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What Did Miss Darrington See? by Jessica Amanda Salmonson Pdf
Whether writing about supernatural phenomena or applying the techniques of magic realism, allegory, and surrealism, the diverse talents represented in the 25 stories contained here focus on female characters and treat a variety of traditional themes in inventive and provocative ways.
What Did Miss Darrington See? by Jessica Amanda Salmonson Pdf
Whether writing about supernatural phenomena or applying the techniques of magic realism, allegory, and surrealism, the diverse talents represented in the 25 stories contained here focus on female characters and treat a variety of traditional themes in inventive and provocative ways.
It was not so very long ago, for it was only about a year before the outbreak of the great rebellion, that Colonel Sibthorpe, living at Catalpa Grove, County, Kentucky, wrote to Mr. Allen, a merchant in Boston, with whom he had large dealings, to procure for him a governess. The correspondent was requested to look out for a young person capable of finishing the education of the colonel s two motherless daughters, aged respectively eighteen and sixteen, and of preparing his younger son for admission to a Southern college.
The Palgrave Handbook of Steam Age Gothic by Clive Bloom Pdf
By the early 1830s the old school of Gothic literature was exhausted. Late Romanticism, emphasising as it did the uncertainties of personality and imagination, gave it a new lease of life. Gothic—the literature of disturbance and uncertainty—now produced works that reflected domestic fears, sexual crimes, drug filled hallucinations, the terrible secrets of middle class marriage, imperial horror at alien invasion, occult demonism and the insanity of psychopaths. It was from the 1830s onwards that the old gothic castle gave way to the country house drawing room, the dungeon was displaced by the sewers of the city and the villains of early novels became the familiar figures of Dr Jekyll and Mr Hyde, Dracula, Dorian Grey and Jack the Ripper. After the death of Prince Albert (1861), the Gothic became darker, more morbid, obsessed with demonic lovers, blood sucking ghouls, blood stained murderers and deranged doctors. Whilst the gothic architecture of the Houses of Parliament and the new Puginesque churches upheld a Victorian ideal of sobriety, Christianity and imperial destiny, Gothic literature filed these new spaces with a dread that spread like a plague to America, France, Germany and even Russia. From 1830 to 1914, the period covered by this volume, we saw the emergence of the greats of Gothic literature and the supernatural from Edgar Allan Poe to Emily Bronte, from Sheridan Le Fanu to Bram Stoker and Robert Louis Stevenson. Contributors also examine the fin-de-siècle dreamers of decadence such as Arthur Machen, M P Shiel and Vernon Lee and their obsession with the occult, folklore, spiritualism, revenants, ghostly apparitions and cosmic annihilation. This volume explores the period through the prism of architectural history, urban studies, feminism, 'hauntology' and much more. 'Horror', as Poe teaches us, 'is the soul of the plot'.
The Ghost Story Megapack by Mary Elizabeth Braddon,Jerome K. Jerome Pdf
Hours of great reading await, with ghostly tales from some of the 19th and 20th century's most renowned authors. Here is the lineup: AT CHRIGHTON ABBEY, by Mary Elizabeth Braddon THE HAUNTED MILL, by Jerome K. Jerome THE GHOST CLUB, by John Kendrick Bangs THE SHADOWS OF THE DEAD, by Louis Becke THE ROOM IN THE TOWER, by E. F. Benson THE HAUNTED AND THE HAUNTERS, by Lord Edward Bulwer-Lytton THE MIDDLE BEDROOM, by H. de Vere Stacpoole THE DRUMMER GHOST, by John William DeForest MISS JÉROMETTE AND THE CLERGYMAN, by Wilkie Collins THE SPECTRE BRIDE, by William Harrison Ainsworth THE TAPESTRIED CHAMBER; or, The Lady in the Square, by Sir Walter Scott THE OLD NURSE’S STORY, by Elizabeth Gaskell THE JUDGE’S HOUSE, by Bram Stoker AT THE END OF THE PASSAGE, by Rudyard Kipling THE WITHERED ARM, by Thomas Hardy JOHN CHARRINGTON’S WEDDING, by Edith Nesbit THE MAN OF SCIENCE, by Jerome K. Jerome WHAT DID MISS DARRINGTON SEE? by Emma B. Cobb A GHOST STORY, by Mark Twain THE SOUL OF ROSE DÉDÉ, by M.E.M. Davis THE HOUSE OF THE NIGHTMARE, by Edward Lucas White REALITY OR DELUSION? by Mrs Henry Wood FISHER’S GHOST, by John Lang THROUGH THE IVORY GATE, by Mary Raymond Shipman Andrews THE COLD EMBRACE, by Mary Elizabeth Braddon And don't forget to check out all the other volumes in the "Megapack" series! Search on "Wildside Megapack" in your favorite ebook store to see the complete list...covering adventure stories, military, fantasy, ghost stories, westerns, mysteries, and much more!
Death Becomes Her by Elizabeth Dill,Sheri Weinstein Pdf
Dead and dying women are surely an age-old narrative trope. While associations of femininity with death have become almost prototypical in literary criticism and are familiar fodder for cultural conversations, the editors of Death Becomes Her offer us an opportunity to investigate the values that underlie such associations. But from where does our tireless investment in what constitutes a feminine death, a feminine reaction to death, and death’s courting of women emerge? These essays give voice to the idea that power and victimization are not opposites, but rather are complements in an operatic fantasy of intrigue, agency, absence and presence that pervades American writing and experience. Each chapter of Death Becomes Her offers a different lens to investigate the nature of death as surely more than just an anatomical matter: The penny press obsessively covers the death of a beautiful prostitute in 1840s Chicago; a novel of seduction becomes also a narrative of autopsy; a story of haunting allows women outlets for sexual license and the polemics of desire. Overall this volume invites readers to explore the ways in which death is portrayed as both an ornamentation of femininity and an ontological reality of it: how, put simply, “death becomes her.” Essays include analyses of women’s deathbed scenes, suicides, murders, funerals, and autopsies in literature and other nineteenth-century media. As such, the chapters in Death Becomes Her show how the authorial and readerly interest in scripting and staging women’s deaths is both intricate and abiding. They tell us that death is never, of course, simply about death, and they make relevant other issues, from linguistics to politics, as they inform the literature and lives of women from the late-eighteenth to early twentieth-century America. Taken together, the pieces in Death Becomes Her allow us greater access to the surrounding culture out of which the American woman emerges, performs, lives and dies. In doing so, they offer fresh insight into the often unsettling and highly relevant role of death in feminism.
Women's Ghost Literature in Nineteenth-Century Britain by Melissa Edmundson Makala Pdf
Women's Ghost Literature in Nineteenth-Century Britain examines the Female Gothic genre and how it expanded to include not only gender concerns but also social critiques of repressed sexuality, economics and imperialism.
Born in 1989 to wealthy American parents in upstate New York, American Surrealist painter Kay Sage became a member of the Surrealist art movement in Paris in 1937. Along with an eloquent chronicle of Sage's life, Judith Suther shows how not only Sage's art but also the iconoclastic themes of her poetic works were related to Sage's lifelong revolt against social and artistic convention. 78 illustrations. 10 color plates.
Scare Tactics identifies an important but overlooked tradition of supernatural writing by American women. Jeffrey Weinstock analyzes this tradition as an essentially feminist attempt to imagine alternatives to a world of limited possibilities. In the process, he recovers the lives and works of authors who were important during their lifetimes and in the development of the American literary tradition, but who are not recognized today for their contributions. Between the end of the Civil War and roughly 1930, hundreds of uncanny tales were published by women in the periodical press and in books. These include stories by familiar figures such as Edith Wharton, Harriet Beecher Stowe, and Charlotte Perkins Gilman, as well as by authors almost wholly unknown to twenty-first-century readers, such as Josephine Dodge Bacon, Alice Brown, Emma Frances Dawson, and Harriet Prescott Spofford. Focusing on this tradition of female writing offers a corrective to the prevailing belief within American literary scholarship that the uncanny tale, exemplified by the literary productions of Irving, Poe, and Hawthorne, was displaced after the Civil War by literary realism. Beyond the simple existence of an unacknowledged tradition of uncanny literature by women, Scare Tactics makes a strong case that this body of literature should be read as a specifically feminist literary tradition. Especially intriguing, Weinstock demonstrates, is that women authors repeatedly used Gothic conventions to express discontentment with circumscribed roles for women creating types of political intervention connected to the broader sphere of women's rights activism. Paying attention to these overlooked authors helps us better understand not only the literary marketplace of their time, but also more familiar American Gothicists from Edgar Allan Poe to Shirley Jackson to Stephen King.
Ghost Stories by British and American Women by Lynette Carpenter,Wendy K. Kolmar Pdf
Originally published in 1998 and covering a tradition ignored by most critics, this bibliography assembles and documents a large body of supernatural fiction written by women in English from the end of the 18th century to the present. These stories, the work of women whose literary reputations, personal histories, and bodies of work vary widely, challenge the narrow way in which supernatural literature has traditionally been regarded: they indicate a much richer and more complex set of literary responses to the supernatural than has been hitherto acknowledged. The writers included range from Ann Radcliffe and the Gothic novelists to Louisa May Alcott, Charlotte Gilman, and Edith Wharton to such modern writers as Elizabeth Bowen, Jean Rhys, Muriel Spark, and A.S. Byatt. The volume will be of interest to literary and cultural historians and of particular importance to women's studies scholars.
'Partners in Wonder' explores our knowledge of women and science fiction between 1936 and 1965. It describes the distinctly different form of science fiction that females produced, one that was both more utopian and more empathetic than that of their male counterparts.
Examining the automatic writing of the spiritualist séances, discursive technologies like the telegraph and the photograph, various genres and late nineteenth-century mental science, this book shows the failure of writers' attempts to use technology as a way of translating the supernatural at the fin de siècle. Hilary Grimes shows that both new technology and explorations into the ghostly aspects of the mind made agency problematic. When notions of agency are suspended, Grimes argues, authorship itself becomes uncanny. Grimes's study is distinct in both recognizing and crossing strict boundaries to suggest that Gothic literature itself resists categorization, not only between literary periods, but also between genres. Treating a wide range of authors - Henry James, Rudyard Kipling, Arthur Conan Doyle, George Du Maurier, Vernon Lee, Mary Louisa Molesworth, Sarah Grand, and George Paston - Grimes shows how fin-de-siècle works negotiate themes associated with the Victorian and Modernist periods such as psychical research, mass marketing, and new technologies. With particular attention to texts that are not placed within the Gothic genre, but which nevertheless conceal Gothic themes, The Late Victorian Gothic demonstrates that the end of the nineteenth century produced a Gothicism specific to the period.
