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Copyright of FORUM is the property of John Benjamins Publishing Co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Using performance and visual studies methodologies, this article responds to the interwoven and contextually specific happenings of the pandemic and histories of Black consciousness and antiblackness in Montreal's theatres. In doing so, it creates parallels between past and present events as surrogates, ghostings, or performative encounters of Black experiences on theatrical stages in a white Quebecois landscape. It argues that the 2020 Black Lives Matter protests were a product of a longstanding local cultural economy of obfuscated antiblackness, an embodied, spatially ingrained, and reinforced set of historical paradigms that have been present in Quebecois life and more specifically on Montreal stages for centuries. The architecture of Montreal theatre, its actors, and spectres of recent events are theoretically framed as both racism and resistance, antiblackness and forms of Black consciousness, a view onto the past from the present, and a repository of performances, living archives, and embodied collective imaginaries. [ABSTRACT FROM AUTHOR]

The travelogue by Antoni Ferdynand Ossendowski, Man and Mystery in Asia. Through Wild Siberia (1898-1905), written in 1923 and translated from English into French in 1925, results from a complex editorial history and still awaits a translation from the Polish original. The aim here is to shed some light on the reasons for its success at its first reception and its rediscovery since 1989 and the rise of censorship in Poland: Why (re)read Man and Mystery in Asia? This book, which goes beyond the scientific writings of the Polish geologist, can be read at least at three additional levels: as the literary narrative of a scientist, it articulates science with economics and ecology; as a text inspired by Anglo-Saxon or Polish adventure novels, it stands out as an anticolonial western in the Far East; as the text of an author who had escaped a manhunt by Russian and Mongolian revolutionaries in 1920-1921, a story narrated in Beasts, Men and Gods, he depicts a whole shadow world, where the narrator experiences proximity with death and the dead. [ABSTRACT FROM AUTHOR]

Copyright of Imaginaires is the property of Universitaires de Reims and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nous nous proposons d'examiner la récurrence d'un ensemble thématique dans un corpus de films d'horreur, où la manifestation d'un surnaturel terrifiant demeure étroitement liée à la réapparition d'un trauma, refoulé et jamais découvert, qui cherche à s'imposer à l'attention des vivants. Ce trauma a toujours trait à une violence perpétrée à l'endroit des femmes et des enfants, et ce sont précisément à ces personnages en question que le surnaturel, en quête de communication ou de vengeance, se manifeste. Entre la manifestation du surnaturel et ceux qui parviendront à le «libérer» se fait jour un lien d'affinité inédit, une similarité entre deux histoires sous-tendues par des dynamiques familiales.

Copyright of Revue des Lettres Modernes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In a time of development of New Information and Communication Technologies (NICTs), especially of the Internet since the mid-1990s, « networked ghosts » have emerged. These new ghostly figures (for whom the movie Ring by Hideo Nakata released in 1998 was a milestone) have especially thrived in Japanese horror movies, before spreading at the international level. Overall, their success is based on two main distinct spatial patterns. On the one hand, « contagious specters », whose curse is transmitted and spreads on the model of an epidemic, following interactions within a relationship network. On the other hand, « connected revenants », who are able, like a network engineer, to operate and even to create networks in order to project themselves at will within them; therefore, their range of action tends towards ubiquity. This paper argues that networked ghosts are the embodiments of an ambivalent social fear, swinging between fear of others as a constant source of unknown (contagious specters) and fear of isolation and loss of identity (connected revenants). [ABSTRACT FROM AUTHOR]

Copyright of Revue Historique (0035-3264) is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La première pièce de théâtre de Laurent Mauvignier, Tout mon amour, est créée en 2012 par la compagnie Les Possédés. La thématique habituelle de Mauvignier (secrets des familles, solitude, violence sociale) s’y retrouve, mais tout en utilisant pleinement les moyens de la scène (distanciation, présence physique, espace théâtral, discours rythmés).

In this paper the author describes certain kinds of images (phantoms) that appear in the aftermath of social catastrophes. These phantoms come with an underlying narrative structure, which the author describes as phantom narratives. Phantom narratives show how the unconscious, working at the group and individual levels, provides political and social contexts within which the individual may find a different kind of containment for these catastrophes. In this way their suffering may be potentially processed psychologically and related to symbolically. [ABSTRACT FROM AUTHOR]

Discussing the social construction of the phenomenon of exorcism, this article illustrates how it is located in contemporary culture and specifically in the religious field. Following the study done by Michel de Certeau on the mass possession of the Ursulines’ convent of Loudun (France) in the 17th century, the authors differentiate between the ‘possessed’ and the ‘possessionists’, that is between those who are possessed by the devil and those who are convinced of the reality of possession.Although the authors cannot claim that there has been a growth of possessed people, they make the claim that there has been an increase of ‘possessionists’ through the over-policing of the devil: the more the over-policing of the devil is practiced, the more people are likely to become ‘possessionist’ and believe in the increase of the presence of the devil. [ABSTRACT FROM AUTHOR]

Although belief in ghosts or analogous concepts is prevalent cross-culturally, including in contemporary Western cultures, social scientific treatments of spirit belief and experience often dismiss such views as superstitious, or overlook this dimension of culture completely. Using mixed methods, we examine ghost belief, experience, and media consumption, as well as the practice of ‘ghost hunting’ in the United States. Results from a national survey demonstrate that these beliefs and practices are common and concentrated strongly among younger generations of Americans, especially moderately religious ‘dabblers.’ Fieldwork with multiple groups centered on ‘hunting’ ghosts reveals several notable themes, including rhetorical appeals to both science and religion, magical rites, the extensive use of technology to mediate evidence and experiences of ghosts, and the narrative construction of hauntings. We argue that the inherent liminality of spirits as cultural constructs accounts for their persistence, power, and continual recurrence. [ABSTRACT FROM PUBLISHER]

Copyright of Terrain is the property of Mission Patrimoine Ethnologiq and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Neohelicon is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the poetic novel "Les Chants de Maldoror," by Isidore Lucien Ducasse is presented. It consists of six "cantos" that depict the historic and literary implications of phantasmagoria and the ways that the visual affects of the novel are significant. They seem to occur behind a thick fog that the reader has a hard time escaping. The author focuses on the visual arts that were prevalent at the time and their impact on the cantos.

Copyright of Annals of Tourism Research is the property of Pergamon Press - An Imprint of Elsevier Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)