Thesis (M.A.)--Trinity Evangelical Divinity School, 1994. / Abstract. Includes bibliographical references (leaves 124-132).

Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 63-69). Also available via the World Wide Web.

Detta arbete utgörs av en skönlitterär översättning från engelska till svenska med tillhörande kommentar. Texten som har översatts är skräcknovellen The Summer People av den amerikanska författaren Shirley Jackson (1916–1965). En källtextnära översättningsprincip upprättades för översättningsarbetet baserat på teorier om skopos, polysystemteori samt domesticering/exotisering. Översättningskommentaren innehåller en redogörelse för de översättningsstrategier som tillämpats vad gäller överföring av källtextens kultur- och tidsspecifika referenser, talspråksmarkörer och stilistiska drag. Det utfördes även en mindre specialundersökning bestående av en kvalitativ jämförelse mellan svenska översättningar av Shirley Jacksons romaner utförda av Inger Edelfeldt och Torkel Franzén. Specialundersökningen visade att Edelfeldt tog sig något större friheter med texten, och framför allt Franzéns översättning hade stora likheter med den aktuella översättningen av The Summer People. / This paper consists of a commented translation of literary fiction from English to Swedish. The translated text is a short story of the horror genre called The Summer People by the American author Shirley Jackson (1916–1965). A source text-oriented translation principle was established for the translation task based on theories such as skopos, polysystem theory and domestication/foreignization. The commentary contains an account for the translational strategies that were applied regarding transfer of culture- and period-specific references, indications of spoken language, and literary style in the source text. An additional minor study was also carried out, consisting of a qualitative comparison between translations of Shirley Jackson’s novels executed by Inger Edelfeldt and Torkel Franzén. The additional study showed that Edelfeldt made slightly more alterations of the text, and Franzén’s translation in particular showed striking similarities to the current translation of The Summer People.

Cette étude analyse les modalités de l’inhabitable dans un monde hostile et instable, ainsi que les stratégies élaborées afin de contrecarrer les effets pervers de l’instabilité. La violence des affects en jeu est à l’image de la cruauté des relations sociales, et ne laisse que peu d’espace viable même au sein du cercle familial, lui aussi soumis à l’entropie de la méchanceté ontologique. Les héroïnes de Jackson, confrontées de diverses manières aux résurgences d’expériences traumatiques que la traversée du présent, odyssée physique et psychique, transforme en obstacles insurmontables, recherchent la demeure idéale où se réfugier et trouver l’ancrage que leur interdit le monde extérieur. Jackson utilise les tropes de la maison gothique, de la hantise et du surnaturel pour illustrer les rouages trompeurs qui se mettent en place dès lors que ses héroïnes pensent avoir trouvé un tel lieu. Le paradoxe du corps maternel, qui fait cohabiter la vie et la mort, sous leurs formes pulsionnelles les plus destructrices, est le principe fondateur de l’effondrement des personnages. La folie apparaît comme un des moyens de comprendre l’incompréhensible, et de contenir la fragmentation. Enfin, l’invention du nom constitue le dernier retranchement où construire une demeure intérieure. / Our study examines the modalities of the uninhabitable in the work of Jackson, where the characters are imprisoned in a world intrinsically hostile, as well as the strategies they use to thwart the instability it entails. The violence of the feelings at stake mirrors the cruelty of social relationships, leaving but little livable space even within the family circle, also affected by the entropy of ontological evil. Jackson’s heroines, variously confronted to the reemergence of past traumatic experiences that their odyssey through the present time transforms into unsurmountable obstacles, seek the ideal house, the haven that will anchor them into a world that rejects them. Jackson uses the tropes of the gothic haunted house as maternal space to illustrate the deadly deception such a place embodies. The cohabitation the most drastic forms of the death drive and vital impulses is the foundation principle of mental dissolution. Madness is one of the means to both embrace and understand the incomprehensible. We conclude by showing how the invention of one’s name is a way of elaborating an inner house.

The female gothic as a genre, with its emergence in the 19th century, has a history of critiquing women’s place in the domestic sphere by showcasing the horrors of the home. When The Haunting of Hill House by Shirley Jackson was first published in 1959, it did so with both this historical genre background, as well as with a resurgence of traditional gender roles as an ideal. With the help of this context, this paper will do a queer reading of Jackson’s novel, highlighting the main character Eleanor’s queer longing for her friend Theodora. It will furthermore take into consideration Eleanor’s gender and the restrictions put on it during the time, especially concerning heteronormativity. To closer examine the relation between Eleanor and her desires, Hill House as a force will be analyzed. Although previous scholars have differing conclusions regarding Hill House, the most common one is Hill House as a patriarchal presence. However, Eleanor is also shown to be merging with Hill House during the narrative. To be able to combine these readings, as well as a queer reading, Sandra Lee Bartky’s reworking of Michel Foucault’s theories of internalization and self-surveillance will be used. This results in a queer reading of the novel where Hill House reflects Eleanor’s patriarchal internalization and acts as a self-surveilling force, disciplining her queer desires and finally resulting in her suicide. Ultimately, this essay argues that the character of Eleanor in The Haunting of Hill House has internalized patriarchal oppression and acts out disciplinary acts onto her own gender and sexuality through Hill House itself, which results in an overall textual critique of heteronormative ideals.

The thesis deals with a comparative analysis of the demon-lover motif in selected texts of English and American literature. The theoretical basis is the characteristics of the medieval ballad James Harris and some variations of the examined representation in the collection of traditional ballads by F. J. Child. Particular attention is paid to the role of supernatural in relation to the issue of guilt and punishment, in this regard, also the romantic versions of M. G. Lewis, G. A. Bürger and K. J. Erben are considered. The following chapters deals with stories that develop the demon-lover motif (the post-war stories by E. Bowen and S. Jackson). The literary analysis focuses primarily on the trauma of personal and historical past, and the related persecution of the victim, committed to the promise, to show the deepening of the psychological and emotional significance of the traditional story.

By using the concept of forms in this analysis of “The Renegade,” postwar domestic life is analyzed for the uncanny. By locating repetitions in domestic life, between characters, and in speech, situations are identified where the uncanny moves into the domestic. As a result, the perception of reality of the protagonist, Mrs. Walpole, is damaged, reiterating the impossibility of sanity in a postwar housewife’s domestic life.

Shirley Jackson’s House Trilogy: Domestic Gothic and Postwar Architectural Culture traite de la série de romans gothiques écrits par Shirley Jackson entre 1957 et 1962, de The Sundial à The Haunting of Hill House en passant par We Have Always Lived in the Castle. L’ouvrage situe son rapport au style gothique domestique dans le contexte du discours contemporain sur l’architecture et les formes de l’après-guerre. En particulier, cette étude fait valoir que sa trilogie « House » est une véritable intervention dans l’histoire de l’architecture et le discours domestique, Shirley Jackson utilisant une poétique gothique de l’espace pour évoquer la répétition spectrale des structures de pouvoir et de l’imaginaire idéologique liés à l’architecture. Grâce à son symbolisme architectural approfondi, elle explore la maison américaine et ses racines à travers les mythes et croyances les plus tenaces et les plus discordants du pays, suggérant que la maison elle-même, à la fois structure physique et symbole structurel, est un « fantôme » sociologique qui hante le projet domestique américain. L’auteure nous rappelle que l’architecture et la culture domestiques ne sont jamais neutres et que, bien plus qu’on ne l’a reconnu, sa fiction met en lumière les caractéristiques particulières des formes, des mouvements, des guerres de style et des discours architecturaux ayant activement contribué aux structures culturelles des genres, des classes et des races en Amérique. La carrière de Shirley Jackson, qui s’inscrit dans les deux décennies suivant la Seconde Guerre mondiale, coïncide avec le plus grand boom immobilier de l’histoire américaine, ainsi qu’avec l’une des périodes les plus expérimentales et les plus fébriles de l’architecture américaine. Pourtant, malgré les belles promesses et visions utopiques de cette époque, son architecture et sa culture domestique ont plutôt eu tendance à reproduire les structures de pouvoir oppressives du passé, qu’il s’agisse des normes de genre étouffantes de la maison familiale des années 1950 ou de la ségrégation dans les banlieues. Les maisons de madame Jackson se veulent des allégories gothiques de ce milieu et de sa structure temporelle « fantomatique », marquées par la routine et les revirements angoissants. Chacune des maisons de sa trilogie témoigne de ce que l’on pourrait appeler une « historicité hybride », évoluant à la fois vers le passé et vers l’avenir à travers l’architecture et le discours domestique américains. Dans les manoirs des années glorieuses et les constructions gothiques victoriennes de ses romans, l’auteure satirise l’architecture d’après-guerre et son futur nostalgique, suggérant que les maisons du présent restent hantées par les fantômes du passé. Contrairement à l’architecture de son époque, qui prétendait avoir banni ces fantômes, Shirley Jackson ne cherche pas à échapper aussi facilement aux spectres de l’histoire américaine et de l’assujettissement qui s’y rattache. Plutôt, elle entreprend de les affronter. Pour ce faire, elle pénètre dans la « maison hantée » de l’architecture et de la domesticité américaine : elle l’explore, l’examine, l’interroge et, finalement, la brûle, la met en pièces et la reconstruit. / Shirley Jackson’s House Trilogy: Domestic Gothic and Postwar Architectural Culture considers Shirley Jackson’s suite of gothic novels written between 1957 and 1962, from The Sundial to The Haunting of Hill House to We Have Always Lived in the Castle. It places her treatment of the Domestic Gothic alongside the actual architecture and design discourse of her postwar moment. In particular, it argues that her House Trilogy constitutes an intervention within architectural history and domestic discourse, with Jackson using a gothic poetics of space to suggest the spectral repetition of architecture’s structures of power and ideological imaginary. Through her extensive architectural symbolism, she probes the American house and its roots within the country’s most abiding myths and divisive beliefs, suggesting that the house itself, as both a physical structure and structuring symbol, is a sociological “ghost” that haunts the American domestic project. Jackson reminds us that domestic architecture and culture are never neutral and that, much more so than has been acknowledged, her fiction excavates the specific design features, movements, style wars, and architectural discourses which actively participated in the cultural constructions of gender, class, and race in America. Her writing career — from her first major publication in 1943 to her untimely death in 1965 — coincides with the largest housing boom in American history, as well as one of the most experimental and anxious periods in American architecture. And yet despite the era’s broad promises and utopian visions, its architecture and domestic culture tended to reproduce the oppressive power structures of the past, from the stifling gender norms of the 1950s family home to the segregated suburb. Jackson’s houses are gothic allegories of this milieu and its “ghostly” time structure of uncanny repetition and return. Each of the houses in her trilogy exhibits what might be called a “hybrid historicity,” gesturing at once backwards and forwards through American architecture and domestic discourse. Inside the Gilded Age mansions and Victorian Gothic piles of her novels, Jackson satirizes postwar architecture and its nostalgic futures, suggesting how the houses of the present remain haunted by the ghosts of the past. Unlike the architecture of her time, which claimed to have banished these ghosts, Jackson does not seek to escape the spectres of American history and subjecthood so easily. Instead, she endeavours to face them. In order to do so, she enters the “haunted house” of American architecture and domesticity itself — exploring it, examining it, interrogating it, and, eventually, burning it down, tearing it apart, and remaking it.

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