In Pendle, the witch as historical figure is displayed in a variety of ways, becoming ubiquitous to the extent of acting as cipher for a sense of located-ness in the region. In the article, examples of tourist sites and ephemera are analysed alongside site-based research exploring mapped walks, sculptures and performance. By analysing depictions of the history embedded within the landscape, and the ways audiences engage with them, this research will examine the political and gendered implications of using this type of contested, traumatic history as a key component in establishing a local heritage and tourism identity. I argue that the retelling of the events as physically closely located yet historically distant lends them the patina of folk mythology, a process further compounded by the visual and material representations used to illustrate these versions of the story to visitors and locals alike. Witches are made present in Pendle and have become arguably an unofficial motif for the region where the caricature emblem of the witch is used to signpost walking routes and identify bus operators, and are sold as fridge magnets and novelty stuffed toys. This is contrasted to documentation of sculpture and temporary artworks marking the fourth centenary of the executions. This paper investigates how this historic trauma has been transformed into a multi-layered contemporary legend for local residents, tourists, and arts audiences, whilst also analysing the effect of repackaging this history somewhere between local folk mythology and commercial interest. By combining theories from Heritage Studies, Dark Tourism and Contemporary Legend, I have sought to offer up a means for exploring the material culture relating to the Pendle Witches and how these souvenirs, ephemera and artworks in the landscape connect to ways this legend is communicated today.

Read ON THE HILL: REPRESENTATIONS AND RETELLINGS OF THE PENDLE WITCHES’ HISTORY WITHIN THE RURAL LANDSCAPE OF LANCASHIRE, ENGLAND

The concept of das unheimlich (Jentsch 1902), or the uncanny, is applied to the phenomenology of grief and the manner loss transforms a person’s familiar life-world into an uncertain and unfamiliar space. Discussion of the collision of the foreign (emptiness and absence) with the familiar (conjugal material objects and spaces) as a dimension of grief has been infrequent and unsystematic. This article argues that this understanding of the uncanny is commendably conveyed by the Netflix grief-comedy or dramedy After Life, written by, and starring Ricky Gervais. The UK series focuses on the anguished existence of a widower as he endures the perpetuation of his life without his wife. Characterisation of bereavement, as the experience of having someone “suddenly ripped from one’s life-world” (Dubose 1997: 368), is obscured in After Life by the continued presence (and digital afterlife) of his wife via ‘home videos’ and the video diaries she secretly recorded whilst dying. The dead’s continued presence throughout After Life reflects wider trends for the dying turning to digital services such as Safe Beyond to leave ‘date messages’ (birthdays, or anniversaries) or ‘event messages’ (weddings, graduations) that will continue to insert the physically departed into the lives of loved ones at key intervals of life. This paper explores the manner in which After Life serves to reflect on both the transformed experience of spaces in mourning and how screens contribute to the uncanny nature of grief.

Read Netflix Dramedy After Life and the Uncanny Nature of Grief