Humanities

This essay reads Grant Allen’s “Pallinghurst Barrow” as folk horror about the late-Victorian spiritualist debates. We read Allen’s story as not only sympathetic to spiritualism, but also as critical of the gendered and genred politics of fin-de-siècle scientific materialism which would preclude such occult experiences—or what we frame as feminine ways of knowing. In both form and content, “Pallinghurst Barrow” challenges masculine science by foregrounding the powerful influence (on Rudolph, the protagonist) of the Gothic ghost story (“gipsy” Rachel’s cautionary tale, repeated by young Joyce). Allen’s interest in the folkloric origins of religion can be traced back to Herbert Spencer’s “Ghost Theory,” a proto-sociological explanation for the cultural construction and transmission of myth (or spirits). A lifelong friend and devotee of Spencer, Allen employs his mentor’s sociology as a way to make sense of non-material forces, including the ghost story circle and its production of Gothic awe or wonder (the wonder tale). Ultimately, then, Allen’s infamous folk horror reads as an allegory of late-Victorian spiritualist debates and, more importantly, as a defence of feminine modes of knowledge and myth-making through collective story-telling.

Materiality has emerged as a significant theme in Holocaust literature as well as in Holocaust studies scholarship, highlighting the pivotal role of physical objects. This materiality has been conceptualized in various ways in recent scholarship, including «testimonial objects», «objects of return», and «artifacts of memory». Building on this conceptual framework, the article analyzes the ways in which transgenerational memory transmission is thematized in Monica Csango’s memoir Fortielser. Min jødiske familiehistorie («Concealments. My Jewish Family History», 2017), investigating what memorial functions material places and objects—in particular inherited objects—serve in the transmission and representation of memory within the narrative. The central question the article addresses is: Which places and objects are central to the narrative’s representation of memory, and in what ways do they mediate memory and trauma? The article suggests that postmemory transforms physical objects and places spaces into sites of remembering and mourning, enabling transgenerational continuity and memory transmission in Fortielser. These findings underscore the central role of material and spatial mediums in sustaining intergenerational remembrance, suggesting that inherited artifacts and projected spaces constitute vital modes of memory transmission, or «acts of transfer», within parts of Jewish Norwegian second- and third-generation literature.

This paper examines Arthur Conan Doyle’s 1883 story The Captain of the ‘Pole-Star’ in light of his later intersecting interests in spiritualism and masculinity. Conan Doyle uses the Arctic as a space where scientific and spiritual ways of viewing the world struggle to co-exist, comparing ship doctor Ray’s official journal with the ‘superstition’ of the crew, examining the role of spiritual belief in an increasingly scientific age. The paper examines how the story focuses these themes through the lens of masculinity. By reading Ray and Craigie as embodiments of possible British futures—that of scientific rationality and Romantic spirituality, Ray’s rationality is ultimately confounded and unsettled by the spectral events of the story, leaving him haunted by the events on board the ship, unable to resolve them or prevent Craigie’s death. Meanwhile, Craigie’s Romanticism leads him to embrace the spectral, but at the cost of his own life. As a result, Conan Doyle depicts both definitive worldviews as ultimately cold and desolate, neither wholly sustaining on their own terms. The ghost, as a result, becomes key to determining what sort of man ought to usher in the future—whether we recognize it as having a rational explanation or a sublime supernatural one.