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Journal articles on the topic 'Haunted houses'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Juyi, Bai. "Haunted houses." Medicine and War 1, no. 3 (September 1985): 251–52. http://dx.doi.org/10.1080/07488008508408653.

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2

Verdonschot, Clinton Peter. "Haunted houses." Aesthetic Investigations 6, no. 1 (August 30, 2023): ix—xv. http://dx.doi.org/10.58519/aesthinv.v6i1.17083.

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3

Pellegrin, Jean-Yves. "Lynne Tillman : Haunted Houses." Cahiers Charles V 29, no. 1 (2000): 237–42. http://dx.doi.org/10.3406/cchav.2000.1292.

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吳從周, 吳從周. "凶宅與賠償（上）──一個法院裁判近20年來發展的現狀結算." 月旦法學雜誌 348, no. 348 (May 2024): 56–74. http://dx.doi.org/10.53106/1025593134804.

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吳從周, 吳從周. "凶宅與賠償（下）──一個法院裁判近20年來發展的現狀結算." 月旦法學雜誌 349, no. 349 (June 2024): 60–79. http://dx.doi.org/10.53106/1025593134904.

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6

Savran, David. "The Haunted Houses of Modernity." Modern Drama 43, no. 4 (December 2000): 583–94. http://dx.doi.org/10.3138/md.43.4.583.

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7

April Spisak. "Haunted Houses (review)." Bulletin of the Center for Children's Books 64, no. 2 (2010): 92. http://dx.doi.org/10.1353/bcc.2010.0127.

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8

A. Fike, Matthew. "“We Are All Haunted Houses”." Journal of Jungian Scholarly Studies 19, no. 1 (June 6, 2024): 9–30. http://dx.doi.org/10.29173/jjs266s.

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Details regarding Edwin Frere, the Victorian pastor in Lindsay Clarke’s The Chymical Wedding, yield new meaning in light of C. G. Jung’s alchemical writings, which are mentioned in the novel’s concluding acknowledgements. Although Frere’s union with Louisa Agnew has been considered a proper coniunctio, his relationship with her and his subsequent self-castration require a darker interpretation than some critics—and the narrator—propose. Other significant events under examination include Frere’s disastrous experience in India, his reaction to the sheela-na-gig Gypsy May, two fine moments (helping a young outcast and ice skating with friends), and his life after the novel closes. Relevant statements by Jung about the psychology of the Christian faith, particularly the role of repression, persona, and projection, are applied to Frere’s experiences in order to argue that he does not achieve a fruitful or lasting coniunctio with Louisa and that his self-castration is problematic because it participates in the materialism that alchemy seeks to counter.
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9

Hainsworth, Bex. "All houses are haunted by women." McNeese Review 61, no. 1 (2024): 127. http://dx.doi.org/10.1353/mcn.2024.a924833.

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10

Andjelkovic, Filip. "Haunted Houses, Haunted Minds: Psychical Research, Psychoanalysis, and the Philip Experiment." Preternature: Critical and Historical Studies on the Preternatural 12, no. 2 (September 1, 2023): 136–61. http://dx.doi.org/10.5325/preternature.12.2.0136.

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ABSTRACT In the 1970s, the Toronto Society for Psychical Research conducted a series of experiments in which they attempted to prove that the psychokinetic phenomena that were normally described in the context of spirit communication were indicative of a dormant, psychological power within the individual. The group created a fictional character—Philip, the imaginary ghost—and spent several years of regular séances successfully producing table raps and levitations as they attempted to communicate with him. Importantly, the group often compared their experiences with each other and with Philip as a form of “group therapy.” This article examines the collaborative, playful nature of the Philip Experiment in relation to psychoanalytic theories of play, transitional and intersubjective experiences, and the mediated communication of unconscious fantasies in the context of clinical analysis.
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11

Geiger, T. J. "Discerning Dangerous Affections in Hell Houses." Journal of Communication and Religion 43, no. 4 (2020): 60–76. http://dx.doi.org/10.5840/jcr202043423.

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Drawing on insights from revivalist Jonathan Edwards, philosopher Friedrich Nietzsche, and communication theory about inoculation, I examine Hell Houses, haunted house–style events designed to scare audiences into becoming Christians. Performances rely on inoculation to demonize outgroups and reinforce in-group commitment. While scholars identify Edwards as a rhetorical ancestor of Hell House tactics, inoculation reinforces in-group identity in a way that fits Edwards’s critique of “counterfeit love”—excessive in-group affection. The counterfeit love Hell Houses promote is bolstered by what Nietzsche termed ressentiment, Christian morality’s oppositional antagonism. Deconversion narratives from ex-Hell House actors suggest that reifying an oppositional group identity may ultimately undermine evangelistic goals.
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12

Speed, Chris. "Haunted Houses: Architecture and Large Language Models." Architectural Design 94, no. 4 (July 2024): 34–39. http://dx.doi.org/10.1002/ad.3073.

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AbstractConsidering the vast datasets that constitute artificial intelligence, it might be assumed that there is no place for the ghostly or ambiguous among the binary logics of the all‐knowing algorithm. Explaining that this is not in fact the case, Melbourne‐based Professor of Design for Regenerative Futures Chris Speed reveals the tumult of numinous spirits that haunt the data, influencing and impacting the resultant texts and images.
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13

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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14

Guðmundsdóttir, Sigrún Margrét. "„Hann er bara á vondum stað“. Reimleikahús í Rökkri eftir Erling Óttar Thoroddsen." Kynbundið ofbeldi II 19, no. 1 (June 14, 2019): 101–36. http://dx.doi.org/10.33112/ritid.19.1.6.

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A haunted house can either be a monster or the habitat of monsters, or even both. These houses have a unique attraction and a variety of methods to catch their prey. The scariest haunted house in the film Rökkur by Erlingur Óttar Thoroddsen (2017) does not provide shelter from wind and weather as it is not made of wood, concrete or stone. The ghosts in Rökkur are lurking online instead. By using the premises of the horror genre, Erlingur focuses specifically on the dangers that young homosexual men can be facing today. Chat rooms and social media are like hunting grounds for the monsters stalking the main characters. The film also focuses on the staggering silence of survivors of sexual violence, as studies have indicated that male victims are less likely to report the crimes they have suffered.
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15

Knútsdóttir, Vera. "SPECTRAL MEMORIES: AESTHETIC RESPONSES TO THE FINANCIAL CRASH IN ICELAND 2008." Nordic Journal of Aesthetics 29, no. 60 (November 22, 2020): 116–39. http://dx.doi.org/10.7146/nja.v29i60.122844.

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In October 2008, one of the largest bank crashes in history struck Iceland, a country of three hundred and thirty five thousand inhab-itants. The aim of the article is to examine two cultural responses to the crash and the crisis that followed. More precisely, the aim is to analyse how the creation of the haunted house in I Remember You, a crash-horror story by crime writer Yrsa Sigurðardóttir, as well as the spectral half-built houses portrayed by visual artist Guðjón Ketilsson refer quite directly, yet spectrally, to the period. The spec-tral themes of the two works give the opportunity to discuss the moment following the crash as a moment of haunting—but who is haunted and by whom?
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16

Junker, Christine. "The Domestic Tyranny of Haunted Houses in Mary Wilkins Freeman and Shirley Jackson." Humanities 8, no. 2 (May 30, 2019): 107. http://dx.doi.org/10.3390/h8020107.

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Mary Wilkins Freeman and Shirley Jackson, though writing in different time periods, are both invested in recuperating domesticity and using their work to imagine what domesticity removed from the context of marriage and children can offer single women. Both authors assert that emplacement within domestic enclosure is essential to securing feminine subjectivity, but their haunted house narratives undermine that very emplacement. Freeman’s stories, “The Southwest Chamber” and “The Hall Bedroom” anticipate Jackson’s more well-known The Haunting of Hill House in the way that unruly domesticity threatens the female character’s emplacement. Their haunted house narratives show that neither Freeman nor Jackson, for all that they are subversive in some ways, wants to dissolve the traditional ideological constructs of domesticity; instead, they want these ideologies to work in the culturally promised patriarchal fashion. Reading their haunted house narratives together reveals the dynamics and tensions of a domesticity that is fluid, entangled, and vibrant and the feminist potential such sites engender, even if the characters and texts in question cannot fully realize that potential.
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17

Hoedt, Madelon. "Hell to Pay: Christian Haunted Houses and Audience Reception." Journal of Religion and Popular Culture 24, no. 2 (2012): 247–59. http://dx.doi.org/10.1353/rpc.2012.0024.

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18

Bruce, Jean, and Zoë Druick. "Haunted houses: Gender and property television after the financial crisis." European Journal of Cultural Studies 20, no. 5 (April 19, 2017): 483–89. http://dx.doi.org/10.1177/1367549417701762.

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19

Muñoz-González, Esther. "Posthuman Gothic Tale." International Journal of English Studies 24, no. 1 (June 28, 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 Gothic world of murder, haunted houses, and ghosts. The purpose of this paper is to trace the intersection of Posthuman thought and Gothic characteristics in the story to discuss the slippery relationship between what we believe we are and what we actually are.
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20

Zuliana, Safitri, Anita Dewi Kurniasari, and Markhamah. "Dampak Social Dostancing Covid-19 “Himbauan Mudik Siap Huni Rumah Angker di Sragen." KESMAS UWIGAMA: Jurnal Kesehatan Masyarakat 6, no. 2 (December 10, 2020): 62–69. http://dx.doi.org/10.24903/kujkm.v6i2.921.

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This study has two objectives, the first to describe the effect of Covid-19 social distance for travelers in Sragen, and to describe whether the haunted house provided for independent quarantine for travelers has a deterrent effect. In this study, researchers used a qualitative descriptive design and the techniques used in data collection were listening and note taking techniques. The data source of this study consisted of data obtained from YouTube about social impacts, and the deterrent effect received by the community in the presence of an appeal that had been enforced in Sragen. Data analysis, which is used in this study is a text analysis technique. This technique is a technique used to describe the long-term social impact of covid-19 "appeals for homecoming in haunted houses in Sragen". Research results show that the appeal imposed by the Sragen regent has a positive impact on the welfare of the community, with the existence of this community appeal can be enforced regulations that have been imposed with independent isolation for four days at home.
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21

Buchanan-King, Mindy. "Architecture as Precarity: Edith Wharton’s Haunted Hudson River Bracketed." Edith Wharton Review 38, no. 1 (May 2022): 1–20. http://dx.doi.org/10.5325/editwharrevi.38.1.0001.

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Abstract This article argues that Wharton—an influential presence in the design and architectural world thanks to such publications as The Decoration of Houses—invented the title of her 1929 novel, Hudson River Bracketed, for the purpose of using architecture to explore the precarity of the past. Herein, precarity is used to convey risk, decay, destruction, and instability. Her invention thus emphasizes not only the continued significance of architecture to Wharton; it underscores her awareness of and engagement with the risks and destruction possible in the space of the past. Accordingly, this article seeks to interpret Hudson as a ghost story, one that centers on her haunted Hudson River Bracketed house, the Willows. While most critics envisage the Willows as a venerable monument of the past, this article analyzes the Willows as operating within a Gothic framework borrowed from the likes of Poe. As the author suggests through a history of Wharton’s construction of the architectural title, its more sinister meanings, and its connection with the past—paired with image analyses and close readings—Wharton ultimately uses the Gothic trope of the haunted house as a way of more personally reflecting on her own position as an aging writer in her post–Age of Innocence career.
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22

Duncan, David F., J. William Donnelly, and Thomas Nicholson. "Belief in the Paranormal and Religious Belief among American College Students." Psychological Reports 70, no. 1 (February 1992): 15–18. http://dx.doi.org/10.2466/pr0.1992.70.1.15.

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A survey of beliefs about the paranormal was completed by 267 university students. Protestants were more likely to believe in the Devil, possession by the Devil, and witches, but less likely to believe in reincarnation or haunted houses. Catholics were more likely to believe in astrology. Students whose religion was important to them were less likely to believe in the Devil, possession by the Devil, astrology, extrasensory perception, or reincarnation.
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23

Kawash, Samira. "Haunted Houses, Sinking Ships: Race, Architecture, and Identity in Beloved and Middle Passage." CR: The New Centennial Review 1, no. 3 (2001): 67–86. http://dx.doi.org/10.1353/ncr.2003.0065.

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24

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 (May 15, 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 articles and chapters about American gothic authors Nathaniel Hawthorne and Edgar Allan Poe, amongst others. In relation to this, Evert has also published House of Usher (2019) a book analyzing Poe’s famous story “The Fall of the House of Usher” (1839), Richard Matheson’s related film script and the cinematic adaptation by Roger Corman in the context of the 1960s counter-culture.
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25

Davies, Ann. "Women and Haunted Houses in the Films of Jaume Balagueró: The Nightmares of Presence." Bulletin of Hispanic Studies 96, no. 6 (June 2019): 641–53. http://dx.doi.org/10.3828/bhs.2019.38.

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26

Mills, R. K., and J. L. Woods. "Ghosts, Legends, and Haunted Houses: Using Colorful Local History Resources in the History Classroom." OAH Magazine of History 11, no. 3 (March 1, 1997): 49–51. http://dx.doi.org/10.1093/maghis/11.3.49.

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27

Wheatley, Helen. "Uncanny Children, Haunted Houses, Hidden Rooms: Children's Gothic Television in the 1970s and '80s." Visual Culture in Britain 13, no. 3 (November 2012): 383–97. http://dx.doi.org/10.1080/14714787.2012.712889.

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28

Levin, Laura, and Sunita Nigam. "Editorial: The Politics of Performing House: Transnational Perspectives." Canadian Theatre Review 191 (August 1, 2022): 5–12. http://dx.doi.org/10.3138/ctr.191.001.

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Asking, What is the relationship between housing and performance?, editors Laura Levin and Sunita Nigam insist that the lines between the two begin to blur when we attend to the aesthetic and embodied dimensions of housing, on the one hand, and the homely, spatial, and thematic concerns of certain performances, on the other. Considering contexts of housing crises, shortages, and discrimination, the editors argue that houses of all kinds must be treated as processual, performative practices and as intended and unintended displays that reveal much about the material contexts in which they are embedded. As important zones for the realization, rehearsal, thwarting, or abandonment of private and collective fantasies, all houses are ‘dream houses,’ whether these dreams be good or bad. Levin and Nigam make a case for paying attention to aesthetic references, movement vocabularies, narratives about housing, scripts for housing practices, and the gendering and racializing of certain roles—all aspects of ‘practising house’—that make spaces (real and imagined) meaningful for those who perform them and spectate them. They argue for the importance of reading housing practices both in relation to local conditions and through transnational and hemispheric frameworks, asserting that the performative politics of housing brings into view shared experiences of dwelling, citizenship, and belonging that cross—and, more crucially, contest—geopolitical borders. In doing so, they emphasize how housing practices are haunted by the rupture that colonization created with existing Indigenous modes of dwelling, especially as a consequence of establishing settler-colonial territory and domestic spaces.
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29

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 their chosen homes as foreigners or, to be more specific, as surrogate Britons in their country of origin, creating a separate community of anglophiles. The “solace of being a foreigner in [their] own country” (29) is but one of their rewards in their attempts at mimicking a British way of life. If the houses of the novel are set in independent India, this article questions the extent to which they could be read as counterparts to the British country house, relating them to values of continuity, tradition and Englishness. While anglophile characters take the British country house as model for their own Indian houses, their nostalgia is for a British home they never knew or owned. Their experiences of immigration can only lead them to create a pastiche of an English country house, which relies on a mythified vision of England. Their acceptance of English values and social hierarchy turns them into foreigners in their own country, seemingly blurring the definitions of “home” and “abroad”. Their reliance on the model of the British country house further points to the ways in which The Inheritance of Loss parodies the genre of the English manor house novel and the way it relies on colonialist norms.
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Shannon Brennan. "“The Queer Feeling We All Know”: Queer Objects and Orientations in Edith Wharton's (Haunted) Houses." Legacy 34, no. 1 (2017): 82. http://dx.doi.org/10.5250/legacy.34.1.0082.

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31

Fisher-Ari, Teresa R., and Heather L. Lynch. "Archeology, legos, and haunted houses: novice teachers’ shifting understandings of self and curricula through metaphor." Journal of Curriculum Studies 47, no. 4 (June 4, 2015): 529–52. http://dx.doi.org/10.1080/00220272.2015.1049297.

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32

NOVARETTI, Simona. "Law and Tradition in a Socialist Market Economy: Haunted House Litigation in China." Asian Journal of Comparative Law 10, no. 1 (July 2015): 137–51. http://dx.doi.org/10.1017/asjcl.2015.7.

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AbstractThe transition of the People’s Republic of China into a market economy and the ensuing development of its real estate market have seen the rise of a new type of case, related to the sale of “second hand properties” (er shou fang) (二手房,): the “disputes in transactions for haunted houses” (xiong zhai maimai jiufen) (凶宅买卖纠纷). Can the plaintiff’s rights, which are not regulated by express provisions of statutory law but are rooted in traditional beliefs, be claimed in the courts of a socialist country? What are the legal grounds of these claims, if any? My aim is to highlight, through the analysis of several cases decided by the People’s Courts since 2004, the complex relationship between tradition, law, and economy in a country that provides one of the greatest examples of “legal transplants” in the history of mankind.
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33

devetak, richard. "the gothic scene of international relations: ghosts, monsters, terror and the sublime after september 11." Review of International Studies 31, no. 4 (October 2005): 621–43. http://dx.doi.org/10.1017/s0260210505006662.

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accepting furet’s claim that events acquire meaning and significance only in the context of narratives, this article argues that a particular type of international relations narrative has emerged with greater distinction after the traumatic experience of september 11: the gothic narrative. in a sense the political rhetoric of president bush marks the latest example of america’s fine tradition in the gothic genre that began with edgar allan poe and nathaniel hawthorne and extends through henry james to stephen king. his discourse of national security, it will be shown, assumes many of the predicates of gothic narratives. the gothic scenes evoked by bush as much as poe involve monsters and ghosts in tenebrous atmospheres that generate fear and anxiety, where terror is a pervasive tormentor of the senses. poe’s narratives, for example, turn on encounters with dark, perverse, seemingly indomitable, forces often entombed in haunted houses. similarly, bush’s post-september 11 narratives play upon fears of terrorists and rogue states who are equally dark, perverse and indomitable forces. in both cases, ineffable and potently violent and cruel forces haunt and terrorise the civilised, human world.
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34

Guerreiro, Antonio J. "Christopher J. Shepherd, Haunted Houses and Ghostly Encounters. Ethnography and Animism in East Timor 1860-1975." Moussons, no. 38 (November 25, 2021): 259–65. http://dx.doi.org/10.4000/moussons.8482.

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35

McCloud, Sean. "Mapping the spatial limbos of spiritual warfare: haunted houses, defiled land and the horrors of history." Material Religion 9, no. 2 (June 2013): 166–85. http://dx.doi.org/10.2752/175183413x13703410896690.

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36

Abdullah, Noorman. "Haunted Houses and Ghostly Encounters: Ethnography and Animism in East Timor, 1860–1975, by Christopher J. Shepherd." Asian Journal of Social Science 48, no. 5-6 (December 4, 2020): 643–47. http://dx.doi.org/10.1163/15685314-04805009.

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37

Anatol, Giselle Liza. "Haunted Houses and Ghostly Homes: Kacen Callender's Hurricane Child as a Rewriting of Jamaica Kincaid's Annie John." ariel: A Review of International English Literature 54, no. 1 (January 2023): 73–101. http://dx.doi.org/10.1353/ari.2023.0003.

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38

Herrero-Puertas, Manuel. "Gothic Access." Journal of Literary & Cultural Disability Studies 14, no. 3 (August 1, 2020): 333–51. http://dx.doi.org/10.3828/jlcds.2020.21.

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The article charts gothic fiction’s spatialization of disability by examining two representative entries: Horace Walpole’s foundational novel The Castle of Otranto (1764) and Peter Medak’s film The Changeling (1980). Their different media and historical backgrounds notwithstanding, both texts feature haunted houses where ghosts and nonghosts collaborate in tearing walls, clearing passageways, tracking voices, and lighting up cellars. These accommodations, along with the antiestablishment critiques they advance, remain unanalyzed because gothic studies and disability studies have intersected mainly around paradigms of monstrosity, abjection, and repression. What do we gain, then, by de-psychologizing the gothic, assaying ghosts’ material entanglements instead? This critical gesture reveals crip ghosts Joseph (Changeling) and Alfonso (Otranto) engaged in what the article conceptualizes as “gothic access”: a series of hauntings that help us collapse and reimagine everyday life’s unhaunted—yet inaccessible—built environments.
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39

Wickham, Daina Pupons, Haithi Yan, Edo Visser, and Bari Simon. "Turning Wood into Haunted Houses: The Role of Human Factors, Community and the Environment in Supporting Local Organizations." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 2 (October 1997): 1377. http://dx.doi.org/10.1177/1071181397041002161.

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40

Shepherd, Christopher. "Author’s Response to Andrew McWilliam’s Review of “Haunted Houses and Ghostly Encounters. Animism and Ethnography in East Timor, 1860–1975.”." Anthropos 115, no. 2 (2020): 651–52. http://dx.doi.org/10.5771/0257-9774-2020-2-651.

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41

Reula Baquero, Pedro. "Casa encantada, tramoyas y tropelías. Don Juan de Espina y Segundo de Chomón." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 23 (December 13, 2014): 407. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201523753.

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En 1908, el cineasta Segundo de Chomón estrenó La maison ensorcelée y Electric hôtel. Pertenecen a un género que hacía furor en esos momentos, el de los trucajes misteriosos en la escena de una casa encantada y cuyo origen está en la tradición de las comedias de magia. Coincidiendo con ese gusto de la época por las casas encantadas, Cotarelo y Mori publicó en 1907 la novela Casos prodigiosos y cueva encantada de un autor del siglo XVII, Juan de Piña. Contiene un pasaje que se desarrolla en una casa hechizada y no resulta difícil establecer un paralelismo con las películas de Segundo de Chomón. El habitante de esta casa se asemeja a un extraño personaje del siglo XVII, Juan de Espina, famoso ya en su época por mago y por sus extravagantes colecciones y cuya fama llegaría hasta el siglo XIX. La primera década del siglo XX vivió el apogeo de la magia y de la electricidad, en un momento de sublime apoteosis del progreso tecnológico y, al mismo tiempo, del ocultismo más furibundo. Fue una época de contradicciones, igual que el primer tercio del siglo XVII, en la que se desarrollaban simultáneamente la revolución tecnológica y metodológica del estudio de la naturaleza y las supersticiones más demenciales. In 1908, the filmmaker Segundo de Chomón, released La maison ensorcelée and Electric Hôtel both of which belong to an extremely popular and successful genre of the times, that which showed mysterious tricks at the scene of a haunted house, and whose origin lies in the tradition of the magical comedies. Coinciding with this taste for haunted houses, Cotarelo y Mori published the novel Casos prodigiosos y cueva encantada written by Juan de Piña, a seventeenth century writer. This novel contains a passage that is set in a mysterious house and which is not difficult to link to Chomón’s films. Its inhabitant reminds us of a bizarre character of the seventeenth century named Juan de Espina, famous in his time for his magic tricks and his extravagant collections and whose fame would continue into the nineteenth century. The first decade of the twentieth century saw the climax of magic and electricity, at a time of sublime exaltation of technological progress combined with the most raging occultism. It was an era full of contradictions, like the first third of the seventeenth century, in which a technological revolution and a new method for the study of nature unfolded simultaneously alongside the most lunatic superstitions.
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42

Giannopoulou, Zina. "GILLES DELEUZE AND BERNARDO BERTOLUCCI ON PLATO'S CAVE." Ramus 49, no. 1-2 (December 2020): 70–88. http://dx.doi.org/10.1017/rmu.2020.5.

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The allegory of the Cave in Republic 514a–18d is one of the most memorable Platonic images. The depiction of chained humans in a cavernous dwelling looking at shadows of objects cast on a parapet in front of them but unable to locate the objects themselves until one of them is freed, turns around to see the objects, and finally leaves the cave has haunted and inspired readers throughout the centuries. The prisoners are said to be ‘like us’ (515a), which is taken to refer either to human life in general or to human life in corrupt political environments. Plato's core metaphysical and epistemological doctrines are thought to inhere in the Cave, his belief that the sensible world, represented by the cave, holds people captive to defective and erroneous appearances, and that only philosophy can free and enlighten them, leading them out of the cave to the intelligible realm of the eternal Forms. The cave then houses captives since childhood who believe that shadows of artifacts exhaust reality, and captors who project images of artifacts on the wall and thereby manipulate what the captives see and hear.
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Kiejziewicz, Agnieszka. "The boundaries of oblivion: Ghosts and memory in Apichatpong Weerasethakul’s short films." Short Film Studies 13, no. 1 (March 1, 2023): 21–33. http://dx.doi.org/10.1386/sfs_00089_1.

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This article analyses chosen Apichatpong’s short films, organized in two thematic areas, with reference to the director’s primary interest in communicating about post-traumatic memory. The first part is dedicated to ghostly presences, their meanings and depictions. Apichatpong’s ghosts derive from the light penetrating the surface to human-shape projections or figments of imagination. This part of the analysis will refer to Derrida’s hauntology concept and its dissemination in such films as A Letter to Uncle Boonmee (2009) or Apichatpong’s early project Haunted Houses (2001). In the following part of the article, I will focus on the destruction of memory, symbolized by the images of fire, burning objects or split narrative structures. Here I will analyse films such as Blue (2018) and Ashes (2012), pointing out similar semiotic references in Apichatpong’s feature films. The analysis presented is accompanied by the observation of connections between Apichatpong’s feature films and short films, with a particular emphasis on his new short projects. My reflection on the topic was built upon the audio-visual resources, including interviews and records from exhibitions, as well as subject literature in English, Polish and Japanese.
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Bigot, Corinne. "Forsaken Objects, Haunted Houses, Female Bodies, and “the squalor of tragedy in ordinary life”: Reading Dance of the Happy Shades with Later Stories." Commonwealth Essays and Studies 37, no. 2 (April 1, 2015): 15–25. http://dx.doi.org/10.4000/ces.5004.

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Candeira, Margarita García. "The World as Garden: Versions of Pastoral in Emily Dickinson and Olvido García Valdés." Emily Dickinson Journal 32, no. 1 (2023): 16–35. http://dx.doi.org/10.1353/edj.2023.a902809.

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Abstract: This paper contributes to the exploration of Emily Dickinson's influence on contemporary Spanish poetry through an examination of the trajectory of Olvido García Valdés, a poet born in 1950 who stands out for her very singular lyrical program, based on an extensive philosophical knowledge and on a close attention to nature, features that can be found in Dickinson's oeuvre and that reflect what could be labelled as a common pastoral impulse. This article explores the terms of this dialogue, focusing on both poets' approach to nature as the place where truth resides. The apparent prominence of the natural world in their works is a sign of not only its splendor and multiplicity but also its darkness and adversity. The extent to which nature encompasses violence and death offers a lesson in immanence that impedes any symbolic reading, thus giving place to figural closure and allegory. Plenitude is then projected into the past, into states of childhoods that, though nostalgically remembered in an elegiac tone familiar to the genre, are nonetheless as impossible to access as haunted and sealed houses. In a third and last move, the present is posited as a void, a space of emptiness where every voice can only be posthumous.
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Barrax, Gerald. "Haunted House." Callaloo, no. 36 (1988): 449. http://dx.doi.org/10.2307/2931513.

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47

Rauschenbusch, Stephanie. "Haunted House." American Book Review 39, no. 1 (2017): 24. http://dx.doi.org/10.1353/abr.2017.0145.

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Baptista, Luis Antonio, and Rodrigo Lages e Silva. "A cidade dos anjos do improrrogável / The city of the angels of unextendable." Revista Polis e Psique 7, no. 1 (March 29, 2017): 49. http://dx.doi.org/10.22456/2238-152x.71867.

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ResumoA cidade tem sido objeto de inúmeras escritas. Escrevem maldizendo-a os desertores que rumam às suas casas no campo ou às suas comunidades autossustentáveis. Escrevem clamando por ela os ocupados nas escolas, nos prédios abandonados, nas praças, nas universidades. Escrevem preocupados os economistas com suas sacras probabilidades. O que torna improrrogável que escrevamos a cidade? Perseguindo esta interrogação, colocamos em cena um personagem interpelado por uma voz que o exorta a caminhar pelas ruas de um Rio de Janeiro que lhe desorienta os sentidos intoxicados de confortáveis certezas. Em seguida pensamos tal processo à luz do materialismo filosófico de Epicuro e Lucrécio, com vistas à proposição de uma escrita urbana que não apenas interpreta fenômenos urbanos, mas que, transgredindo o sensível, inventa cidades e subjetividades.Palavras-chave: Cidade; Escrita; Materialismo Filosófico. AbstractThe city has been object of countless writings. Cursing it write the deserters while depart to its country houses or self-sustainable communities. Claiming for it write the occupiers at schools, abandoned buildings, parks, universities. Concerned write the economists with its sacred probabilities. What makes unextendable that we write the city? On this quest we screened a character haunted by a voice which urges him to walk on the Rio de Janeiro’s streets that disorientates his senses intoxicated by comfortable certainties. On the following we analyze this process by the light of the Epicurus and Lucretius’ philosophical materialism, aiming to propose an urban writing that doesn’t interpret urban phenomena but transgressing the senses creates cities and subjectivities.Keywords: City; Writing; Philosophical Materialism.
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Didi-Huberman, G. "WARBURG'S HAUNTED HOUSE." Common Knowledge 18, no. 1 (January 1, 2012): 50–78. http://dx.doi.org/10.1215/0961754x-1456881.

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Waldie, D. J. "Nature’s Haunted House." Boom 4, no. 3 (2014): 95–102. http://dx.doi.org/10.1525/boom.2014.4.3.95.

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This essay considers the fluid lines between history, nature, and the urban realm. Beginning with land cultivated by the Bixby family near Long Beach, California from 1878 into the mid-twentieth century, Waldie discusses how the landscape has changed by the Bixbys and those who came before and since. He then turns his attention to his own suburban neighborhood and California more broadly, and the way a sense of place, history, community, and nature are bound up in them.
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