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Bristolians' love of banter and outlandish gossip provides a perfect environment for the urban legend to breed, expand and ferment. One can never be sure that these stories are not in fact entirely true – or that the truth behind them may not be stranger than the legend itself. What one can be sure of is that these stories have been passed, with increasing delight, from child to child, from uncle to aunt, from granddad to everybody, until they have become right rollicking tales. Forget small talk – this here is Bristol Urban Legends.
Do motorists pick up a phantom hitchhiker on Blue Bell Hill during stormy nights? Does Satan appear if you dance round the Devil's Bush in the village of Pluckley? Do big cats roam the local woods? And what happens if you manage to count the 'Countless Stones' near Aylesford? For centuries strange urban legends have materialised in the Garden of England. Now, for the first time, folklorist and monster-hunter Neil Arnold looks at these intriguing tales, strips back the layers, and reveals if there is more to these Chinese whispers than meets the eye. Folklore embeds itself into a local community, often to the extent that some people believe all manner of mysteries and take them as fact. Whether they're stories passed around the school playground, through the internet, or round a flickering campfire, urban legends are everywhere. Kent Urban Legends is a quirky and downright spooky ride into the heart of Kent folklore.
No one knows for certain when Bristol was founded. What we do know is that for more than 1,000 years it has been at the centre of national and international history. From its earliest days Bristol's prosperity was linked to its port, with the importation of wine and tobacco and its involvement with the slave trade. In those days, explorers sailed from Bristol on epic voyages and discovered new lands. In more recent times its economy has been built on creative media and the aerospace industry, including the construction of Concorde, the world's first supersonic aircraft. From the Avon Gorge's formation, Iron Age settlers and Norman castle construction, to civil war, riots and bus boycotts, The Little History of Bristol is guaranteed to enthral both residents and visitors alike.
Do motorists pick up a phantom hitchhiker on Blue Bell Hill during stormy nights? Does Satan appear if you dance round the Devil's Bush in the village of Pluckley? Do big cats roam the local woods? And what happens if you manage to count the 'Countless Stones' near Aylesford? For centuries strange urban legends have materialised in the Garden of England. Now, for the first time, folklorist and monster-hunter Neil Arnold looks at these intriguing tales, strips back the layers, and reveals if there is more to these Chinese whispers than meets the eye. Folklore embeds itself into a local community, often to the extent that some people believe all manner of mysteries and take them as fact. Whether they're stories passed around the school playground, through the internet, or round a flickering campfire, urban legends are everywhere. Kent Urban Legends is a quirky and downright spooky ride into the heart of Kent folklore.
Part of every legend is true. Or so argues Jody Enders in this fascinating look at early French drama and the way it compels us to consider where the stage ends and where real life begins. This ambitious and bracing study explores fourteen tales of the theater that are at turns dark and dangerous, sexy and scandalous, humorous and frightening—stories that are nurtured by the confusion between truth and fiction, and imitation and enactment, until it becomes impossible to tell whether life is imitating art, or art is imitating life. Was a convicted criminal executed on stage during a beheading scene? Was an unfortunate actor driven insane while playing a madman? Did a theatrical enactment of a crucifixion result in a real one? Did an androgynous young man seduce a priest when portraying a female saint? Enders answers these and other questions while presenting a treasure trove of tales that have long seemed true but are actually medieval urban legends. On topics ranging through politics, religion, marriage, class, and law, these tales, Enders argues, do the cultural work of all urban legends: they disclose the hopes, fears, and anxieties of their tellers. Each one represents a medieval meditation created or dramatized by the theater with its power to blur the line between fiction and reality, engaging anyone who watches, performs, or is represented by it. Each one also raises pressing questions about the medieval and modern world on the eve of the Reformation, when Europe had never engaged more anxiously and fervently in the great debate about what was real, what was pretend, and what was pretense. Written with elegance and flair, and meticulously researched, Death by Drama and Other Medieval Urban Legends will interest scholars of medieval and Renaissance literature, history, theater, performance studies, and anyone curious about urban legends.
In the last fifty years, folklorists have amassed an extraordinary corpus of contemporary legends including the “Choking Doberman,” the “Eaten Ticket,” and the “Vanishing Hitchhiker.” But what about the urban legends of the past? These legends and tales have rarely been collected, and when they occasionally appear, they do so as ancestors or precursors of the urban legends of today, rather than as stories in their own right. In The Nail in the Skull and Other Victorian Urban Legends, Simon Young fills this gap for British folklore (and for the wider English-speaking world) of the 1800s. Young introduces seventy Victorian urban legends ranging from “Beetle Eyes” to the “Shoplifter’s Dilemma” and from “Hands in the Muff” to the “Suicide Club.” While a handful of these stories are already known, the vast majority have never been identified, and they have certainly never received scholarly treatment. Young begins the volume with a lengthy introduction assessing nineteenth-century media, emphasizing the importance of the written word to the perpetuation and preservation of these myths. He draws on numerous nineteenth-century books, periodicals, and ephemera, including digitized newspaper archives—particularly the British Newspaper Archive, an exciting new hunting ground for folklorists. The Nail in the Skull and Other Victorian Urban Legends will appeal to an academic audience as well as to anyone who is interested in urban legends.
How long has a corpse been staring out at passengers on the tube? Was London Bridge really shipped abroad by an American thinking he’d bought Tower Bridge? Did the Queen really mix with the crowds as a princess on VE Day? And did Hitler actually want to live in Balham? Urban legends are the funny, frightening and fierce folklore people share. Just like the early folk tales that came before them, these tales are formed from reactions to spectacular events in the world, and reflect our current values. From royal rumours to subterranean legends, Scott Wood has researched and written about them with a sense of wonder, humour and a keen eye. He finds the truth, the myth and the lies amongst these tales.
Rich. Famous. Glamorous. Dead ... and Immortal! From old Hollywood silent film stars to rock stars to athletes, past presidents, and famous generals, celebrated individuals sometimes become celebrity ghosts, and they haunt their homes, workplaces, and even burial places. In turn, those places become famous, even notorious, thanks to the ghost that is haunting it! Celebrity Ghosts and Notorious Hauntings looks at many famous ghosts—dead celebrities that haunt old Hollywood locales, famous generals that appear to witnesses at great battlefields, and noted politicians that roam the hallways of courthouses, statehouses, and even the White House! Plus, this fascinating frightfest examines the famous haunted locations themselves, such as the Hollywood Roosevelt Hotel, the Hotel del Coronado, Gettysburg, the Stanley Hotel (which inspired Stephen King’s The Shining) and so many others that claim the supernatural as part of their heritage and history. This riveting look at the unexplained also investigates movie lore, including the unsettling incidents on the Amityville Horror set; “The Dark Knight” curse that includes on-set accidents from the horrible death of Heath Ledger, who played the Joker, to the mass shooting at a midnight screening of The Dark Knight Rises; the deaths and curse surrounding The Matrix; the Infamous Stage 28 at Universal Studios; and Paramount Studios’ long history of hauntings and strange goings-on. Elvis Presley, John Lennon, Frank Sinatra, and Hank Williams. Presidents John Adams, Abraham Lincoln, Andrew Jackson, and Harry Truman. Henry VIII, beheaded Sir Walter Raleigh, and Prince Edward V. Rudolph Valentino, Mary Pickford, Marilyn Monroe, and “Superman” actor George Reeves. Houdini, Redd Foxx, Liberace, and serial-killer Ted Bundy. They all lurk in this riveting book. Haunted graveyards (of course), haunted historical landmarks and battlefields, plus haunted libraries, courthouses, ships, submarines, lighthouses, hotels, roadways, byways, bridges, prisons, and hospitals are all gathered together in this comprehensive look at the ghastly afterlife of the renowned. From famous faces to famous places, if it involves fame and celebrity, fortune and notoriety, legend and lore, Celebrity Ghosts and Notorious Hauntings covers it.
Providing academic insights, reflections, and practical guidance on ethically conducting qualitative criminological research, this book emphasizes real-life examples to navigate research risks, boundaries, and emotions, while spotlighting reflexivity as a pivotal tool for qualitative inquiries, serving as an ethical compass throughout the research process. By engaging with this book, readers will be exposed to critical themes of managing risks, including physical harm and psychological trauma, navigating boundaries, dealing with the intense emotions that surface during research, and the importance of reflexivity in qualitative criminological research. The themes are illustrated through real-life examples that the authors have encountered during their fieldwork, using reflexive practices to highlight how they were able to ethically deal with unforeseen challenges. By presenting solutions, asking critical questions, and offering practical recommendations, the book guides readers on mitigating ethical issues, and provides a comprehensive approach to conducting research responsibly and ethically. Ethics in Qualitative Criminological Research will be useful for undergraduate and postgraduate students, academic researchers and practitioners with an interest in conducting research, and pracademics occupying both practitioner and academic roles.