ghost story to be in rather bad taste and, in her own Gothic fiction, evoked ghosts that are never directly apprehended, but are perceived as agential bodies nonetheless. The distinctive ghosts that Lee creates haunt by exploiting the mechanisms of perception that she studied and theorised throughout her career. I analyse Lee’s depictions of perception in three stories, ‘Oke of Okehurst’, ‘Amour Dure’, and ‘The Image’, through the lens of philosopher Alva Noë’s theory of perception as ‘a kind of skilful bodily activity’. Noë argues that we make sense of t

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Fitzpatrick, Esther, and Avril Bell. "Summoning up the Ghost with Needle and Thread." Departures in Critical Qualitative Research 5, no. 2 (2016): 6–29. http://dx.doi.org/10.1525/dcqr.2016.5.2.6.

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This project is about an active engagement with thread. Threading fragments of a colonial story together, through intra-action with the material world, we created an arpillera (Chilean tapestry) to speak with our ghosts. In New Zealand we are described as Pākehā, descendants of white European colonial ancestors. Involved in critical family history, our data comprised of old photographs, maps, letters, diaries, and landmarks that remain. We propose that arts-based methods provide the potential to speak with the ghost, to engage with archival data, and to embody the experience. Threaded through

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SINGH, KULDEEP, Reena Sharma, and S. C. Bagri. "Unleash the Potential of Mystery, Ghost & Paranormal Tourism through the lens of locals in Kuldhara, Rajasthan, India: A qualitative study." ENLIGHTENING TOURISM. A PATHMAKING JOURNAL 13, no. 2 (2023): 138–64. http://dx.doi.org/10.33776/et.v13i2.7636.

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Mystery tourism is a novel topic related to travelling to events or destinations based on some stories, myths, beliefs of the host community or tourists. This also includes the myths and curiosity of locals and travelers about some known and unknown incidents or places. This paper aims to find out the experiences and perceptions of locals regarding mystery tourism in Kuldhara, Rajasthan. Ghost tours, paranormal investigations, and haunted stories have attracted many tourists to Kuldhara. In-depth interviews with 25 residents of Kuldhara, Rajasthan, reveal that residents have positive beliefs a

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Burtseva, Marina A., and Anatoly A. Burtsev. "Gothic motifs in A. Conan Doyle’s “The Brown Hand” and V. Fedorov’s “The Moonlight Sonata”." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2022): 120–27. http://dx.doi.org/10.20339/phs.6-22.120.

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The article presents a comparative study of the stories “The Brown Hand” by Arthur Conan Doyle and “The Moonlight Sonata” by Vladimir Fedorov in terms of the Gothic aesthetics. There are significant typological similarities, in particular, in developing the redemption of guilt plot with consequent events such as the main character’s arrival at his relative’s house, an encounter with supernatural phenomena, a search for assistance and a final redemption from the curse. The stories have similar systems of characters: an elderly family member, his young relative with rational views, a restless gh

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Niehaus, Isak. "On the mobility of ghosts: spectral journeys in the South African lowveld." Africa 93, no. 1 (2023): 159–76. http://dx.doi.org/10.1017/s0001972023000141.

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AbstractIn studies of Southern Africa, ancestors and possessing spirits have received far greater attention than ghosts. It is only in recent years that fragmentary references to ghosts have begun to appear in the ethnographic record. In this article, I seek to redress this imbalance by documenting stories and accounts of encounters with ghosts in the South African lowveld. I turn to studies of ghosts in Asia and elsewhere as an analytical starting point for interpreting their social and cosmological significance. A widespread theory in this literature is that narratives of ghosts are a means

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Baumgärtel, Tilman. "Asian Ghost Film vs. Western Horror Movie: Feng Shui." Plaridel 12, no. 2 (2015): 1–13. http://dx.doi.org/10.52518/2015.12.2-01tbmgtl.

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In this essay I will examine the question to what extent the Philippine production Feng Shui (Roño, 2004) is a horror film according to the well-established (Western) definitions of the genre. This seems to be a pertinent question as many Filipino horror films are based on ghost stories and folklore from the archipelago, that are often a lived reality and believed in by many people in the Philippines. The fact that Feng Shui as well as other horror films from Southeast Asia are produced for an audience that actually believes in ghosts seems to me to be very relevant for the analysis of these f

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Brennan, Shannon, Leah B. Glasser, Paul J. Ohler, and Jana Tigchelaar. "Home and Unheimlich: The Ghost Stories of Edith Wharton, Mary E. Wilkins Freeman, and Harriet Beecher Stowe." Edith Wharton Review 41, no. 1 (2025): 49–73. https://doi.org/10.5325/editwharrevi.41.1.0049.

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Abstract The roundtable discussion brings Wharton's ghost stories into conversation with the ghost stories of Harriet Beecher Stowe and Mary E. Wilkins Freeman. Focusing on both continuities and discontinuities among the selected ghost stories, the four participating scholars explore these American women writers' interest in the uncanny, particularly through its presence in home spaces. The uses to which these three writers have put the genre of the ghost story offer essential threads in understanding the genealogy of women’s experiences of power.

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Nounanaki, Aphrodite-Lidia, and Rea Kakampoura. "Ghosts in the streets of Athens: Ghostlore and social media." Bulletin de l'Institut etnographique 71, no. 2 (2023): 199–222. http://dx.doi.org/10.2298/gei2302199n.

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Ghostlore or ghost-lore is, in short, a subgenre of folklore that focuses on ghostly tales which can be found in both pre-industrial and contemporary contexts. The majority of these stories are connected to houses and other buildings that are either dilapidated or inhabited but can be described mainly as private places. Due to the nature of public places -whether they are connected to people?s experiences or could be described as non-places- it is odd to ?find? ghosts there, as it is odd to ?find? them in parks or streets. However, they remain social places open to multiple interpretations and

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McGill, Martha. "The Evolution of Haunted Space in Scotland." Gothic Studies 24, no. 1 (2022): 18–30. http://dx.doi.org/10.3366/gothic.2022.0118.

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This article explores the popularisation of the concept of haunted space in late eighteenth- and nineteenth-century Scotland. While earlier ghost stories were usually about the haunting of people, the rise of Gothic and Romantic literary aesthetics fuelled a new interest in both the Scottish landscape, and the dramatic potential of lurking spectres. Amid the upheaval of industrialisation and the Highland Clearances, and in a period when Scots were still wrestling with the implications of the 1707 Union, authors recorded stories of wandering ghosts as part of a broader movement to fashion a dis

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Banerjee, Sandeep. "Politics and Aesthetics in the Realm of Hunger." Global Nineteenth-Century Studies 4, no. 1 (2025): 19–26. https://doi.org/10.3828/gncs.2025.3.

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This essay considers Mike Davis’s Late Victorian Holocausts as a meditation on imperial biopolitics in addition to treating the study as a provocation for thinking about the relationship between colonial history – specifically the history of famines – and the domain of aesthetics. In the first section, the essay reads Davis’s study as a historical supplement to Michel Foucault’s abstract speculations on the relationship of race and racism to imperialism. In so doing, it not only grounds Foucault’s insights into the concrete field of history but also highlights the significance of colonial fami

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Olivier, Florence. "The Age of Time according to Carlos Fuentes." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 711–13. http://dx.doi.org/10.1632/s0030812900123004.

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Born on 11 November 1928, Carlos Fuentes on 15 May 2012 met on Parnassus the princes of word and vision that one of his deceased characters dreamed of in El naranjo (1993; The Orange Tree). If, as he wrote in Constancia y otras novelas para vírgenes (1990; “Constancia” and Other Stories for Virgins), readers are the ghosts of writers (296), the author of Terra nostra (1975) was, for his part, a ghost of Cervantes and disciple of Erasmus who rewrote La Celestina, Don Quixote, the successive Don Juans of Tirso de Molina, Zorrilla, and Mozart, the paintings of Hieronymus Bosch and Luca Signorelli

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Zheng, Yi. "Writing about women in ghost stories: subversive representations of ideal femininity in “Nie Xiaoqian” and “Luella Miller”." Neohelicon 47, no. 2 (2020): 751–66. http://dx.doi.org/10.1007/s11059-020-00524-3.

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AbstractOn the one hand, because of the double historical prejudices from literary criticism against ghost stories and women’s writing, little attention has been paid to investigate the ideals of femininity in women’s ghost stories in nineteenth-century America. This article examines “Luella Miller,” a short story by Mary E. Wilkins Freeman, who indirectly but sharply criticized the ideal of femininity in her time by creating an exaggerated example of the cult of feminine fragility. On the other hand, although extensive research has been done on Chinese ghost stories, especially on the ghost h

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Dolgopolov, Greg. "Ghosting in the outback Noir." Coolabah, no. 29 (February 28, 2021): 4–16. http://dx.doi.org/10.1344/co2021294-16.

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Who was the ‘jolly swagman’ in Waltzing Matilda, Australia’s unofficial national anthem? In this essay I argue that the ghost of the swagman can be heard in a number of recent de-colonising crime narratives. Outback Noir is a relatively recent genre category that describes a new wave of Australian crime films that highlight Indigenous and white relations and take a revisionist approach to traditional history. These films often feature redemption stories that highlight effective collaborations between Indigenous and white policing practices. Uncovering a rural communities’ dark, repressed secre

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