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.

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 Traveller's Tales: Rudyard Kipling's Gothic Short Fiction

2021 ◽  
Vol 23 (2) ◽  
pp. 181-200
Author(s):  
Minna Vuohelainen
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Short Fiction ◽  
First World War ◽  
Rudyard Kipling ◽  
World War ◽  
Ghost Story ◽  
The First World War ◽  
Colonial Encounter ◽  
First World

Between 1884 and 1936, Rudyard Kipling wrote over 300 short stories, most of which were first published in colonial and cosmopolitan periodicals before being reissued in short-story collections. This corpus contains a number of critically neglected Gothic stories that fall into four groups: stories that belong to the ghost-story tradition; stories that represent the colonial encounter through gothic tropes of horror and the uncanny but do not necessarily include any supernatural elements; stories that develop an elegiac and elliptical Gothic Modernism; and stories that make use of the First World War and its aftermath as a gothic environment. This essay evaluates Kipling's contribution to the critically neglected genre of the Gothic short story, with a focus on the stories' persistent preoccupation with spatial tropes of travel, disorientation and displacement.

‘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.

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.

scholarly journals “What is to be a ‘Mother’?”—An Exposition of “Non-biological Mothers” in Literary Texts

2016 ◽  
Vol 6 (1) ◽  
pp. 75
Author(s):  
K. G. Swarnananda ◽  
Thilina Indrajie Wickramaarachchi
Keyword(s):  
Identity Formation ◽  
Short Story ◽  
Bertolt Brecht ◽  
Literary Texts ◽  
Wuthering Heights ◽  
Biological Mothers ◽  
Biological Mother ◽  
Political Implications ◽  
Primary Focus

<p>This paper investigates the identity formation of “non-biological mothers” in a sample of texts which include primarily “The Caucasian Chalk Circle” by Bertolt Brecht, “Wuthering Heights” by Emily Brontë and “Eveline” by James Joyce. Three characters are selected from the works who perform the role of “mother” at different levels for children who are “biologically” not their own. In Brecht’s play, Grusha cares for the child that is left by his own mother. In Bronte’s novel, Nelly Dean looks after both Hareton and Junior Catherine, children who have lost their “biological” mother, as well as Heathcliff who is brought to the house as an orphan. In Joyce’s short story, Eveline performs the role of mother and remains in Dublin defying her boyfriend’s attempts to take her away to possible happiness in a faraway land. In the study, these three figures and their role as “mother” are the primary focus. However, characters such as the first wife of Okonkwo in “Things Fall Apart” by Chinua Achabe and Anna-Maria in “A Doll’s House” by Henrik Ibsen are also be examined to understand how women who have their own children, become committed towards children who are “biologically” not their own. The study elucidates the way this role of “non-biological mother” is constructed in various literary contexts and more specifically how these “non-biological mothers” are not recognized and their love regarded as subservient to the “love” of the “biological mother”. A textual analysis of texts is used to interpret these characters in their specific literary settings. In this manner, the study promotes a re-reading of the role of “non-biological mothers” and re-interprets the socio-political implications of the role of “mother” as well as the concept of “motherhood”.</p>

scholarly journals Folklore, Fear, and the Feminine: Ghosts and Old Wives' Tales in Wuthering Heights

1998 ◽  
Vol 26 (1) ◽  
pp. 41-52 ◽  
Author(s):  
Paula M. Krebs
Keyword(s):  
Ghost Stories ◽  
Middle Classes ◽  
Wuthering Heights ◽  
The People ◽  
The Feminine

Wuthering heights is haunted, of course. But not only by the ghost of Catherine, who harries Heathcliff and terrifies Lockwood. Not only by the shades of Heathcliff and Catherine (or Laurence Olivier and Merle Oberon) who set off toward Penistone Crag. The ghosts in Wuthering Heights are not Gothic ghosts nor the ghosts from Victorian magazine ghost stories. They represent a different kind of haunting altogether — the haunting of the Victorian middle classes by fear of the people they designated as “the folk.”

scholarly journals Realism and the Supernatural in Ghost Stories of the Fin de Siècle

2020 ◽  
Author(s):  
Nick Freeman
Keyword(s):  
Joseph Conrad ◽  
Fin De Siecle ◽  
Rudyard Kipling ◽  
Ghost Stories ◽  
Vernon Lee ◽  
Fin De Siècle ◽  
Supernatural Fiction

This article examines the uses of realism in fin-de-siècle ghost stories by Vernon Lee, Ella D’Arcy, Rudyard Kipling, and Gertrude Atherton, It argues that forms of realist practice were central to the sophistication of these stories, and draws connections between their use in supernatural fiction and the work of modernists such as Joseph Conrad. Examining works from the late 1880s to 1905, it maintains that the dismissal of realism by modernists such as Woolf underestimated its importance and its versatility, and that the ghost story’s importance as a vehicle for literary experiment is insufficiently acknowledged.

scholarly journals Character Constitution in Heinrich von Kleist's Der Findling and Emily Brontë's Wuthering Heights

2004 ◽  
Vol 10 ◽  
Author(s):  
Andrea Kirchknopf
Keyword(s):  
Short Story ◽  
Moral Discourse ◽  
Female Characters ◽  
Identification Process ◽  
Wuthering Heights ◽  
Narrative Design ◽  
Social Positioning ◽  
Complementary Nature ◽  
Narrative Voices

The aim of this study is to examine the similarity of character constitution in Kleist's short story and Emily Brontë's novel, which seems to work in a diversity of identity creating attempts supplied by the characters themselves, the multiplicity of narrative voices as well as by the reader. The exploration of the identity quest is based on the analysis of the rhetorical ways of creating an origin for the foundlings by the use of nature analogies, through moral discourse and social positioning. The foundling figures in both narratives are closely connected with corresponding female characters and their identification process is interrelated. I will argue that in both texts, due to the complementary nature of individual figures and the complexity of the narrative design, identification attempts fail on all levels, thus character constitution itself is necessarily frustrated.

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