Journal articles on the topic 'Living ghost'
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1
Méndez, Susan C. "Ghosts in Nelly Rosario’s Song of the Water Saints and Angie Cruz’s Soledad." Small Axe: A Caribbean Journal of Criticism 26, no. 1 (March 1, 2022): 16–29. http://dx.doi.org/10.1215/07990537-9724023.
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Recent texts in Latinx literature have ghosts that demonstrate new knowledge about history, culture, and subjectivity. In Song of the Water Saints and Soledad, the first novels of authors Nelly Rosario and Angie Cruz, respectively, the figure of the ghost is a trope that imaginatively reconnects communities of women that are fractured by the corruptive influence of the United States and other Western nations in the Latin Caribbean. The ghost of Graciela in Song of the Water Saints and the “living ghost” of Olivia in Soledad allow readers to see how matrilineal bonds in families can be restored. These ties are cut by the prolonged and detrimental exploitation of the Dominican Republic by the United States and more generally the West. With a focus on women, the use of ghosts in these novels attends to the material, historical, and cultural practices between people and the geographies they inhabit.
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Ali, Randa H., Mohamed E. Ali, and Reham Samir. "Production and Characterization of Bacterial Ghost Vaccine against Neisseria meningitidis." Vaccines 11, no. 1 (December 23, 2022): 37. http://dx.doi.org/10.3390/vaccines11010037.
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Bacterial ghosts (BGS) are empty non-living envelopes produced either genetically or chemically. This study investigated a novel chemical protocol for the production of Neisseria meningitidis ghost vaccine using tween 80 followed by a pH reduction with lactic acid. For our vaccine candidate, both safety and immunogenicity aspects were evaluated. The ghost pellets showed no sign of growth upon cultivation. BGS were visualized by scanning electron microscopy, illustrating the formation of trans-membrane tunnels with maintained cell morphology. Gel electrophoresis showed no distinctive bands of the cytoplasmic proteins and DNA, assuring the formation of ghost cells. In animal model, humoral immune response significantly increased when compared to commercial vaccine (p < 0.01). Moreover, serum bactericidal assay (SBA) recorded 94.67% inhibition compared to 64% only for the commercial vaccine after three vaccination doses. In conclusion, this is the first N. meningitidis ghost vaccine candidate, proven to be effective, economic, and with significant humoral response and efficient SBA values; however, clinical studies should be performed.
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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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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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Meadows, Toby. "Truth, Dependence and Supervaluation: Living with the Ghost." Journal of Philosophical Logic 42, no. 2 (January 6, 2012): 221–40. http://dx.doi.org/10.1007/s10992-011-9219-x.
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Johnson, Stephanie L. "CHRISTINA ROSSETTI'S GHOSTS, SOUL-SLEEP, AND VICTORIAN DEATH CULTURE." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 381–402. http://dx.doi.org/10.1017/s1060150318000062.
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Ghosts haunt Christina Rossetti's poetry. Amidst the lyrics, devotional poems, and children's verse, poems about ghosts and hauntings recur as material evidence of Rossetti's fascination with spectral presences. That fascination poses a particular interpretive puzzle in light of her religious convictions and piety. We might be tempted to identify the recurring ghosts as just another nineteenth-century flirtation with spiritualism – the spiritualism by which her brothers William and Gabriel were intrigued, attending séances and testing the validity of communications from the dead. Rossetti, however, clearly dismissed spiritualism as false belief and a means to sin. We might also be tempted to divide Rossetti's poetry into the secular and the sacred and to categorize the ghost poems as the former, yet much recent criticism on Rossetti has argued successfully for the pervasiveness of her religious voice even in works that seem not to be religious. Finally, in seeking to hear a religious resonance, we might be tempted to interpret her ghosts as representative of the Holy Ghost, yet that interpretation could only be asserted at the expense of the poems themselves; as narrative poems, most of them involve ghosts of dead lovers, desired by the living for themselves – not as experiences of God's presence. Rossetti's use of ghosts within short narrative or dialogic poems of the late 1850s and 60s concerning human desire for lost love invites closer inspection, especially when such poems overtly treat her religious beliefs.
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Dinu, Cristina-Mădălina. "A Comparative Study of the Ghost Literary Motif in Snow in Midsummer by Guan Hanqing and Hamlet by Shakespeare." Journal of Foreign Languages and Cultures 5, no. 1 (June 28, 2021): 125–34. http://dx.doi.org/10.53397/hunnu.jflc.202101010.
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In classical Chinese literature, employing the literary motif of the ghost represents both the writers’ desire to escape the pattern of didactic literature promoted by Confucianism and their attempt to revolt against the rigidity of the Confucian dogma that is far too entrenched in reality and inhibits their creativity. Written during the Yuan Dynasty (1279– 1368) by Guan Hanqing (1225–1302), Snow in Midsummer presents the injustice of Dou’E who dies for a crime she did not commit, with the girl returning to the world of the living in the form of a ghost to obtain her justice. The motif of the vengeful ghost also appears in Shakespeare’s (1564–1616) play, Hamlet . In this essay, I will investigate comparatively the dramatic aesthetics through which the spirits are outlined in the two plays, the comedy used by Guan Hanqing and Shakespeare, respectively, in the scenes of the appearance of spirits, and last but not least, the religious substratum contained in the symbolism of these ghosts. After a contrastive analysis of the dramaturgical and aesthetic construction of the two spirits in these plays, I argue that, despite their belonging to two different cultural spaces, both authors question through the supernatural the moral values of the societies in which they lived.
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Lincoln, Martha, and Bruce Lincoln. "Toward a Critical Hauntology: Bare Afterlife and the Ghosts of Ba Chúc." Comparative Studies in Society and History 57, no. 1 (January 2015): 191–220. http://dx.doi.org/10.1017/s0010417514000644.
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AbstractWhile cross-disciplinary analysis of ghosts and haunting has burgeoned in recent decades, much of this scholarship presumes the figure of the ghost as a less than literal apparition. We propose that writers such as Jacques Derrida and Avery Gordon, who make use of the ghostly as a trope, are in fact describing a phenomenon we term secondary haunting, distinct from accounts of unquiet spirits who address the living directly with specific demands for redress: a visceral and often frightening experience we term primary haunting. Drawing on a contemporary account of the ghosts of a massacre in a Vietnamese village, we explore the complex interaction of primary and secondary haunting, the different kinds of memory work they engage in and the different moral communities they mobilize.
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Thanh, Doan Duy, and Tran Xuan Hanh. "Study of chemical-based induced bacterial ghost applied in vaccine production." ENGINEERING AND TECHNOLOGY 10, no. 1 (June 4, 2020): 17–28. http://dx.doi.org/10.46223/hcmcoujs.tech.en.10.1.356.2020.
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Introduction: Bacterial ghosts (BGs), known as the empty cell envelope of gram-negative bacteria lacking cytoplasmic content yet retaining all unaltered morphological and structural features of their living counterparts, are widely studied and used as the platform for the production of the vaccines as well as the transporting drug and gene delivery. However, the study related to the creation of BGs based on gene expression is still limited because of the difference in cell wall structure between microorganisms. Therefore, in the current study, for the aims to determine chemicals combination and minimum inhibition concentration (MIC) to optimize BGs production.
Material and method: Salmonella choleraesuis strain was collected from NAVETCO company. The study used critical concentrations from chemical combination to convert salmonella cells to BGs. Chemicals combination and MIC, temperature, shaking speed were optimized using Plakett- Burman matrix and response surface methodology. Cell structure was determined by using a scanning electron microscope, experimental mice were vaccinated and challenged with virulence to determine immune responses of bacterial ghost.
Results: The appropriate chemicals for the production of BGs biomass were NaOH 3.125 mg/ml; SDS 1.15 mg/ml, H2O2 8.79 µl/ml, ethanol. The observation of morphology, BGs have remained the structure and shape, which were like the living microbial cells.
Conclusions: The conditions of BGs production have been identified to produce large amounts of bacterial ghost biomass to further application in vaccine production and pharma.
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Harrison, William M. "A Hogarth “Ghost” of Sorts: Henry Green's Living (1929)." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 16, no. 2 (January 2003): 51–54. http://dx.doi.org/10.1080/08957690309598201.
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Sjögren, Ji Sun. "A Ghost in My Own Country." Adoption & Fostering 20, no. 2 (July 1996): 32–35. http://dx.doi.org/10.1177/030857599602000207.
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Ji Sun Sjögren was born in Korea and brought up in Belgium, where she was adopted by her Swiss mother and Swedish father at the age of two. The following account, inspired by the experience of visiting her native Korea for the first time, aged 26, is a moving testimony of what it can feel like to be caught between two worlds, despite a loving and largely happy upbringing. Above all she speaks up for the right of every child to know her or his origin and to be the rightful owner of a birth certificate. Ji Sun's account was written with the help of her adoptive father, Eric Sjögren, who is a journalist living in Brussels. Twenty years earlier, he himself had written a ‘misty-eyed, infatuated’ account of the first few years of living with his adopted daughter. It is partly in the light of the huge sympathetic response to that article that he encouraged Ji Sun to tell her own story.
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Rømer, Lars. "Ghost, Broken Narratives and the Art of Dying." Bulletin for the Study of Religion 42, no. 4 (November 13, 2013): 15–22. http://dx.doi.org/10.1558/bsor.v42i4.15.
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This article investigates how experiences of ghosts can be seen as a series of broken narratives. By using cases from contemporary as well 19th century Denmark I will argue that ghosts enter the world of the living as sensations that question both common sense understanding and problematize the unfinished death. Although ghosts have been in opposition to both science and religion in Denmark at least since the reformation I will exemplify how people deal with the broken narrative of ghosts in ways that incorporate and mimic techniques of both the scientist and the priest. Ghosts, thus, initiate a dialogue between the dead and the living concerning the art of dying that will enable both to move on.
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Gül, Mustafa Remzi. "Variation in burrow morphology of ghost crab Ocypode cursor (Linnaeus, 1758) under human influence." Ege Journal of Fisheries and Aquatic Sciences 39, no. 2 (June 15, 2022): 145–50. http://dx.doi.org/10.12714/egejfas.39.2.08.
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Ghost crabs are common bioindicator species for human disturbance on sandy shores. Ghost crabs often alter their population dynamics under human disturbance. Ghost crabs, further, alter their burrowing behavior under human influence, however, these changes are not well known on the Turkish coast of the Mediterranean Sea. Therefore, burrowing morphology of Ocypode cursor at two sites that differ in the degree of human disturbance was compared. Ghost crabs created smaller, steeper and simpler burrows at the site under higher human disturbance compared to the crabs living at the sites with lower human influence. Further, there was no difference in the ghost crab burrow depth and the frequency of existence of chambers between sites. Moreover, the results of this study revealed that larger crabs preferred higher parts of the beach at both sites, suggesting that this is a common behavior for the populations of O. cursor. Consequently, the results of this study emphasized that O. cursor alter their burrowing morphology and characteristics under human disturbance besides their population demographics; suggesting that studies that focus on the use of ghost crabs for human disturbance should include burrow morphology in their assessments.
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Harrison, Victoria S. "What if the Dead Are Never Really Dead?" Monist 104, no. 3 (September 15, 2020): 337–51. http://dx.doi.org/10.1093/monist/onab009.
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Abstract This paper argues for the value of the ‘strange’ as a hermeneutical tool to open fresh perspectives on an issue of widespread human concern, specifically how to deal with and relate to the dead. Traditional Chinese folk religion and the animistic ghost culture found within it is introduced and the role of gods, ancestors, and ghosts explained. The view that death is not the end of life but the transition to a new relationship with the living raises questions about our potential obligations to the dead. It also has implications for our thinking about intergenerational justice and the role of our memory of the past in shaping our present and future experience.
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Idria, Reza. "Letters to Maop: Living with a Ghost as Therapeutic Experience." Ethos 47, no. 4 (December 2019): 465–79. http://dx.doi.org/10.1111/etho.12258.
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Cerankowski, KJ. "Chasing Charley, finding Reed: reaching toward the ghosts of the archive." Journal of Visual Culture 19, no. 2 (August 2020): 293–303. http://dx.doi.org/10.1177/1470412920944501.
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The archive consists of memories, documents, and images waiting to be curated into a story. In this article, the author collates archival object encounters into a transgender ‘ghost story’ that marks the impossibility of a straightforward history of the subject, relying instead on embodied encounters with archive objects, or the remnants (ghostly and tangible) of archival subjects. Following the materials of Charley Parkhurst and Reed Erickson, the author makes connections where none previously existed, asking: How do we put life back into the materials of the dead? What do the traces and memories of these ghosts offer the living? What do archive objects activate in the eyes that see them, the ears that listen, and the hearts that race or slow with each haptic encounter? Following these questions, this article pieces together a different kind of narrative history and transition story through the unexpected encounters with the archive and its ghosts.
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Prof. Sanjay Kumar Swarnkar and Shalini Shukla. "The Elements of Supernatural and Magic Realism in Toni Morrison’s Beloved." Creative Launcher 6, no. 3 (August 30, 2021): 40–43. http://dx.doi.org/10.53032/tcl.2021.6.3.08.
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The present research paper is a study of the elements of Magic Realism and the supernatural elements in the novel, Beloved by the Nobel laureate novelist Toni Morrison. The term Magic Realism was originally applied in the 1920s to the school of surrealist German painters and was later used to describe the process fiction of writers like George Luis Burges, Gabriel Garcia Marquez, and Salman Rushdie etc. These writers weave a sharply etched realism representing ordinary events and details together with fantastic and dream-like elements, as well as with material derived from myth and fairy tales. The German critic Franz Roz introduced the concept of Magic realism in 1920 and it was first used in paintings. The term was introduced in the book Post-expressionism, Magic Realism: Problem of the Most Recent European Paintings in 1925. The purpose here is to analyze the elements of magic realism in the novel, Beloved. We can see supernatural elements in Sethe’s house that bring chaos by haunting everyone through its mysterious presence, and making Sethe’s both the sons Howard and Buglar run away. It appears to be the ghost of a baby which was murdered by Sethe. The ghost causes the things in the house to break and shake mysteriously. In magic realism fiction the ghosts are the central characters generally. In the novel Beloved Morrison has portrayed the ghost as a living person. Thus, the dominance of a unique, mystical and gloomy atmosphere can be seen throughout the novel.
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Ferber, Dan. "Ghost Knifefish in the Machine." Mechanical Engineering 137, no. 10 (October 1, 2015): 44–49. http://dx.doi.org/10.1115/1.2015-oct-3.
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This article focuses on different research and development tasks intended towards creation of agile swimming robot. Armed with extraordinary agility and electrical sensors that show the location of insect larvae, the black ghost knifefish haunts at night. An underwater robot based on the ghost knifefish could work in the murkiest waters. Malcolm MacIver, a professor of mechanical engineering and neurobiology at North-western University, is building a prototype of such an agile ROV in his laboratory. Active electrosense could do more for ROVs and robots, MacIver said. It may soon be able to distinguish living organisms, including divers, from inanimate objects by sensing capacitance – the ability of a material to induce a phase lag between voltage and current – MacIver reported in 2012 at the International Conference on Intelligent Robots and Systems. Down the road, the bioroboticists hope to incorporate another ant navigational skill into a robot – a neat ability to detect polarized sunlight and use it to determine compass direction.
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Dean Smeeton, Donald. "Holy Living and the Holy Ghost: A Study of Wycliffite Pneumatology." Evangelical Quarterly: An International Review of Bible and Theology 59, no. 2 (August 29, 1987): 139–46. http://dx.doi.org/10.1163/27725472-05902005.
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Yandell, Keith E. "The Most Brutal and Inexcusable Error in Counting?: Trinity and Consistency." Religious Studies 30, no. 2 (June 1994): 201–17. http://dx.doi.org/10.1017/s0034412500001499.
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The Anglican Thirty Nine Articles join catholic Christendom in affirming that:There is but one living and true God…and in unity of this Godhead there be three Persons of one substance, power, and eternity; the Father, the Son, and the Holy Ghost.
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Briefel, Aviva. "Ghost Speed: The Strange Matter of Phantom Vehicles." Victorian Literature and Culture 50, no. 4 (2022): 693–720. http://dx.doi.org/10.1017/s106015032100005x.
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This essay examines an important subgenre of the Victorian ghost story: narratives of phantom vehicles. Wilkie Collins's “The Last Stage Coachman” (1843), Charles Dickens's “The Story of the Bagman's Uncle” (1837), and Amelia Edwards's “The Phantom Coach” (1864), among others, feature vehicles from the past that return to haunt the living. I argue that that by using ghosts to express nostalgia for more human(e) modes of transportation, Victorian writers explore what it means to feel profound attachments to material things that are no longer accessible. The longing for lost objects results in a grotesque materiality that blurs the line between persons and objects. This is an unusual strain of commodity fetishism, an objectification of persons and animation of things provoked by a desire for a time in which these categories were distinct. In the first two sections, I focus on mid-Victorian writings that explore the process through which transportation nostalgia triggers uncanny exchanges of the human and the thing, thus exposing nostalgia itself as a dehumanizing and even violent process. In the final part, I discuss Rudyard Kipling's “The Phantom Rickshaw” (1885) as a narrative that revives this spectral tradition within the context of imperial nostalgia and racial labor.
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Lyon, Thomas J., and Diana Lindsay. "Marshal South and the Ghost Mountain Chronicles: An Experiment in Primitive Living." Western Historical Quarterly 37, no. 2 (July 1, 2006): 244. http://dx.doi.org/10.2307/25443363.
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Li, Yao-Tai, and Yunya Song. "Taiwan as ghost island? Ambivalent articulation of marginalized identities in computer-mediated discourses." Discourse & Society 31, no. 3 (November 29, 2019): 285–306. http://dx.doi.org/10.1177/0957926519889124.
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This study examines the conflicting self-presentations when using the term ‘ghost island’ in Taiwan, a self-mocking way to belittle the homeland. While some view this term as a form of social critique, others consider it to be suggestive of a social malaise affecting contemporary Taiwanese. Drawing on online posts and comments from the most popular bulletin board system in Taiwan, this study combines topic modeling with a discourse-historical approach (DHA) to critical discourse analysis (CDA) to examine the constructions of ‘ghost island’ by Taiwanese netizens. A computer-aided content analysis was implemented using Structural Topic Modeling (STM) to identify discourse topics associated with netizens’ discourses on ghost island. Our findings suggest that the images of ‘us’ (the ordinary people) are presented as victims as against powerful ‘others’ (e.g. mainland China and local elites). Specifically, self-mockery was often invoked to project a loser image and marginalized status living on the island, whereas self-assertive narratives were invoked to affirm Taiwanese society’s democracy and freedom. The conflicting narratives – with a mixture of grudge, helplessness, pessimism, hope and pride – point to Taiwanese netizens’ ambivalent articulation of marginalized identities that operates to strengthen affective connectedness and virtual bonding.
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Sjögren, Ji Sun. "Dream's End." Adoption & Fostering 21, no. 2 (July 1997): 16–18. http://dx.doi.org/10.1177/030857599702100205.
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Born in Korea, Ji Sun Sjögren grew up in Belgium where she was adopted by her Swiss mother and Swedish father at around the age of two. In ‘A ghost in my country’ ( Adoption & Fostering 20:2, 1996), Ji Sun gave a moving personal account of transracial adoption and the disturbing feelings of being ‘caught between two worlds’. That original testimony was inspired by the experience of visiting her native Korea for the first time, aged 26, when she was invited to to exhibit at an international art exhibition. This follow-up account tells of another, quite different journey to Korea when, after an intensive search, Ji Sun finally met up with her birth parents. Like ‘A ghost in my own country’, it is written in collaboration with her adoptive father, Eric Sjögren, who is a journalist living in Brussels.
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Wacker, Grant. "Living with Signs and Wonders: Parents and Children in Early Pentecostal Culture." Studies in Church History 41 (2005): 423–42. http://dx.doi.org/10.1017/s042420840000036x.
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Since in this essay I make the word Pentecostal do a lot of work, I too think it is only fair to pay it extra. I use the term to refer to a religious movement that emerged from the vast and amorphous radical evangelical subculture in the United States in the sunset years of the nineteenth century. Like other radical evangelicals, Pentecostals fervently anticipated the Lord’s imminent return, affirmed the miraculous healing of the body, and believed that the conversion experience should lead to another life-transforming event known as the baptism of the Holy Ghost. Unlike other radical evangelicals, however, Pentecostals also insisted that the baptism experience always manifested itself by speaking in ‘unknown tongues’.
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Rider, Catherine. "Agreements to Return from the Afterlife in Late MedievalExempla." Studies in Church History 45 (2009): 174–83. http://dx.doi.org/10.1017/s0424208400002497.
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One of the ways in which medieval Christians thought about the links between this life and the afterlife was by telling ghost stories – a topic which has attracted the attention of several historians. In these stories, a dead person often appears to a living relative or friend and asks them to give alms or to perform other good works on their behalf, in order to speed up their passage to heaven. The dead person usually appears spontaneously, although sometimes this occurs after relatives have said prayers for them. This paper, however, will examine a group of stories about less spontaneous apparitions. These are stories in which two people agree that whichever of them dies first will come back and tell the other about the afterlife. They have sometimes been mentioned in studies of medieval ghost stories, but they have not been examined in their own right.
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Bahna, Vladimír. "Explaining Vampirism: Two Divergent Attractors of Dead Human Concepts." Journal of Cognition and Culture 15, no. 3-4 (August 26, 2015): 285–98. http://dx.doi.org/10.1163/15685373-12342151.
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This paper explores the cognitive foundations of vampirism beliefs. The occurrence of beliefs of the dead rising from graves and returning to harm the living across many cultures indicates that this concept has features that make it successful in the process of cultural transmission. Comparing ghost- and vampire-like beliefs, it is argued that bodiless agents and animated but dead bodies represent two divergent cognitive attractors concerning concepts of dead humans. The inferential potential of the classic idea of a bodiless ghost is based on intuitions produced by the mental system of Theory of Mind, while the traditional concepts of a vampire attribute to the dead only minimal intentionality. The inferential potential of a vampire is based on the system of disease avoidance and the emotion of disgust related to the dead body. Vampirism beliefs represent a cognitively attractive combination of a hazard and relevant actions to eliminate it: they postulate a threat of an animated corpse and relevant behavioral reaction, namely fatal interventions on vampire’s body.
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Neel, Alexandra. "“THE GHOST OF SLAVERY” INOUR MUTUAL FRIEND." Victorian Literature and Culture 43, no. 3 (May 29, 2015): 511–32. http://dx.doi.org/10.1017/s1060150315000054.
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On his last trip to Americain 1868, Charles Dickens would write a letter to his friend and biographer John Forster, which paints a sobering picture of postbellum Baltimore: “It is remarkable to see how the Ghost of Slavery haunts the town; and how the shambling, untidy, evasive, and postponing Irrepressible proceeds about his free work, going round and round it, instead of at it.” While Dickens's phrase “the Ghost of Slavery” indicts a slave system that persists despite abolition, his representation of the former slave body – “the shambling, untidy, evasive, and postponing Irrepressible” – suggests another kind of ghost, an identity that toggles between the spectral and the grossly embodied. Dickens reinforces this conjunction of the ghostly and the corporeal as he goes on to note that “[t]he melancholy absurdity of giving these people votes, at any rate at present, would glare at one out of every roll of their eyes, chuckle in their mouths, and bump in their heads, if one did not see . . . that their enfranchisement is a mere party trick to get votes” (Letters27). Resorting to the crudest racial stereotypes, Dickens portrays recently manumitted slaves as dolls devoid of speech and political agency. In depicting the “postponing Irrepressible” as stripped of personhood and civil capacities, Dickens conjures the legal fiction of “civil death” – a medieval English common law that divested a prisoner accused of treason any rights by proclaiming him dead in the eyes of the law. In stark contrast to Dickens's impassioned pleas for the abolition of slavery and prison reform inAmerican Notes(1842), his private remarks in this letter some twenty-five years later convert former slaves into the objects of satire – minstrelsy puppets in a larger political game in which they play no civil part – as it were, dead again. However, even as Dickens attempts to constrain the former slave body through a kind of stereotypical branding, his language – the “postponing Irrepressible” – registers an unease that this corporeal ghost won't die. It is precisely in this form of the living dead that the “ghost of slavery” surfaces inOur Mutual Friend(OMF).
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Chang, Vanessa. "Catching the ghost: the digital gaze of motion capture." Journal of Visual Culture 18, no. 3 (December 2019): 305–26. http://dx.doi.org/10.1177/1470412919841022.
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Created with digital motion capture, or mocap, the virtual dances Ghostcatching and as.phyx.ia render movement abstracted from choreographic bodies. These depictions of gestural doubles or ‘ghosts’ trigger a sense of the uncanny rooted in mocap’s digital processes. Examining these material processes, this article argues that this digital optical uncanny precipitates from the intersubjective relationship of performer, technology, and spectator. Mocap interpolates living bodies into a technologized visual field that parses these bodies as dynamic data sets, a process by which performing bodies and digital capture technologies coalesce into the film’s virtual body. This virtual body signals a computational agency at its heart, one that choreographs the intersubjective embodiments of real and virtual dancers, and spectators. Destabilizing the human body as a locus of perception, movement, and sensation, mocap triggers uncanny uncertainty in human volition. In this way, Ghostcatching and as.phyx.ia reflect the infiltration of computer vision technologies, such as facial recognition, into numerous aspects of contemporary life. Through these works, the author hopes to show how the digital gaze of these algorithms, imperceptible to the human eye, threatens individual autonomy with automation.
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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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Purigali Prabhakar, Prema. "Invoking The Spectral Body: A Study of Potential Corporealities in the Work of Marina Abramovic and Francesca Woodman." Excursions Journal 1, no. 1 (September 12, 2019): 91–101. http://dx.doi.org/10.20919/exs.1.2010.129.
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At the beginning of his much written about Specters of Marx Derrida writes, “For there is no ghost, there is never any becoming specter of the spirit without at least the appearance of flesh, in a space of invisible visibility like the disappearing of an apparition. For the ghost, there must be a return to the body, but to a body that is more abstract than ever,” In Specters, Derrida is not only proposing a theory of history, a theory of hauntology, but in describing and redescribing the very substantive nature of the specter, he is also proposing a theory of corporeality, a theory of what the flesh is and can be. By using Derrida’s theory of, what I will call, “spectral corporeality” in conjunction with the photographs of Francesca Woodman and the performance art of Marina Abramovic, my paper will ask such questions as: How can the specter return to the body, but not be of the flesh? How can a living fleshly body extend into a spectral body? And, what does it mean to have a theory of the body that is not of the flesh, blood, bone and sinew of the living body?Abramovic’s grappling with bones (in “Cleaning The House” and “Balkan Baroque”) and Woodman’s faceless figure simultaneously going into and escaping from a grave stone , not only contend with the spectrality of objects (relics), spectral histories inhabiting fleshly bodies and the spectral presence between audience and performer, viewer and artist, but with the gender of the spectral body. To invoke “a body that is more abstract than ever”, Derrida wrestles with Marx, conjures the ghost of Hamlet’s father and summons Hamlet himself—an all male cast of spectral bodies; by examining Abramovic and Woodman’s art, I hope to understand how a female spectral body might make itself present, inhabit a visual space of both flesh and ether.
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Withrow, Frank B. "Education Technology: Innovations." Bulletin of Science, Technology & Society 6, no. 2 (June 1986): 319–20. http://dx.doi.org/10.1177/027046768600600234.
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“We raised the power of reason, the power of manipulating words, above all other faculties. The written word became our god. We forgot that before words there were actions … that there have always been things beyond words. We forgot that spoken words preceded the written one. We forgot that written form of our letters came from ideographic pictures … that standing behind every letter is an image like an ancient ghost. The image stands for natural movements of the body and other living things.” Frank Herbert
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Tolle, MPH, Frederick, Allison P. Chen, and Edbert B. Hsu, MD, MPH. "Fire at the Oakland Ghost Ship Warehouse: A disaster life cycle-based analysis." American Journal of Disaster Medicine 15, no. 4 (October 1, 2020): 293–302. http://dx.doi.org/10.5055/ajdm.2020.0378.
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Objective: Structural fires remain a prominent threat to public health and safety even in several regions of the developed world, where rising housing costs force many to reside in unsafe environments. This case report of the Ghost Ship Warehouse fire in Oakland, California, highlights deficiencies in the emergency management system in the context of similar nightclub incidents to inform recommendations that might prevent such events from occurring in the future.Design: The characteristics of the Ghost Ship warehouse and circumstances surrounding the fire, as described in government documents and news media sources, were examined using the disaster life cycle framework. The Ghost Ship fire was also compared with two prior fire disasters at the Happy Land nightclub in New York City and Station nightclub in West Warwick, Rhode Island.Results: The following risk factors were identified as common features of deadly nightclub fires: large crowd size, limited access to exits, multiple code violations, lack of required permits, inadequate fire suppression systems, and poor building maintenance. Conclusions: To prevent the recurrence of such disasters, Oakland and other cities should adopt measures to improve interdepartmental communication; streamline reporting of fire and safety hazards, and allocate sufficient resources and staff capable of identifying hazardous buildings, performing inspections, and enforcing building and fire codes. Equally importantly, the urban affordable housing crisis needs to be adequately addressed to mitigate vulnerable populations living in unsafe dwellings that place them at risk of deadly fires.
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Lima, Jô de F., Fernando Abrunhosa, and Petrônio A. Coelho. "The larval development of Pinnixa gracilipes Coelho (Decapoda, Pinnotheridae) reared in the laboratory." Revista Brasileira de Zoologia 23, no. 2 (June 2006): 480–89. http://dx.doi.org/10.1590/s0101-81752006000200023.
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Pinnixa gracilipes Coelho, 1997 is a small pinnotherid crab living in association with ghost shrimp Lepidophthalmus siriboia Felder & Rodrigues, 1993 in the northeastern region of Pará State, Brazil. Larvae of P. gracilipes were reared in the laboratory from hatching to the megalopa stage. The complete zoeal period averaged 24 days. Mean duration for each larval stage was 5, 4, 4, 5 and 6 days, respectively. In the present study, five zoeal and megalopal stages are described and illustrated in detail. Morphological comparisons with previous reported works on Pinnotheridae larvae are briefly discussed.
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Alongi, DM. "Population structure and trophic composition of the free-living nematodes inhabiting carbonate sands of Davies Reef, Great Barrier Reef, Australia." Marine and Freshwater Research 37, no. 5 (1986): 609. http://dx.doi.org/10.1071/mf9860609.
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Population structure and trophic composition of free-living nematodes from carbonate sands within different functional zones (reef crest, reef flat and lagoon) of Davies Reef in the Great Barrier Reef were examined. At the reef crest (station C) and at a shallow lagoon area unprotected by the back wall of the reef flat (station G), sediments were subjected to intense wave action and supported significantly (P < 0.05) lower mean nematode densities (<60 individuals per 10 cm2) than sands within the other reef zones (100-400 individuals per 10 cm2). Mean nematode densities and numerical species richness were highest (P < 0.05) in a shallow lagoon habitat protected from hydrodynamic- induced disturbances by the back wall of the reef flat (station H). Differences in population densities among the reef zones were not related to water depth or sediment granulometry. Species diversity was low within the reef, with only six species present in deep lagoon sands co-inhabited by actively bioturbating ghost shrimps (Callianassa spp.). Normal classification, nodal analysis and detrended correspondence analysis indicated that faunal groups were distinct among the different reefal zones. Very coarse to medium sands at the reef crest and across the reef flat were inhabited primarily by omnivorous and epistrate-feeding nematodes. Most nematodes within the very fine to fine sands of the lagoon were non-selective or selective deposit feeders. Nematode community structure from the reef crest to the shallow lagoon appears to be determined primarily by sediment granulometry as controlled by reef hydrodynamics, whereas in the deep lagoon nematode communities are negatively affected by the presence of thalassinid ghost shrimps.
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Lyon, Thomas J. "Marshal South and the Ghost Mountain Chronicles: An Experiment in Primitive Living ed. by Diana Lindsay." Western American Literature 40, no. 4 (2006): 490–91. http://dx.doi.org/10.1353/wal.2006.0000.
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Adhikari, Nirjala. "Dead Body as a Terrifying Object: Body Politics in Rabindranath Tagore’s “Living or Dead?”." Literary Studies 35, no. 01 (March 9, 2022): 69–75. http://dx.doi.org/10.3126/litstud.v35i01.43676.
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The paper is an attempt to examine body politics in Rabindranath Tagore’s short story “Living or Dead ?” Basically, it tries to answer why people behave differently with a dead and a living body and what is the politics behind it, through the life of Kadambini, the protagonist of the story. The story revolves around the life and death of Kadambini. She is a poor widow. When she is believed to be alive everyone treats her kindly. She is in a way epitome of kindness. She fosters the son of Jamindar. But when she becomes unconscious people think that she is dead. On the way to the burning ground, the Brahmins who take her body engages in other kinds of stuff. At the same moment, she gets her consciousness back but everyone thinks that she is already dead and becomes a ghost and walks away. When she comes back home suddenly she becomes a terrifying object. Everyone frightens with her even her own foster son. So, his paper argues that people behave living and dead bodies differently especially the word “death” itself performs a horror factor in Tagore’s “Living or Dead?” Thus, the paper explores how the words living and dead play the role of power dynamics and change people’s perceptions about the same body. To elucidate this statement Foucault and Butler’s ideas on body politics are used.
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ANKER, ARTHUR, and SAMMY DE GRAVE. "Further records of burrow-associated palaemonid shrimps (Decapoda: Palaemonidae)." Zootaxa 4612, no. 1 (May 28, 2019): 145. http://dx.doi.org/10.11646/zootaxa.4612.1.13.
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Despite the ubiquitous nature of symbiosis in palaemonid shrimps (Caridea: Palaemonidae) which live in or on varied invertebrate hosts, such as echinoderms, sponges, ascidians, hard and soft corals, etc., very few taxa have been recorded living in burrows constructed by other animals. This is in sharp contrast to the rich burrow-dwelling diversity in the Alpheidae, in which numerous genera associate with a great variety of burrowing animals, including stomatopods (Hayashi 2002; Ďuriš & Anker 2014), echiurans (Anker et al. 2005, 2015), other alpheid shrimps (e.g. De Grave 2004; Anker & Marin 2006), and especially numerous ghost and mud shrimps (e.g. Anker, 2011; Anker & Lazarus 2015).
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Zheng, Guangjie. "Children’s historical narrative of the early XXI century (based on the story “The Ghost of the Network» by Tamara Kryukova)." Neophilology, no. 26 (2021): 328–34. http://dx.doi.org/10.20310/2587-6953-2021-7-26-328-334.
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In the core of the research is a modern Russian historical narrative for children. On the example of the historical adventure fiction “The Ghost of the Network” written by Tamara Kryukova the work identifies and describes the main characteristics of this type of narrative due to the trends in modern children’s literature, features of modern teenagers’ world perception, changed conditions of social life, etc. The artistic narrative is analyzed in the mainstream of discursiveness due to its open and fluid nature, the cultural and historical nature of the narrative artistic discourse and its inclusion in a wide cultural and discursive context, the polyphonic nature of the stories that form the basis of the narrative discourse of Tamara Kryukova’s children story “The Ghost of the Network”, which covers almost 700 years old and takes the reader to the distant era of Ancient Russia, the main “ingredients” of the historical narrative include the author’s fantasy in the form of a ghost from ancient history, which frightens a scientist who finds himself on a night highway, completely deserted by a mystical coincidence. The leading method is narrative analysis. Thematic and discourse analysis is used as an auxiliary method. In the course of the study, conclusions are drawn. The work reveals the features of a modern children’s historical narrative, combining elements of an adventure-fantasy genre, interweaving the past and the present, history and fiction, taking into account the peculiarities of a modern teenager, living not only in real, but also in virtual space. The enrichment of this story allows the authors to achieve cultural and historical continuity, give the text a semantic dimension, educational meanings, and include modern linguocultural national knowledge in it.
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Yin, Duo, Junxi Qian, and Hong Zhu. "Living in the “Ghost City”: Media Discourses and the Negotiation of Home in Ordos, Inner Mongolia, China." Sustainability 9, no. 11 (November 6, 2017): 2029. http://dx.doi.org/10.3390/su9112029.
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Goto, R., K. Ohsuga, and M. Kato. "Mode of life of Anomiostrea coralliophila Habe, 1975 (Ostreidae): a symbiotic oyster living in ghost-shrimp burrows." Journal of Molluscan Studies 80, no. 2 (January 31, 2014): 201–5. http://dx.doi.org/10.1093/mollus/eyt052.
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Mulcahy, Caitlin M., Diana C. Parry, and Troy D. Glover. "Between Diagnosis and Death." International Review of Qualitative Research 2, no. 1 (May 2009): 29–42. http://dx.doi.org/10.1525/irqr.2009.2.1.29.
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While analyzing the transcripts of interviews with cancer survivors and writing up her findings, the first author found herself suffering from a writer's block of sorts. She was stuck, unable to move forward, encircled by a cloud of voices. Some voices came from the empirical data of the study, others emerged out of her private personal experiences, and one materialized from somewhere altogether more mysterious, urging her to bring the two together. This performance text aims to evoke that struggle to grapple with the many ‘ghosts’ that haunt our research (Doucet, 2008), while also working through the challenge of telling a ‘true’ cancer story (Park-Fuller, 2008). Interviews with 26 members of Gilda's Club of Greater Toronto (a meeting place for people affected by cancer) served as the data that was analyzed utilizing narrative analysis. Excerpts from the interviews were woven together to create the lines spoken by the character of the father. Three additional speaking parts were created—the daughter, the ghost, and the narrator—to help explore themes of isolation, navigation, and reflexivity. Thus, this is a story about feeling lost as a person living with cancer. But it is also a story about feeling lost as a researcher. Ultimately, it is the story of individuals struggling to make the pieces of their lives fit together, struggling to make their way forward, without always knowing how to do either.
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Johanson, Zerina, John A. Long, John A. Talent, Philippe Janvier, and James W. Warren. "Oldest coelacanth, from the Early Devonian of Australia." Biology Letters 2, no. 3 (March 21, 2006): 443–46. http://dx.doi.org/10.1098/rsbl.2006.0470.
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Coelacanths are well-known sarcopterygian (lobe-finned) fishes, which together with lungfishes are the closest extant relatives of land vertebrates (tetrapods). Coelacanths have both living representatives and a rich fossil record, but lack fossils older than the late Middle Devonian (385–390 Myr ago), conflicting with current phylogenies implying coelacanths diverged from other sarcopterygians in the earliest Devonian (410–415 Myr ago). Here, we report the discovery of a new coelacanth from the Early Devonian of Australia (407–409 Myr ago), which fills in the approximately 20 Myr ‘ghost range’ between previous coelacanth records and the predicted origin of the group. This taxon is based on a single lower jaw bone, the dentary, which is deep and short in form and possesses a dentary sensory pore, otherwise seen in Carboniferous and younger taxa.
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Baderoon, Gabeba. "The Ghost in the House: Women, Race, and Domesticity in South Africa." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (June 17, 2014): 173–88. http://dx.doi.org/10.1017/pli.2014.17.
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AbstractIn South Africa, the house is a haunted place. Apartheid’s separate publics also required separate private lives and separate leisures in which to practice ways of living apartheid’s ideological partitions into reality. This essay analyzes the compulsive interest in black domesticity that has characterized South Africa since the colonial period and shows that domestic labor in white homes has historically shaped the entry of black women into public space in South Africa. In fact, so strong is the latter association that theDictionary of South African English on Historical Principlesreveals that in South African English the wordmaiddenotes both “black woman” and “servant.” This conflation has generated fraught relations of domesticity, race, and subjectivity in South Africa. Contemporary art about domestic labor by Zanele Muholi and Mary Sibande engages with this history. In their art, the house is a place of silences, ghosts, and secrets. Precursors to these recent works can be found in fiction, including Sindiwe Magona’s short stories about domestic workers in her collectionLiving, Loving and Lying Awake at Night(1994) and Zoë Wicomb’s novelPlaying in the Light(2006), in which a woman passing for white allows her mother into her house only under the pretense that she is a family servant. Muholi and Sibande have engaged the legacy of black women in white households by revisiting the ghosts of the house through performance, sculpture, and photography. Both were inspired by the intimate reality of their mothers’ experiences as domestic servants, and in both cases the artist’s body is central to the pieces, through installations based on body casts, performance, embodied memories, and the themes of haunted absences, abandonment, and longing.
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Maulana, Alfian, and Faruk Faruk. "Haunted Memory, Trauma, and Recovery in Louise Erdrich’s The Stone." Poetika 10, no. 2 (October 31, 2022): 123. http://dx.doi.org/10.22146/poetika.v10i2.75899.
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While the ghost is almost always connected with the source of terror, psychological disorder, traumatic memory, unfinished task, or dormant desire, could it also be a guide to collective memory and recovery, especially for Native American society? This study aimed to read the haunting phenomenon in Louise Erdrich’s The Stone as literary work that could give a deeper understanding of the relation among haunting, collective memory, trauma, and recovery. It answered two questions: 1) How the haunting narrated past collective memory and system of power to the living, and 2) How the relationship between the memory and the present living might establish recovery. To analyze the text, this study used the haunting theory by Avery Gordon. The main data was collected from Louise Erdrich’s The Stone. The result revealed that 1) the haunting in this work was related to the demand of Ojibwe memory in the reservation era, that was the demand to be remembered; 2) the traumatic event was not over and continues to occur in the present, and 3) this text developed new mode of practicing testimony through the act of remembrance of the past collective memory.
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Tillett, Rebecca. ""Resting in Peace, Not in Pieces": The Concerns of the Living Dead in Anna Lee Walters's Ghost Singer." Studies in American Indian Literatures 17, no. 3 (2005): 85–114. http://dx.doi.org/10.1353/ail.2005.0077.
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Vallega, Alejandro A. "Naufrages, of Derrida’s “Final” Seminar." Research In Phenomenology 46, no. 3 (July 22, 2016): 390–404. http://dx.doi.org/10.1163/15691640-12341345.
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This article puts into play the ghostly horizon of “death” as it follows its semblances through Derrida’s reading of Heidegger in the French thinker’s last seminars as published in The Beast and the Sovereign Vol. ii. The moments I underscore are three, always marking the playing out or releasing of death’s ghost, its sovereignty over life, while the readings, drift off driven by other forces: 1. In Session iv, Derrida’s enjambment of Heidegger’s sense of dasein and Welt with Celan’s line from Atemwende, “Die Welt ist fort, Ich muß dich tragen” (“the world has withdrawn, I must carry you”); 2. The mutual displacement of the question of the other and the question of death at the beginning of Session v; and 3, the unfolding of Crusoe’s desire and fear of “living a living death” in Derrida’s discussion of survivance, also in session v. The discussion closes with the interpolation of Latin American thought through the introduction of the temporalizing movement of différance read in light of the non-linear simultaneous asymmetric temporality one finds constitutive of Latin American consciousness. Thus, the reading moves from the deconstruction of various figures of death that permeate in an almost transcendental manner the organizing of the meaning of Derrida and Heidegger’s thought, to a thinking with the temporalizing movement of survivance or living-dying, in which the binomial reasoning and teleological structures of temporality held by the figures of life and death are released to a thought beyond their supposed mutually exclusive timeline.
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Feldmann, Rodney M. "Antarctomithrax thomsoni,a new genus and species of crab (Brachyura; Majidae) from the La Meseta Formation (Eocene) of Seymour Island, Antarctica." Journal of Paleontology 68, no. 1 (January 1994): 174–76. http://dx.doi.org/10.1017/s0022336000025725.
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The james ross basin, situated on the eastern margin of the Antarctic Peninsula, has yielded an extensive fauna of decapod crustaceans spanning Late Cretaceous through Eocene time. To date, 28 species in 22 genera and 18 families have been described (Feldmann, 1992; Feldmann, Tshudy, and Thomson, 1993), making this the most diverse fossil decapod fauna in the Southern Hemisphere. Within the basin, Seymour Island alone contains rocks of the Eocene age La Meseta Formation from which seven species of crabs, one galatheid, and one species of callianassid ghost shrimp have been described (Feldmann and Zinsmeister, 1984; Feldmann and Wilson, 1988; Feldmann, 1992). The fauna of the La Meseta is remarkable also because, although the organisms are preserved in rocks deposited in moderate- to high-energy, shallow-water habitats (Elliot and Trautman, 1982), many of the species represent early occurrences of taxa with living descendants that are characteristic of deeper water, lower latitude habitats (Zinsmeister and Feldmann, 1984).
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Dobosiewicz, Ilona. "“Though I was alone with the unseen, I comprehended it not”: The Relationship Between the Dead and the Living in Margaret Oliphant’s „A Beleaguered City”." Anglica Wratislaviensia 55 (October 18, 2017): 25–34. http://dx.doi.org/10.19195/0301-7966.55.2.
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Margaret Oliphant 1828–1897 is best remembered today as one of the important practitioners the domestic fiction, with her “Chronicles of Carlingford” series considered to be her most enduring achievement. Oliphant’s other interesting group of works are ghost stories and other spiritual tales known as the “Stories of the Seen and Unseen”. A Beleaguered City, a novella first published in 1879, is generally considered to be Oliphant’s most successful supernatural tale. Set in Semur, France, and told by five different narrators, the story focuses on the inhabitants of Semur, who are evicted from their town by the spirits of the dead. This paper aims to demonstrate that Oliphant uses the supernatural not only to cope with her own experiences of bereavement, but that she also engages with contemporary themes: she comments on gender roles, reveals the shortcomings of society that places its faith in progress and material wealth, and exposes the limitations of the scientific or the mechanistic worldview which cannot provide an adequate explanation of “the true signification of life”.
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Mayor, Adrienne. "Haunted Greece and Rome: Ghost Stories from Classical Antiquity, and: Restless Dead: Encounters between the Living and Dead in Ancient Greece (review)." Journal of American Folklore 114, no. 451 (2001): 110–12. http://dx.doi.org/10.1353/jaf.2001.0074.
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