The aim of this study is to analyse the popular perception of the walking dead – ‘revenants’ – in medieval England, using both written and archaeological sources. The opening chapter defines the methodology for conducting an interdisciplinary investigation into literary and material ‘texts’. Chapter two investigates the strategies used by the Church to prescribe the rules for a ‘good’ death performance. This will include a brief overview of the evolution of the Western funerary rite from the Roman period to the fifteenth century. The third chapter examines the specific codicological placement of the revenant narratives in William of Newburgh’s Historia Rerum Anglicarum (c.1198), and explores the theological, political and cultural contexts which prompted their transcription and circulation. This examination of the ‘social logic’ of the walking dead will include a critical analysis of the ‘Buckingham Ghost’ narrative. Motifs of pestilence and the spreading of social/physical disorder, so evident in the William’s Historia, are investigated in chapter four. The percipients’ negotiation of religious doctrine, humoural theory, and the traditions of ‘folk’ medicine will be used to explicate why some revenants were considered contagious. The relationship between the somatic experience of the revenant attack and the ‘nightmare’ is also given consideration in this chapter. The final section of this study involves an exploration of the material strategies used to allay the walking dead. I contend that it is indeed possible to draw intertextual analogies between the written sources and unusual/deviant burial practices. The way in which medico-magical knowledge (discussed in chapter four) was utilised to protect the living from the pestilential dead is given special consideration. The aim of chapter five, then, is to analyse the evidence for the fear of the errant corpse in mortuary and landscape contexts. In short, I argue that smaller (unwritten) traditions could be improvised within the prevailing habitus of the local community to form idiosyncratic patterns, or ‘rhetorics’, of apotropaic response.

This collection of poems outlines the experiences of a speaker in an unhealthy queer relationship dynamic, re-living old traumas as the result of his partner's neglect and abusive tendencies. These memories present themselves as ghosts or hauntings. Said spirits prevent the speaker from coping with his current situation by forcing him to give space to them, instead, these things he's long banished.

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TESTIMONIALS, a novella and other stories, is set within the Bay Area — deep in the districts long removed from the municipal budget — and delves into the lives of men, women, and adolescents longing for acknowledgment, reinvention, and peace amongst the many spirits, past and present. In ‘Yard Range,’ a woman finds a surrogate in her Senator’s child and wonders what it would take to change one man’s vote. ‘Body Known’ follows a masseuse treating clients whose bodies archive stories, songs, jokes, and confessions. In ‘Height Marks,’ an elder passes on survival tips to a nephew ostracized from the family. ‘Spirit Per Capita’ chronicles one woman's desperate search for the woman who changed her life. In ‘Autofiction,’ a man must negotiate the cruelest of requests: tell us a story. And in the novella ‘The Snow,’ a child and a night janitor navigate the worst summer camp in San Francisco, where strange messes happen overnight, and where words must be stolen. Utilizing first, second, and collective narrations, these stories explore lives not defined by victimhood or race but by irretrievable and fleeting choices, unforgivable compromises, and loyalty to one’s people and one’s self. Here, history doesn’t repeat: it echoes, couplets, and yearns for you.

Submitted by ELIS REGINA FERNANDES ALVES null (elisregi@hotmail.com) on 2018-02-08T14:33:16Z No. of bitstreams: 1 Tese final com capa e ficha catalográfica Elis Regina F Alves.pdf: 3158710 bytes, checksum: c026b930cb386bba77e49c8a72bb5c0c (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-08T17:00:56Z (GMT) No. of bitstreams: 1 alves_erf_dr_sjrp.pdf: 3158710 bytes, checksum: c026b930cb386bba77e49c8a72bb5c0c (MD5) / Made available in DSpace on 2018-02-08T17:00:56Z (GMT). No. of bitstreams: 1 alves_erf_dr_sjrp.pdf: 3158710 bytes, checksum: c026b930cb386bba77e49c8a72bb5c0c (MD5) Previous issue date: 2018-02-02 / Fundação de Amparo à Pesquisa do Estado do Amazonas (FAPEAM) / Analisam-se os romances The Longest Memory (1994) e Feeding the Ghosts (1997), do anglo-guianense Fred D’Aguiar, sob a perspectiva da memória da escravidão. Os dois romances tematizam a memória da escravidão em momentos distintos, construindo uma espécie de panorama da escravidão negra transatlântica, desde a captura de escravos em África e a passagem intermédia, até a escravidão nas plantations norte-americanas nos séculos XVIII e XIX. A história da escravidão negra evidencia o peso da escravidão para a economia política da Europa e do Novo Mundo. Mas, sua memória tem sido relatada com base na visão do senhor de escravos, e não do escravo. Quando ficcionalizada, a memória da escravidão parece querer revisitar os legados deixados por esta barbárie. Diversos são os tipos de memórias que relembram, discutem, denunciam a escravidão e, neste sentido, este trabalho analisou, com base, principalmente, no conceito de memória coletiva de Halbwachs (2006), as memórias coletivas da escravidão, além de verificar como a memória histórica da escravidão é construída e quais memórias são descartadas para a composição desta memória histórica, que se torna oficializada. Evidenciou-se como o mesmo fato poder ser rememorado de formas diferentes, de acordo com as ideologias de quem as lembra, de modo a deixar claro como a História da escravidão é contada de forma enviesada, unilateral, pois que considera as memórias da elite detentora do poder e não dos sujeitos escravos. As memórias coletivas dos sujeitos escravos não são levadas em consideração ao se oficializar a história e, assim, a memória da escravidão parece estar sendo minimizada pela história e é a ficção quem parece não querer deixar-nos esquecer de seu legado, o que se evidencia nos dois romances analisados que buscam dar voz ao escravo, mesmo que essa voz acabe se perdendo na confecção da memória histórica dos eventos relativos à sua escravização. / The novels The Longest Memory (1994) and Feeding the Ghosts (1997), by the Anglo-Guianian Fred D'Aguiar, are analyzed from the perspective of the memory of slavery. The two novels thematize the memory of slavery at different times, building a kind of panorama of transatlantic black slavery, from the capture of slaves in Africa and the middle passage, to slavery on the American plantations in the eighteenth and nineteenth centuries. The history of black slavery shows the weight of slavery for the political economy of Europe and the New World. But its memory has been told from the point of view of the master of slaves, and not of the slave. When fictionalized, the memory of slavery seems to want to revisit the legacies left by this barbarism. There are several types of memories that recall, discuss, denounce slavery and, in this sense, this work analyzed, mainly, the concept of collective memory of Halbwachs (2006), the collective memories of slavery, as well as to verify how the historical memory of slavery is built and what memories are discarded for the composition of this historical memory, which ones become official. It has been shown how the same fact can be recalled in different ways, according to the ideologies of the one who remembers them, so as to make it clear how the History of slavery is counted in a biased, unilateral way, since it considers the memories of the holding elite of power and not of the slave subjects. The collective memories of the slave subjects are not taken into account when the history is made official, and thus the memory of slavery seems to be being minimized by history, and it is fiction who does not seem to want to let us forget its legacy, which is evidenced in these two analyzed novels that seek to give voice to the slave, even if that voice ends up being lost in the making of the historical memory of the events related to his/her enslavement. / EDITAL N. 001/2014 - RH-DOUTORADO

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The 'haunted home' has enjoyed a long-standing position as a motif within society, crossing a span of narratives, from anecdotal local stories shared informally between family and friendship networks, to the established Gothic traditions of literature and film. This project uniquely examines the ways in which people who believe their homes to be haunted negotiate the experience of co-habiting with ghosts. It is a qualitative study which has applied a mix of creative methodologies to a number of in-depth case studies in England and Wales. Geographers and researchers in related disciplines have recently expressed interest in the idea of ghosts or haunting, but have tended to focus upon public metropolitan spaces, and to employ the ghost as a metaphor or social figure. In contrast, this project contributes to a growing literature on the material and immaterial geographies of the home, the intangible and affective aspects of everyday life within the particular context of the domestic interior. The project explores the insights uncanny events experienced within this space reveal about people's embodied, emotional, spatial and temporal relationships with 'home' as both physical place and as a set of ideals. It studies the way in which people negotiate experiences which appear to lack rational or natural explanation, and the interpretative narratives employed to explain them. It suggests ways in which different forms of belief influence interpretations of uncanny events. It also suggests ways in which inhabitants of haunted homes negotiate the co-habitation with ghosts through a number of strategies which reinforce their own subjectivity in the face of potential encroachment into their private space.

This dissertation explores what images of ghosts in Roman art can reveal about the very limits of representation and the act of seeing itself. My approach differs from that of many previous studies on the supernatural, therefore, in that it ultimately has little to do with the question of whether or not the ancients were truly convinced that ghosts exist. While not discounting the importance of belief, I am interested rather in how modalities of belief (or unbelief) developed within a prescribed framework of possibilities--particularly with regard to the historical transformation of ideas about the nature of vision and representation--in which images played a crucial role. While much work has been done on aspects of death that touch upon the supernatural in discrete areas of research on folklore, magic, religion, or theater, for example, the ghost itself has never been the focus of a synthetic study in Roman art. This project is therefore intended to cut across these discussions to arrive at a more rounded picture of how the Romans went on living with the dead.