Ruth Heholt - Böcker

This is the first full-length study of the popular Victorian writer Catherine Crowe (1790-1872). Crowe is increasingly being recognised as an important and influential figure in the literary and Spiritualist circles of the nineteenth century. This monograph offers a reassessment of her major works, arguing that her writing was prescient. Best known today for her collection of "real" ghost tales The Night Side of Nature: Or Ghosts and Ghost Seers, Crowe also wrote five popular novels, as well as numerous short stories and essays. Innovative and sometimes original in their use of genre, her works covered the Newgate genre, helped to initiate detective fiction, included elements of the social problem novels of the 1840s, and pointed the way to the Sensation novels of the 1860s. Politically radical in many ways Crowe was vocal about women’s oppression by men, social inequality, poverty, slavery, and animal rights. This volume aims to restore an author who was once famous and lauded to her proper place in the scholarly discussion of Victorian Literature.

This is the first full-length study of the popular Victorian writer Catherine Crowe (1790-1872). Crowe is increasingly being recognised as an important and influential figure in the literary and Spiritualist circles of the nineteenth century. This monograph offers a reassessment of her major works, arguing that her writing is prescient. Best known today for her collection of "real" ghost tales The Night Side of Nature: or of Ghosts and Ghost Seers, Crowe also wrote five popular novels as well as numerous short stories and essays. Innovative and sometimes original in their use of genre, her works cover the Newgate genre, help to initiate detective fiction, include elements of the social problem novels of the 1840s, and point the way to the sensation novels of the 1860s. Politically radical in many ways Crowe was vocal about women’s oppression by men, social inequality, poverty, slavery, and animal rights. This volume aims to restore an author who was "[o]nce as famous as Dickens or Thackeray" (Wilson 1986, v) to her proper place in the scholarly discussion of Victorian literature.

When morning broke, the ravages of this strange visitant were but too visible graves had been opened, and the remains of the dead, frightfully torn and mutilated, lay scattered upon the earth.A village is driven to a murderous frenzy by the wolf walking among them. In the dead of night, a sleepwalking monk reenacts a scene of violence glimpsed as a child. A lycanthropist draws closer to a monstrous truth while investigating a spate of grisly grave-robbings.In the nineteenth century, Catherine Crowe's name was synonymous with haunting accounts of 'real' ghost stories, glimpses of the 'night side of nature' and well-wrought Gothic tales, earning her a reputation comparable to Dickens' to the Victorian readership. This new collection edited by Crowe expert Ruth Heholt features Crowe's unique, journalistic short tales of real ghost sightings alongside her Gothic stories written for popular periodicals, showcasing her singular gifts as one of the great storytellers of the Victorian era.

This book explores how women writers create and question men and masculinity. As men have written women so have women written men. Debate about how men have represented women in literature has a long and distinguished history; however, there has been much less examination of the ways in which women writers depict male characters. This is clearly a notable absence given the recent rise in interest in the field of 18th- and 19th-century masculinities. Women writers were in a unique position to be able to deconstruct and examine cultural norms from a position away from the centre. This enabled women to ‘look aslant’ at masculinity using their female gaze to expose the ruptures and cracks inherent within the rigid formation of the manly ideal. This collection focuses on women’s representations of men and masculinity as they negotiate issues of class, gender, race, and sexuality.Women Writing Men: 1689 to 1869 will be of interest to academics, researchers, and advanced students of Literature, Gender Studies, Critical Theory, and Cultural Studies. The chapters in this book were originally published as a special issue of Women’s Writing.

This book explores how women writers create and question men and masculinity. As men have written women so have women written men. Debate about how men have represented women in literature has a long and distinguished history; however, there has been much less examination of the ways in which women writers depict male characters. This is clearly a notable absence given the recent rise in interest in the field of 18th- and 19th-century masculinities. Women writers were in a unique position to be able to deconstruct and examine cultural norms from a position away from the centre. This enabled women to ‘look aslant’ at masculinity using their female gaze to expose the ruptures and cracks inherent within the rigid formation of the manly ideal. This collection focuses on women’s representations of men and masculinity as they negotiate issues of class, gender, race, and sexuality.Women Writing Men: 1689 to 1869 will be of interest to academics, researchers, and advanced students of Literature, Gender Studies, Critical Theory, and Cultural Studies. The chapters in this book were originally published as a special issue of Women’s Writing.

A bold study on the very epicentre of Victorian ideology: the white, male body'The Victorian Male Body' examines some of the main expressions and practices of Victorian masculinity and its embodied physicality. The white, and frequently middle class, male body was often normalised as the epitome of Victorian values. Whilst there has been a long and fruitful discussion around the concept of the 'too-visible' body of the colonised subject and the expectations placed on women's bodies, the idealised male body has received less attention in scholarly discussions. Through its examination of a broad range of Victorian literary and cultural texts, this new collection opens up a previously neglected field of study with a scrutinising focus on what is arguably the ideologically most important body in Victorian society. This collection provides a wide variety of essays on different aspects of Victorian literature and culture, considering the variety of forms that this 'idealised' male body actually encompassed: fat, starving or disabled bodies, the ghostly figure, the 'othered' body, and the developing body of the schoolboy. The chapters in this book offer a detailed and clear reassessment of the Victorian concepts of manliness, masculinity, homosociality, morality, action, and adventure.Key FeaturesProvides a wide variety of essays on different aspects of Victorian literature and culture with subjects ranging from nature poetry, disability and pirates, fat and thin men, ghost soldiers and popular magazinesOpens up a neglected field of study with a scrutinizing focus on the ideologically most important body in Victorian societyAllows a re-evaluation of other areas of Victorian culture such as colonialism and debates about class, religion and scienceEnables a detailed and clear reassessment of the Victorian concepts of manliness, masculinity, homosociality, morality, action, and adventure

A bold study on the very epicentre of Victorian ideology: the white, male body The Victorian Male Body examines some of the main expressions and practices of Victorian masculinity and its embodied physicality. The white, and frequently middle class, male body was often normalised as the epitome of Victorian values. Whilst there has been a long and fruitful discussion around the concept of the ‘too-visible’ body of the colonised subject and the expectations placed on women’s bodies, the idealised male body has received less attention in scholarly discussions. Through its examination of a broad range of Victorian literary and cultural texts, this new collection opens up a previously neglected field of study with a scrutinising focus on what is arguably the ideologically most important body in Victorian society. This collection provides a wide variety of essays on different aspects of Victorian literature and culture, considering the variety of forms that this ‘idealised’ male body actually encompassed: fat, starving or disabled bodies, the ghostly figure, the ‘othered’ body, and the developing body of the schoolboy. The chapters in this book offer a detailed and clear reassessment of the Victorian concepts of manliness, masculinity, homosociality, morality, action, and adventure.Key FeaturesProvides a wide variety of essays on different aspects of Victorian literature and culture with subjects ranging from nature poetry, disability and pirates, fat and thin men, ghost soldiers and popular magazinesOpens up a neglected field of study with a scrutinizing focus on the ideologically most important body in Victorian societyAllows a re-evaluation of other areas of Victorian culture such as colonialism and debates about class, religion and scienceEnables a detailed and clear reassessment of the Victorian concepts of manliness, masculinity, homosociality, morality, action, and adventure

Ghosts have long been connected with the Gothic, but until now there has not been a book dedicated to the subject. This collection examines ghostly presences (and absences) in both classic and lesser-known Gothic texts from the beginning of the genre to the present in a global context. Arguing that the undead, in the form of ghosts, are intrinsic to the Gothic mode, essays in the collection question the place of manifested spirits. The Gothic has always been ‘political’, and essays in this collection examine some of the most relevant issues facing us today: from the destruction of the natural environment, to questions of ‘freedom’, to gender politics.

Haunted Landscapes offers a fresh and innovative approach to contemporary debates about landscape and the supernatural. Landscapes are often uncanny spaces embroiled in the past; associated with absence, memory and nostalgia. Yet experiences of haunting must in some way always belong to the present: they must be felt. This collection of essays opens up new and compelling areas of debate around the concepts of haunting, affect and landscape. Landscape studies, supernatural studies, haunting and memory are all rapidly growing fields of enquiry and this book synthesises ideas from several critical approaches – spectral, affective and spatial – to provide a new route into these subjects. Examining urban and rural landscapes, haunted domestic spaces, landscapes of trauma, and borderlands, this collection of essays is designed to cross disciplines and combine seemingly disparate academic approaches under the coherent locus of landscape and haunting. Presenting a timely intervention in some of the most pressing scholarly debates of our time, Haunted Landscapes offers an attractive array of essays that cover topics from Victorian times to the present.

Haunted Landscapes offers a fresh and innovative approach to contemporary debates about landscape and the supernatural. Landscapes are often uncanny spaces embroiled in the past; associated with absence, memory and nostalgia. Yet experiences of haunting must in some way always belong to the present: they must be felt. This collection of essays opens up new and compelling areas of debate around the concepts of haunting, affect and landscape. Landscape studies, supernatural studies, haunting and memory are all rapidly growing fields of enquiry and this book synthesises ideas from several critical approaches – spectral, affective and spatial – to provide a new route into these subjects. Examining urban and rural landscapes, haunted domestic spaces, landscapes of trauma, and borderlands, this collection of essays is designed to cross disciplines and combine seemingly disparate academic approaches under the coherent locus of landscape and haunting. Presenting a timely intervention in some of the most pressing scholarly debates of our time, Haunted Landscapes offers an attractive array of essays that cover topics from Victorian times to the present.

Cornwall as Strange Fiction is focused on written and visual culture that is made in, or made about, Cornwall and where there is affinity with Gothic. Cornwall and the Scilly Isles (known as ‘Kernow’ in the Cornish language) have a special relationship with Gothic, one that has been overlooked in the literature on regional Gothic. In 1998, Avril Horner and Sue Zlosnik coined the term ‘Cornish Gothic’ in relation to the work of Daphne du Maurier. Since then, however, there have been few discussions of the distinctive types of Gothic engendered by cultural and imaginative re-creations of Cornwall or where it has played a generative role within creative practice. Cornwall as Strange Fiction argues that a persistent imaginative romance with the peninsular has produced a specific and distinctive set of Gothic fictions and creative outputs that mark an exciting new departure in the discussion of regional and media-aware Gothic studies. Offering new insights into the relationships between place and Gothic, this book aims to engender and encourage greater debate through our argument that Cornwall plays a potent role in the landscape of regional Gothic and argues that it needs to be considered more fully as a major catalyst in the Gothic imagination.

Gothic Britain is the first collection of essays to consider how the Gothic responds to, and is informed by, the British regional experience. Acknowledging how the so-called United Kingdom has historically been divided on nationalistic lines, the twelve original essays in this volume interrogate the interplay of ideas and generic innovations generated in the spaces between the nominal kingdom and its component nations and, innovatively, within those national spaces. Concentrating upon fictions depicting England, Scotland and Wales specifically, Gothic Britain comprehends the generic possibilities of the urban and the rural, of the historical and the contemporary, of the metropolis and the rural settlement – as well as exploring uniquely the fluid space that is the act of travel itself. Reading the textuality of some two hundred years of national and regional identity, Gothic Britain interrogates how the genre has depicted and questioned the natural and built environments of the island of Britain.

While the undisputed heyday of folk horror was Britain in the 1960s and 1970s, the genre has not only a rich cinematic and literary prehistory, but directors and novelists around the world have also been reinventing folk horror for the contemporary moment. This study sets out to rethink the assumptions that have guided critical writing on the genre in the face of such expansions, with chapters exploring a range of subjects from the fiction of E. F. Benson to Scooby-Doo, video games, and community engagement with the Lancashire witches. In looking beyond Britain, the essays collected here extend folk horror’s geographic terrain to map new conceptualisations of the genre now seen emerging from Italy, Ukraine, Thailand, Mexico and the Appalachian region of the US.

Exploring the dark side of animal nature and the ‘otherness’ of animals as viewed by humans, and employing cutting-edge theory on non-human animals, eco-criticism, literary and cultural theory, this book takes the Gothic genre into new territory.

Exploring the dark side of animal nature and the ‘otherness’ of animals as viewed by humans, and employing cutting-edge theory on non-human animals, eco-criticism, literary and cultural theory, this book takes the Gothic genre into new territory.

This collection explores global dystopic, grotesque and retold narratives of degeneration, ecological and economic ruin, dystopia, and inequality in contemporary fictions set in the urban space.