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Journal articles on the topic 'Haunted places – Juvenile fiction'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Maleszka, Anna, and Mateusz Maleszka. "Supernatural or Material: Haunted Places in H.P. Lovecraft’s, M.R. James’s, A. Machen’s and A. Blackwood’s Horror Fiction." Theoria et Historia Scientiarum 14 (December 21, 2017): 181. http://dx.doi.org/10.12775/ths.2017.013.

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2

Henningsen, Gustav, and Jesper Laursen. "Stenkast." Kuml 55, no. 55 (2006): 243–78. http://dx.doi.org/10.7146/kuml.v55i55.24695.

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CairnsIn Denmark, the term stenkast (a ‘stone throw’) is used for cairns – stone heaps that have accumulated in places where it was the tradition to throw a stone. A kast (a ‘throw’) would actually be a more correct term, as sometimes the heaps consist of sticks, branches, heather, or peat, rather than stones – in short, whichever was at hand at that particular place. A kast could also consist of both sticks and stones.The majority of the known Danish cairns were presented by August F. Schmidt in 1929. Since then, numerous new ones have been discovered, and we now know of around 80 cairns, cf.

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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.

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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of th

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4

Cooper, Annabel. "Nō Ōrākau: Past and People in James Cowan’s Places." Journal of New Zealand Studies, no. 19 (May 13, 2015). http://dx.doi.org/10.26686/jnzs.v0i19.3766.

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In tracing the interconnections of place and people in James Cowan's writing, this article argues that his widely-disseminated body of work complicates current orthodoxies and warrants more consideration in the study of settlement than it has had to date. Analyses of newspaper features and short non-fiction narratives, and of book chapters which centre on the prototype for Cowan’s cultural landscapes, Ōrākau, provide the basis for an argument that even in an era when the picturesque appeared to have wrought a division between scenic and inhabited landscapes, Cowan’s writing refused that distin

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Lundberg, Anita. "Tropical Imaginaries in Living Cities." eTropic: electronic journal of studies in the tropics 17, no. 2 (2018). http://dx.doi.org/10.25120/etropic.17.2.2018.3651.

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This is the second part of the eTropic special issue theme on Tropical Imaginaries and Living Cities. While the first part of this series concentrated predominately on concrete cities and the material imagination, this second issue explores notions of the tropics and cities through literary and artistic works. Thus in this collection of papers the tropical imaginary comes to the forefront while the metropolis provides the space or canvas for the imagination.Many of the cities called up in this collection have physical presence, places such as Darwin, Singapore, Hong Kong, Shanghai, Paris, Berl

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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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7

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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8

Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi

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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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Hanscombe, Elisabeth. "A Plea for Doubt in the Subjectivity of Method." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.335.

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Photograph by Gonzalo Echeverria (2010)Doubt has been my closest companion for several years as I struggle to make sense of certain hidden events from within my family’s history. The actual nature of such events, although now lost to us, can nevertheless be explored through the distorting lens of memory and academic research. I base such explorations in part on my intuition and sensitivity to emotional experience, which are inevitably riddled with doubt. I write from the position of a psychoanalytic psychologist who is also a creative writer and my doubts increase further when I use the autobi

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Cantrell, Kate, Ariella Van Luyn, and Emma Doolan. "Wandering." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1598.

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Wandering is an embodied movement through a landscape, cityscape, or soundscape; it is a venture that one may undertake voluntarily or reluctantly. It is similar to wayfaring and roaming, and different to walking. As a metaphor and as a figuration of subjectivity, wandering allows for a number of non-linear engagements: loitering, overhearing, wildflowering, meandering, even time travel. When coupled with an act of memory or imagination, wandering can instigate wondering, and vice versa. It can refer to the physical movement of the body through space or the abstract wandering of the mind throu

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12

West, Patrick Leslie. "Towards a Politics and Art of the Land: Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.847.

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Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mix

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13

Irwin, Hannah. "Not of This Earth: Jack the Ripper and the Development of Gothic Whitechapel." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.845.

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On the night of 31 August, 1888, Mary Ann ‘Polly’ Nichols was found murdered in Buck’s Row, her throat slashed and her body mutilated. She was followed by Annie Chapman on 8 September in the year of 29 Hanbury Street, Elizabeth Stride in Dutfield’s Yard and Catherine Eddowes in Mitre Square on 30 September, and finally Mary Jane Kelly in Miller’s Court, on 9 November. These five women, all prostitutes, were victims of an unknown assailant commonly referred to by the epithet ‘Jack the Ripper’, forming an official canon which excludes at least thirteen other cases around the same time. As the Ri

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14

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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15

Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl

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Culver, Carody. "My Kitchen, Myself: Constructing the Feminine Identity in Contemporary Cookbooks." M/C Journal 16, no. 3 (2013). http://dx.doi.org/10.5204/mcj.641.

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Sometimes ... we don’t want to feel like a post-modern, post-feminist, overstretched woman but, rather, a domestic goddess, trailing nutmeggy fumes of baking pie in our languorous wake (Nigella Lawson, How to be a Domestic Goddess vii). IntroductionFor today’s female readers, the idea of trailing “nutmeggy fumes” of home-baked pie through their kitchens could be as much a source of gender-stereotyping outrage as one of desire or longing. Regardless of personal response, there seems little doubt that the image Lawson’s words create prevails even in the 21st century: an apron-clad, kitchen-bound

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