Dissertations / Theses on the topic 'Joseph Sheridan Le Fanu'

L'œuvre de Le Fanu est née de la tragique rencontre politico-religieuse entre deux pays, l'Irlande et l'Angleterre. Elle est une vision d'abord historique, puis mythique de ce conflit. L'étude de cette confrontation aboutit très vite à une hésitation fatale, à l'impossibilité de trouver une solution. L'art de Le Fanu consiste à exprimer cette hésitation et cette impossibilité sur deux modes littéraires utilisés conjointement. Expression de l'enfermement, de l'incompréhensible prédestination, de l'inexorable fatalité, de la menace constante du mystère, traduction de la grande peur originelle qui se perpétue à travers l'histoire, le genre fantastique donne à Le Fanu le moyen idéal de révéler la face hideuse d'un monde où tout voyage est trompeusement initiatique, où tout désir de connaissance débouche sur l'angoisse, le cauchemar, la dualité et la réversibilité des êtres et des choses, la mort. Expression de la tentative de rationaliser l'existence humaine, de clarifier le dédale des situations, le genre policier apporte par ailleurs à Le Fanu la nécessaire caution de la raison qui lui permet précisément de démontrer la vanité de toute espérance profonde dans ce domaine
The tragedy of the political and religious clash between Ireland and England is responsible for Le Fanu's work. The latter is first an historical, then a mythical vision of the conflict. The study of the confrontation soon results in an absolute hesitation, in the impossibility to find a solution. Le Fanu's art consists in conveying this hesitation and this impossibility via two literary modes used jointly. As an expression of man's moral confinement, incomprehensible predestination and inexorable fate, the fantastic genre - that most adequately translates the original fear perpetuated throughout history - gives Le Fanu an ideal means of unveiling the hideous spectra of a world in which any journey is a deceitful initiation, any desire for understanding a frightening open road to distress, nightmares, the duality of all things, and death. As an expression of man's attempt to rationalize human existence and to clarify the intricacies of earthly situations, the detective genre also provides Le Fanu with the necessary contribution of reason, thus enabling him to demonstrate the vanity of our expectations in that field

Le but de cette thèse est de dégager les constantes de l'écriture fantastique de Le Fanu dans ses nouvelles. L'étude s'organise autour de trois axes : la réécriture de contes irlandais,l'utilisation des codes du roman gothique,l'invention de nouvelles formes d'écriture qui lient explicitement fantastique et fantasmatique. Le fanu parvient à inscrire dans la fictionalité écrite l'expérience du conteur,qui redit sans répéter,qui signale tout par le fragment
This thesis aims at defining the specificity of Le Fanu's fantastic in his short stories. .

This dissertation is a text analysis of the short novel Carmilla (1872) by the Irish ghost story-author Joseph Sheridan Le Fanu. It is a close reading analysis where I apply a queer theoretical perspective using Mia Franck’s model to analyze different silence practices in Carmilla. I focus on the female vampire Carmilla and her companion Laura and how they are portrayed in this short novel. I will ask the questions: do the characters Carmilla and Laura show a non-heterosexual relationship, passion and desire? How do they depart from the gender norm and can they be seen as characters who deviate from what society considers ‘normal’ behaviour? And can Carmilla and Laura’s relationship be seen as an example of silenced homosexuality and in what way is it expressed? Carmilla and Laura’s behaviour can certainly be described as queer and it is effective to examine the novella using silence practices through a queer perspective. Many of the practices are written silences. Mostly, its things that the reader realizes before the storyteller Laura does herself. They reveal numerous oddities in the story, taking the form of narrative, camouflaged, performative, ritualized and existential silences. Prominent examples are the way Carmilla hides both her vampiric and lesbian sides which Laura is repelled at in addition to her own lustful and passionate emotions. As a future teacher, one of my most important jobs will be to educate my pupils about democratic values and that all kinds of discrimination should be discouraged. An essay of this sort is one way to educate them in how gender and sexuality can be seen from historical, political and cultural perspectives.

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-22Bitstream added on 2014-06-13T21:00:16Z : No. of bitstreams: 1 campos_lr_me_sjrp.pdf: 696640 bytes, checksum: 9fd8fdc49f20d3c0d98f77a5b2b314c5 (MD5)
Este trabalho teve como objetivo realizar uma análise comparativa entre duas obras literárias que têm como foco a questão da representação literária feminina. Ao analisar os textos Carmilla (1872), de Joseph Sheridan Le Fanu, e Sabella (1980), de Tanith Lee, buscamos apontar alguns traços comuns característicos quanto às descrições das personagens femininas e as posturas que assumem diante da sociedade na qual estão inseridas, a fim de encontrar alguns possíveis aspectos norteadores para a construção da identidade feminina literária. A partir de um olhar mais aprofundado para as personagens-título Carmilla e Sabella — ambas vampiras e representativas de dois momentos distintos da literatura de ficção inglesa — retratamos os contextos histórico-sociais em que os autores se inserem. A análise baseou-se em algumas teorias feministas desenvolvidas e disseminadas ao longo dos anos 70 e 80, que visam discutir os novos posicionamentos da mulher dentro de contextos sociais até então “proibidos”, tais como trabalho, política e sexualidade. Interagimos também com textos que relacionam a representação social da mulher ligada à figura mitológica do vampiro – representação essa diretamente associadas às transformações emocionais que tratam do embate primitivo do bem vs. o mal.
The aim of this study was to make a comparative analysis focusing on the female literary representations present in two English novels. Through the study of the novels Carmilla (1872), by Joseph Sheridan Le Fanu, and Sabella (1980), by Tanith Lee, we examined the main common characteristics from female characters and their attitudes within the society to which they belong, and with the purpose of finding some possible points leading to a literary female identity construction. From a deep contact with the title-characters Carmilla and Sabella – both female vampires and also representatives of distinct English literary fiction periods – we depict the social-historical contexts to which each author belongs. The analysis is based on some feminist theories developed and propagated along of the 70’s and the 80’s, which discuss the new places occupied by women in social contexts so far known as “banned”, like out-of-house works, politics and sexuality. We also interact with texts related to social female representations linked to the mythological vampire figure – a kind of representation directly associated to some emotional transformations dealing with the primitive opposition between good vs. evil.

Orientador: Álvaro Luiz Hattnher
Banca: Nícea Helena de ALmeida Nogueira
Banca: Carla Alexandra Ferreira
Resumo: Este trabalho teve como objetivo realizar uma análise comparativa entre duas obras literárias que têm como foco a questão da representação literária feminina. Ao analisar os textos Carmilla (1872), de Joseph Sheridan Le Fanu, e Sabella (1980), de Tanith Lee, buscamos apontar alguns traços comuns característicos quanto às descrições das personagens femininas e as posturas que assumem diante da sociedade na qual estão inseridas, a fim de encontrar alguns possíveis aspectos norteadores para a construção da identidade feminina literária. A partir de um olhar mais aprofundado para as personagens-título Carmilla e Sabella - ambas vampiras e representativas de dois momentos distintos da literatura de ficção inglesa - retratamos os contextos histórico-sociais em que os autores se inserem. A análise baseou-se em algumas teorias feministas desenvolvidas e disseminadas ao longo dos anos 70 e 80, que visam discutir os novos posicionamentos da mulher dentro de contextos sociais até então "proibidos", tais como trabalho, política e sexualidade. Interagimos também com textos que relacionam a representação social da mulher ligada à figura mitológica do vampiro - representação essa diretamente associadas às transformações emocionais que tratam do embate primitivo do bem vs. o mal.
Abstract: The aim of this study was to make a comparative analysis focusing on the female literary representations present in two English novels. Through the study of the novels Carmilla (1872), by Joseph Sheridan Le Fanu, and Sabella (1980), by Tanith Lee, we examined the main common characteristics from female characters and their attitudes within the society to which they belong, and with the purpose of finding some possible points leading to a literary female identity construction. From a deep contact with the title-characters Carmilla and Sabella - both female vampires and also representatives of distinct English literary fiction periods - we depict the social-historical contexts to which each author belongs. The analysis is based on some feminist theories developed and propagated along of the 70's and the 80's, which discuss the new places occupied by women in social contexts so far known as "banned", like out-of-house works, politics and sexuality. We also interact with texts related to social female representations linked to the mythological vampire figure - a kind of representation directly associated to some emotional transformations dealing with the primitive opposition between good vs. evil.
Mestre

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-03T18:29:38Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Danilo - Mestrado.pdf: 4582767 bytes, checksum: e268d638f435833cc3b7d2e69a1ac790 (MD5)
Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-29T16:56:54Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Danilo - Mestrado.pdf: 4582767 bytes, checksum: e268d638f435833cc3b7d2e69a1ac790 (MD5)
Made available in DSpace on 2017-05-29T16:56:54Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Danilo - Mestrado.pdf: 4582767 bytes, checksum: e268d638f435833cc3b7d2e69a1ac790 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Esse trabalho tem por objetivo analisar como os pensamentos religioso e científico se relacionam nos contos “O demônio familiar”, “Chá verde” e “Carmilla, a Vampira de Karnstein”, do autor irlandês Joseph Sheridan Le Fanu, incluídos na coletânea In a Glass Darkly. Nessas narrativas, os representantes da fé e da razão são apresentados com enfoques distintos, o que permite observar as diferentes maneiras como Le Fanu aborda a religião e a ciência. Com base nessas leituras, procura-se observar se o autor dá mais credibilidade a algum desses ramos ou se ambos se mostram ineficazes perante os elementos sobrenaturais. Neste estudo também será levada em consideração a ambientação das narrativas e a quem pertence a voz narrativa de cada um dos relatos, que não permanecem as mesmas em todos os contos. Para fins teóricos, foram utilizados autores que estudaram o gênero do fantástico – Todorov e Roas – e do horror – Carroll
This work aims to analyze how the religious and scientific mentalities relate in “The Familiar”, “Green Tea” and “Carmilla”,short stories included in the collection In a Glass Darkly, written by the Irish author Joseph Sheridan Le Fanu. In these short stories, the representatives of both faith and reason are presented in distinct perspectives, which makes it possible to observe Le Fanu’s different approaches to science and religion in these works. Based on these readings, there is an attempt to observe whether the author gives more credibility to any of these branches of thought or if both prove to be ineffective in dealing with the supernatural events. This study will also take into account the settings of these short stories and their narrative voices, which do not remain the same in all short stories considered here. Authors who worked with the fantastic genre – Todorov and Roas – and with horror – Carroll – provided the theoretical support for this dissertation

Summary Joseph Thomas Sheridan Le Fanu (1814-1873) became a virtual recluse after the death of his wife in 1858. However, after this date he published much of his best work, mostly on supernatural themes. This thesis uses Freudian psychobiography to explore this paradox, examining Le Fanu's preoccupation with the subject of death and the after-life. Chapter One - explains the psychobiographical methodology; establishes the biographical facts that are connected with symptomatic features of Le Fanu's fiction; and introduces certain Freudian concepts that are relevant to Le Fanu's case. My aim is to construct a psychobiographical profile of Le Fanu based on Freud's theory of the death drive, in order to relate a key phase in his life - namely, the death of his wife - to the subsequent development of his writing. Chapter Two - applies Freud's theory of the death drive and the repetition compulsion to an interpretation of Le Fanu's fiction. I examine the main tenets of Beyond the Pleasure Principle, which encompasses Freud's theory of the repetition compulsion operating at the heart of the death drive, to offer an explanation for the extraordinary patterns of repetition in Le Fanu's fiction. I explore Le Fanu's development of repetitive narrative techniques; his repetition of names and settings (where the central image of a great house is linked with the human psyche); his repetition of images; and his obsession with suicide. Chapter Three - shows how the sense of guilt that Le Fanu developed following his wife's death led him directly into a fictive exploration of a continued state of existence between the realms of life and death. I begin with a literary history of the vampire and show how Le Fanu recreated the vampire myth. Consideration is then given to Freud's theory of 'The Uncanny' and to the psychological implications of Le Fanu's creation of a sensual, female vampire, and his introduction of the suggestion of lesbian love into vampire fiction. Attention is also given to the collapse of the life/death dialectic in Le Fanu's fiction, to show how Le Fanu confuses the issue as to whether characters are living or undead. Chapter Four - explores Le Fanu's conception of the after-life using Swedenborgian analogies. I examine Swedenborg's philosophy through a detailed study of the central concepts of Heaven and Hell, before providing an analysis of Le Fanu's so-called 'Swedenborgian' texts, which are concerned with a visit to the underworld and the opening of man's interior sight. I compare Swedenborg and Freud's understanding of man's dual nature, and refer to the late eighteenth and nineteenth-century writers who acknowledged their indebtedness to Swedenborg. The chapter concludes with a close reading of Le Fanu's Uncle Silas: A Tale of Bartram Haugh.

Devenu célèbre sous les traits de Dracula, le vampire est un monstre révélateur et résilient qui s'est fait archétype incontournable de la culture populaire et dont l'existence diégétique précède le roman de Bram Stoker. Du folklore à la fiction et de l'ombre à la lumière, son évolution est représentative des sociétés et des époques dans lequel il revient à la vie. A la fois transgressifs et normatifs, ses avatars jouent un rôle cathartique en incarnant le refus des lois humaines naturelles et divines, mais aussi la réitération de ces règles et la création de canons littéraires. Cette étude diachronique centrée sur "Carmilla" (1872), "Dracula" (1897) et les vampires d'Anne Rice démontre que leurs aventures invitent à réfléchir autant aux conséquances des fautes qu'à la validité des normes, à l'essence de la nature et des failles humaine et à la fonction libératrice des personnages de fiction et particulièrement des monstres
Known to most as Dracula, the vampire is revealing and resilient monster whose diegetic existence predates Stoker's novel, and that has become a key figure of popular culture. From folklore to fiction and from shadow to ligjhte, its evolution is indicative of the times and societies in wich it return to life. Equally transgressive and normative, its avatars play a cathartic role aas they epitomize rejection of human, natural and divine laws, but also the reiteration of the rules and the creation of literary canons. This diachronic study focused on "Carmilla" (1872), "Dracula" (1897) and Anne Rice's vampires shows that their adventures induce reflection on both the consequences of wrongdoing and the validity of norms, on the essence of human nature and hubris, and the liberating fucntion of fictional characters, particulary monsters

Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 225-231). Also available for download via the World Wide Web; free to University of Oregon users.

Les membres de la classe des professions, qu'ils soient narrateurs ou personnages, occupent une place à la fois centrale et équivoque dans le texte victorien, dans sa construction, sa composition. En effet, si cette place prépondérante paraît indiquer une prise de pouvoir de ces derniers, elle s'accompagne fréquemment d'une mise en question, voire d'une mise en danger de leur statut au sein du récit. Cette position paradoxale semble être le résultat du lien quasi-systématique (mais souvent sous-jacent) entre l'apparition d'un narrateur ou d'un personnage issu des professions et la déstabilisation des notions de signification et de vérité dans l'ensemble du texte. Nous étudierons les modalités et les outils de cette déstabilisation, mais aussi ses conséquences sur le corps du texte. Pour ce faire, nous nous concentrerons sur le support de la nouvelle véhiculée par les périodiques pour son caractère propice à l'expérimentation et sa grande diffusion auprès du lectorat victorien. Par ailleurs, nous avons centré notre corpus de textes sur Conan Doyle, Wilkie Collins et Le Fanu car ces derniers ont participé activement à la diffusion dans la littérature des idées propres aux classes moyennes et ont abondamment illustré les mutations sociales de cette classe durant la seconde moitié du XIXème siècle. Cela s’est fait à travers leurs nouvelles notamment, qui apparaissent comme le lieu privilégié de l’expression des interrogations concernant l'instabilité de certains discours structurants de la société : loi, religion et médecine. Ainsi, Joseph Sheridan Le Fanu, fils d’un homme d’église et féru de théologie, Arthur Conan Doyle, lui-même médecin de formation et William Wilkie Collins, homme de lettres portant un grand intérêt à la chose scientifique (comme le suggère son long roman didactique Heart and Science paru en 1883) ont tous trois contribué à la définition des relations particulières entre les membres des professions et le reste de la société victorienne. De plus, leur participation active à la publication des périodiques les plus lus de leur époque atteste de leur contribution importante à la définition de la pensée victorienne
Members of the middle class, particularly clergymen, doctors, and lawyers occupy a central place in Victorian literature, both as narrators and characters. However, it seems that this prominent place fosters questioning as much as empowerment. This paradoxical position seems to stem from the recurrent appearance of members of the professions in texts within which the principles of truth and meaning are undermined. Therefore, we will show how members of the professions, both as narrators and characters, put forward discursive strategies which allow them to manipulate the notion of truth and to destabilize meaning. In order to do so, we will study predominantly short stories, as this genre was favoured by Victorian writers as the locus of narrative and literary experimentation. Besides, this genre was widely read by Victorian audiences and can be seen as a privileged media for authors to express their doubts and commentaries on contemporary society. We have chosen to study the works of three authors in particular, who played a vital role in the bringing of the middle classes on the forefront of Victorian literary representation. Indeed, we will focus on Joseph Sheridan Le Fanu, the son of a clergyman and a man fascinated by the arcana of theology, Arthur Conan Doyle, a doctor himself, before he became a writer and William Wilkie Collins, who had a passion for science and the transformations its growing influence imposed on Victorian society. What is more, these three writers' active role in the establishment of the most popular Victorian periodicals attests to their vast contribution to the development of Victorian values

This thesis examines ways in which the writings of Sheridan Le Fanu (1814-1873), Wilkie Collins (1824-1889) and George Eliot (1819-1880) anticipate aspects of the works of Sigmund Freud (1856-1939). It argues that psychoanalytic theories were a product of their time, finding their ancestry in Victorian psychological, philosophical, scientific and social thought, aspects of which also informed the work of Le Fanu, Collins and Eliot. I foreground Freud's work of the 1890s, especially his Project for a Scientific Psychology (1950; written in 1895), the forerunner of The Interpretation of Dreams (1900), The Unconscious (1915), Beyond the Pleasure Principle (1920) and The Ego and the Id (1923). The energy-filled psychical system the Project outlines is informed by nineteenth-century ideas on force. I discuss systemic equilibrium in Le Fanu's short stories, the tendency to inertia in Eliot's Romola (1862-3) and the mechanics of satisfaction in Middlemarch (1871-2) and Daniel Deronda (1876); all these concepts find roots in nineteenth-or pre-nineteenth-century spiritual or scientific thought, and prefigure Freud's Project. The association of ideas, a basic foundation of psychoanalysis, is discussed with reference to Collins's Basil (1852), The Woman in White (1860), No Name (1862) and Armadale (1866). I suggest how Collins's knowledge of the work of W. B. Carpenter (1813-1885) and Frances Power Cobbe (1822-1904), and Eliot's engagement with the ideas of George Henry Lewes (1817-1878) and Herbert Spencer (1820-1903) are evident in their fictions. Throughout, I show that unconscious mental processes were discussed decades before Freud.

Envolto em mistério, o vampiro apresenta-se na literatura como uma figura extremamente complexa, munida de uma extraordinária versatilidade que lhe permite veicular os mais diversos simbolismos e estar sujeito às mais variadas interpretações. A presente dissertação tem como objectivo principal analisar a questão da subversão e da transgressão no conto “Carmilla” de Joseph Sheridan Le Fanu, demonstrando assim de que forma a vampira presente na obra ameaça a ordem social vigente e, através do seu modo de actuação, questiona normas e convenções sociais extremamente restritivas. Observando o conto como uma analogia da Era Vitoriana, consideramos que Carmilla se estabelece como um elemento de libertação, quebrando tabus relacionados com a colonização britânica, a condição da mulher e a sexualidade. Assim, para compreender devidamente todos estes aspectos, consideramos necessário explorar o contexto político, social e religioso não apenas representado em “Carmilla” mas vivenciado pelo próprio autor, relacionando assim ambos e tornando esta investigação o mais completa possível. Recorrendo a um vasto corpus teórico, a diversas obras de renome que incluímos no subgénero apelidado de vampire fiction ou produzidas durante a Era Vitoriana e ainda à trilogia cinematográfica The Vampire Lovers (1970), Lust for a Vampire (1971) e Twins of Evil (1971) da Hammer Film Productions, procuramos em primeiro lugar oferecer ao leitor um panorama diversificado relativamente ao mito do vampiro e à situação da Irlanda no contexto do Império Britânico que se impunha na época com a sua missão civilizadora, para seguidamente analisar os temas que consideramos essenciais no suporte da nossa perspectiva que concebe Carmilla como um agente de subversão e transformação. A abordagem de questões religiosas, identitárias e políticas demonstra em pormenor como Carmilla subverte o Protestantismo e a identidade britânica, efectuando também uma verdadeira reverse colonization, revelando assim o seu impacto na sociedade vitoriana em geral. O uncanny de Sigmund Freud traz posteriormente à discussão a questão da repressão e permite compreender ainda melhor a figura da vampira transgressiva, seguindo-se um foco na condição da mulher vitoriana e como Carmilla destabiliza estereótipos sobre o sexo feminino. A relação entre a vampira e a sua vítima Laura recebe especial atenção na nossa análise da representação da sexualidade na obra, em que percebemos a dinâmica destas interacções e demonstramos não só como Carmilla afirma a sua homossexualidade e as implicações desta afirmação mas também como desperta em Laura o prazer da dor enquanto se satisfaz ela própria em fantasias de dominação e sadismo. Debatendo estes temas, procuramos ao longo das páginas que se seguem oferecer ao leitor uma oportunidade de observar a complexidade de um conto que é ainda frequentemente relegado para segundo plano no contexto académico mas que apela como poucos à travessia do véu entre o plano terreno e o sobrenatural, a vida e a morte, a luz e a escuridão, e que só os grandes mestres do terror e do gótico conseguem tão sabiamente perfurar

Trabalho de projecto de mestrado, Tradução, Universidade de Lisboa, Faculdade de Letras, 2012
Este projecto em Tradução, submetido no âmbito do mestrado em Estudos Ingleses e Americanos, tem por objectivo apresentar uma tradução comentada de três textos de narrativa breve do escritor Joseph Sheridan Le Fanu (Dublin, 1814 – Dublin, 1873). São eles: “Catherine’s Quest”, “A Debt of Honor” e “The Fortunes of Sir Robert Ardagh”. O presente trabalho inclui um relatório onde são expostas e legitimadas as opções de tradução e onde se faz uma síntese das propostas de Guideon Toury, Andrew Chesterman e Jean-Paul Vinay e Jean Darbelnet que serviram como suporte teórico ao processo tradutório. Do trabalho constam ainda dados biobibliográficos sobre o autor, a contextualização das suas obras e a caracterização do corpus deste trabalho.
Abstract: The aim of this project in Translation, submitted within the M. A. in English and American Studies, is to provide a commented translation of three short stories by the Irish author Joseph Sheridan Le Fanu (Dublin, 1814 – Dublin, 1873). The short stories are “Catherine’s Quest”, “A Debt of Honor” e “The Fortunes of Sir Robert Ardagh”. The present work includes a report, outlining and justifying the criteria that guided the translation options, as well as a summary of the approaches proposed by Guideon Toury, Andrew Chesterman, and Jean-Paul Vinay and Jean Darbelnet, which provide the theoretical framework for the translation process. This translation project further includes a short introduction to Sheridan Le Fanu’s life and work, an account of existing translations of his fiction into European Portuguese, and a characterization of the corpus used in this project.

The diploma thesis "Bram Stoker and Sheridan LeFanu: An Analysis of their Irish Horror Fiction" deals with the analysis of the varied aspects linked with the themes of horror stories of two Irish writers. Both writers, Joseph Sheridan LeFanu and Bram Stoker, were Protestants from Dublin whose works are renowned worldwide. An emphasis is made on the study of Gothic settings and the aim of the thesis is to specifically find and to analyze characteristic elements of Gothic fiction of these authors. This thesis is concerned with Bram Stoker´s Dracula (1897) and also with the story "Dracula´s Guest". It will analyse short stories such as the novella Carmilla and also "The Familiar" by Joseph Sheridan LeFanu.