Titlebook: American Women‘s Ghost Stories in the Gilded Age; Dara Downey Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limited 201

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HUMID

,‘Fitted to a Frame’: Picturing the Gothic Female Body,ified to find himself confronted with what appears to be her specter. As he gradually recalls having read of her death several months previously, he remarks that ‘what had shocked me was that the change was so slight — that between being dead and alive there seemed after all to be so little differen

憤怒事實(shí)

,‘Handled with a Chain’: Gilman’s ‘The Yellow Wall-Paper’ and the Dangers of the Arabesque,try as one of unmixed influence, instead of studying with jealous care that so large a force be wisely guarded and restrained.’. Her point, throughout ., as well as her phenomenally successful . (1898) and her feminist utopian novel . (1915), was that the middle-class home in Gilded-Age America was

動(dòng)物

,‘Dancing Like a Bomb Abroad’: Dawson’s ‘An Itinerant House’ and the Haunting Cityscape,rancisco-based writer (once a close friend of Ambrose Bierce) suggests as much about the public perceptions of female authors, the anonymity of city life, and the slippery nature of Dawson’s own characters, as it does about the woman herself. The title story, ‘An Itinerant House’ (1896), recounts ho

overture

,‘Solemnest of Industries’: Wilkins’ ‘The Southwest Chamber’ and Memorial Culture,it of an elderly woman. When he develops the plates, however, there is something wrong with the picture, and he and his thoroughly spooked boss are reluctant to show them to the woman’s bereaved daughter. Despite the fact that both the daughter and Hoyt confirm that there was nothing covering or obs

浪費(fèi)時(shí)間

,‘Space Stares All Around’: Peattie’s ‘The House That Was Not’ and the (Un)Haunted Landscape,n the Western plains. Looking around at the landscape, she feels ‘a(chǎn)s if a new world had been made for her’, but her tranquility is broken when she notices a little house off to the west that Burt has never mentioned. Wondering why he has omitted it from conversation, worrying that he seems not to wi

IRK

,‘My Labor and My Leisure Too’: Wynne’s ‘The Little Room’ and Commodity Culture,t of Tantalus.’. Veering sharply from praise to alarmed censure, Ferber’s observation highlighted the ambiguous status of Gilded-Age commodity culture. At once seductive and threatening, the hold that this culture had over the female imagination in particular was exemplified by two novels from 1900

Nebulizer

小爭(zhēng)吵

ADAGE

Die Verteilung der Fernsehsignale,sh her to meet their only neighbors, she quizzes him repeatedly, until, reluctantly, he gives in, telling her in no uncertain terms that ‘“There ain’t no house there”’, that he himself had gone to investigate it and found nothing. He recounts how, confounded, he asked a neighbor for information, and is told that