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Like so many cities bordering Lake Michigan, Racine has a long and storied history. Some of that history is stranger than fiction. The Live Towerview neighborhood, brimming with stories of the city's earliest burial sites, is a hotbed of ghostly activity. Former asylums like the ambitious Taylor Home Orphan Asylum and the infamous Racine County Insane Asylum are filled with chilling tales of the unexplained. The local Masonic Temple houses the restless souls of some of the city's earliest residents. So do Chances Food & Spirits and Ivanhoe, two of the most haunted taverns in southeastern Wisconsin. Historian Rory Graves uncovers some of Racine's most notorious haunts. Historian Rory Graves uncovers some of Racine's most notorious haunts.
The popular series of Canadian ghost stories is back and scarier than ever! The ghoulishly good fourth book in the Haunted Canada series is full of more than 25 sinister, unsettling, and absolutely true ghost stories from across the country. Settle in for an evening of hair-raising thrills and chills! Bram Stoker Award-nominee Joel A. Sutherland brings a fresh approach to this favourite scary series.
The popular series of Canadian ghost stories is back and scarier than ever! The ghoulishly good fourth book in the Haunted Canada series is full of more than 25 sinister, unsettling, and absolutely true ghost stories from across the country. Settle in for an evening of hair-raising thrills and chills! Bram Stoker Award-nominee Joel A. Sutherland brings a fresh approach to this favourite scary series.
Grab a cozy blanket, light a few flickering candles, and enjoy the unnerving tales of Haunted Wisconsin. Gathered from personal interviews with credible eyewitnesses, on-site explorations, historical archives, newspaper reports, and other sources, these scores of reports date from Wisconsin’s early settlement days to recent inexplicable events. You’ll read about Wisconsin’s most famous haunted house, Summerwind; three Milwaukee men who encountered the beautiful ghost of National Avenue; a phantom basketball player; a spectral horse that signaled death in the pioneer era of the Wisconsin Dells; a poltergeist in St. Croix County who attracted a crowd of more than three hundred spectators; the Ridgeway Ghost who haunts the driftless valleys of southwestern Wisconsin; a swinging railroad lantern held by unseen hands; the Ghost Island of the Chippewa Flowage; and many others. Are ghosts real? That’s for you to decide! Now available in a Third Edition with updates and several new accounts, Haunted Wisconsin remains a favorite collection of unexplained midwestern tales, enjoyed by readers of all ages.
What unknown spirits lurk among the living in the Gateway to Wisconsin? oin Candice Shatkins, a founding member of the Paranormal Investigators of Kenosha, as she uncovers the spooky secrets and unlikely legends of Kenosha County. From a secret burial chamber under a library to Wisconsin's very own Wolfman, a shipwreck on Black Tuesday to the haunted observatory tower of a former seminary and boarding school, Kenosha's ghosts are sure to delight visitors and residents alike in this stirring account of the area's historic haunts.
Historians of modern Chinese literature have generally used the year 1907 to mark the inception of Western-style drama in China. For in that year, a small group of Chinese students in Japan, inspired by the Japanese experiments with Western drama, decided to follow suit and form the Spring Willow Society, an amateurish dramatic club for experimental purposes. Their first play, staged in Tokyo in February of the same year, is an adaptation from Dumas' La dame aux camelias. The play had an all-male cast and used a strange mixture of old and new techniques. But to the Chinese audience brought up in the native operatic tradition, what must have seemed strange would not have been so much the mixture of technique old and new as the complete unfamiliarity of the plot and the method of its presentation: for neither the story nor the acting was anything akin to what they used to think, of as drama.
Racine’s Andromaque: Absences and Displacements casts a new look at the dynamism, richness, and complexity of Racine’s first major tragedy (first performed in Paris in 1667), through a collection of articles specially commissioned by the editors Nicholas Hammond and Joseph Harris. Challenging received opinions about the fixity of French ‘classicism’, this volume demonstrates how Racine’s play is preoccupied with absences, displacements, instability, and uncertainty. The articles explore such issues as: movement and transactions, offstage characters and locations, hallucinations and fantasies, love and desire, and translations and adaptations of Racine’s play. This collection will be an invaluable resource for students and scholars of seventeenth-century French theatre. Contributors: Nicholas Hammond, Joseph Harris, Michael Moriarty, Emilia Wilton-Godberfforde, Delphine Calle, Jennifer Tamas, Michael Hawcroft, Katherine Ibbett, Richard Parish.
Literary historians and critics who have written on the influence of Racine in England during the neoclassical period apparently have assumed that the English translators and adapters of Racine’s plays in general succeeded in presenting the real Racine to the English public. Katherine Wheatley here reveals the wide discrepancy between avowed intentions and actual results. Among the English plays she compares with their French originals are Otway’s Titus and Berenice, Congreve’s The Mourning Bride, and Philips’s The Distrest Mother. These comparisons, fully supported by quoted passages, reveal that those among the English public and contemporary critics who could not themselves read French had no chance whatever to know the real Racine: “The adapters and translators, so-called, had eliminated Racine from his tragedies before presenting them to the public.” Unacknowledged excisions and additions, shifts in plot, changes in dénouement, and frequent mistranslation turned Racine’s plays into “wretched travesties.” Two translations of Britannicus, intended for reading rather than for acting, are especially revealing in that they show which Racinian qualities eluded the British translators even when they were not trying to please an English theatergoing audience. Why it is, asks the author, that no English dramatist could or would present Racine as he is to the English public of the neoclassical period? To answer this question she traces the development of Aristotelian formalism in England, showing the relation of the English theory of tragedy to French classical doctrine and the relation of the English adaptations of Racine to the English neoclassical theory of tragedy. She concludes that “deliberate alterations made by the English, far from violating classical tenets, bring Racine’s tragedies closer to the English neoclassical ideal than they were to begin with, and this despite the fact that some tenets of English doctrine came from parallel tenets widely accepted in France.” She finds that “in the last analysis, French classical doctrine was itself a barrier to the understanding of Racinian tragedy in England and an incentive to the sort of change English translators and adapters made in Racine.” This paradox she explains by the fact that Racine himself had broken with the classical tradition as represented by Corneille.