Literary Ghosts from the Victorians to Modernism
(1 Reviews)
Literary Ghosts from the Victorians to Modernism







Literary Ghosts from the Victorians to Modernism

(76 Reviews)
This book resituates the ghost story as a matter of literary hospitality and as part of a vital prehistory of modernism, seeing it not as a quaint neo-gothic ornament, but as a powerful literary response to the technological and psychological disturbances that marked the end of the Victorian era.


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How much of an aberration is the psychological complexity of "The Signalman"?But the choice is justified. Commencing with Dickens, but not with the familiar clanking chains of Jacob Marley, the prologue summons a Victorian "ghost" from something other than a ghost story: Rogue Riderhood, the irredeemable villain of Our Mutual Friend, whose flickering spark of life after a near-drowning both is and is not the same thing as the man himself. Der Tod ist mein Beruf Through his compelling account, we follow them in their ambiguous roles (both guest and host, both other and self) along a journey from Dickens to Joyce, a journey rich with intertextual -- and intratextual -- significance.Literary Ghosts is a courageous book, unafraid to make room for the voices of capital-T Theory without allowing them to shout down the voices of fiction.

Literary Ghosts from the Victorians to Modernism: The

Nevertheless, this book is less courageous than it might have been in its inclusion of texts.For Thurston, the phantom plays fast and loose not merely with the classic realist text but with the entire process of signification, outflanking the discipline of close reading, turning up in a glimpse, in a flash, in a pure moment of apprehension. In this strict sense, his book is deeply original, haunted by the other scenes of writing that rise unbidden from the recesses of a text to demand a hearing, like an unexpected guest that narrative must struggle to accommodate, no matter how capacious its boundaries. Cupido / C.J. Townsend Bd.1 Rather than treating intertextuality as a subject for detached examination, Thurston wholeheartedly embraces it by tracking complex webs of allusion.Linking ghosts to guests, Part II ranges from the 1860s to the start of the twentieth century.

Literary Ghosts from the Victorians to Modernism: The

These writers wanted to differentiate themselves from past literary movements, especially those of the Victorian era, dated roughly from 1837 to 1901 ("The Victorian Period"). The 1000 Year Old Boy Though he agrees, Thurston wants to make ghosts a part of this life. Algorithmen in Python Modernists also come together on one important issue, the push to form something new.In a final section aptly titled "Hosts of the Living," Thurston considers the ghosts wrought by Elizabeth Bowen. Schatten der Vergangenheit / Die Chroniken der Seelenwächter Bd.3 (Urban Fantasy) Could we reach the same conclusions from the ghosts of all those lesser or forgotten authors of stories published by the hundreds in periodicals?This is surprising not merely because the Victorians produced thousands of ghost stories seldom reprinted in modern anthologies, but also because of their wealth and substance, their glimpses into the Victorian soul.

Literary Ghosts from the Victorians to Modernism: The

Although, in order to not exempt any piece, extreme generalization is almost necessary, especially when it comes to an exact time period.If the ghostly voice is worth discussing, Thurston implies, then it is worth listening to, echoing (as it echoes us), and making it our own. Linking little-studied authors like M. The most widely accepted beginning for the movement is the beginning of the twentieth century because it signified the end of the Victorian period, and also was the turn of the century.If the self implies a ghost, there could be no self without one.