Titlebook: Haunting and Spectrality in Neo-Victorian Fiction; Possessing the Past Rosario Arias (Senior Lecturer in English),Patrici Book 2009 Palgrav

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Cerebrovascular

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Spectrality, S(p)ecularity, and Textuality: Or, Some Reflections in the Glassbeit in different ways, on the idea of spectrality, specularity, ghosts, the dead, and the living. The historical pull of the past, the configuration of the present through the timeworn lens, and the melancholic nostalgia which is always a foreboding of our own mortality are each (dis)embodied in ou

JOG

Repetition and Eternity: The Spectral and Textual Continuity in Michèle Roberts’s ictorian world, among which are: religious . and the dilemmas of science; the impact of the Industrial Revolution; emerging discourses of sexuality, illness, and medicine; the mysteries of the Victorian underworld; nineteenth-century technology; and women’s emancipation. It thus seems logical that a

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The Maid, the Master, her Ghost and his Monster: , and emotionally or sexually charged relationships with their master; both masters die an untimely death. In addition, both maids tell their own story, and this retelling is sometimes prompted in each case by a doctor who has a degree of authority over the heroine. The heroines experience childhood pover

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偽造者

The Haunting of Henry James: Jealous Ghosts, Affinities, and cifically on the neo-Victorian imagination. As Cora Kaplan (2007, p. 65) has noted, the genre of biofiction has had particular resonance: Emma Tennant’s . (2002), Cólm Toíbin’s . . (2004), and David Lodge’s . (2004) all invest in what John Freedman (1998, p. 1) has called ‘the moment of Henry James’

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