Journal articles on the topic 'Ghots stories'
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Oh, Jeongmi. "Research on world “Water ghost stories”: Focusing on the types of water ghosts and the functions of ‘Seizer’." Institute of Humanities at Soonchunhyang University 42, no. 4 (December 31, 2023): 39–71. http://dx.doi.org/10.35222/ihsu.2023.42.4.39.
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Water demons are beings that have an inseparable relationship with water, seducing people through their voices and eventually leading them to death. Water demons are dual beings, both human and ghost, and the mechanism of seduction and death through their voices is emphasized. Even to this day, ''‘Water ghost’ stories'' stands out among ''modern ghost stories'' more than any other story, and is actively handed down. In addition to beings called ''Water ghosts'', there are also monster-like water fairies, feminine beings with ''恨'' who seduce and eat people. It is found all over the world, including Germanic mythology, Slavic mythology, and Indonesian legends. They are people and ghosts, and monsters and fairies. Until now, this linguistic gap could not be resolved because the standards and foundations for storytelling had not been established. Now these Water ghost types need to be sorted out and redefined.
We have experienced various symbolic dimensions of nature through the presence of water ghosts in the story. The archetype of the Water ghost changes over time, from the Water ghost who tempts people to death with voices from the past to the mermaid princess who sacrifices herself for love. In this paper, I have newly introduced the “Water ghost' stories” and have attempted to establish the types and prototype meanings of new theory of “Water ghost' stories” around the world. In addition to comparing stories from Korea and abroad, focusing on stories in which water ghost appear, we will also consider women's ‘Seizure’ and death through their voices. I would also like to classify the types and clarify the meaning of the original form of the World Water ghost.
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Adinkrah, Mensah. "Beliefs about ghosts among the Akan of Ghana." International journal of linguistics, literature and culture 9, no. 4 (June 1, 2023): 121–31. http://dx.doi.org/10.21744/ijllc.v9n4.2278.
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As a thanatologist who specializes in mortuary beliefs and rites in Ghana, I frequently come across information on Akan cultural beliefs about ghosts, as well as individual or personal stories of ghost encounters. Yet, there has been virtually no academic inquiry into the topic. Between January and February 2015, I listened to four consecutive weekly radio programs focusing primarily on ghosts on a commercial radio station in Ghana. The programs were broadcast in Twi, the Akan lingua franca, which the author is fluent in. Following extensive discussions about Akan cultural beliefs regarding ghosts and other superhuman entities by the host and co-hosts of the program, listeners were invited to share their personal stories about ghost sightings and other encounters with ghosts. The current article presents a narrative of the discussion that occurred on the four featured programs. The data show that Akans of Ghana maintain a strong cultural belief in ghosts. Several listeners shared with the host and listeners their personal encounters with ghosts and ghost activities.
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Krebs, Paula M. "Folklore, Fear, and the Feminine: Ghosts and Old Wives' Tales in Wuthering Heights." Victorian Literature and Culture 26, no. 1 (1998): 41–52. http://dx.doi.org/10.1017/s1060150300002266.
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Wuthering heights is haunted, of course. But not only by the ghost of Catherine, who harries Heathcliff and terrifies Lockwood. Not only by the shades of Heathcliff and Catherine (or Laurence Olivier and Merle Oberon) who set off toward Penistone Crag. The ghosts in Wuthering Heights are not Gothic ghosts nor the ghosts from Victorian magazine ghost stories. They represent a different kind of haunting altogether — the haunting of the Victorian middle classes by fear of the people they designated as “the folk.”
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SANGHA, LAURA. "THE SOCIAL, PERSONAL, AND SPIRITUAL DYNAMICS OF GHOST STORIES IN EARLY MODERN ENGLAND." Historical Journal 63, no. 2 (January 16, 2019): 339–59. http://dx.doi.org/10.1017/s0018246x1800047x.
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AbstractIn early modern England, spectral figures were regular visitors to the world of the living and a vibrant variety of beliefs and expectations clustered around these questionable shapes. Yet whilst historians have established the importance of ghosts as cultural resources that were used to articulate a range of contemporary concerns about worldly life, we know less about the social and personal dynamics that underpinned the telling, recording, and circulation of ghost stories at the time. This article therefore focuses on a unique set of manuscript sources relating to apparitions in late seventeenth- and early eighteenth-century England to uncover a different vantage point. Drawing on the life-writing and correspondence of the antiquarian who collected the narratives, it lays bare concerns about familial relations and gender that ghost stories were bound up with. Tracing the way that belief in ghosts functioned at an individual level also allows the recovery of the personal religious sensibilities and spiritual imperatives that sustained and nourished continuing belief in ghosts. This subjective angle demonstrates that ghost stories were closely intertwined with processes of grieving and remembering the dead, and they continued to be associated with theological understandings of the afterlife and the fate of the soul.
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Abd Rahman, Ain Nur Iman, and Zainor Izat Zainal. "HUMAN AND GHOST ATTACHMENT IN HANNA ALKAF’S THE GIRL AND THE GHOST." Platform : A Journal of Management and Humanities 5, no. 1 (June 30, 2022): 2. http://dx.doi.org/10.61762/pjmhvol5iss1art17206.
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For centuries, authors of literary works have sought to bewitch and enchant readers with accounts of supernatural elements such as monsters, spirits and ghosts. Ghosts especially are often depicted as representations of evil and the polar opposite of mankind. In Hanna Alkaf’s The Girl and The Ghost (2020) the adolescent protagonist, Suraya, develops an unusual bond with a ghost, Pink. This is indeed refreshing, considering the human-ghost relationship in the local literary scene is often represented as antagonistic, opposing forces, resulting in ghosts being portrayed as evil, vengeful creatures set to taunt, haunt and wreck humans’ lives. Critical examination of the human-ghost bond in the local literary-critical practice is lacking. This research aims to fill this gap by examining the human-ghost bond in The Girl and The Ghost and how this bond contributes to the (human) protagonist’s personal development. In this paper, The Girl and The Ghost is read using John Bowlby’s theory of attachment due to its robust approach to understanding human beings' emotional bond, or attachment, with their attachment figures. We argue the human-ghost bond in The Girl and The Ghost sets the novel apart from other local ghost stories filled with wicked, destructive ghosts. The findings suggest other possibilities of attachment figures when the relationship between a mother and child grows apart. The unusual but enduring relationship between Suraya and Pink demonstrates that a child’s secure attachment need not be limited to motherly figures.
Keywords: Malaysian literature in english, the girl and the ghost, hanna alkaf, ghost tales, attachment theory
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Ye, Hanwen. "An Analysis of the Female Ghost Images in Ancient Chinese Novels on the Theme of Romantic Relationship Between Man and Ghost." Communications in Humanities Research 28, no. 1 (April 19, 2024): 1–7. http://dx.doi.org/10.54254/2753-7064/28/20230005.
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From Jin to Qing Dynasty of China, there are a large number of novels depicting human-ghost romance. In this literature, female images, femininity and gender relationship patterns reflect the patriarchal values of a specific historical period. Previous research on ancient Chinese female ghost novels often focused on their romantic story with a male human and the awakening consciousness of female, but the research on Character depiction of female ghost was very few. Therefore, this paper aims to investigate the relationship between the image shaping of female ghosts and the values of contemporary Chinese ancient patriarchal society, existing in the stories of the ancient Chinese romances novels of Song, Yuan and Ming dynasty. Studies have suggested that the female ghosts in ancient Chinese "human-ghost romance" novels are essentially projections of the male author's ideals, reflecting the phallocentrism of ancient Chinese ghost fiction.
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Halimah, Umi. "HANTU PEREMPUAN JAWA DALAM ALAMING LELEMBUT SEBAGAI REPRESENTASI FEMME FATALE." Sabda : Jurnal Kajian Kebudayaan 10, no. 1 (February 3, 2017): 1. http://dx.doi.org/10.14710/sabda.v10i1.13302.
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This research entitled “The Javanese Female Ghost in “Panjebar Semangat” as a Representation of Femme Fatale”aims to show the feminist value in Javanese horror stories with female ghost as a villain and men as most of their victims. This research uses feminism as a main approach and femme fatale theory as the specific approach theory. This research shows that there are three kinds of of female ghost, they are female ghosts who experienced a miserable life before her death, sensual women and women whose background is not known. For the three kinds of women it can be revealed the causes of the female spirits to become evil spirits, the modes of female ghosts to ensnare and trap victims, the female ghost‟s harmful effects to men, and the solutions as the anti-climac in the story
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Lipinskaya, A. A. "Ghost hunt: Elliot O’Donnell’s non-fiction." Philology and Culture, no. 3 (October 4, 2023): 131–37. http://dx.doi.org/10.26907/2782-4756-2023-73-3-131-137.
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The article deals with the author’s strategies, used by E. O’Donnell in his Twenty Years’ Experience as a Ghost Hunter, and compares this peculiar text with ghost stories – a genre of fiction very popular those days. O’Donnell’s book is a part of a long tradition of occult ‘non-fiction’, but it is positioned as the author’s memoirs, a true story of his own life (his other books are basically collections of ‘real’ ghostly appearances in various regions of England), and begins with his (or his alter ego’s) youth and his first traumatic encounter with a ghost that influenced his career choice, but then this traditional life story turns into a set of cases, not necessarily witnessed by the narrator himself. Some stories are structured exactly like fictional ghost stories but their perception is preconditioned by the ‘rules of reading’ established by the author (the book is supposed to be his memoirs) and by the character of information – what the narrator knows about ghosts from various sources. Thus, the text is very uneven – its aesthetic characteristics are regarded as secondary in comparison with the ‘facts’ retold.
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Bergengruen, Maximilian. "Heilung des Wahns durch den Wahn." Daphnis 44, no. 3 (September 1, 2016): 374–95. http://dx.doi.org/10.1163/18796583-04403005.
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Andreas Gryphius’ Cardenio und Celinde is a ghost story which at the same time is also a psychological healing story and one of theological conversion. Both stories would not have been possible had the technical preconditions offered by Baroque theater not been available to let ghosts appear on stage with public appeal. For analyzing the entertaining function of these ghosts the mentioned three levels provide orientation. This article will therefore examine psychology (1), then turn to theology (2) in order to finally address the technical preconditions of their presentability (3).
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Kim, Hye-jin. "Ghosts Remembering and Healing - Ghost Stories from Toni Morrison's Beloved." Convergence English Language & Literature Association 9, no. 1 (April 30, 2024): 277–97. http://dx.doi.org/10.55986/cell.2024.9.1.277.
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This paper aims to explore the presence of a ghost and discuss how it carries memories of the past into the present while also telling stories. The ghost connects the past to the present, heals lives, and unites the black community in Beloved by Toni Morrison. The appearance of the ghost of “Beloved” breathes new life into the lives of people who have been living as if they were dead because of past traumas. The ghost, Beloved, initially appears as symbolic of individual trauma. As Sethe's story progresses, Beloved brings Sethe and Denver out of isolation and into the love and positive change of the black community. By integrating the power of the black community, the community plans for the future by reflecting on the past and present, enabling them to overcome past trauma and prepare for the future. The appearance of “Beloved” can make Sethe, Denver and Paul D remember their past traumas from the Sweet Home during the age of Slavery and heal within the black community.
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Luan, Nguyen Van, and Dinh Tran Ngoc Huy. "Witches Character in Chinese Classic Novels in Medieval Vietnam Legends." International Journal of Language, Literature and Culture 3, no. 2 (2023): 01–05. http://dx.doi.org/10.22161/ijllc.3.2.1.
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Witches (female ghosts) are characters that appear frequently in medieval Vietnamese legends. Its origins are in folk tales. In fairy tales, female ghost characters often have beautiful, intelligent, and active characteristics in love stories. In relations with earthly people, witches sometimes cause harm, sometimes they are a helping force. Legendary writers created this type of character to reflect the world of human consciousness such as: crime, lust, dreams of free love, resistance to power.
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Feldman, Michael J. "»Ghost Stories«." PSYCHE 73, no. 03 (March 2019): 153–83. http://dx.doi.org/10.21706/ps-73-3-153.
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Reddy, Maureen T., and Maureen Waters. "Ghost Stories." Women's Review of Books 18, no. 12 (September 2001): 22. http://dx.doi.org/10.2307/4023697.
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Joselyn, Jo Ann. "Ghost stories." Eos, Transactions American Geophysical Union 68, no. 46 (1987): 1601. http://dx.doi.org/10.1029/eo068i046p01601-02.
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Tamas, Sophie. "Ghost stories." Emotion, Space and Society 19 (May 2016): 40–44. http://dx.doi.org/10.1016/j.emospa.2015.10.003.
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Dinu, Cristina. "The Narrative Motif of the Ghost in Classical Chinese Literature." International Journal of Linguistics, Literature and Culture 9, no. 1 (March 31, 2022): 1–9. http://dx.doi.org/10.19044/llc.v9no1a1.
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The first part of this paper presents a brief history of the ghost narrative motif in classical Chinese literature, arguing that this motif first appears in Chinese culture during the Shang Dynasty (16 c. - 1066 BC), and it is a recurring concept defined in the Book of Liezi and it is also present in the Daoist principle yin - yang. Despite the Confucian tradition of rejecting the belief in ghosts and any other metaphysical elements, ever since the Tang Dynasty (618 – 907) the literary motif of the ghost appears in the so-called fantastic stories chuanqi which will later influence the strange stories zhiguai written by Pu Songling (1640 - 1715), and will serve as inspiration for Guan Hanqing (1225 - 1302) when he writes the famous zaju play Snow in Midsummer. This paper is an aesthetic, hermeneutic and anthropological analysis of the concept of the wandering ghost or spirit in classical Chinese literature, starting from the evolution of the character gui 鬼 which means ghost in Chinese. I will observe the narrative role of the ghost in classical Chinese literature, using as representative examples literary works such as the chuanqi play The Peony Pavillion written by Tang Xianzu (1550 –1616), the strange story zhiguai, “Gongsun Jiuniang” by Pu Songling, and the zaju play, Snow in Midsummer, written by Guan Hanqing.
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Delijani, Clare Finburgh. "The Afterlives of Enslavement: Histories of Racial Injustice in Contemporary Black British Theatre." Modern Drama 65, no. 4 (December 1, 2022): 471–98. http://dx.doi.org/10.3138/md-65-4-1239.
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Over the past five years, a number of Black British women authors have written what might be called postcolonial ghost plays. This article focuses, to varying degrees, on four: ear for eye (2018), debbie tucker green’s dissection of enslavement and its afterlives; Rockets and Blue Lights (2020), Winsome Pinnock’s historical film-within-a-play about the Middle Passage; The Gift (2020), Janice Okoh’s semi-biography of an African girl who became Queen Victoria’s ward; and Selina Thompson’s salt. (2018), an autobiographical performance piece tracing her ancestors’ enslavement. Ghosts and haunting, which I examine from multiple perspectives, appear across this range of theatrical genres. With their multiple, doubled, spectral, interpenetrating stories, tucker green, Pinnock, Okoh, and Thompson’s postcolonial ghost plays reactivate the past of enslavement that has not passed, that is still active in the form of racial and social injustices today. Ghosts, prevalent across the plays, represent the dead who, plumbing the depths of the Middle Passage, are denied a resting place. The ghost, the figure of the living dead par excellence, reflects the dehumanization of trafficked Africans, from whom their enslavers sought to subtract all subjectivity. Ghosts, too, reveal the work of mourning performed by the living for those who were never properly buried. This mourning exposes and disrupts enduring structures of injustice, and searches for reparation. Ghosts, or revenants, returning and refusing to rest, represent the resilient resistance to injustice. Finally, ghosts, neither fully past nor present, absent or present, symbolize indeterminacy and instability, illustrated in the plays by subjects determined to take control of their own identities and destinies. Together, these plays demonstrate how we must look back to the roots of historical racism in order to look forward to its eradication.
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Eaton, Marc A. "Manifesting Spirits: Paranormal Investigation and the Narrative Development of a Haunting." Journal of Contemporary Ethnography 48, no. 2 (February 9, 2018): 155–82. http://dx.doi.org/10.1177/0891241618756162.
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Using a paranormal investigation of a reportedly haunted hotel as a model, I propose a five-phase narrative development process that integrates media representations of ghosts, place-based tales of hauntings, and accounts that emerge through processes of interactive interpretation. By attending to both preexisting and emergent supernatural stories, the model illustrates how idiocultures function as mediating structures between established narratives and accounts that result from shared experiences. The narrative account of a haunting is thus a product of interpretive processes in which established ghost stories serve as resources for the collective co-construction of an account that both resonates with external expectations and supports idiocultural authority structures. Ultimately, idiocultural factors have greater influence upon the final narrative than folklore, media, or place-based supernatural tales.
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Chongjie, Chen, Yoan Yoan, and Kelly Kelly. "Analysis of Society Conditions/Reality During Chinese Feudal Era in the Novel Liaozhai Zhiyi." Lingua Cultura 4, no. 2 (November 30, 2010): 173. http://dx.doi.org/10.21512/lc.v4i2.365.
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Liaozhai Zhiyi is a compilation of short stories created by the Qing Dynasty novelist, Pu Songling. The main concept is not centered on regular ghost stories, but the author told a story on real life and the fantasy world by describing realities of society life in the feudal era. The author, through stories in Liaozhai Zhiyi, analyses social reality in their education, politics, love, economic and moral aspects. The author of Liaozhai Zhiyi uses of a lot of stories concerning fox spirits, ghosts, and other types of spirits in portraying his critics and anger towards incidents happening in feudal China. Analysis shows that Liaozhai Zhiyi broadly depicts social reality happening in feudal era in education, politics, love, economic and moral aspects. Liaozhai Zhiyi also criticizes the corrupt government official examination scheme, and the crime and decadence of the feudal government. In contrast, the stories also praised the freedom of young men and women seeking love in marriage, endorsing young men and women to reject arranged marriages, showing women in the economic independence and social advancement, and summed up the lessons of social life.
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Cucarella-Ramon, Vicent. "Black Ghosts of the Diasporic Memory in Jesmyn Ward’s Sing, Unburied, Sing." Roczniki Humanistyczne 69, no. 11 (December 8, 2021): 63–77. http://dx.doi.org/10.18290/rh216911-5.
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This article reads Jesmyn Ward’s Sing, Unburied, Sing (2017) as a novel that follows an African American family facing the ghosts of their past and present to resurrect buried stories that are unrelentingly interlocked with the legacy of slavery and the draconian racist practices of Jim Crow. I posit that the novel participates in the re-examination of the trope of the ghost as a healing asset that needs to be accommodated within the retrieval of memory work. Thus, the enactment of this African diasporic memory facilitates the encounter with their ghosts so that the family can start their healing processes and be provided with the tools and examples of how to keep on coming to terms together with and against the legacy of slavery and the present racist practices.
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Pirok, Alena. "Specters of the Mythic South: How Plantation Fiction Fixed Ghost Stories to Black Americans." Southern Cultures 29, no. 4 (December 2023): 16–31. http://dx.doi.org/10.1353/scu.2023.a917560.
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Abstract: The author challenges the notion of southern ghost stories as inherently subversive. Beginning with the stories in late nineteenth-century plantation fiction, this essay explores how wealthy white southerners used the genre to redeem and remake the region's past and present. White authors' claims of fraternity with largely nameless and faceless Black contacts are central to the story and reveal how these ghost stories helped to suppress reality, in favor of mythic tales. A comparison of the planation ghost stories and ghost stories accurately attributed to Black southerners shows that rather than faithfully recording the stories or making room for the oppressed to speak, white writers of planation ghost stories made a mockery of their Black neighbors and denied their post-emancipation agency. The roots of today's southern ghost stories are vastly more diverse, and significantly less empowering, than the celebrated Southern Gothic tales.
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Łowczanin, Agnieszka. "“My unfortunate sex”: Women, Ghosts and Empires in the First Polish Ghost Stories." Women's Writing 28, no. 4 (October 2, 2021): 453–71. http://dx.doi.org/10.1080/09699082.2021.1985276.
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Fick, Thomas H. "Authentic Ghosts and Real Bodies: Negotiating Power in Nineteenth-Century Women's Ghost Stories." South Atlantic Review 64, no. 2 (1999): 81. http://dx.doi.org/10.2307/3201983.
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Leighton, Angela. "GHOSTS, AESTHETICISM, AND “VERNON LEE”." Victorian Literature and Culture 28, no. 1 (March 2000): 1–14. http://dx.doi.org/10.1017/s1060150300281011.
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“TO RAISE A REAL SPECTRE of the antique is a craving of our own century” (104) writes “Vernon Lee” in her early collection of essays on aesthetics, Belcaro. The nineteenth century is indeed, as Julia Briggs has pointed out, an age which craves ghost stories of all kinds. Sceptical of the supernatural yet nostalgic for it (Briggs 19), the age turns to ghost stories to assuage its lost faith. Ghosts, if nothing else, might still glimmer in the empty spaces of a universe vacated by the gods but not yet filled with the space journeys of science and science fiction. Their questionable shapes thus continue to shape the questions of an age seeking reassurance, even if that reassurance comes in a spasm of terror. And terror, however subtly or ingeniously aroused, whether by the self-induced fantasies of James’s governess or the calculated self-hauntings of Stevenson’s Jekyll, remains the primary motivation and aim of the ghost story. Fear of the unknown, whether within or without, provides the last bastion of a supernaturalism under threat from the encroaching “materialism” (Briggs 24) of the modern world. The ghost story not only indulges the unstable, if sometimes deeply conventional order of fantasy at the expense of “naturalistic art” (Cavaliero 7); it also indulges the wish to believe in another, more fearful world, beyond the material order of things. The specter focuses this trouble of belief. It is there and not there. It outlines emptiness but also fills it up, embodying and disembodying its own reality at the same time.
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Frąś, Jacek. "Afterlives of Photographs: The Artist’s Point of View." Slavic Review 76, no. 1 (2017): 72–79. http://dx.doi.org/10.1017/slr.2017.10.
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As a comic book artist who combines surrealistic and realistic imagery, I am often forced to use different types of photographs. Some of them are just typical references for artists—anatomy, poses, gesture, facial expressions. I prefer, however, to use old photographs from family archives, documentary books, and vintage postcards, in addition to numerous photographs found on the web. I enjoy putting together and mixing various kinds of visuals because every element has its own ghost from the past and the sum of these ghosts, including some added from my imagination, gives me a sense of fullness in my graphic stories.
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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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Lister, Ashley. "Telling true ghost stories." Short Fiction in Theory & Practice 10, no. 1 (April 1, 2020): 73–87. http://dx.doi.org/10.1386/fict_00015_1.
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The purpose of this research is to consider the language used for telling true ghost stories. True ghost stories, that is, those anecdotes initially shared by friends and family describing personal experiences and encounters with paranormal activity, is an unusual genre for storytellers in that it lives within a space that can be seen as both fiction and non-fiction, with specific vocabulary that joins the two genres. The non-fiction part of such a story, as with all non-fiction narratives, relies on the verbatim reporting of an eyewitness account. The fictional part depends on a writer utilizing specific semantic tropes of the ghost story, such as mysterious shadows, unexplained noises and fluctuations in temperature. Bridging these two areas is the language found in the narrative, where a responsible writer employs careful phrasing to relate the story whilst avoiding a vocabulary that endorses unprovable phenomena. For example, I cannot, in good conscience, write: … and then the ghost attacked her. To be honest to my own scepticism, and to the limited evidence usually presented with such stories, I have to write: …and then she claims the ghost attacked her or …and then it appeared the ghost attacked her. Through a critical analysis of existing narratives and an examination of hedging strategies used, this research intends to demonstrate how some writers in this genre maintain their own truthfulness to present a compelling narrative.
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Shane, Anna. "‘The ghost I expected to see’: Vernon Lee, the Gothic, and the Spectrality of Perception." Victoriographies 14, no. 2 (July 2024): 117–37. http://dx.doi.org/10.3366/vic.2024.0529.
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Vernon Lee considered the conventional ghost story to be in rather bad taste and, in her own Gothic fiction, evoked ghosts that are never directly apprehended, but are perceived as agential bodies nonetheless. The distinctive ghosts that Lee creates haunt by exploiting the mechanisms of perception that she studied and theorised throughout her career. I analyse Lee’s depictions of perception in three stories, ‘Oke of Okehurst’, ‘Amour Dure’, and ‘The Image’, through the lens of philosopher Alva Noë’s theory of perception as ‘a kind of skilful bodily activity’. Noë argues that we make sense of the world by using our sensorimotor knowledge – ‘a knowledge of the way sensory stimulation varies as a function of movement’. Lee’s ghosts draw on this sensorimotor knowledge of characters and readers, allowing her to convey a potentiality for agency without depicting unambiguously supernatural events. Using mirror neuron studies and cognitive readings of how works of art transport their audiences into virtual environments, I argue that this sensorimotor engagement builds up a cognisance of Lee’s haunting figures as agential bodies that occupy space, acted upon by the material world and, in turn, acting upon it. Lee used these ghosts to adopt speculative perspectives on perception and cognition more broadly, such as questioning the stability and reliability of perception, and suggesting a loss of identity involved in all acts of perception. These perspectives are excluded from her studies and essays but are explored in the fictional space that the Gothic opens up; in her gothic stories, Lee exploits the uncanny aspects of cognition, suggesting and experimenting with queerer and more speculative theories than the objective studies she also pursued could accommodate.
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Fitzpatrick, Esther, and Avril Bell. "Summoning up the Ghost with Needle and Thread." Departures in Critical Qualitative Research 5, no. 2 (2016): 6–29. http://dx.doi.org/10.1525/dcqr.2016.5.2.6.
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This project is about an active engagement with thread. Threading fragments of a colonial story together, through intra-action with the material world, we created an arpillera (Chilean tapestry) to speak with our ghosts. In New Zealand we are described as Pākehā, descendants of white European colonial ancestors. Involved in critical family history, our data comprised of old photographs, maps, letters, diaries, and landmarks that remain. We propose that arts-based methods provide the potential to speak with the ghost, to engage with archival data, and to embody the experience. Threaded through the essay are poetic responses, stories generated, and descriptions and images from the arpillera.
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SINGH, KULDEEP, Reena Sharma, and S. C. Bagri. "Unleash the Potential of Mystery, Ghost & Paranormal Tourism through the lens of locals in Kuldhara, Rajasthan, India: A qualitative study." ENLIGHTENING TOURISM. A PATHMAKING JOURNAL 13, no. 2 (December 31, 2023): 138–64. http://dx.doi.org/10.33776/et.v13i2.7636.
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Mystery tourism is a novel topic related to travelling to events or destinations based on some stories, myths, beliefs of the host community or tourists. This also includes the myths and curiosity of locals and travelers about some known and unknown incidents or places. This paper aims to find out the experiences and perceptions of locals regarding mystery tourism in Kuldhara, Rajasthan. Ghost tours, paranormal investigations, and haunted stories have attracted many tourists to Kuldhara. In-depth interviews with 25 residents of Kuldhara, Rajasthan, reveal that residents have positive beliefs and ideologies regarding ghosts and paranormal activities. The study took in year (March 2022 to Feb 2023). The researchers identified purposive sampling and snow balling which has been used in previous studies too. This study is qualitative, and researchers employed thematic analysis techniques manually. Five major themes emerged from mystery tourism in Kuldhara, i.e., Myth & Tales, Perception of locals, Role of Government and Private bodies, Impact of mystery tourism and economic benefits. The study reveals that most locals face mysterious incidents and believe in ghosts and paranormal activities. This study generates curiosity among the readers and researchers to understand and explore the concepts of mystery tourism in a better way. Implications for developing mystery tourism attractions and support for resident well-being are offered.
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Ehnes, Caley. "“Winter Stories — Ghost Stories... Round the Christmas Fire”: Victorian Ghost Stories and the Christmas Market." Illumine: Journal of the Centre for Studies in Religion and Society of Graduate Students Association 11, no. 1 (2012): 6–25. http://dx.doi.org/10.18357/illumine.ehnesc.1112012.
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Burtseva, Marina A., and Anatoly A. Burtsev. "Gothic motifs in A. Conan Doyle’s “The Brown Hand” and V. Fedorov’s “The Moonlight Sonata”." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2022): 120–27. http://dx.doi.org/10.20339/phs.6-22.120.
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The article presents a comparative study of the stories “The Brown Hand” by Arthur Conan Doyle and “The Moonlight Sonata” by Vladimir Fedorov in terms of the Gothic aesthetics. There are significant typological similarities, in particular, in developing the redemption of guilt plot with consequent events such as the main character’s arrival at his relative’s house, an encounter with supernatural phenomena, a search for assistance and a final redemption from the curse. The stories have similar systems of characters: an elderly family member, his young relative with rational views, a restless ghost, and a minor character, an innocent victim of the ominous events. In the both stories, the Gothic chronotope is concentrated around a remote place, where events happen mostly at night. As significant are the parallels in the key motifs: the motifs of estrangement and fear, creating a peculiarly gloomy atmosphere (appearance of ghosts); the plot-building motif of a fatal secret and supernatural invasion, which convey the motifs of prosecution and guilt; and the double-vector motif of redemption.
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Niehaus, Isak. "On the mobility of ghosts: spectral journeys in the South African lowveld." Africa 93, no. 1 (February 2023): 159–76. http://dx.doi.org/10.1017/s0001972023000141.
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AbstractIn studies of Southern Africa, ancestors and possessing spirits have received far greater attention than ghosts. It is only in recent years that fragmentary references to ghosts have begun to appear in the ethnographic record. In this article, I seek to redress this imbalance by documenting stories and accounts of encounters with ghosts in the South African lowveld. I turn to studies of ghosts in Asia and elsewhere as an analytical starting point for interpreting their social and cosmological significance. A widespread theory in this literature is that narratives of ghosts are a means of emplacement, connecting people to places. But the theory does not capture the way in which narratives in the South African lowveld depict ghosts as essentially mobile beings. This is most evident in accounts of vanishing hitchhikers on the highways and of a ghost called sauwe, which captures people’s minds and forces them to walk in the direction of graveyards. These narratives speak of displacement, of spectral journeys and of routes rather than stable locations. The apparitions serve as reminders of the failure to take care of the spirits of those who suffered violent deaths and bring them home. But we can also see them as traces of past injustices and of violence in a haunted landscape, and as mirrors of villagers’ own historical experiences of displacement, experiences that were a hallmark of forced removals and of the migrant labour system during the apartheid era.
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Baumgärtel, Tilman. "Asian Ghost Film vs. Western Horror Movie: Feng Shui." Plaridel 12, no. 2 (August 30, 2015): 1–13. http://dx.doi.org/10.52518/2015.12.2-01tbmgtl.
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In this essay I will examine the question to what extent the Philippine production Feng Shui (Roño, 2004) is a horror film according to the well-established (Western) definitions of the genre. This seems to be a pertinent question as many Filipino horror films are based on ghost stories and folklore from the archipelago, that are often a lived reality and believed in by many people in the Philippines. The fact that Feng Shui as well as other horror films from Southeast Asia are produced for an audience that actually believes in ghosts seems to me to be very relevant for the analysis of these films. I will argue that Feng Shui shares a good number of traits with other Asian ghost films, but that it also features “the return of the repressed” that according to the late film critic Robin Wood is one of the defining features of Western horror movies.
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Nounanaki, Aphrodite-Lidia, and Rea Kakampoura. "Ghosts in the streets of Athens: Ghostlore and social media." Bulletin de l'Institut etnographique 71, no. 2 (2023): 199–222. http://dx.doi.org/10.2298/gei2302199n.
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Ghostlore or ghost-lore is, in short, a subgenre of folklore that focuses on ghostly tales which can be found in both pre-industrial and contemporary contexts. The majority of these stories are connected to houses and other buildings that are either dilapidated or inhabited but can be described mainly as private places. Due to the nature of public places -whether they are connected to people?s experiences or could be described as non-places- it is odd to ?find? ghosts there, as it is odd to ?find? them in parks or streets. However, they remain social places open to multiple interpretations and symbolisms. Through pertinent online entries, mostly uploaded by groups describing their practices as ?investigating? the paranormal or the occult, this paper aims to discuss the connection between ghost-lore and public places, mainly from the city of Athens. Furthermore, a very important aspect demonstrating the effectiveness of these online entries are the comments made by the netizens following these ?investigations?, which result in the formation of new groups. These groups are created online, but are driven by a common interest in ghosts in the offline world. Thus, in order to study how the physical public space is being reinterpreted in light of the supernatural, the paper intends to approach the digital public space of social media.
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McGill, Martha. "The Evolution of Haunted Space in Scotland." Gothic Studies 24, no. 1 (March 2022): 18–30. http://dx.doi.org/10.3366/gothic.2022.0118.
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This article explores the popularisation of the concept of haunted space in late eighteenth- and nineteenth-century Scotland. While earlier ghost stories were usually about the haunting of people, the rise of Gothic and Romantic literary aesthetics fuelled a new interest in both the Scottish landscape, and the dramatic potential of lurking spectres. Amid the upheaval of industrialisation and the Highland Clearances, and in a period when Scots were still wrestling with the implications of the 1707 Union, authors recorded stories of wandering ghosts as part of a broader movement to fashion a distinctive identity rooted in a specific cultural context. Against the frequently broad scope of academic literature on spectrality, this article draws attention to the crucial significance of contextual nuances and specific historical and social circumstances. In particular, it points to the fraught politics of loss and repossession in relation to the Highlands’ history of depopulation and modernisation, casting a fresh light on the historical events that have given shape to Scottish haunted space.
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Olivier, Florence. "The Age of Time according to Carlos Fuentes." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 711–13. http://dx.doi.org/10.1632/s0030812900123004.
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Born on 11 November 1928, Carlos Fuentes on 15 May 2012 met on Parnassus the princes of word and vision that one of his deceased characters dreamed of in El naranjo (1993; The Orange Tree). If, as he wrote in Constancia y otras novelas para vírgenes (1990; “Constancia” and Other Stories for Virgins), readers are the ghosts of writers (296), the author of Terra nostra (1975) was, for his part, a ghost of Cervantes and disciple of Erasmus who rewrote La Celestina, Don Quixote, the successive Don Juans of Tirso de Molina, Zorrilla, and Mozart, the paintings of Hieronymus Bosch and Luca Signorelli, the gnostic gospels, and the texts of the Jewish mystical tradition.
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Zheng, Yi. "Writing about women in ghost stories: subversive representations of ideal femininity in “Nie Xiaoqian” and “Luella Miller”." Neohelicon 47, no. 2 (March 5, 2020): 751–66. http://dx.doi.org/10.1007/s11059-020-00524-3.
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AbstractOn the one hand, because of the double historical prejudices from literary criticism against ghost stories and women’s writing, little attention has been paid to investigate the ideals of femininity in women’s ghost stories in nineteenth-century America. This article examines “Luella Miller,” a short story by Mary E. Wilkins Freeman, who indirectly but sharply criticized the ideal of femininity in her time by creating an exaggerated example of the cult of feminine fragility. On the other hand, although extensive research has been done on Chinese ghost stories, especially on the ghost heroines in Pu Songling’s Strange Stories from a Chinese Studio, there are few studies comparing the Chinese and the American ones. By comparing “Luella Miller” and Pu’s “Nie Xiaoqian,” this article does not primarily aim to list the similarities and differences between the Chinese and the American ideals of femininity, but to provide fresh insights into how both Freeman and Pu capitalized on the literary possibilities of the supernatural, because only in ghost stories they could write about women in ways impossible in “high literature.”
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Dolgopolov, Greg. "Ghosting in the outback Noir." Coolabah, no. 29 (February 28, 2021): 4–16. http://dx.doi.org/10.1344/co2021294-16.
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Who was the ‘jolly swagman’ in Waltzing Matilda, Australia’s unofficial national anthem? In this essay I argue that the ghost of the swagman can be heard in a number of recent de-colonising crime narratives. Outback Noir is a relatively recent genre category that describes a new wave of Australian crime films that highlight Indigenous and white relations and take a revisionist approach to traditional history. These films often feature redemption stories that highlight effective collaborations between Indigenous and white policing practices. Uncovering a rural communities’ dark, repressed secrets in order to solve a current problem is a common trend in Outback Noir cinema. I examine Patrick Hughes’ 2010 film Red Hill as an early provocative example of Outback Noir and as modern reimaging of the Waltzing Matilda narrative with the swagman’s avenging ghost exposing the social fractures and corruption that are destroying rural communities. I argue that the Outback Noir genre with its focus on revenge-redemption narratives shapes the cultural dialogue around putting the ghosts of the colonial past to rest.
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WELLAND, JULIA. "Militarised violences, basic training, and the myths of asexuality and discipline." Review of International Studies 39, no. 4 (February 11, 2013): 881–902. http://dx.doi.org/10.1017/s0260210512000605.
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AbstractIn recent years numerous reports of prisoner abuse and other militarised violences by British troops stationed in Iraq and Afghanistan have emerged. Drawing on two such incidents – the abuse of detainees at Camp Breadbasket and the murder of Baha Mousa – this article seeks to locate such violences on a continuum that can be traced back to the ways in which British soldiers are trained. Following on from a burgeoning feminist literature on militarised masculinities, and using Avery Gordon's epistemology of ghosts and hauntings, I suggest a conceptual and methodological intervention into the subject that resists generalised stories and the mapping of ‘hard’ borders. Focusing on the myths of asexuality and discipline that emerge from, and reinforce, the gendered discourses of basic training, I conduct a ‘ghost hunt’ of the haunting spectres that have attempted to be exorcised from these myths. Making visible these ghost(s) and tracing their (violent) materialisations through multiple sites and across a continuum, militarised violences – in all their ranges – begin to be made explicable.
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Chanphal, Sok, Soknea Nhim, and Teri Schaffer Yamada. "The Kerosene Lamp Ghost Stories." Manoa 34, no. 1 (2021): 191–200. http://dx.doi.org/10.1353/man.2021.0059.
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Lovelace, Vanessa Lynn, and Jamie Huff. "Ghost Stories in the Soil." International Feminist Journal of Politics 14, no. 1 (March 2012): 154–62. http://dx.doi.org/10.1080/14616742.2011.631425.
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Lipinskaya, Anastasia A. "A PHANTOM COACH: FROM FOLKLORE TO FICTION." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 97–103. http://dx.doi.org/10.17072/2073-6681-2021-2-97-103.
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The image of a phantom coach is very common in British folklore and, like its predecessors – Four Horsemen of the Apocalypse and the Wild Hunt, it is closely associated with death and bad omens. Quite understandably, it was widely used in ghost stories written in the late 19th and early 20th centuries. There are stories close to the folk tradition of storytelling, but much more often the authors create their own versions where the legends about phantom coaches are contaminated with other sources (such as ballads about demonic lovers) and lose certain elements which are essential for archaic mentality but can be easily neglected in modern fiction, e. g. death as punishment for doing or seeing something forbidden, church service as something that can drive away ghosts and demons. According to the rules of the genre, a coach turns into a kind of liminal zone, a subspace where the laws of the rational world do not work, a time capsule where the logic of a folktale prevails. There are versions where a coach is a means of communication between the world of the living and the world of the dead or demonic creatures. In later texts a coach gives way to a car, with all the functions preserved; this change is not connected with fears caused by the relatively new means of transport, the old image is merely transformed according to certain changes in everyday reality. The ancient themes of revenge, punishment, meeting the dead are recreated here, but sometimes the symbolism changes, it becomes more closely connected to the idea of time and memory. The analysis of how the image of a phantom coach works in ghost stories can help to understand certain tendencies in the development of the genre (what happens to folkloric sources, narrative principles, the ideas of time and death etc.).
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Ratmiati, Ratmiati, Muspardi Muspardi, Mita Domi Fella Henanggil, and Sri Antoni. "Analysis of Student’s Writing Which Reflect Ghost Stories in Indonesian Horror Film." Journal of Islamic Education Students (JIES) 4, no. 1 (May 31, 2024): 153. http://dx.doi.org/10.31958/jies.v4i1.12238.
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Horror films circulating in Indonesia today can be watched by anyone from various social media, including underage elementary school students. As a result of watching this horror film, students often fantasize and imagine everything must be scary and scary. Even students will also write stories about that scary thing in the assignment given by the teacher. This study aims to analyze writings made by elementary school students that reflect horror stories in Indonesian horror films. The subjects of the study were 31 students of SD 05 Nagrek with works containing ghost stories whose contents were almost the same as ghost stories in Indonesian horror films. Research is descriptive qualitative research with observation, interview, documentation methods. The data analysis technique used is the theory of Miles and Huberman which is carried out by means of (1) Data reduction (2) Data presentation (3) Conclusion drawing and verification. Checking the validity of data is carried out by extending observations and triangulation. The triangulation used in this study is source triangulation which is done by checking data that has been obtained through several sources. The results showed that (1) half of the 31 students wrote stories with content that was almost similar to ghost stories filmed in Indonesia. (2) Students get ideas in writing ghost stories from watching themselves, told by friends and just imagining.
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Carter, Michael. "Byland Abbey: Using the Dead to Bringa Medieval Monastery to Life." Preternature: Critical and Historical Studies on the Preternatural 11, no. 1 (March 1, 2022): 8–24. http://dx.doi.org/10.5325/preternature.11.1.0008.
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ABSTRACT The twelve ghost stories written by a monk at Byland Abbey, North Yorkshire, around 1400 CE have received extensive comment by scholars of medieval ghost stories and the supernatural. Public interpretation of the site, which has been in State care since 1921, has largely focused on the acknowledged importance of Byland's buildings in the development of Cistercian architecture in the British Isles in the late twelfth century. With a strong architectural focus, Byland's English Heritage guidebook makes no mention of the stories or indeed medieval beliefs about death, the afterlife, and the supernatural. This article aims to demonstrate that the ghost stories, together with the architectural, artifactual, and documentary evidence pertaining to monastic beliefs and observance about death, burial, and spiritual salvation, are in fact key to the interpretation of Byland—indeed, to all medieval monasteries—for twenty-first-century visitors.
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Hiskes, Ben. "Fact of Feeling: Memory in the Victorian Ghost Story." Victorians: A Journal of Culture and Literature 143, no. 1 (June 2023): 81–93. http://dx.doi.org/10.1353/vct.2023.a903694.
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ABSTRACT: This paper examines how the Victorian ghost-story genre troubles realist visions of memory as a store of immutable past experiences. Analyses of ghost stories by Ellen Wood, Amelia B. Edwards, Dinah Mulock, and George MacDonald reveal that they portray memory as constructed, biased, and fallible. Through first-person and frame narratives, these stories illustrate how the act of recollection falsifies memories by reshaping them to better fit affective narrative arcs, thus depicting a form of nostalgic memory that foregrounds feeling at the cost of accuracy. Yet, even as these ghost stories highlight the impossibility of truly accurate recollection, their focus on traumatic events emphasizes the felt imperative to accurately recall and communicate emotional experiences.
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Sama, Hendi. "Design and Development of Documentary Video in Batam as Dark Tourism Promotion Media." JOURNAL OF INFORMATICS AND TELECOMMUNICATION ENGINEERING 6, no. 1 (July 21, 2022): 1–9. http://dx.doi.org/10.31289/jite.v6i1.5395.
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Tourist destinations are zones that are directly designated and advertised as tourist destinations, and all tourism products are sold by a specific group of tourists who wish to visit a tragic place and know the meaning of the event. It is arranged. , happened in this place. The development of dark tourism can increase foreign tourist visits which can be used as an economy related to the government by attracting foreign tourists who want to provide foreign exchange for dark tourism, including remote areas. I can do that. The author uses the flow of literature study and subsequent problem-solving. This continues and is improved up to the implementation stage and ends at the dissemination stage. There are still many who don't understand how to attract tourists' attention from dark tourist destinations, whether it's shooting a film in the form of a vintage color gradation video with a frame, or using R&D using R&D. Check out the research flow by starting research and dividing the time, looking for stories about the place, and news about the ghost town of Batam calm and explore with the team of ghost hunters of Batam city. While exploring the ghost places of Batam City, unexpected things and events such as camera battery running low while recording, the crew being disturbed by ghosts, and things that are not nearby are crime scenes. Events that require you to bring safety equipment and lighting, as this is an unplanned event.
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Luster, Michael, and W. K. McNeil. "Ghost Stories from the American South." Arkansas Historical Quarterly 45, no. 1 (1986): 73. http://dx.doi.org/10.2307/40025538.
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Cochran, Robert, Richard Alan Young, and Judy Dockery Young. "Ghost Stories from the American Southwest." Arkansas Historical Quarterly 51, no. 2 (1992): 182. http://dx.doi.org/10.2307/40025854.
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McCarthy, William B., and W. K. McNeil. "Ghost Stories from the American South." South Central Review 3, no. 4 (1986): 116. http://dx.doi.org/10.2307/3189692.
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