LEADER 03831nam 22006015 450 001 9910484853403321 005 20221202220650.0 010 $a3-030-27142-0 024 7 $a10.1007/978-3-030-27142-8 035 $a(CKB)4100000009758979 035 $a(MiAaPQ)EBC5975909 035 $a(DE-He213)978-3-030-27142-8 035 $a(EXLCZ)994100000009758979 100 $a20191108d2019 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBritish women?s short supernatural fiction, 1860?1930$b[electronic resource] $eour own ghostliness /$fby Victoria Margree 205 $a1st ed. 2019. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d[2019] 210 4$dİ2019 215 $a1 online resource (208 pages) 311 $a3-030-27141-2 320 $aIncludes bibliographical references and index. 327 $aIntroduction: Our Own Ghostliness -- (Other)Worldly Goods: Ghost Fiction as Financial Writing in Margaret Oliphant and Charlotte Riddell -- Neither Punishment nor Poetry: Mary Elizabeth Braddon, Edith Nesbit and Female Death -- The Good Memsahib? Marriage, Infidelity and Empire in Alice Perrin?s Anglo-Indian Tales -- Haunted Modernity in the Uncanny Stories of May Sinclair, Eleanor Scott and Violet Hunt -- Conclusion. 330 $aThis book explores women?s short supernatural fiction between the emergence of first wave feminism and the post-suffrage period, arguing that while literary ghosts enabled an interrogation of women?s changing circumstances, ghosts could have both subversive and conservative implications. Haunted house narratives by Charlotte Riddell and Margaret Oliphant become troubled by uncanny reminders of the origins of middle-class wealth in domestic and foreign exploitation. Corpse-like revenants are deployed in Female Gothic tales by Mary Elizabeth Braddon and Edith Nesbit to interrogate masculine aestheticisation of female death. In the culturally-hybrid supernaturalism of Alice Perrin, the ?Marriage Question? migrates to colonial India, and psychoanalytically-informed stories by May Sinclair, Eleanor Scott and Violet Hunt explore just how far gender relations have really progressed in the post-First World War period. Study of the woman?s short story productively problematises literary histories about the ?golden age? of the ghost story, and about the transition from Victorianism to modernism. 606 $aLiterature, Modern$y20th century 606 $aLiterature, Modern$y19th century 606 $aGothic fiction (Literary genre) 606 $aGoth culture (Subculture)  606 $aTwentieth-Century Literature$3https://scigraph.springernature.com/ontologies/product-market-codes/822000 606 $aNineteenth-Century Literature$3https://scigraph.springernature.com/ontologies/product-market-codes/821000 606 $aGothic Fiction$3https://scigraph.springernature.com/ontologies/product-market-codes/825010 606 $aGothic Studies$3https://scigraph.springernature.com/ontologies/product-market-codes/411220 615 0$aLiterature, Modern 615 0$aLiterature, Modern 615 0$aGothic fiction (Literary genre). 615 0$aGoth culture (Subculture) . 615 14$aTwentieth-Century Literature. 615 24$aNineteenth-Century Literature. 615 24$aGothic Fiction. 615 24$aGothic Studies. 676 $a823.0872909 700 $aMargree$b Victoria$4aut$4http://id.loc.gov/vocabulary/relators/aut$01224862 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910484853403321 996 $aBritish Women?s Short Supernatural Fiction, 1860?1930$92844030 997 $aUNINA