There\u27s No Place Like Home: The Haunted House as Literary Motif

This thesis traces the development of the haunted house in British and American literature and covers a time span of roughly two hundred years. Its approach is chronological: beginning with Horace Walpole\u27s The Castle of Otranto, it examines the use of the Bad Place as a literary motif, emphasizing the consistencies in its development while noting the inconsistencies as well. From Walpole to Stephen King, we see that the haunted house has continuously represented two things. On one hand, it may serve as a repository for unexpiated sin. The traditional haunted house, in fact, is nothing more than the prison of an earth-bound, essentially good spirit who has in some way been wronged and is bent, therefore, on alleviating its own suffering. The ghost may, as a sideline, demand proper burial or serve to warn of an impending catastrophe, but once he has wreaked revenge by exposing the person responsible for his death, he disappears, presumably freed from Purgatory and allowed to enter Heaven Proper. Such is the case in Walpole\u27s Castle and in Clara Reeve\u27s The Old English Baron, as well as in a number of late nineteenth century works; in a slightly different way, it is also the case in works like The House of the Seven Gables and The Jolly Corner, for the sin housed need not be a tangible sin of the flesh-- it may be a sin of character instead. In The House of the Seven Gables, for instance, the ghost that haunts the Pyncheon house is elitism: Hawthorne\u27s gloomy, ramshackle mansion is a symbol of dead aristocratic ideals. The Jolly Corner\u27s ghost, on the other hand, is narcissism: Spencer Brydon\u27s house is empty, we learn, because its owner is devoid of any sense of compassion for others. Besides acting as a repository for unexpiated sin, the haunted house also serves as a kind of psychological mirror capable of reflecting-- and often preying upon-- the obsessions of the characters who reside within. The governess in The Turn of the Screw, for example, is a strait-laced Victorian prude; in and around James\u27 haunted house, therefore, materialize two characters with notorious sexual histories. Most often it is guilt that the haunted house reflects, but it may also be authoritarianism, sexual desire, or jealousy. Often, too, the haunted house as mirror may merge with one of the other interpretations. The house of Usher, for example, at once mirrors and magnifies the guilt and instability that form the core of Roderick Usher\u27s anguish, and at the same time represents the incestuous family whose sin requires expiation. Thus, haunting\u27s two basic sources are often as inseparable as subterranean passages from gothic castles. Of course, like the chameleon, the haunted house was not content with a single color: it demanded several, fortunately, and in the years subsequent to Walpole\u27s efforts, donned many different hues. In Robert Marasco\u27s Burnt Offerings (1973), the house represents a ghastly microcosmic death/rebirth cycle in which human sacrifice is prerequisite to the house\u27s own rejuvenation. In Charles Beale\u27s The Ghost of Guir House (1897), the house, a tangle of ivy and worm-eaten wood, is a symbol for man\u27s less-than-ideal existence on earth. The house represents the womb, a haven, in both James\u27 The Turn of the Screw (1898) and Oliver Onions\u27 The Beckoning Fair One (c.1935), while in Algernon Blackwood\u27s The Other Wing and James\u27 The Jolly Corner, it is synonymous with the human mind. Such redecorative trends reflective of the times have not, however, precluded the haunted house from consistently acting as a repository for unexpiated sin and as a psychological mirror. These consistencies-- along with the inconsistencies-- will be traced in greater detail in the thesis following

There\u27s No Place Like Home: The Haunted House as Literary Motif

This thesis traces the development of the haunted house in British and American literature and covers a time span of roughly two hundred years. Its approach is chronological: beginning with Horace Walpole\u27s The Castle of Otranto, it examines the use of the Bad Place as a literary motif, emphasizing the consistencies in its development while noting the inconsistencies as well. From Walpole to Stephen King, we see that the haunted house has continuously represented two things. On one hand, it may serve as a repository for unexpiated sin. The traditional haunted house, in fact, is nothing more than the prison of an earth-bound, essentially good spirit who has in some way been wronged and is bent, therefore, on alleviating its own suffering. The ghost may, as a sideline, demand proper burial or serve to warn of an impending catastrophe, but once he has wreaked revenge by exposing the person responsible for his death, he disappears, presumably freed from Purgatory and allowed to enter Heaven Proper. Such is the case in Walpole\u27s Castle and in Clara Reeve\u27s The Old English Baron, as well as in a number of late nineteenth century works; in a slightly different way, it is also the case in works like The House of the Seven Gables and The Jolly Corner, for the sin housed need not be a tangible sin of the flesh-- it may be a sin of character instead. In The House of the Seven Gables, for instance, the ghost that haunts the Pyncheon house is elitism: Hawthorne\u27s gloomy, ramshackle mansion is a symbol of dead aristocratic ideals. The Jolly Corner\u27s ghost, on the other hand, is narcissism: Spencer Brydon\u27s house is empty, we learn, because its owner is devoid of any sense of compassion for others. Besides acting as a repository for unexpiated sin, the haunted house also serves as a kind of psychological mirror capable of reflecting-- and often preying upon-- the obsessions of the characters who reside within. The governess in The Turn of the Screw, for example, is a strait-laced Victorian prude; in and around James\u27 haunted house, therefore, materialize two characters with notorious sexual histories. Most often it is guilt that the haunted house reflects, but it may also be authoritarianism, sexual desire, or jealousy. Often, too, the haunted house as mirror may merge with one of the other interpretations. The house of Usher, for example, at once mirrors and magnifies the guilt and instability that form the core of Roderick Usher\u27s anguish, and at the same time represents the incestuous family whose sin requires expiation. Thus, haunting\u27s two basic sources are often as inseparable as subterranean passages from gothic castles. Of course, like the chameleon, the haunted house was not content with a single color: it demanded several, fortunately, and in the years subsequent to Walpole\u27s efforts, donned many different hues. In Robert Marasco\u27s Burnt Offerings (1973), the house represents a ghastly microcosmic death/rebirth cycle in which human sacrifice is prerequisite to the house\u27s own rejuvenation. In Charles Beale\u27s The Ghost of Guir House (1897), the house, a tangle of ivy and worm-eaten wood, is a symbol for man\u27s less-than-ideal existence on earth. The house represents the womb, a haven, in both James\u27 The Turn of the Screw (1898) and Oliver Onions\u27 The Beckoning Fair One (c.1935), while in Algernon Blackwood\u27s The Other Wing and James\u27 The Jolly Corner, it is synonymous with the human mind. Such redecorative trends reflective of the times have not, however, precluded the haunted house from consistently acting as a repository for unexpiated sin and as a psychological mirror. These consistencies-- along with the inconsistencies-- will be traced in greater detail in the thesis following

RAMSWay Safe Path

RAMSWay promotes safety for students, faculty, staff, and visitors with a series of safe walkways connecting key locations, such as classroom buildings, gyms, libraries, residence halls, and parking decks, on Virginia Commonwealth University’s sprawling urban campus. RAMSWay paths are designed to be consistent with the theoretical framework referred to as CPTED (Crime Prevention Through Environmental Design). CPTED suggests that altering the physical design of communities or areas in which people congregate can deter criminal activity. CPTED-compliant landscaping and lighting, security features (e.g., cameras, ERTs phones), and increased police presence on the paths promote the sense of safety. Further, increased foot traffic provides safety in numbers, consistent with VCU’s current Bystander Intervention initiative. VCU branded RAMSWay aluminum signs will designate walkways on both the Monroe Park and MCV campuses, showing pedestrians a preferred route. When traveling on RAMSWay, members of the VCU community will have more opportunities to interface with VCU Police, pass by ERTs phones, and share the route with fellow students, faculty, and staff. By using the path, we all help do our part to promote safety on our campus. Existing organizations and communication platforms, such as VCU University Relations, Student Government Association, VCU Mobile and LiveSafe, will promote the use of RAMSWay to the VCU community. RAMSWay will be executed in coordination with VCU Police and VCU Facilities

Psychological Resilience and Cognitive Function Among Older Military Veterans.

The purpose of this study was to explore the association between psychological resilience and cognitive function in military veterans. We obtained public-use data from the Health and Retirement Study (HRS) for this cross-sectional study of military veterans aged 52 to 101 years (n = 150). We estimated a multivariable linear regression model in which cognitive function served as the dependent variable and psychological resilience served as the independent variable. After controlling for demographics, health conditions, and health behaviors, veterans who had higher psychological resilience scores had better cognitive function (b = 0.22, p = 0.03). Our findings suggest that psychological resilience may be associated with cognitive function among veterans. These findings highlight the importance of assessing psychological resilience in gerontological social work practice

The Vehicle, Fall 1978

Vol. 2, No. 1 Table of Contents FarewellGregory Manifoldpage 4 Visiting HoursCindy Grocepage 5 The Deer KillerG.L. Bullardpage 6 Identity CrisisCindy Grocepage 9 I ScreamDale Stroheckerpage 11 John RobertLee Martinpage 12 Smiling in WinterNancy Cunninghampage 20 Walt Disney Told Us LiesThomas C. Howellpage 20 LakesideMary McDanielpage 21 Heavy LiteratureTerry Kroenungpage 22 Old FriendsMary McDanielpage 27 A Sunny AfternoonJoan O\u27Connorpage 28 Always TomorrowMary McDanielpage 29 Four SunsetsGregory Manifoldpage 30 Come FreeBob Welshpage 32 Faded PinstripesLee Martinpage 33 WindsongCarolyn Perrypage 38 SilenceSylvia Aldertonpage 39 One More TimeCheri Clousepage 40 Grandfather Was IlliterateCindy Grocepage 41 StonehengeGregory Manifoldpage 43 GabsCheri Clousepage 44 Spindley Bare BranchesJeanne Hansenpage 48 Art CoverLafayette Wilson PhotographBill Cochranpage 3 DrawingLafayette Wilsonpage 10 DrawingLafayette Wilsonpage 19 PhotographBill Cochranpage 21 PhotographBarbara Colemanpage 28 DrawingJoyce Bonwellpage 31 PhotographKathy Sanderspage 39 DrawingKathy Sanderspage 42https://thekeep.eiu.edu/vehicle/1035/thumbnail.jp

The Vehicle, Spring 1993

1993 Commemorative Edition: Celebrating 35 Years Table of Contents The Vehicle Editors\u27 Lineagepage 5 Milestonespage 6 THE SIXTIES Coverspage 7 Editors\u27 Notespage 8 Sureness is Never - excerptDon Shepardsonpage 9 SophisticationBenjamin Polkpage 10 A SonnetMignon Stricklandpage 11 The Twenty-Third ChannelBen Polkpage 11 Opposite AttractionsC.E.M. (Christine McColl)page 12 John F. KennedyJoel E. Hendrickspage 13 The Girl on the White PonyLarry Gatespage 14 The TimesW.D.M. (William Moser)page 16 Home ThoughtsJane Careypage 17 1966Roger Zulaufpage 18 Nagging ThoughtJanet Andrewspage 18 THE SEVENTIES Coverspage 19 Editors\u27 Notespage 20 RevolutionsSteve Siegelpage 21 UntitledKristine Kirkhampage 23 The Arithmetic ProblemJanice Forbuspage 23 Willie Seeverson Threw a Worm at MeMary Pipekpage 24 a love poem (by approximation)Ted Baldwinpage 25 Night and Summer in Two WorldsBarry Smithpage 26 Story of a Teenage PickleTerry Louis Schultzpage 27 Danny Lonely, Danny WildDevin Brownpage 28 Always TomorrowMary McDanielpage 29 THE EIGHTIES Coverspage 31 Having ChildrenDevon Flesorpage 33 What is Unnatural Is Sometimes MagicAngelique Jenningspage 34 If My Father Were A Writer, He Would Still BuildAngelique Jenningspage 35 Photo AlbumPatrick Peterspage 36 Poet Born in Pearl HarborAngelique Jenningspage 37 The History of High School BasketballPatrick Peterspage 38 Banana BreadGail Bowerpage 39 Cover LetterBob Zordanipage 40 Home MoviesBob Zordanipage 41 MigrationPatrick Peterspage 42 THE NINETIES Ba, Ba, Black SheepVictoria Bennettpage 45 Daily LessonsJennifer Moropage 49 Folding My OwnLaurie Ann Malispage 51 About the Authorspage 53 Editors\u27 Notespage 56https://thekeep.eiu.edu/vehicle/1062/thumbnail.jp

The Vehicle, Spring 1993

1993 Commemorative Edition: Celebrating 35 Years Table of Contents The Vehicle Editors\u27 Lineagepage 5 Milestonespage 6 THE SIXTIES Coverspage 7 Editors\u27 Notespage 8 Sureness is Never - excerptDon Shepardsonpage 9 SophisticationBenjamin Polkpage 10 A SonnetMignon Stricklandpage 11 The Twenty-Third ChannelBen Polkpage 11 Opposite AttractionsC.E.M. (Christine McColl)page 12 John F. KennedyJoel E. Hendrickspage 13 The Girl on the White PonyLarry Gatespage 14 The TimesW.D.M. (William Moser)page 16 Home ThoughtsJane Careypage 17 1966Roger Zulaufpage 18 Nagging ThoughtJanet Andrewspage 18 THE SEVENTIES Coverspage 19 Editors\u27 Notespage 20 RevolutionsSteve Siegelpage 21 UntitledKristine Kirkhampage 23 The Arithmetic ProblemJanice Forbuspage 23 Willie Seeverson Threw a Worm at MeMary Pipekpage 24 a love poem (by approximation)Ted Baldwinpage 25 Night and Summer in Two WorldsBarry Smithpage 26 Story of a Teenage PickleTerry Louis Schultzpage 27 Danny Lonely, Danny WildDevin Brownpage 28 Always TomorrowMary McDanielpage 29 THE EIGHTIES Coverspage 31 Having ChildrenDevon Flesorpage 33 What is Unnatural Is Sometimes MagicAngelique Jenningspage 34 If My Father Were A Writer, He Would Still BuildAngelique Jenningspage 35 Photo AlbumPatrick Peterspage 36 Poet Born in Pearl HarborAngelique Jenningspage 37 The History of High School BasketballPatrick Peterspage 38 Banana BreadGail Bowerpage 39 Cover LetterBob Zordanipage 40 Home MoviesBob Zordanipage 41 MigrationPatrick Peterspage 42 THE NINETIES Ba, Ba, Black SheepVictoria Bennettpage 45 Daily LessonsJennifer Moropage 49 Folding My OwnLaurie Ann Malispage 51 About the Authorspage 53 Editors\u27 Notespage 56https://thekeep.eiu.edu/vehicle/1062/thumbnail.jp

The Vehicle, Fall 1980

Vol. 22, No. 1 Table of Contents UntitledSusan Mehlpage 4 MitchJohn Stockmanpage 5 HallwayAndy Leszczynskipage 6 At The MoviesElise Hempelpage 8 HaikuAngie Patrickpage 8 On MagnoliasThersa Kennypage 9 NeighborJohn Stockmanpage 10 WetCathy Georgepage 10 HaikuThersa Kennypage 10 The Speed QueenCarolyn Perrypage 11 A ThoughtThersa Kennypage 14 The Stone Belongs to the LakeRobert Schumacherpage 15 Driving South of WinnipegJerry McAnultypage 16 Travels with the ExecutionerPeter Lindemanpage 17 NightwingLaura Muellerpage 18 Thoughts of an Uninterested StudentDru Seftonpage 19 Rainbird\u27s ManMary McDanielpage 20 EffortlessKevin Stottpage 25 Where the Waves SoundTheresa Whitesidepage 26 \u2745Ray Wallacepage 28 Epigram #1P. James Kruegerpage 28 UntitledSusan Mehlpage 29 RerunsAngie Patrickpage 30 SunsetGloria Rhoadspage 34 Return of the NativeRay Wallacepage 35 The GuitarJoanne Dunnepage 35 In Grandmother\u27s BedroomElise Hempelpage 36 Cindy Poem No. 3John Stockmanpage 36 Dust in the DarkLaura Muellerpage 37 Suspension BridgeLaura Henrypage 39 WavesLeslie Garnerpage 39 Oyama: a Setting and a GirlJerry McAnultypage 40 the middle of the nightKevin Stottpage 41 Old State RoadLaura Henrypage 43 Dairy QueenJohn Stockmanpage 43 Art CoverDennis Wunsch Pen and ink drawingRose Huberpage 3 PhotographIrene Brownpage 7 PhotographIrene Brownpage 27 PhotographIrene Brownpage 42 Pen and ink drawingRose Huberpage 44https://thekeep.eiu.edu/vehicle/1036/thumbnail.jp