Featured Post from Villanova University

Why Do We Tell Ghost Stories?

Oct 31, 2024

3 min

From collecting candy to carving pumpkins, Halloween is defined by its traditions, and few are as time-honored as the telling of ghost stories.


Whether recounted by crackling campfires, read from well-worn books or streamed on big-screen TVs, supernatural tales seem to take on a special resonance in the lead-up to October 31. And, on the whole, we seem more than comfortable enduring chills and braving thrills to enjoy them.


But what draws our attention, season after season, to things that go bump in the night? And what makes the paranormal such a powerful, and persistent, storytelling device?


Mary Mullen, PhD, is an associate professor of English at Villanova University and the instructor of the course "Ghostly Matters," which delves into haunting's role in culture, history and society. From her perspective, our longstanding fascination with spirits, specters and phantoms speaks as much to our concern for the world around us as to our interest in the hereafter.


"At their core, ghost stories unsettle us," says Dr. Mullen. "They raise questions about what we consider normal, what we view as 'everyday life,' what we value as 'modern' and whether the past is still with us or not."


As Dr. Mullen explains, when we're presented with something that's "haunted," we're essentially being asked to consider the reasons why. The very existence of spirits, emerging from beyond the grave, compels us to reflect on their presence's meaning—and to think about what developments might draw the ire, intrigue or intervention of the dead. (When watching Steven Spielberg's "Poltergeist," for instance, a viewer might feel the movie's ghosts are completely justified in terrorizing the profit-hungry real estate firm that disturbed their eternal slumbers.)


Spirits, in turn, consistently set our focus on items left unsaid, unconsidered or overlooked. Departed yet still present, drifting somewhere between this plane and the next, they often challenge the living's notions of progress, propriety and success—and signal a last-ditch effort at preserving something that has all but faded from recollection. In effect, they bring the past into dialogue with the present for the sake of the future.


"Ghost stories are really useful for contemplating transition and change and what's lost in the process," says Dr. Mullen. "They give a name to things that are liminal… For example, Luke Gibbons [a professor at Maynooth University] says that ghost stories, in modern Irish writing, are frequently connected to memories that haven't yet become public history. So, they speak to facets of social life that exist, or have existed, but are not present in monuments or official accounts."


From Virginia Woolf's "A Haunted House" to Toni Morrison's "Beloved," tales of the supernatural provide us with what Dr. Mullen terms "glimmers of possibilities." They serve to mirror and embody our complicated feelings on transformative happenings, whether personal, communal or generational, and they afford us the language and vocabulary to express sadness over what is done and hope for what is yet to come.


"There are certainly ghost stories, like Elizabeth Bowen's 'The Demon Lover,' that end in absolute terror with no seeming resolution," says Dr. Mullen. "But I think that, in a lot of these tales, haunting leads to reconciliation, or different kinds of healing or important acknowledgements—of things that need to be acknowledged."


As Dr. Mullen proceeds to explain, it's no coincidence that the roots of the contemporary ghost story can be traced to the 19th century, a period of great social upheaval, cultural displacement and scientific and technological advancement. The product and reflection of a tumultuous "new age," the genre, as we know it, took hold as a means of reckoning with that which was lost, actively transpiring and still to occur.


Perhaps it's no surprise then that, as the leaves begin changing and autumn starts giving way to winter, we have an affinity for tales that center on visits from the afterlife, bridging the past, present and future.


"I think that we tell ghost stories when we're open to moving beyond our sense of 'the everyday,'" says Dr. Mullen. "And there are certain points of the year, like the holidays and gatherings with family and friends, that are so rich with emotion and memory that the boundary between this world and the 'otherworld' seems maybe—just maybe—capable of being crossed."


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As an example, we wouldn't use a heavy water process if we were in the Arizona desert, instead we should look to our immediate surroundings to solve problems. PR: It seems the work going on in this field really takes a unique level of interdisciplinary collaboration. What types of different professionals are working in biomimicry? AS: It really pulls together biologists, engineers, physicists, chemists, even design artists and businesspeople. I've worked with a lot of different businesses that want to have sustainability in their company at broad levels by using biomimicry. They are not motivated by making a cool product, but realizing it actually saves them money if they think about their whole company in a biomimetic perspective. There are people who work on the social side of biomimicry, helping these companies completely restructure themselves to be more efficient and more time and money sensitive, without ever making a product. But of course, products are a huge part of it, too. 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AS: My hard science work is very much functional morphology – shape and structure of things and how they function. That includes behavior and their organismal interaction with the environment. I ask questions like: How do their structures function and perform? How sticky are they? How fast are they? How do they behave in their environment? What happens if they hit different challenges in their environment? My work kind of naturally fits well with biomimicry, especially for product development. I observe the natural world and then I start testing questions and predictions that I have about it, like figuring out how the heck this ant is sticking to this wet leaf. My results can then be applied directly. We have to first understand how these organisms work, and then others can run with it to try to put it to use. PR: What organisms do you work with and what about them are you studying? 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They are structured this way intentionally. “The idea behind digital contracting is ‘Let’s make the contract as quick as possible before people leave or change their mind,” Frischmann said. “They only want to do the minimum that the law requires, and all the law requires is notice of terms and action that says, ‘I agree.’” For these reasons, he argues, modern digital contracting contradicts the purpose of contract law in the first place; enabling people to reach genuine agreements and cooperate. “It’s antithetical to the underlying values of a contract,” Frischmann said. “Autonomy is undermined because people are not able to exercise autonomy in a meaningful way when they are not actually capable of deliberating about the terms to which they are agreeing. As for being cooperative, there is no relationship. Digital contracts are completely one-sided.” So what can be done to combat this? “Speedbumps,” Frischmann says, referring to measures that can cause friction in the contracting process to better protect the user. Physical road speedbumps represent a useful analogy, because while they make things slightly more inconvenient for the user, they are deployed strategically where other values are at stake, like the safety of children playing outside. “People tolerate speedbumps,” Frischmann says, “because they serve a social purpose. Friction in digital contracts is similar.” With respect to improving digital contracting, there are multiple measures that can be taken that inherently have such friction, but not all of them are always appropriate. Completely Automated Public Turing Test to Tell Computers and Humans Apart (CAPTCHAs), for example, are a type of friction-in-design that serve a useful social purpose (security) and have become normalized and tolerated, but some CAPTCHAs are ableist and others may generate proprietary data. Where he sees the most beneficial friction existing is in comprehension, which in software form could be completing a task or passing a test to prove an individual understands the agreement. Comprehension is the basis for one of Frischmann’s proposed alterations to contract law. Currently, the oft-criticized concept of informed consent is utilized. He argues it should be replaced with demonstrably informed consent, in essence requiring entities to further show that people truly comprehend what they are agreeing to. “Right now, individuals assent to contracts, going along with terms someone else insisted upon,” he said. “But assenting to terms is very different than being informed and consenting. To demand demonstrably informed consent shifts the burden on the provider to generate evidence showing in fact a person understood and agreed.” In the recent Disney case, for example, demonstrably informed consent would have required not just clicking an agreement when signing up for Disney+, but that Disney somehow explained to an individual that if they sign up for a free trial, they cannot take the company to court, and further generating reliable evidence that the individual understood that. If that were the case, perhaps the individual would not have signed up. “Or, they may not have ever gone to the Disney park if they had [signed up],” Frischmann said. This proposed change in contract law, along with the various potential methods of engineered friction in digital contracts all circle back to the same goal: slowing down contracting where it affects people in ways they do not understand. “You can’t have digital contracting built like a highway, where it’s all as fast as possible all the time,” Frischmann said. “For our digitally networked environment, it needs to be built like a neighborhood.”

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