DOCSLIB.ORG

The Enlightening Supernatural: Ghost Stories in Late Eighteenth- Century Germany

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Enlightening Supernatural: Ghost Stories in Late Eighteenth- Century Germany THE ENLIGHTENING SUPERNATURAL: GHOST STORIES IN LATE EIGHTEENTH- CENTURY GERMANY Rory E. Bradley A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Ph.D. in the Carolina-Duke Graduate Program in German Studies Chapel Hill 2016 Approved by: Eric Downing Thomas Pfau Jonathan Hess Jakob Norberg Gabriel Trop © 2016 Rory E. Bradley ALL RIGHTS RESERVED ii ABSTRACT Rory E. Bradley: The Enlightening Supernatural: Ghost Stories in Late Eighteenth-Century Germany (Under the direction of Eric S. Downing) This dissertation explores the place of ghosts in late eighteenth-century German texts, where they appear with surprising frequency despite widespread disbelief in their ontological reality. These ghosts could simply be lingering remnants of superstition in an age where they no longer belong, but my project argues that they play a central role in the Enlightenment and its ideal of progress. The key texts analyzed in this context include three versions of the story of the Weiße Frau, as well as works by Immanuel Kant, Karl Philipp Moritz, Friedrich Schiller, and Johann Wolfgang von Goethe. In various ways, these texts demonstrate how the presentation of a ghost creates new possibilities in philosophy and aesthetics, as well as opportunities for critique. For some, the ghostly encounter produces an “Enlightening” suspense, disrupting the normal conditions of one’s understanding and creating a demand for resolution that propels one towards the future. Some recognized a dangerous manipulative potential in such suspense, and they used ghost stories to critique Enlightenment thought or imagine alternative aesthetic models. In all of these works, the ghost does not function simply as a relic of the past that needs to be left behind; it features prominently as a means of considering the present and imagining the future. The relationship between the Enlightenment and superstitious beliefs has either been oversimplified as a basic opposition, or complicated by the recognition that the commitment to reason works as a new form of superstition. Prior scholarship has recognized the German ghost story as a primarily nineteenth-century phenomenon. This dissertation uncovers the roots of the iii German ghost story in unlikely texts from the eighteenth century and suggests that the relationship between ghostly apparitions and the Enlightenment was more complementary than oppositional. Ghosts do not only represent the persistence of the past, they also disrupt the normal conditions of the present in a way that enables progress towards new possibilities in aesthetics and thought. iv ACKNOWLEDGMENTS This project would not have been possible without the guidance, support and generosity of many friends, family members, faculty mentors and colleagues. I would like to thank Eric Downing, who guided me not only through this dissertation, but through a significant portion of my graduate education. Without his patience and confidence in me, I would not have had the time, courage or persistence to follow this project to all the places it took me, nor would I feel so excited and ready to move towards what lies ahead. I am grateful also to the members of my dissertation committee: to Jonathan Hess, whose his clear and insightful advice on writing and scholarship was some of the best I have ever received; to Thomas Pfau, whose challenging standards have become the yardstick by which I try measure my work; to Gabrial Trop, whose inspiring calls for daring thought help to counterbalance the moments when I reach for the safe interpretation, rather than the best one; and to Jakob Norberg, whose penetrating questions manage to surprise, challenge and encourage me all at once. The spirit of their insightful critiques will serve as helpful guides in the years to come. Other faculty members assisted by offering advice, support and intellectual enrichment during the years in which I discovered, researched and wrote this dissertation. My heartfelt thanks go to Richard Langston, who graciously let me into the orbit of his work with Negt and Kluge and then continued to find ways over the years to engage my interests in theory and intellectual history. My thanks go also to Christophe Fricker, whose course on literary translation enriched and inflected the rest of my intellectual work in ways that continue to surprise me. Ann Marie Rasmussen was a source of regular and gracious support when it was most needed. v Christina Wegel and Corinna Kahnke helped me navigate the challenges of language teaching and take on that task with confidence and independence. William Donahue’s generative spirit afforded me many opportunities that supported and enriched my time as a graduate sudent . A number of colleagues in the Carolina Duke Program also made this project possible. I would like to thank Melanie, Erik and Lindsey for being such a wonderful part of my cohort, and thus putting up with me the longest as we all pursued our various intellectual tracks. Their work inspired and informed my own in many ways. I am grateful also to Tres, whose friendship and intellectual acumen contributed to this project in numerous ways. My thanks go also to Matt for being a willing conversation partner as we studied theory in our spare moments. I would be remiss not to acknowledge the pioneering administrators and faculty members at both Duke University and the University of North Carolina who established the Carolina Duke Graduate Program in German Studies that supported my research and studies. They looked past basketball rivalries and differing shades of blue to truly create a unique academic program. Valerie, Pam, Dorothy and Margy all kept the wheels turning and the lights on; without them, I would not have had the administrative support needed to finish this project. This dissertation also owes its existence to the loving support of family. I would not have reached the endpoint without their belief in me, their unwavering support, and their willingness to listen to me talk about the successes and challenges of this work. Finally, I feel tremendous gratitude for the love, intelligence and patience of my wife, Liz. She offered invaluable feedback, asked brilliant questions and gave amazing advice that shaped and improved every aspect of this dissertation. What’s more, she willingly and even happily rode beside me on the roller coaster of this work from start to finish. I can imagine no better partner for the journey. vi TABLE OF CONTENTS INTRODUCTION . 1 CHAPTER ONE. 37 A Ghost, A Grammatical Error, and A Revolutionary: Three Renditions of the Weiße Frau in the Eighteenth Century CHAPTER TWO . 71 On the Usefulness of Ghosts: Immanuel Kant’s Träume Eines Geistersehers CHAPTER THREE . 109 Sonnenmetaphorik and Abendmetaphorik: The Supernatural Aesthetics of Karl Philipp Moritz’s Fragmente aus dem Tagebuch eines Geistersehers CHAPTER FOUR. 152 The Perils of Suspense: Friedrich Schiller’s Der Geisterseher CHAPTER FIVE . 192 Goethe’s Search for a Cognitively Productive Ghost Story EPILOGUE. 248 What Ghosts Conceal: Intepretations of Hamlet WORKS CITED. 263 vii INTRODUCTION “Je n’y crois pas aux fantômes, mais j’en ai peur.” I do not believe in ghosts, but I am afraid of them. 1 --Madame du Deffand PHILALETH: Also; was verstehen Sie unter einem Gespenst? PHOBERON: (nachdenkend) Ein Gespenst ist—ist—sonderbar genug! Ich sahe eins, und weiβ doch nicht was es ist. --Friedrich Wilhelm Klaeden, Über die Gespensterfurcht2 In 1789, when Christoph Martin Wieland penned an essay addressing the debate over the question “Was ist Aufklärung,”3 he described the Enlightenment as an ongoing process of shining light into every dark corner of the world, illuminating every shadowy place. The darkness to be banished is comprised of the “Masse der Vorurtheile und Wahnbegriffe” 4 that still preoccupy far too many people; the light that will banish it is characterized by the “Scham vor Unwissenheit und Unvernunft, die Begierde nach nützlichen und edelen Kenntnissen, und 1 The earliest textual record of this witticism comes from: Charles G. Harper, Haunted Houses: Tales of the Supernatural With Some Account of Hereditary Causes and Family Legends, 3rd ed. (1907; rpt. London: Cecil Palmer, 1927), p. v. Harper records the exchange slightly differently: “‘Do you believe in ghosts?’ asked a gentleman of Madame du Deffand. ‘No,’ replied the witty lady, ‘but I am afraid of them.’” As others have quoted it, it expresses the same sentiment in various forms. The version used for this epitaph is my translation of Richard Alewyn’s German version of it in: “Die Lust an der Angst,” in: Probleme und Gestalten: Essays (Frankfurt am Main: Insel Verlag, 1974): 316. 2 Friedrich Wilhelm Klaeden, Über die Gespensterfurcht: Gespräche und Briefe (Halle: 1784): 6. 3 Christoph Martin Wieland, “Ein paar Goldkörner aus – Maculatur oder sechs Antworten auf sechs Fragen,” in: Teutschen Merkur (April 1789): 94-105. 4 Ibid. 104. 1 besonders […] der Respekt vor der menschlichen Natur und ihren Rechten unter allen Ständen.”5 Wieland’s definition intentionally lacks subtlety, because he does not think the Enlightenment is difficult to define. Everybody already knows what it is, he reasons, so long as they have learned to recognize the difference between light and dark. The Enlightenment occurs when the light gets bigger and the dark gets smaller; if one knows which one is which, then answering the question “Was ist Aufklärung?” is a very simple task. Ghosts and ghost stories clearly belong to the darkness of superstition and “Unvernunft,” but the eighteenth century—the century of the Enlightenment—was enormously preoccupied with them. Philosophical texts debated the belief in ghosts, journals and newspapers were full of reports of ghostly sightings, and poems, plays and novels featuring ghosts were some of the century’s most popular. This dissertation considers works by many of the canonical figures of eighteenth-century German letters, including Immanuel Kant, Karl Philipp Moritz, Friedrich Schiller and Johann Wolfgang von Goethe.
Load more

Recommended publications
  • Spirits of the Age: Ghost Stories and the Victorian Psyche
    SPIRITS OF THE AGE: GHOST STORIES AND THE VICTORIAN PSYCHE Jen Cadwallader A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2009 Approved by: Laurie Langbauer Jeanne Moskal Thomas Reinert Beverly Taylor James Thompson © 2009 Jen Cadwallader ALL RIGHTS RESERVED ii ABSTRACT JEN CADWALLADER: Spirits of the Age: Ghost Stories and the Victorian Psyche (Under the direction of Beverly Taylor) “Spirits of the Age: Ghost Stories and the Victorian Psyche” situates the ghost as a central figure in an on-going debate between nascent psychology and theology over the province of the psyche. Early in the nineteenth century, physiologists such as Samuel Hibbert, John Ferriar and William Newnham posited theories that sought to trace spiritual experiences to physical causes, a move that participated in the more general “attack on faith” lamented by intellectuals of the Victorian period. By mid-century, various of these theories – from ghosts as a form of “sunspot” to ghost- seeing as a result of strong drink – had disseminated widely across popular culture, and, I argue, had become a key feature of the period’s ghost fiction. Fictional ghosts provided an access point for questions regarding the origins and nature of experience: Ebenezer Scrooge, for example, must decide if he is being visited by his former business partner or a particularly nasty stomach disorder. The answer to this question, here and in ghost fiction across the period, points toward the shifting dynamic between spiritual and scientific epistemologies.
    [Show full text]
  • Assessing Electronic Voice Phenomena Through Speech Science Cassie C
    Eastern Kentucky University Encompass Honors Theses Student Scholarship Spring 2017 Assessing Electronic Voice Phenomena through Speech Science Cassie C. Axtell Eastern Kentucky University, [email protected] Follow this and additional works at: https://encompass.eku.edu/honors_theses Recommended Citation Axtell, Cassie C., "Assessing Electronic Voice Phenomena through Speech Science" (2017). Honors Theses. 415. https://encompass.eku.edu/honors_theses/415 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in Honors Theses by an authorized administrator of Encompass. For more information, please contact [email protected]. i EASTERN KENTUCKY UNIVERSITY Assessment of Electronic Voice Phenomena through Speech Science Honors Thesis Submitted In Partial Fulfillment of the Requirements of HON 420 Spring 2017 By Cassie Axtell Mentor Dr. Charlotte Hubbard Department of Special Education ii Assessment of Electronic Voice Phenomena through Speech Science Cassie Axtell Dr. Charlotte Hubbard; Department of Special Education Abstract Electronic Voice Phenomena (EVP) are unexplained voices captured on audio recording, allegedly paranormal in nature (Buckner & Buckner, 2012). Little research exists on listener’s perception of EVPs to date. The field of speech science involves the study of the production, transmission, and perception of human speech. Many concrete elements from the study of speech science have the potential to be applied to the interpretation of EVP content. Several works of literature were reviewed to assess current EVP analysis practices Interviews were conducted with various paranormal investigation societies across the nation to gather information on the general practices involved in EVP collection, analysis, interpretation, and use.
    [Show full text]
  • The Funeral of Mr. Wang Was Typical
    6 Of Rules and Regulations Governing Mourning Grief involves the loss of a social relationship that had served as an anchor. This loss disorients. Not knowing what to do, the grief-stricken want to be showed what to do, told what to do. A standardized ritual to follow step by step and a person to guide one through it can help. In the language of “governmentality” theorists, grief is a time to be governed, whether this governing is to be done by familial elders, religious specialists, secular ritual practitioners, or government employees.1 In this regard, the funeral of Mr. Wang was typical. Mr. Wang’s children, espe- cially his younger daughter, were exhausted from the extra work of caring for their father during his dying days. In this period, the children avoided discussing death. While they told the middle daughter to return from England, too much talk of dying and funerals would have made it seem like they had abandoned all hope of a cure and were wishing their father dead. Mr. Wang himself was never directly told of his prognosis. When death occurred, the children were exhausted, bereaved, and unprepared. They needed someone to tell them how to proceed. A little nudge from their helper led them to Mr. Chen. They were more than happy to have him to guide them through the process. While all rituals might involve standardized procedure, funerals especially are times for limiting choice. Here a contrast with weddings illuminates. In modern marriages, choice is a necessary component. When the Communist Party came to power in 1949, it banned purely arranged marriages.
    [Show full text]
  • Gothic Riffs Anon., the Secret Tribunal
    Gothic Riffs Anon., The Secret Tribunal. courtesy of the sadleir-Black collection, University of Virginia Library Gothic Riffs Secularizing the Uncanny in the European Imaginary, 1780–1820 ) Diane Long hoeveler The OhiO STaTe UniverSiT y Press Columbus Copyright © 2010 by The Ohio State University. all rights reserved. Library of Congress Cataloging-in-Publication Data hoeveler, Diane Long. Gothic riffs : secularizing the uncanny in the european imaginary, 1780–1820 / Diane Long hoeveler. p. cm. includes bibliographical references and index. iSBn-13: 978-0-8142-1131-1 (cloth : alk. paper) iSBn-10: 0-8142-1131-3 (cloth : alk. paper) iSBn-13: 978-0-8142-9230-3 (cd-rom) 1. Gothic revival (Literature)—influence. 2. Gothic revival (Literature)—history and criticism. 3. Gothic fiction (Literary genre)—history and criticism. i. Title. Pn3435.h59 2010 809'.9164—dc22 2009050593 This book is available in the following editions: Cloth (iSBn 978-0-8142-1131-1) CD-rOM (iSBn 978-0-8142-9230-3) Cover design by Jennifer Shoffey Forsythe. Type set in adobe Minion Pro. Printed by Thomson-Shore, inc. The paper used in this publication meets the minimum requirements of the american national Standard for information Sciences—Permanence of Paper for Printed Library Materials. ANSi Z39.48-1992. 9 8 7 6 5 4 3 2 1 This book is for David: January 29, 2010 Riff: A simple musical phrase repeated over and over, often with a strong or syncopated rhythm, and frequently used as background to a solo improvisa- tion. —OED - c o n t e n t s - List of figures xi Preface and Acknowledgments xiii introduction Gothic Riffs: songs in the Key of secularization 1 chapter 1 Gothic Mediations: shakespeare, the sentimental, and the secularization of Virtue 35 chapter 2 Rescue operas” and Providential Deism 74 chapter 3 Ghostly Visitants: the Gothic Drama and the coexistence of immanence and transcendence 103 chapter 4 Entr’acte.
    [Show full text]
  • NON- Fiction: FICTION Easy Reader (JJ-ER)
    NON- Fiction: Atlas of monsters and ghosts Magrin, Federica Children's book of mythical beasts & magical monsters. Creepy costumes : DIY zombies, ghouls, and more Meinking, Mary Eye-popping jack-o'-lanterns : DIY glares, stares, and more Meinking, Mary Laugh-out-loud Halloween jokes : lift-the-flap Elliott, Rob LEGO Halloween ideas Wood, Selina Make frightful props : DIY eyeballs, organs, and more Meinking, Mary Marisol McDonald and the monster Brown, Monica Monster jokes Spooky haunted houses Maurer, Tracy Spooky haunted house : DIY cobwebs, coffins, and more Meinking, Mary What is the story of Frankenstein? Keenan, Sheila FICTION BOARD Books: Boo, boo, I love you! Magsamen, Sandra Clifford's first Halloween Bridwell, Norman Halloween dogs. Halloween is here! Mitter, Matt Halloween Kitty Yoon, Salina. Here comes Halloween! Church, Caroline Jack and Jill : a Halloween nursery rhyme Yoon, Salina Little Blue Truck's Halloween Schertle, Alice The pout-pout fish Halloween faces Diesen, Deborah Too many monsters! : a Halloween counting book Neubecker, Robert Llama llama trick or treat Dewdney, Anna Spooky Pookie Boynton, Sandra Fly, ghost, fly! Schwartz, Betty Ann Peppa's giant pumpkin Lizzio, Samantha Easy Reader (JJ-ER) A fairy-tale fall Jordan, Apple Arthur's Halloween costume : story and pictures Hoban, Lillian Click, clack, boo! : a tricky treat Cronin, Doreen Dragon's Halloween (Series: Dragon Tales) Pilkey, Dav Happy haunting, Amelia Bedelia Parish, Herman Monster games Lagonegro, Melissa Mercy Watson :Princess in disguise DiCamillo, Kate Sharmat, Marjorie Nate the Great and the Halloween hunt Weinman Scared silly Howe, James Scooby-Doo! and the cupcake caper Sander, Sonia The haunted Halloween party Herman, Gail Turtle and Snake's spooky Halloween Spohn, Kate Picture books (JJ) 5-minute Halloween stories.
    [Show full text]
  • 10.21.20 Issue
    WEDNESDAY, OCTOBER 21, 2020 REPORTING CAMPUS NEWS SINCE 1983 Spread Positivity! SHU Drops Out of UB Deal BY SIAN STOCKMAN “AN ACT OF KINDNESS Staff Writer DOESN’T HAVE TO BE On Oct. 5, President John Petillo announced to students and faculty history, and that it still needs to be represented in the community. A GRAND GESTURE, that Sacred Heart University would no longer be involved with the When asked what the next steps for Sacred Heart are, Petillo said, plans to acquire part of the University of Bridgeport “The university will have its own organic growth as a school, regardless A SIMPLE SMILE CAN Sacred Heart would have joined Goodwin University and Paier of what happens to University of Bridgeport.” TRULY LEAVE SOMEONE College of Art to own different parts of the university’s programs and There have been many new programs added to Sacred Heart, such as FEELING LOVED” degrees. The deal was fi rst announced at the end of June, and University a master’s degree program and a doctorate in social work, along with a - AMY PETROVICH of Bridgeport was to turn into a “university park” where students from number of online programs which continue to grow. the three schools could take classes for their concentrated major. Iannazzi said, “As far as our school as a whole, we will continue “We were interested in taking over most of the programs,” said with our longstanding commitment to the City of Bridgeport through Petillo. “Initially, we were only pursuing a few programs including such programs as our robust student teacher internship program, engineering, education, and chiropracting.
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them.
    [Show full text]
  • Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era
    Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era. Edited by Murray Leeder. Bloomsbury Academic, 2015 (307 pages). Anton Karl Kozlovic Murray Leeder’s exciting new book sits comfortably alongside The Haunted Screen: Ghosts in Literature & Film (Kovacs), Ghost Images: Cinema of the Afterlife (Ruffles), Dark Places: The Haunted House in Film (Curtis), Popular Ghosts: The Haunted Spaces of Everyday Culture (Blanco and Peeren), The Spectralities Reader: Ghost and Haunting in Contemporary Cultural Theory (Blanco and Peeren), The Ghostly and the Ghosted in Literature and Film: Spectral Identities (Kröger and Anderson), and The Spectral Metaphor: Living Ghosts and the Agency of Invisibility (Peeren) amongst others. Within his Introduction Leeder claims that “[g]hosts have been with cinema since its first days” (4), that “cinematic double exposures, [were] the first conventional strategy for displaying ghosts on screen” (5), and that “[c]inema does not need to depict ghosts to be ghostly and haunted” (3). However, despite the above-listed texts and his own reference list (9–10), Leeder somewhat surprisingly goes on to claim that “this volume marks the first collection of essays specifically about cinematic ghosts” (9), and that the “principal focus here is on films featuring ‘non-figurative ghosts’—that is, ghosts supposed, at least diegetically, to be ‘real’— in contrast to ‘figurative ghosts’” (10). In what follows, his collection of fifteen essays is divided across three main parts chronologically examining the phenomenon. Part One of the book is devoted to the ghosts of precinema and silent cinema. In Chapter One, “Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography’s Uncanny”, Tom Gunning links “Freud’s uncanny, the hope to use modern technology to overcoming [sic] death or contact the afterlife, and the technologies and practices that led to cinema” (10).
    [Show full text]
  • The Ghostmodern: Revisionist Haunting in Turn-Of-The-Century American Literature (1887-1910)
    THE GHOSTMODERN: REVISIONIST HAUNTING IN TURN-OF-THE-CENTURY AMERICAN LITERATURE (1887-1910) by MATH TRAFTON B.A., University of Colorado, 2003 B.S., University of Colorado, 2003 M.A., University of Colorado, 2005 M.A., University of Colorado, 2008 A dissertation submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Comparative Literature 2013 This dissertation titled: The Ghostmodern: Revisionist Haunting in Turn-of-the-Century American Literature (1887-1910) written by Math Trafton has been approved for the Department of Comparative Literature Dr. Karen Jacobs, committee chair Dr. Mark Leiderman Dr. Eric White Dr. Sue Zemka Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Trafton, Math (Ph.D., Comparative Literature) The Ghostmodern: Revisionist Haunting in Turn-of-the-Century American Literature (1887- 1910) Dissertation directed by Associate Professor Karen Jacobs This project attempts to identify and explain numerous significant transformations in the genre of the literary ghost story in the period roughly contemporary with the earliest emergence of literary Modernism. Through a detailed examination of the literary encounters with invisibility in pivotal American ghost stories from the end of the twentieth century, the project considers the rich literary trope of ghostly haunting according to its capacity to provoke an engagement with marginalized, liminal spaces. In traditional ghost stories, however, as ghosts are ultimately overcome and order is restored, normative structures resume, and such engagements are trivialized.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: O Lynn, Aidan Anthony Title: Ghosts of War and Spirits of Place Spectral Belief in Early Modern England and Protestant Germany General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Ghosts of Place and Spirits of War: Spectral Belief in Early Modern England and Protestant Germany Aidan Anthony O’Lynn A dissertation submitted to the University of Bristol in accordance with the requirements for the award of the degree of Doctor of Philosophy in the Faculty of Arts School of History August 2018 Word Count: 79950 i Abstract This thesis focuses on themes of place and war in the development of ghostlore in Early Modern Protestant Germany and England.
    [Show full text]
  • Will This Manhattan Projects Original Artwork Cliffhanger Make Another
    COMICS COSPLAY TV/FILM GAMES SUBMIT CGC Search … Will This Manhattan Projects Original Artwork Cliffhanger Make Another Big Splash? Posted by Mark Seifert March 19, 2014 0 Comments Facebook Twitter Pinterest LinkedIn Tumblr Email Reddit [The Manhattan Projects #18 has been out for a couple weeks, but still — if you haven’t read this issue and plan to, you might want to skip this post for now.] Several years into the digital era for both comics reading and comics production, I still love to look at original comic art up close. The look and feel of the art board, the subtle texture of the ink, the faint traces of changes and corrections… it all adds up to a little extra insight into the time and circumstances behind the comics book’s creation. We’ve mentioned a bunch of noteworthy original art sales here in recent times — from that awe-inspiring Golden Age Action Comics #15 cover by Fred Guardineer, to this Silver Age Fantastic Four #55 page by Jack Kirby, to this Bronze Age classic Amazing Spider- Man #121 cover by John Romita Sr, down to the current record holder for a piece of American comic book art with this Amazing Spider-Man #328 cover by Todd McFarlane. And increasingly, original art sales from much more recent comics are turning heads as well. It’s probably no surprise that Skottie Young original art is highly sought after, or that Walking Dead original art — even panel pages — can command some eye- popping prices. But modern comic art collectors have broadened their interests to many other artists and titles of quality in recent times, such as this Pia Guerra Y: The Last Man panel page that recently went for $1000.
    [Show full text]
  • Science of the Seance Transnational Networks and Gendered Bodies in the Study of Psychic Phenomena, 1918–40
    Science of the Seance Transnational Networks and Gendered Bodies in the Study of Psychic Phenomena, 1918–40 beth a. robertson UBC Press • Vancouver • Toronto Sample Material © UBC Press 2016 © UBC Press 2016 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without prior written permission of the publisher, or, in Canada, in the case of photocopying or other reprographic copying, a licence from Access Copyright, www.accesscopyright.ca . Library and Archives Canada Cataloguing in Publication Robertson, Beth A. (Beth Anne), author Science of the seance : transnational networks and gendered bodies in the study of psychic phenomena, 1918–40 / Beth A. Robertson. Includes bibliographical references and index. Issued in print and electronic formats. ISBN 978-0-7748-3349-3 (hardback).–ISBN 978-0-7748-3351-6 (pdf).– ISBN 978-0-7748-3352-3 (epub).–ISBN 978-0-7748-3353-0 (mobi) 1. Parapsychology–Research–History–20th century. 2. Spiritualism– Research–History–20th century. 3. Parapsychology and science–History– 20th century. 4. Science and spiritualism–History–20th century. 5. Parapsychologists–History–20th century. 6. Sex role. I. Title. BF1028.R63 2016 130.72′2 C2016-905163-3 C2016-905164-1 UBC Press gratefully acknowledges the fi nancial support for our publishing program of the Government of Canada (through the Canada Book Fund), the Canada Council for the Arts, and the British Columbia Arts Council. Th is book has been published with the help of a grant from the Canadian Federation for the Humanities and Social Sciences, through the Awards to Scholarly Publications Program, using funds provided by the Social Sciences and Humanities Research Council of Canada.
    [Show full text]