Ghosts of other stories: a synthesis of hauntology, crime and space

Criminology has long sought to illuminate the lived experience of those at the margins. More recently, there has been a turn toward the spatial in the discipline. This paper sets out an analytical framework that synthesizes spatial theory with hauntology. We demonstrate how a given space's violent histories can become embedded in the texts that constitute it and the language that describes it. The art installation ‘Die Familie Schneider’ is used as an example of how the incorporation of social trauma can lead to the formation of a spatial “crypt”. Cracking open this “crypt” allows us to draw out Derrida's notion of the specter within the context of a “haunted” city space

Misty, Spellbound and the lost Gothic of British girls’ comics.

This article is a case study of the 1970s British girls’ comics Spellbound (DC Thomson, 1976–1977) and Misty (IPC, 1978–1980). These mystery anthology comics followed the more famous American horror comics from publishers like EC Comics - but were aimed at pre-teen girls. The article situates these comics with respect to Gothic critical theory and within the wider landscape of British girls’ comics. Firstly, it closely considers and compares the structure and content of their stories with respect to theories of the terror and horror Gothic. It discovers that both comics offer similar fare, with a subversive streak that undercuts established horror archetypes. The article then looks closely at both titles’ aesthetics and their use of the page to draw comparisons. It uses comics theory and Gothic cinematic theory to demonstrate that the appearance of Misty is more strongly Gothic than the aesthetic of Spellbound. Finally, it considers a selection of stories from both comics and analyses their common themes using Gothic critical theory. It argues that both comics rework Gothic themes into new forms that are relevant to their pre-teen and teenage readers. It concludes by summarising the study’s findings and suggesting that these comics offer a “Gothic for Girls” that is part cautionary tale and part bildungsroman. This article is published as part of a collection on Gothic and horror

Local government chief executives’ everyday hauntings : towards a theory of organizational ghosts

This paper develops a theory of organizational ghosts, a concept that describes the haunted and burdensome aspects of organizational life and in particular of leadership action. The concept of organizational ghosts is not offered as yet another metaphor, a lens through which to analyse particular organizations. Rather, I offer my discussion of ghosts as a theoretical concept that explains how inheritances of the past haunt the relations and struggles of the present. I tell a ghostly tale of the everyday leadership and learning practices of UK local government chief executives, and provide an exploration of organizational ghosts as a contribution to the growing interest in the action in the shadows, atmospheres, margins and boundaries of organizations. Drawing upon an ethnographic study of UK local councils, and embracing the multiplicity and heterogeneity of organizational ghosts, the paper considers the theoretical, political and ethical stakes involved in taking ghosts seriously. Its contribution is to show how ghosts are insinuated in organizations and to highlight leaders as figures who are both willing agents and uneasy hosts of hauntings, and to point to the mediating role of leaders in handling confrontations between the past, the present and the future.Publisher PDFPeer reviewe

A ‘system of light before being a figure of stone’: The phantasmagoric prison

This article explores the uncanny interplay between folk and official readings of Victorian prison architecture. From building designs to cinematic depictions, the visual underpins any understanding of the prison. Using Bakhtin’s notion of heteroglossia, it will be shown how the visual elements of prison buildings, both physical and cinematic, obscure a ‘programmatic organisation of space’. As such, the prison is akin to a ‘phantasmagoria’. Both have visual elements that embrace and encourage an imaginative response, but that also mask a rational core. The term ‘Gothic(k)’ is developed here to describe those elements of the prison that constitute its ‘place-myth’. The prison no longer requires a physical apparatus to project its message or consolidate this place-myth. By drawing upon the Gothic(k) readings of the prison and the analogy of the phantasmagoria, we see how the prison has been fully rendered as a ‘system of light’