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Journal articles on the topic 'Haunted houses – England – Fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Siegle, Robert, and Lynne Tillman. "Madame Realism in the House of Fiction: Lynne Tillman's Haunted Houses." Social Text, no. 19/20 (1988): 277. http://dx.doi.org/10.2307/466190.

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2

GOURI. "The Development of Gothic: Motifs in The Technological Era." International Journal of Research 12, no. 5 (2025): 217–21. https://doi.org/10.5281/zenodo.15429283.

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Themes of horror, mystery, loneliness, and the paranormal have long been characteristics of Gothic fiction.  The genre examined the limits between the known and the unknown, frequently mirroring societal worries, and was traditionally set in haunted houses, dilapidated castles, and scary landscapes.  Gothic themes, however, have changed in the digital age to speak to current anxieties about artificial intelligence, technology, surveillance, and digital identity.  As a result of this change, there is now a phenomenon known as "Tech-Gothic" or "Cyber-Gothic," in which virtual real

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3

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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4

Lado-Pazos, Vanesa. "Of Black Boys and Haunted Houses: Spectrality and Historical Rewriting in Randall Kenan’s Short Fiction." Annales Universitatis Mariae Curie-Skłodowska, sectio FF – Philologiae 42, no. 1 (2024): 121–33. https://doi.org/10.17951/ff.2024.42.1.121-133.

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Since the so-called spectral turn of the 1990s, the ghost has been placed at the forefront of critical debates as a conceptual metaphor through which to destabilize the hegemonic discourses and values of modernity. Adopting the theoretical framework of spectrality studies, this paper seeks to interrogate the functions fulfilled by the ghost in “Tell Me, Tell Me” (1992) and “Resurrection Hardware or, Lard and Promises” (2018) by Randall Kenan. The comparative analysis of both narratives will render spectrality as a multi-layered metaphor of great socio-political import that allows for the artic

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5

Fernández Jiménez, Mónica, and Evert Jan Van Leeuwen. "Pernicious Properties: From Haunted to Horror Houses: An Interview with Evert Jan van Leeuwen." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (2022): 44–56. http://dx.doi.org/10.37536/reden.2022.3.1814.

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 Evert Jan van Leeuwen is a lecturer in English-language literature at Leiden University, in the Netherlands. He researches fantastic fictions and counter cultures from the eighteenth century to the present. He is also interested in the international, intertextual dimensions of genres like Gothic, Horror and Science Fiction, and explores how they manifest in the British Isles, the Low Countries, and North America. He has recently co-edited the volume Haunted Europe: Continental Connections in English Language Gothic Writing, Film and New Media (2019) with Michael Newton and has written a

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6

Крюкова В, Г. "Замок как кризисное пространство в готических новеллах Эдит Несбит". Higher School Companion 4, № 3(18) (2024): 42–50. https://doi.org/10.55346/27825647_2024_3_42.

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В статье рассматривается замковое пространство как катализатор формирования новой женской идентичности, что в контексте дискуссии о репрезентации образа «новой женщины» указывает на интенсивную сюжетную нагрузку пространственной доминанты. В художественной реальности готических новелл Эдит Несбит образ «дома», утратив свои охранительные функции, становится частью переживаемого опыта, что в свою очередь, актуализирует вопрос необходимости пересмотра викторианской идеологии, отводящей женщине роль «ангела дома» The article deals with archetypical Gothic locations such as haunted castles and old

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Margenot, John. "Spectral Spain: Haunted Houses, Silent Spaces and Traumatic Memory in Post-Franco Gothic Fiction by Heidi Backes (review)." Hispania 108, no. 1 (2025): 128–29. https://doi.org/10.1353/hpn.2025.a953561.

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8

Georganta, Konstantina. "Bourbachokátzouli: A Greek Governess in Victorian England." Victoriographies 14, no. 3 (2024): 237–51. http://dx.doi.org/10.3366/vic.2024.0543.

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In Victorian fiction, the Greek woman often appears as a representation of modern Greece, with the 1821 War of Independence as a backdrop. When the novel A Modern Greek Heroine appeared in 1880, the Morning Post naturally noted that ‘this is not, as might possibly be supposed from its title, the biography of any champion of Hellenic independence, but a novel of English life’ (3). Henry Cresswell, the novel's author, imagined an alternative universe for his heroine. In A Modern Greek Heroine, Bourbachokátzouli has lost her father and connection to her homeland and is haunted not by the ghost of

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9

Wynne-Walsh, Rebecca. "Spectral Spain: Haunted Houses, Silent Spaces and Traumatic Memories in Post-Franco Gothic Fiction. By Heidi Backes." Gothic Studies 26, no. 3 (2024): 340–42. https://doi.org/10.3366/gothic.2024.0209.

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10

Dennis, Richard. "No Home-Like Place: Delusions of Home in Born in Exile." Victoriographies 10, no. 2 (2020): 147–64. http://dx.doi.org/10.3366/vic.2020.0379.

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George Gissing was obsessed with the question of ‘home’, in his own restless mobility as well as that of his characters, whose domestic circumstances he invariably enumerated in detail. Gissing's Born in Exile moves between real and fictional locations in London, Exeter, and the industrial north of England, but also between a variety of lodgings, chambers, and houses which accommodate, constrain, and only occasionally liberate their occupants. Their contradictory and volatile attitudes to these ‘homes’ parallel Gissing's unstable reactions to his own lodgings and highlight the relative nature

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11

Lasorak, Natacha. "INHABITING THE BRITISH COUNTRY HOUSE IN INDIA: THE INHERITANCE OF LOSS BY KIRAN DESAI." HOME-THOUGHTS, FROM ABROAD XI, no. 31 (2020): 39–54. http://dx.doi.org/10.31902/fll.31.2020.4.

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Kiran Desai’s critically acclaimed novel, The Inheritance of Loss, intertwines narratives of the lives of three characters: the judge, haunted by his past, is joined by his granddaughter Sai in his house in north-eastern India, while the son of his cook is working illegally in America. Published in 2006, the novel has mostly been analysed in the light of diaspora studies and praised for its author’s questioning of the effects of globalisation and immigration when leaving home. Yet what is also worth examining is the way in which some of the characters of the novel, including the judge, inhabit

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12

Соколов, А. Б. "Robert and Horace Walpole: Politician and Intellectual." Диалог со временем, no. 88(88) (September 9, 2024): 430–37. http://dx.doi.org/10.21267/aquilo.2024.88.88.032.

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Данная публикация является рецензией на монографию Н.С. Креленко «Отражение культурной жизни эпохи Просвещения в письмах, книгах и домах Хораса Уолпола» (2023). Главная мысль автора состоит в том, что Уолпола-младшего неправомерно считать дилетантом, как полагал ряд известных авторов, он не тень своего отца, а деятель культуры, внесший значительный вклад в публицистику и литературу, коллекционирование произведений искусства, архитектуру и даже историографию. Через призму его биографии представлена широкая панорама культурной жизни Англии в эпоху Просвещения. This publication is a review on mon

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13

Salim, Nessma. "The Nostalgic Home in E. M. Forster's Novels." Athens Journal of Philology 10, no. 3 (2023): 211–24. http://dx.doi.org/10.30958/ajp.10-3-2.

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Edward Morgan Forster wrote 6 novels, all of which revolve around the concept of home in relation to the representation of time and its impact on human soul and spirit. Homes of Forster are created by people and their emotions; hence they are very effective in their lives. In his Aspects of the Novel, Forster confirms that the art of fiction depends on facets like characters, plots, patterns, time, and places. This paper handles the representation of homes and the impact of time on these homes in E.M. Forester's Where Angels Fear to Tread, A Room With A View and Howard's End. In these novels F

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14

Mac Con Iomaire, Máirtín. "Coffee Culture in Dublin: A Brief History." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.456.

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IntroductionIn the year 2000, a group of likeminded individuals got together and convened the first annual World Barista Championship in Monte Carlo. With twelve competitors from around the globe, each competitor was judged by seven judges: one head judge who oversaw the process, two technical judges who assessed technical skills, and four sensory judges who evaluated the taste and appearance of the espresso drinks. Competitors had fifteen minutes to serve four espresso coffees, four cappuccino coffees, and four “signature” drinks that they had devised using one shot of espresso and other ingr

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15

Brabon, Katherine. "Wandering in and out of Place: Modes of Searching for the Past in Paris, Moscow, and St Petersburg." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1547.

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IntroductionThe wandering narrator is a familiar figure in contemporary literature. This narrator is often searching for something abstract or ill-defined connected to the past and the traces it leaves behind. The works of the German writer W.G. Sebald inspired a number of theories on the various ways a writer might intersect place, memory, and representation through seemingly aimless wandering. This article expands on the scholarship around Sebald’s themes to identify two modes of investigative wandering: (1) wandering “in place”, through a city where a past trauma has occurred, and (2) wande

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16

Lambert, Anthony, and Catherine Simpson. "Jindabyne’s Haunted Alpine Country: Producing (an) Australian Badland." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.81.

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“People live here, they die here so they must leave traces.” (Read 140) “Whatever colonialism was and is, it has made this place unsettling and unsettled.” (Gibson, Badland 2) Introduction What does it mean for [a] country to be haunted? In much theoretical work in film and Cultural Studies since the 1990s, the Australian continent, more often than not, bears traces of long suppressed traumas which inevitably resurface to haunt the present (Gelder and Jacobs; Gibson; Read; Collins and Davis). Felicity Collins and Therese Davis illuminate the ways Australian cinema acts as a public sphere, or “

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17

Mills, Brett. "What Happens When Your Home Is on Television?" M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2694.

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   In the third episode of the British sci-fi/thriller television series Torchwood (BBC3, 2007-) the team are investigating a portable ‘ghost machine’, which allows its users to see events which occurred in the past. After visiting an old man whose younger self the device may have allowed them to witness, the team’s medic, Owen Harper, spots Bernie Harris, who’d previously been in possession of the machine. A chase ensues; they run past a park, between a gang of kids playing football, over a railway bridge, through a housing estate, and eventually Bernie is cornered in a back

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18

Piatti-Farnell, Lorna. "Words from the Culinary Crypt: Reading the Cookbook as a Haunted/Haunting Text." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.640.

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Cookbooks can be interpreted as sites of exchange and transformation. This is not only due to their practical use as written instructions that assist in turning ingredients into dishes, but also to their significance as interconnecting mediums between teacher and student, perceiver and perceived, past and present. Hinging on inescapable notions of apprenticeship, occasion, and the passing of time—and being at once familiar and unfamiliar to both the reader and the writer—the recipe “as text” renders a specific brand of culinary uncanny. In outlining the function of cookbooks as chronicles of t

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19

Seale, Kirsten. "Doubling." M/C Journal 8, no. 3 (2005). http://dx.doi.org/10.5204/mcj.2372.

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   ‘Artists are replicants who have found the secret of their obsolescence.’ (Brian Massumi)   The critical reception to British writer Iain Sinclair’s most recent novel Dining on Stones (or, the Middle Ground) frequently focused on the British writer’s predilection for intertextual quotation and allusion, and more specifically, on his proclivity for integrating material from his own backlist. A survey of Dining on Stones reveals the following textual duplication: an entire short story, “View from My Window”, which was published in 2003; excerpts from a 2002

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20

Roney, Lisa. "The Extreme Connection Between Bodies and Houses." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2684.

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   Perhaps nothing in media culture today makes clearer the connection between people’s bodies and their homes than the Emmy-winning reality TV program Extreme Makeover: Home Edition. Home Edition is a spin-off from the original Extreme Makeover, and that fact provides in fundamental form the strong connection that the show demonstrates between bodies and houses. The first EM, initially popular for its focus on cosmetic surgery, laser skin and hair treatments, dental work, cosmetics and wardrobe for mainly middle-aged and self-described unattractive participants, lagged after

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21

Foster, Kevin. "True North: Essential Identity and Cultural Camouflage in H.V. Morton’s In Search of England." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1362.

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When the National Trust was established in 1895 its founders, Canon Rawnsley, Sir Robert Hunter and Octavia Hill, were, as Cannadine notes, “primarily concerned with preserving open spaces of outstanding natural beauty which were threatened with development or spoliation.” This was because, like Ruskin, Morris and “many of their contemporaries, they believed that the essence of Englishness was to be found in the fields and hedgerows, not in the suburbs and slums” (Cannadine 227). It was important to protect these sites of beauty and historical interest from development not only for what they w

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22

Piatti-Farnell, Lorna. "What’s Hidden in Gravity Falls: Strange Creatures and the Gothic Intertext." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.859.

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Discussing the interaction between representation and narrative structures, Anthony Mandal argues that the Gothic has always been “an intrinsically intertextual genre” (Mandal 350). From its inception, the intertextuality of the Gothic has taken many and varied incarnations, from simple references and allusions between texts—dates, locations, characters, and “creatures”—to intricate and evocative uses of style and plot organisation. And even though it would be unwise to reduce the Gothic “text” to a simple master narrative, one cannot deny that, in the midst of re-elaborations and re-interpret

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23

Gildersleeve, Jessica. "“Weird Melancholy” and the Modern Television Outback: Rage, Shame, and Violence in Wake in Fright and Mystery Road." M/C Journal 22, no. 1 (2019). http://dx.doi.org/10.5204/mcj.1500.

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In the middle of the nineteenth century, Marcus Clarke famously described the Australian outback as displaying a “Weird Melancholy” (qtd. in Gelder 116). The strange sights, sounds, and experiences of Australia’s rural locations made them ripe for the development of the European genre of the Gothic in a new location, a mutation which has continued over the past two centuries. But what does it mean for Australia’s Gothic landscapes to be associated with the affective qualities of the melancholy? And more particularly, how and why does this Gothic effect (and affect) appear in the most accessibl

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24

Larsson, Chari. "Suspicious Images: Iconophobia and the Ethical Gaze." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.393.

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If iconophobia is defined as the suspicion and anxiety towards the power exerted by images, its history is an ancient one in all of its Platonic, Christian, and Judaic forms. At its most radical, iconophobia results in an act of iconoclasm, or the total destruction of the image. At the other end of the spectrum, contemporary iconophobia may be more subtle. Images are simply withdrawn from circulation with the aim of eliminating their visibility. In his book Images in Spite of All, French art historian Georges Didi-Huberman questions the tradition of suspicion and denigration governing visual r

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25

Mead, Amy. "Bold Walks in the Inner North: Melbourne Women’s Memoir after Jill Meagher." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1321.

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Each year, The Economist magazine’s “Economist Intelligence Unit” ranks cities based on “healthcare, education, stability, culture, environment and infrastructure”, giving the highest-ranking locale the title of most ‘liveable’ (Wright). For the past six years, The Economist has named Melbourne “the world’s most liveable city” (Carmody et al.). A curious portmanteau, the concept of liveability is problematic: what may feel stable and safe to some members of the community may marginalise others due to several factors such as gender, disability, ethnicity or class.The subjective nature of this t

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26

West, Patrick Leslie. "Between North-South Civil War and East-West Manifest Destiny: Herman Melville’s “I and My Chimney” as Geo-Historical Allegory." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1317.

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Literary critics have mainly read Herman Melville’s short story “I and My Chimney” (1856) as allegory. This article elaborates on the tradition of interpreting Melville’s text allegorically by relating it to Fredric Jameson’s post-structural reinterpretation of allegory. In doing so, it argues that the story is not a simple example of allegory but rather an auto-reflexive engagement with allegory that reflects the cultural and historical ambivalences of the time in which Melville was writing. The suggestion is that Melville deliberately used signifiers (or the lack thereof) of directionality a

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27

Higley, Sarah L. "Audience, Uglossia, and CONLANG." M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1827.

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Could we also imagine a language in which a person could write down or give vocal expression to his inner experiences -- his feelings, moods, and the rest -- for his private use? Well, can't we do so in our ordinary language? -- But that is not what I mean. The individual words of this language are to refer to what can only be known to the person speaking; to his immediate private sensations. So another person cannot understand the language. -- Ludwig Wittgenstein, Philosophical Investigations par. 243 I will be using 'audience' in two ways in the following essay: as a phenomenon that produces

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28

Sheridan, Alison, Jane O'Sullivan, Josie Fisher, Kerry Dunne, and Wendy Beck. "Escaping from the City Means More than a Cheap House and a 10-Minute Commute." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1525.

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IntroductionWe five friends clinked glasses in our favourite wine and cocktail bar, and considered our next collaborative writing project. We had seen M/C Journal’s call for articles for a special issue on ‘regional’ and when one of us mentioned the television program, Escape from the City, we began our critique:“They haven’t featured Armidale yet, but wouldn’t it be great if they did?”“Really? I mean, some say any publicity is good publicity but the few early episodes I’ve viewed seem to give little or no screen time to the sorts of lifestyle features I most value in our town.”“Well, seeing a

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29

Wise, Jenny, and Lesley McLean. "Making Light of Convicts." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2737.

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Introduction The social roles of alcohol consumption are rich and varied, with different types of alcoholic beverages reflecting important symbolic and cultural meanings. Sparkling wine is especially notable for its association with secular and sacred celebrations. Indeed, sparkling wine is rarely drunk as a matter of routine; bottles of such wine signal special occasions, heightened by the formality and excitement associated with opening the bottle and controlling (or not!) the resultant fizz (Faith). Originating in England and France in the late 1600s, sparkling wine marked a dramatic shift

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