scholarly journals GHOST MIGRATION IN PLAYSTORE: MYSTERY REPRODUCTION AND AESTHETIC RESISTANCE

2021 ◽  
Vol 2 (3) ◽  
pp. 93-106
Author(s):  
Dwi Susanto
Keyword(s):  
Digital Media ◽  
Data Use ◽  
Ghost Stories ◽  
Ghost Story ◽  
Mystery Genre

Mystery story genre, such as ghost story, have migrated in virtual media or digital media, exspecially Playstore. The migration caused many modifications and adptation, that convert with digital media. This paper  aims to show ghost story in Playstore aplication, the response reader, and the ghost story as aesthetic discourse pratical.  The data of this paper are ghost stories in Playstore, response readers,and narartion which is related with aesthetic discourse. The interpretation data use sosiological perspective.  This paper result that the ghost story migration in virtual media  have changed image and representation ghost stories became metropolit. It changes the oppsite between tradition versus modern.  The response reader appears that this genre is habitual and popular in thier horizon expecation as information and entertaiment. The simbolic reproduction show that the mystery world create  pleasure, entertaiment, and other mystery. It is resistance toward canonical aesthetic and mystery genre itself, which eliminated by dominan aesthetic.

‘Every love story is a ghost story’ : The Spectral Network of Laurie Anderson’s Heart of a Dog (2015)

2020 ◽  
Author(s):  
Deane Williams
Keyword(s):  
21St Century ◽  
Network Theory ◽  
David Foster Wallace ◽  
Ghost Stories ◽  
Ghost Story ◽  
Love Story ◽  
The Future ◽  
Spectral Network

While it has been described as ‘a paean to a canine friend’ and ‘a meditation on love and loss’, Laurie Anderson’s Heart of a Dog (2016) can also be understood as a network of ghost stories. Drawing on Anderson’s idiosyncratic multimedia technique (foregrounding technology) and conceptualizing of the future, this chapter explores the ways in which the figures of 9/11, Lou Reed, David Foster Wallace, Gordon Matta-Clark, and the Bardo course through Heart of a Dog. Exploring the implications of the juxtaposition of these themes and Anderson’s oeuvre, Williams positions the film in relation to a confluence of network theory and hauntology as a particular rendering of 21st-century subjectivity.

Men, Masons and Melancholy: The Singularly Masculine Ghost Stories of Rudyard Kipling

2014 ◽  
Vol 4 (1) ◽  
pp. 5-23 ◽  
Author(s):  
William Hughes
Keyword(s):  
Professional Relationships ◽  
Rudyard Kipling ◽  
Male Bonding ◽  
Ghost Stories ◽  
Ghost Story ◽  
Temporary Connection ◽  
Single Sex ◽  
Cultural Origins ◽  
Supernatural Fiction

Kipling's Indian ghost stories concern men – and men in company – just as much as they concern the occult or indeed the Empire and its British cultural origins. They arguably differ, though, from the conventional ghost story through their marked insistence upon the communal response to occult visitation – the need or drive to make haunting something which, if faced alone, is necessarily shared, and so dissipated in the act of communication. Masculinity, too, is characteristically interrogated here. In place of comfortable, familial – and familiar – surroundings, the protagonist is disorientated by the mutability of his environment, its shifts between imposed British paradigms and realities and enduring indigenous difference. In Kipling's supernatural fiction, the cliché of male bonding that promotes single-sex collegiate, fraternal or professional relationships perceptibly sustains the sometimes-temporary connection between disparate individuals immersed in the unprecedented stresses of colonial hauntings, ocean-borne monstrosity or wartime trauma.

SIGNS OF GHOST APPEARANCE IN SHORT STORIES IN BATAVIAASCH NIEUWSBLAD (1936-1939): SEMIOTIC ANALISYS

2021 ◽  
Vol 6 (1) ◽  
Author(s):  
Rufaida Rufaida ◽  
Fajar Muhammad Nugraha
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Qualitative Method ◽  
Ghost Stories ◽  
Ghost Story ◽  
Daily Lives ◽  
Colonial Era ◽  
The People ◽  
The Senses ◽  
Rule Out

In 2018-2019 the production of the Indonesian ghost story is much in demand and favored, even in 2020 the ghost content on YouTube is still lively and salable in the Indonesian market. The existence of ghosts cannot be separated from the daily lives of Indonesians.The author is interested in exploring further how the signs of the emergence of a ghostly figure believed by the people in the colonial era. This study uses a descriptive qualitative method with an approach using the analysis of language semiotics from the perspective of Charles Sanders Peirce's semiotics theory. 5 ghost stories published by the Bataviaasch Nieuwsblad newspaper in 1936-1939 were used as corpus. You can see ghost signs that appear using the senses of sight, hearing, touch and smell. No sign was found that uses the sense of taste as a receptor. However, it does not rule out the sense of taste as a receptor to appear in other short stories. There is only one short story that shows that something that is seen by a character is really a ghost that is "’ n griezelige nacht "Bataviaasch Nieuwsblad Wednesday edition, October 14, 1936.

scholarly journals “This isn't exactly a ghost story”: Edith Wharton and Parodic Gothic

2003 ◽  
Vol 37 (2) ◽  
pp. 269-285 ◽  
Author(s):  
JANET BEER ◽  
AVRIL HORNER
Keyword(s):  
Nathaniel Hawthorne ◽  
Edith Wharton ◽  
Robert Louis Stevenson ◽  
Ghost Stories ◽  
The Unconscious ◽  
Ghost Story ◽  
Direct Transformation ◽  
Male And Female ◽  
Cultural Function

Edith Wharton's ghost stories have usually been seen as skilful appropriations of the Gothic that allowed her, in Kathy Fedorko's words, to dramatise “the conflict between male and female selves in a ‘dialogue with the unconscious.’” They are also vehicles through which she expresses not only her indebtedness to her precursors in the Gothic mode, such as the Brontës, Nathaniel Hawthorne, Robert Louis Stevenson and Sheridan Le Fanu, but also her independence from them. In this article we shall argue that some of Wharton's ghost stories contain a further dimension, beyond allusion, where they shift into a parodic and humorous strain that enables her to engage self-reflexively with the Gothic tradition. Here we define parody as a literary mode that, whilst engaging with a target text or genre, exhibits a keen sense of the comic, an acute awareness of intertextuality and an engagement with the idea of metafiction. This is a deliberately generous and inclusive definition that differs, for example, from some postmodern definitions of parody which (perhaps in an attempt to elevate its cultural function) minimise or excise the importance of comedy as an aspect of parody. We would suggest, furthermore, that it differs from travesty, pastiche and satire in that travesty reduces the target text to something ludicrous, pastiche “works by imitation rather than direct transformation” and satire does not necessarily engage with precursive texts.

Telling true ghost stories

2020 ◽  
Vol 10 (1) ◽  
pp. 73-87 ◽  
Author(s):  
Ashley Lister
Keyword(s):  
Critical Analysis ◽  
Limited Evidence ◽  
Ghost Stories ◽  
Ghost Story ◽  
Hedging Strategies ◽  
Non Fiction ◽  
Personal Experiences ◽  
Good Conscience ◽  
Eyewitness Account

The purpose of this research is to consider the language used for telling true ghost stories. True ghost stories, that is, those anecdotes initially shared by friends and family describing personal experiences and encounters with paranormal activity, is an unusual genre for storytellers in that it lives within a space that can be seen as both fiction and non-fiction, with specific vocabulary that joins the two genres. The non-fiction part of such a story, as with all non-fiction narratives, relies on the verbatim reporting of an eyewitness account. The fictional part depends on a writer utilizing specific semantic tropes of the ghost story, such as mysterious shadows, unexplained noises and fluctuations in temperature. Bridging these two areas is the language found in the narrative, where a responsible writer employs careful phrasing to relate the story whilst avoiding a vocabulary that endorses unprovable phenomena. For example, I cannot, in good conscience, write: … and then the ghost attacked her. To be honest to my own scepticism, and to the limited evidence usually presented with such stories, I have to write: …and then she claims the ghost attacked her or …and then it appeared the ghost attacked her. Through a critical analysis of existing narratives and an examination of hedging strategies used, this research intends to demonstrate how some writers in this genre maintain their own truthfulness to present a compelling narrative.

GHOSTS, AESTHETICISM, AND “VERNON LEE”

2000 ◽  
Vol 28 (1) ◽  
pp. 1-14 ◽  
Author(s):  
Angela Leighton
Keyword(s):  
Nineteenth Century ◽  
Science Fiction ◽  
The Self ◽  
Modern World ◽  
Ghost Stories ◽  
Ghost Story ◽  
Primary Motivation ◽  
Vernon Lee

“TO RAISE A REAL SPECTRE of the antique is a craving of our own century” (104) writes “Vernon Lee” in her early collection of essays on aesthetics, Belcaro. The nineteenth century is indeed, as Julia Briggs has pointed out, an age which craves ghost stories of all kinds. Sceptical of the supernatural yet nostalgic for it (Briggs 19), the age turns to ghost stories to assuage its lost faith. Ghosts, if nothing else, might still glimmer in the empty spaces of a universe vacated by the gods but not yet filled with the space journeys of science and science fiction. Their questionable shapes thus continue to shape the questions of an age seeking reassurance, even if that reassurance comes in a spasm of terror. And terror, however subtly or ingeniously aroused, whether by the self-induced fantasies of James’s governess or the calculated self-hauntings of Stevenson’s Jekyll, remains the primary motivation and aim of the ghost story. Fear of the unknown, whether within or without, provides the last bastion of a supernaturalism under threat from the encroaching “materialism” (Briggs 24) of the modern world. The ghost story not only indulges the unstable, if sometimes deeply conventional order of fantasy at the expense of “naturalistic art” (Cavaliero 7); it also indulges the wish to believe in another, more fearful world, beyond the material order of things. The specter focuses this trouble of belief. It is there and not there. It outlines emptiness but also fills it up, embodying and disembodying its own reality at the same time.

The Great God Pan

2016 ◽  
Vol 1 (1-2) ◽  
pp. 218-233
Author(s):  
Sarah Iles Johnston
Keyword(s):  
Ancient Greece ◽  
Ghost Stories ◽  
Ghost Story ◽  
The Third ◽  
First Case ◽  
Emanuel Swedenborg ◽  
Theories Of Evolution

This essay starts from the premise that ghost stories of the late 19th and 20th centuries often engaged the same issues as older ‘gnostic’ treatises did (taking a particular line from Emanuel Swedenborg), but had the advantage of being able to describe encounters between humans and higher entities far more vividly than the treatises, and the corollary advantage of suggesting new ramifications of such encounters. It focuses on how such stories explore the possibility that, through encounters with higher entities who emerge as negative, protagonists discover that the divine world is either corrupt and ill-intended or (worse) completely meaningless. The first case, Arthur Machen’s The Great God Pan (1890), is contextualized not only within contemporary reactions to Darwin’s theories of evolution (developing Adrian Eckersley’s study) but also contemporary conceptualizations of the debt that modern civilization owed to ancient Greece and Rome. The second examines how H.P. Lovecraft developed Machen’s ideas in ‘The Dunwich Horror’ (1929), where mastery of ancient languages unleashes horror. The third case, Peter Straub’s Ghost Story (1979)—an homage to Lovecraft and Machen—delivers an even darker ‘gnostic’ message: entities whom we assume to have purposes (even if dark purposes) have none at all; only the well-skilled narrative can bring them into order and save himself from perdition.

scholarly journals Pocong: Contemporary Zombie Stories in Indonesia

2021 ◽  
Vol 6 (1) ◽  
pp. 354-369
Author(s):  
Marina V. Frolova
Keyword(s):  
Consumer Culture ◽  
Nuclear Family ◽  
Horror Films ◽  
Class Inequality ◽  
Ghost Stories ◽  
Ghost Story ◽  
Folklore Studies ◽  
Political Protests ◽  
The World ◽  
Shed Light

The paper about the Indonesian “zombie” pocong examines specific features of the ghost stories in Indonesia, tracks the etymology of the words hantu (“ghost,” “undead”) and pocong (“wrapped in shroud”), and includes a translation of a typical ghost story (“Pocong and a Cart Hawker”). It introduces the hitherto understudied material in Russia that counts only a small number of Indonesian and Anglophone works. The aims of this paper include collecting data about this mythological creature from Indonesian sources, studying the image of pocong and contemporary narratives about him, searching his closest parallels in the world folklore, and interpreting the meanings of the character discovered in modern Indonesian culture. For religious people, pocong is a symbol of the frailty of life. Some traditional Muslims in modern Indonesia practice pocong related rituals (“Pocong’s oath,” pesugihan). Nowadays, the image of pocong is demythologized as it circulates in urban flesh-mobs, pranks, and horror films. The typology of this scary image is surprisingly similar not to Muslim genies but to from Chinese hopping vampires. Modern zombie studies shed light on the genealogy of pocong as a walking dead. Todd K. Platts discusses the spectrum of potential underpinnings of the zombie that include racism, terrorism, class inequality, disintegration of a nuclear family, consumer culture etc that may be applied to pocong as well. Pocong symbolizes oppressed common folk and this image is frequently used in mass political protests. Interpretation of pocong as a marginalized figure is relevant for the folklore studies in Indonesia, as well as for the study of horror-discourse in general.

scholarly journals „Praca widma w epoce mechanicznej reprodukcji”. China Miéville: koncepcje „haute weird” i „abcanny”

2021 ◽  
Vol 26 ◽  
pp. 179-201
Author(s):  
Maciej Dajnowski
Keyword(s):  
Theoretic Approach ◽  
Ghost Stories ◽  
Ghost Story ◽  
Literary Genres ◽  
New Approach ◽  
The Enlightenment ◽  
Weird Fiction ◽  
Theoretical Category ◽  
The Individual ◽  
Critical Writings

The aim of the paper is presentation and discussion of China Miéville’s theoretic approach to the issue of horror’s subgenres, including classical Victorian ghost story and Lovecraftian weird fiction. “The abcanny” — in a way a subversive, theoretical category, that Miéville coins in his critical writings — is crucial for both his own speculations and the problems considered here. As it is decisively opposite to Freudian “uncanny” and Kristevian “abject”, it constitutes a relatively new approach to the question of distinction among the aforementioned horror literary genres. The Victorian ghost story, as Miéville sees it, is deeply rooted in the experience of the uncanny, and so it presupposes the “return of the repressed” from the individual or collective/cultural unconsciousness. Hence ghost stories are — just for example — susceptible to hauntological interpretations. Weird fiction — on the contrary — implies the experience of something radically new, something so far non-existent and therefore unacceptable and dreadful. If a classical ghost story can be perceived as an expression of the nineteenth–century fear of the irrationality returning from the past preceding the revolution of the Enlightenment, haute weird narrative embodies modernistic anxiety of the upcoming future, its uncertain nature, cognitive and moral relativism, and — what is most important here — the dubious status of man facing a boundless chasm of time and space.

scholarly journals An application of gothic elements in rudyard kipling's “my own true ghost story”

2021 ◽  
pp. 47306-47309
Keyword(s):  
Short Story ◽  
Rudyard Kipling ◽  
Ghost Stories ◽  
Ghost Story ◽  
Wuthering Heights

This paper aims to find the Gothic elements in Rudyard Kipling, selected short story. After the first reading of the short story "My own true ghost story" shows a lot of gothic elements. The analysis of this Gothic story will show how young man haunted by Dak Bungalow because of the game room, doolie bearers walking sound and dark winter night with rain-affected to the young hero of this story. In all Victorian gothic stories and novels, young protagonist characters are only suffered in the example of H G Wells story The Red Room hero suffered by Shadow and long corridors, Wuthering Heights by a young ghost with Dark Romance, haunted rooms, windows, churchyards, graveyards, vault these are common places. But in Rudyard Kipling's story My Own True Ghost stories Young British Protagonist or Narrator of this story haunted by the Bungalow take takers Kanshamas, who is old as the building, they told old stories about a British officer who visited, stayed this Dak Bungalow, and how they lived now also as a ghost and he tried to see this but that particular he fell from the steps when he opens his eye, Khansams is sitting beside him and he thought this is unanswered place.

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