The Haunted House in Women’s Ghost Stories

Liggins, Emma

doi:10.1007/978-3-030-40752-0

Cited by 9 publications

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“…With reference to children's stories, please seeBoyd (2003) andAndrew (2017).6 In particular this re-evaluation of the ghost story has focused upon its uses in the hands of women writers. See, for example, studies by Edmundson (2013),Margree (2019) andLiggins (2020). KateKrueger's monograph British Women Writers and the Short Story, 1850-1930: Reclaiming Social Space (2014 contains a chapter on women's supernatural fiction while also considering women's wider contribution to the short story genre in the latter half of the nineteenth century.…”

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confidence: 99%

Teaching Victorian Short Fiction

Margree¹

2020

VPFJ

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This essay argues for greater inclusion of Victorian short fiction in university teaching. In the first part of the essay I argue that Victorian short fiction has been subject to a double marginalisation in scholarship. This has resulted, firstly, from the minor status of short fiction in general, and secondly, from the focus of attempts to redeem the short story upon proto-modernist stories. This leaves underexplored the greater part of short fiction from the nineteenth century – particularly highly plotted popular fictions, and fictions published before the 1890s. Part two contends that this scholarly neglect is reflected in an insufficiency of pedagogic scholarship on Victorian short fiction. It argues for the teaching potential of this material in terms of moving beyond the canon, enabling students to become producers of knowledge, and decolonising the curriculum. Part three provides a case study of a digital platform – the Victorian Short Fiction Project – and an 1862 tale collected there from London Society magazine which focuses upon female art students negotiating possibly conflicting desires for autonomy, professional fulfilment, and marriage. The analysis aims to show that even ephemeral, anonymous short fiction of this kind can open up valuable classroom discussions of narrative form, readerly engagement, and the complex ideological work being undertaken by popular Victorian fictions.

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confidence: 99%