As part of our goal in "rethinking" what Shirley Jackson scholarship looks like, Robert Lloyd, Joan Passy, and Eric Savoy each re-read Hattenhauer and wrote a new review of the work, looking at it ...from this moment of Jackson Revival. What is it that this work offers us? What is worth keeping? What needs rethinking? These reviews were then exchanged, and each person responded the other two, teasing out potential avenues of further inquiry, thinking, or research. Where do we go from here? What might rethinking get us?
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
The Balham mystery carries many elements that would make their way into We Have Always Lived in the Castle : a wealthy family with troubled personal relationships; a case in which the cause of death ...is clearly identified as poison, but no one is ever convicted of a crime; sensational coverage in the press; and perhaps most importantly, an exploration of gender politics within the home. This essay looks to historical sources to examine the relationship between poison and gender, poison's links to witchcraft, and views of poison in the popular imagination. It argues that Jackson uses the metaphor of poison to challenge traditional domestic ideology in the novel.
Gothic literature is frequented by haunted texts particularly outlining a ruinous spatial relationship between the female and the haunted spaces. Using Shirley Jackson's Haunting of Hill House as ...primary text, this paper studies how haunting spaces, underlying anxieties, and prejudices against women manifest the dark atmosphere that threatens and eventually engulfs the female. Chapter by chapter, the spatial hauntings are coupled with supporting ideas of the uncanny. The article explores how the uncanny exhibits itself in a haunted space and how gender is connected to suppressed fears in women. The conclusion drawn lays emphasis on the recognition of reasons backing gendered hauntings and how women extract fears from their repressed past and embed them within domestic borders. Though the hauntings that happen around women are not untrue, this article argues how women are more likely to suffer from hauntings due to repressed traumas and fears.
In Chase’s words, “parentification entails a functional and/or emotional role reversal in which the child sacrifices his or her own needs for attention, comfort, and guidance in order to accommodate ...and care for logistic and emotional needs of the parent, and the parentified child may learn in this process that her needs are of less importance than those of others, or may actually become depleted of energy and time for pursuing school, friendships, childhood activities, and, at later stages, exploration of career and relationship possibilities.” Eleanor’s long hope for a positive change in her life reflects the trauma that has been inflicted upon her, the “dire and tragic consequences” that Peter K. Smith links to parentification.3 The Haunting of Hill House is intensely concerned with parenting, although publishers often gloss over the fact. Strikingly, Eleanor’s life seems clearly mirrored by one particular contemporary case study, presented as a typical example of a neurotic young woman of the late 1950s, and itself representative both of the gendered aspects of the era and the sort of psychological literature with which Jackson might have been familiar. Eleanor’s delayed adolescence echoes what Bernice M. Murphy has termed Jackson’s focus on “isolated young women suffering from severe mental illness,” and Murphy directs the reader’s attention to the central role of Eleanor’s mother in creating and exacerbating that trauma.17 Eleanor’s long involuntary care of her mother’s needs has subverted her own psychological development.
Nowhere is American author Shirley Jackson’s (1916-1965) social and political criticism is so intense than it is in her seminal fictional masterpiece “The Lottery”. Jackson severely denounces ...injustice through her emphasis on a bizarre social custom in a small American town, in which the winner of the lottery, untraditionally, receives a fatal prize. The readers are left puzzled at the end of the story as Tessie Hutchinson, the unfortunate female winner, is stoned to death by the members of her community, and even by her family. This study aims at investigating the author’s social and political implications that lie behind the story, taking into account the historical era in which the story was published (the aftermath of the bloody World War II) and the fact that the victim is a woman who is silenced and forced to follow the tradition of the lottery. The paper mainly focuses on the writer’s interest in human rights issues, which can be violated even in civilized communities, like the one depicted in the story. The shocking ending, the researchers conclude, is Jackson’s protest against dehumanization and violence.
Shirley Jackson is most known for her haunting fiction, but her memoir works, which brought her the most success in her lifetime, are often overlooked due to their status as “housewife humour” books. ...Readers often find it difficult to reconcile these lighthearted family memoirs with the uncanny fiction that Jackson’s name has been associated with in the years since her death. I argue, however, that these memoir works portray a more sinister home beneath their surface, and that Jackson’s fiction and memoir works are much more similar than they first appear. My study analyses Jackson’s two memoirs, Life Among the Savages and Raising Demons, along with her final three fiction novels, The Sundial, The Haunting of Hill House, and We Have Always Lived in the Castle, in order to reconcile the two seemingly contrasting depictions of the home and argue that the home in her warm memoirs and the home in her haunting fiction is, in fact, one and the same. In order to do this, I read Jackson’s work against their genre - reading her memoirs for horror, and her fiction for the warm, affectionate sentiment expressed towards the domestic in her memoirs. I conclude that Jackson’s refusal to adhere to categorization of any kind allows her to create an honest depiction of the home as a place of simultaneous comfort and terror
When I played my first interactive fiction game in graduate school, I was totally hooked; it reminded me of the Choose Your Own Adventure books I had devoured in the '90s. The game I played was a ...text...based, interactive, branching narrative, where the player was asked to read, make choices, and some...times solve problems along the way. Though I had never heard about interactive fiction before then, I loved the sense of possibility: that there were seemingly infinite stories contained within one text. I loved feeling that I could help shape the narrative I read and also loved discovering the limitations of that control. An additional question that I wanted students to consider was how interactive the process of reading is. In making interactive fiction, students were invited to think about what expectations they brought to the genres of both short stories and games. How do we read a short story, and how do our identities and experience help shape our understanding of a text?
In her classic horror novel The Haunting of Hill House, Shirley Jackson appropriates Shakespearean romantic comedies and tragedies for the purposes of lesbian gothic. Shakespeare's plays provide ...signposts for leading (as well as misleading) protagonist Eleanor Vance through the fraught terrain of restrictive gender expectations, patriarchal persecution, and queer desire in Fifties America. The present article develops a queer reading of Eleanor's relationship with Theodora. This essay pays particular attention to the ways Jackson uses Shakespeare to structure and complicate the erotic subtext of The Haunting of Hill House.
On Laughter and Trust SHULTS, LIZ
English journal,
03/2020, Letnik:
109, Številka:
4
Journal Article
Recenzirano
Do you remember the first time you accidentally drew a phallus on your whiteboard in front of a group of teenagers? I do. We were annotating the poem In a Station of the Metro by Ezra Pound. It was ...the first class of the day at my private, Christian school in the spring of my sixth year of teaching. Students had copies of the poem accessible on their iPads. My iPad was mirrored to my projector screen, which displayed my rapid annotations, as we analyzed the two lines of verse. At this point in my career, I would by no means consider myself a seasoned teacher. My skin had thickened, however, and while first-year-me might have attempted a Keep Calm and Carry On moment, sixth-year-me was able to have a moment of laughing at my own gaffe with my students. After a few minutes, we were all able to pull ourselves together and continue with the annotation.
PDF
