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This book covers cases throughout history, including malign spirits and gentle ghosts, apparitions, wraiths, haunted houses and spooky urban myths. Each entry gives details of the date, location and course of events, as well as providing a historical context and analytical assessment of the phenomenon.
A comprehensive examination of Chicano art in the early twentieth century, exploring the current tendency of experimentation and how the movement has shifted away from painting and political statements, and toward conceptual art, performance, film, photography, and media-based art; includes artist portfolios and a chronology of significant moments in Chicano history.
PHANTOM FELINES and Other Ghostly Animals Humans aren’t the only creatures whose disembodied spirits can remain earthbound after death. For centuries, ghostly animal apparitions have returned from beyond the grave to warn of danger, comfort a bereaved owner—even to seek revenge against those who have mistreated them. Phantom Felines and Other Ghostly Animals features the best true stories from all over the world, presenting a faithful picture of the many animal spirits that still walk among the living. Featuring cats, dogs, horses, birds, and a menagerie of wild animals, the authentic tales in this unusual book will give you a glimpse into a world that is much closer than you ever realized.
Phantom Gettysburg discusses the contemporary alternative version of a perceived haunted battlefield. In order to understand this alternative perception, contemporary anomalous phenomena must be affixed to and analyzed within their exact historical setting and social context. An ethnographic model of mid-19thc. American culture is used as the basis for this analysis. Specifically, the cultural beliefs relative to the concepts of death and the afterlife, as it was envisioned by these soldiers, is the basis for this model. This historical ethnographic analysis serves two purposes. First, it is a means to legitimize the methodology and fieldwork practices of ghost research. Second, it is meant to analyze the Gettysburg experience and its haunting uncertainty in its historical and sociocultural environment. The conclusion that is drawn from this comparative approach alters the reality and representation of an interactive ghostly battlefield presence. A Gettysburg haunted by Civil War soldiers is considered, for the most part, a phantom experience.
In and Out of View models an expansion in how censorship is discursively framed. Contributors from diverse backgrounds, including artists, art historians, museum specialists, and students, address controversial instances of art production and reception from the mid-20th century to the present in the Americas, Africa, Asia, Europe, and the Middle East. Their essays, interviews, and statements invite consideration of the shifting contexts, values, and needs through which artwork moves in and out of view. At issue are governmental restrictions and discursive effects, including erasure and distortion resulting from institutional policies, canonical processes, and interpretive methods. Crucial considerations concerning death/violence, authoritarianism, (neo)colonialism, global capitalism, labor, immigration, race, religion, sexuality, activism/social justice, disability, campus speech, and cultural destruction are highlighted. The anthology-a thought-provoking resource for students and scholars in art history, museum and cultural studies, and creative practices-represents a timely and significant contribution to the literature on censorship.
_Lights! Camera! Murder?_ When the world-famous Sweetie Pie Baking competition comes aboard the Adventurous Spirit, Ellie can't wait to get a behind-the-scenes look at the hit television show. But when one of the contestants goes overboard, the perplexing nature of the crime scene has Ellie and security officer Paul Gumbs scratching their heads. Was the death a suicide or did a bitter rivalry turn deadly? When a celebrity guest makes a shocking claim, rumors float through the ship like vapor. Did a murderous ghost push the victim into the churning waters below? Ellie isn't having it! She knows ghosts aren't real and that the killer was made of flesh and bone. But if that's true, how did they get into and out of locked stateroom without leaving a trace?
"A collection of chilling stories eerily believable and truly spooky very strongly recommended "-Midwest Book Review Most people think of ghosts as rare, elusive creatures that are more or less inaccessible to the average Joe. Sure, we read about them, watch TV shows about them and tell stories about them, but we'll probably never run into one-right? Don't be so sure. Even if you've never personally encountered a ghost, chances are you know someone who has. The Ghost Next Door takes a revealing look into the lives of average, everyday people from across the country who have had experiences in the realm of the unexplained. Whether you're a true believer in ghosts or a hard-nosed skeptic, you're sure to get a chill or two when you read about the woman who was visited by her grandfather on the night of his funeral! Or the man who was forced to move by a troublesome spirit only to find it had followed him! As you make your way through these and other genuinely spooky stories, you'll probably find that ghostly encounters are a lot more common than you had imagined. Could there be a "haunted house" in your town? Perhaps on your very street? Maybe even right next door?
At one time or another, most people have experienced a creepy, spine-tingling sensation they can’t explain. Science may rationalize these fears, blaming a natural fear of the unknown, an open window or a drafty doorway, but millions of people believe there is much more to it than that – and who can say they are wrong? Glamis Castle in Scotland, made famous by Shakespeare’s Macbeth is said to be haunted by a whole host of ghostly residents. Dracula’s castle in Transylvania, another spooky literary hub, is perhaps one of the most nerve-wracking places on earth. Ghosts traces the cultural and literary origins of the paranormal, uncovers the dark secrets beneath the myths and untangles the enigma of the supernatural. Contents: ghosts and poltergeist, the afterlife and immortality. Ghost messengers paranormal/supernatural:exorcisms, vampires. ghost-hunting Halloween, seances, ouija board. True ghost stories: Amityville Murders, Tower of London, Resurrection Mary, Pendle Hill, Glamis Castle, Dracula’s Castle. Films: Ghost, The Ring, The Grudge, The Woman in Black, Poltergeist, The Sixth Sense, What Lies Beneath, Just Like Heaven, Sleepy Hollow, White Noise, Ghostbusters.
Hauntings lurk and spirits linger in the Lone Star State Reader, beware! Turn these pages and enter the world of the paranormal, where ghosts and ghouls alike creep just out of sight. Author Alan Brown shines a light in the dark corners of Texas and scares those spirits out of hiding in this thrilling collection. From tales of haunted hotels like the Von Minden and The Beckham, to a creek where a woman’s screams can still be heard to this day, and the shadowy figures still stalking the Alamo, these stories of strange occurrences will keep you glued to the edge of your seat. Around the campfire or tucked away on a dark and stormy night, this big book of ghost stories is a hauntingly good read.
Seeing Differently offers a history and theory of ideas about identity in relation to visual arts discourses and practices in Euro-American culture, from early modern beliefs that art is an expression of an individual, the painted image a "world picture" expressing a comprehensive and coherent point of view, to the rise of identity politics after WWII in the art world and beyond. The book is both a history of these ideas (for example, tracing the dominance of a binary model of self and other from Hegel through classic 1970s identity politics) and a political response to the common claim in art and popular political discourse that we are "beyond" or "post-" identity. In challenging this latter claim, Seeing Differently critically examines how and why we "identify" works of art with an expressive subjectivity, noting the impossibility of claiming we are "post-identity" given the persistence of beliefs in art discourse and broader visual culture about who the subject "is," and offers a new theory of how to think this kind of identification in a more thoughtful and self-reflexive way. Ultimately, Seeing Differently offers a mode of thinking identification as a "queer feminist durational" process that can never be fully resolved but must be accounted for in thinking about art and visual culture. Queer feminist durationality is a mode of relational interpretation that affects both "art" and "interpreter," potentially making us more aware of how we evaluate and give value to art and other kinds of visual culture.