The Haunting Of Hill House

The story of the Haunting Hill House and Rose Red have some common. The beginning of Haunting Hill House, Dr. Montague’s true passion lies in his study of supernatural phenomena. All of his life he has been searched for a truly Haunting Hill House, His searches leads to him The Haunting of Hill House. Dr. Montague founds some personal papers that has been left behind by the family that built Hill House, It was some paper that was eighty years ago so after this papers Dr. Montague everything went easy for him and realized that he found what is the real thing. So Dr. Montague decided to study the Haunting of Hill House since this house is haunted.

I choose to interpret the representation of cars in The Haunting of Hill House. In this novel, a car is first represented as a means of control over Eleanor by her sister (Jackson 7). However, Eleanor’s stealing of the car transforms the car into a representation of freedom from her present life (Jackson 10). The car allows Eleanor to be free of her controlled life and to begin her own journey (Jackson 10). We observe the same car at the conclusion of the novel as a device used to free herself from her forced departure of Hill House (Jackson 178). She uses the car to commit suicide, allowing her to stay at Hill House indefinitely (Jackson 182). I argue that in the novel the car is utilized for control

The novel The House of Seven Gables conveys its messages through the usage of images, which is done through inanimate object or places. This can be seen in the house of the seven gables and the daguerreotype of judge Pyncheon. Hawthorne present these images in such a manner, that their original meaning in the novel is no longer applicable. While many see his writing style as a tedious form, such writing has made the images created by Nathanial Hawthorne. Nathanial Hawthorne may be seen as a writer with a tedious writing style, such as the long descriptions of the images in the novel. Nevertheless it’s an effective manner to use allegory in a novel.

Tim Winton’s novel Cloudstreet presents two seemingly dissimilar families that are forced to live together in the same house. This piece of fiction contrasts many characters with diverse morals and behaviours, in particular the two mothers of the families, Dolly Pickles and Oriel Lamb. Beneath the surface, these women have more in common than they realise, especially when it concerns gaining power, suffering trauma, their partners, experiencing loss and their home.

Eleanor, the protagonist, undergoes a difficult childhood which cause many of her repressed feelings to be expressed through supernatural experiences that are ambiguous. She took care of her ill mother for 11 years, until she died. That affected her tremendously. For example, during Theodora’s supernatural experience, Shirley Jackson displays how Eleanor’s inner child managed to let her grow anger and jealously towards Theodora. Eleanor felt like Hill House was giving Theodora more

Eleanor was raised without her parents, and was also left to voyage life under her grandmother. She lived with other relatives of jarring personalities, absorbed in their own life. She lived in a world within a world, finding difficulty conforming confidently

Readers grow more sympathetic for Ellen as the story progresses, as her mama's mama immediately sends Ellen to work the fields with her grandma's black staff or, "help", on the farms she owns in the scorching summer heat. Through this, we see how cold-hearted her mama's mama is, and grow only more empathetic for Ellen, as all she wants and deserves is a nice family, but instead gets an almost soulless grandmother. When her mama's mama dies from illness, readers finally believe Ellen may get that happy ending. But, instead she is sent to her Aunt Nadine's and her obnoxious daughter, Dora. We find out how cold and vain Dora is, as she only wants her mother to herself, and finds sharing futile. At church, Ellen constantly sees a woman with many children. A foster mother. Ellen sees how well she treats them, wishing that she might find a happy ending with her. Hope has been tough for Ellen to keep, as she has juggled many challenges that destroyed whatever chance she had for being happy. But, maybe this woman could be that chance. On Christmas, Ellen finds out the truth when Nadine kicks her out and she tells Ellen that she never wanted her, and nobody ever did, which not only made readers have sympathy for her, but also gives Ellen the courage to seek out her own happy ending. Ellen goes to the foster lady's house, and bribes her to just let her stay there until high school, then she'll be on her way. The lady declines the bribe, but agrees to take her in and give her

Shirley Jackson’s novel, The Haunting of Hill House, explores the cultural anxieties in the mid 20th century. Specifically, men use womanhood (societal norms) as purposely infantilizing women in order to confine the female mind. Jackson utilizes symbolism, metaphor, and anaphora in her novel in order to convey the message for men to stop infantilizing women. Moreover, Jackson spreads awareness that women are being confined by a system that men developed: womanhood. Hence, in effect, the novel serves as an informal protest against male repression through a medium that can be read by a wider audience —more importantly an indirect challenge to male readers. According to Krolokke, Second Wave Feminism became prominent due to cultural discontent with patriarchy during the mid 20th century. Moreover, Krolokke informs the readers that Second Wave Feminism influenced women to challenge traditional family roles and male ideologies about women not belonging in the workplace (11-12). Mid 20th century is also when Jackson published The Haunting of Hill House. So, with these historical and cultural contexts in mind, Jackson’s The Haunting of Hill House ends the novel with Eleanor killing herself because she wants women to challenge the ideas of patriarchy into effect. Hence, Second Wave Feminism has a connection to Eleanor having a childlike personality (can not think for herself) because she wants women (especially young and single women) to explore their rights (their choices) and

Davison, Carol Margaret. "Haunted House/Haunted Heroine: Female Gothic Closets in "The Yellow Wallpaper." Women's Studies, vol. 33, no. 1, Jan/Feb2004, pp. 47-75. EBSCOhost, doi:10.1080/00197870190267197.

She stood there, a tall, thin steal gray fluffy haired figure on the top step for a second. And then looked down at the fair-haired children and smiled widely revealing a large gap between her two front teeth. She laughed cheerfully and declared, "Pay no mind to her. She's not so bad once you get to know her." Anna wondered about that. She seemed as if she were pretty good at being furious. "Come on, follow me." The lady said as she opened the door and allowed them to pass, "My name's Miss Margot. Now come along, there's no time to dawdle." She said in her sing-song voice and led them down a long, dark, narrow hallway that was lined with solid wood paneling. As we walked, she tugged at their arms to quicken their pace. Eventually she stopped and pressed on a spot in one of the boards and a door popped open. She and the children hurried into the cold, damp lopsided little basement storage area that was filled with spider webs and smelt dank. Once inside the room Anna noticed that a single light bulb on a long cord swayed from the ceiling and an old broken folding chair and a chamber pot leaned against one of the walls. And that in the back of the room there was a tiny, grimy window that permitted a sliver of evening moonlight to pass through. "That's yours." Miss Margot said and pointed her

Eleanor Vance joins a group consisting of a scientist and multiple other volunteers to investigate the supposed haunted house. When Eleanor first arrives at the house she feels a deeper connection to the house than the rest of the members, which in turn leads to the house “acting up” for her more often. The longer Eleanor stayed in the house the more she felt a sense of security and identity with the home itself instead of connecting with the other members of the group. Only after her depart from the house does Eleanor begin to experience such a great loss of self and identity that she decides to commits suicide. This relates to Shirley Jackson’s own experiences with agoraphobia and depression.

In The Haunting of Hill House, Shirley Jackson addresses the pervasiveness of maternal bonds in a horror-based context, and asserts that a mother-daughter bond gives people the nourishment and sense of individuality needed to live out a decent and sensible life. She engages her readers through the mind of a socially awkward women named Eleanor, who was ultimately victimized by her mother, and now seeks to gain a maternal acceptance, a fundamental need or vital blood connection. Eleanor seeks to fulfill herself by obtaining that motherly bond or that “cup of stars” which makes her human—an individual identity with a sense of belonging in the world. Hill House then targets Eleanor’s vulnerability, her desperate need for maternal acceptance, and presents itself as a tempting illusion—a mother, someone who loves her, a place where she can belong—to her. Roberta Rubenstein strongly explicates the idea of Hill House representing a parental figure, which according to her, poses as both “an enticing yet devouring mother” with a preoedipal love interest (Rubenstein). Yet, there is a situational irony taking place; Jackson presents the text to us in a way in which we can see Hill House’s evil attributes, while in turn, Eleanor decides to foolishly ignore them, and the house begins to consume her as a result. And just as Eleanor is both enticed and repulsed by the house, so are we. We recognize its evil appearance, and know it represents a form of danger, and yet we slowly grow

For this summer reading I decided to read the Scary Novels. Which included Shirley Jackson’s The Haunting of Hill House, William Peter Blatty’s The Exorcist, and Stephen King’s The Shining. The Haunting of Hill House is about an 80 year old mansion built by a man named Huge Crain. Dr. Montague, a paranormal investigator, rents the house in hopes to experience the supernatural. He invites four people, Eleanor Vance, Theodora and Luke Sanderson, based on their pasts. From there they stay for the summer in hopes to explore the supernatural side. The Exorcist is about a young girl Regan MacNeil, a daughter of a famous actress, that gets possessed. After the actress, Chris, tries everything to help her daughter from the so called sickness, she calls in a priest.

In the film, Little Shop of Horrors, directed by Frank Oz, there are many different ways that the movie could be altered to represent a different time period of the genre. This postmodern film could be changed to a classical film by changing the way the film is edited. It could also be changed by altering the plot and narration. In classical films, the editing is invisible. This is because the technology back in that time period is not the same as it is now, and there was less editing in movies back then. In Little Shop of Horrors, the editing is very noticeable. We can see this because the shot duration is short and the shots are connected by straight cuts, fade ins, and fade outs. To transform this into a classical

The term gothic serves as the ideal backdrop for a literary era of suspense, mystery, and terror. A haunted mansion bursting with secrets, a naïve helpless heroine, and the male hero that saves the day are all quintessentially gothic. When Ellen Moers first coined the term “Female Gothic” in her 1976 book, Literary Women, she defined it as “the work that women writers have done in the literary mode that, since the eighteenth century have been termed Gothic” (Moers). Her argument that Female Gothic literature is a code for women’s fear of domestic entrapment, especially within their own bodies as was mainly experienced in childbirth and motherhood, was quite influential. Anne Williams, in her book The Art of Darkness: A Poetics of Gothic,