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Jack the Ripper: the Divided Self and the Alien Other in Late-Victorian Culture and Society
Jack the Ripper: The Divided Self and the Alien Other in Late-Victorian Culture and Society Michael Plater Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy 18 July 2018 Faculty of Arts The University of Melbourne ii ABSTRACT This thesis examines late nineteenth-century public and media representations of the infamous “Jack the Ripper” murders of 1888. Focusing on two of the most popular theories of the day – Jack as exotic “alien” foreigner and Jack as divided British “gentleman” – it contends that these representations drew upon a series of emergent social and cultural anxieties in relation to notions of the “self” and the “other.” Examining the widespread contention that “no Englishman” could have committed the crimes, it explores late-Victorian conceptions of Englishness and documents the way in which the Ripper crimes represented a threat to these dominant notions of British identity and masculinity. In doing so, it argues that late-Victorian fears of the external, foreign “other” ultimately masked deeper anxieties relating to the hidden, unconscious, instinctual self and the “other within.” Moreover, it reveals how these psychological concerns were connected to emergent social anxieties regarding degeneration, atavism and the “beast in man.” As such, it evaluates the wider psychological and sociological impact of the case, arguing that the crimes revealed the deep sense of fracture, duality and instability that lay beneath the surface of late-Victorian English life, undermining and challenging dominant notions of progress, civilisation and social advancement. Situating the Ripper narrative within a broader framework of late-nineteenth century cultural uncertainty and crisis, it therefore argues that the crimes (and, more specifically, populist perceptions of these crimes) represented a key defining moment in British history, serving to condense and consolidate a whole series of late-Victorian fears in relation to selfhood and identity. -
Introduction to Text Analysis: a Coursebook
Table of Contents 1. Preface 1.1 2. Acknowledgements 1.2 3. Introduction 1.3 1. For Instructors 1.3.1 2. For Students 1.3.2 3. Schedule 1.3.3 4. Issues in Digital Text Analysis 1.4 1. Why Read with a Computer? 1.4.1 2. Google NGram Viewer 1.4.2 3. Exercises 1.4.3 5. Close Reading 1.5 1. Close Reading and Sources 1.5.1 2. Prism Part One 1.5.2 3. Exercises 1.5.3 6. Crowdsourcing 1.6 1. Crowdsourcing 1.6.1 2. Prism Part Two 1.6.2 3. Exercises 1.6.3 7. Digital Archives 1.7 1. Text Encoding Initiative 1.7.1 2. NINES and Digital Archives 1.7.2 3. Exercises 1.7.3 8. Data Cleaning 1.8 1. Problems with Data 1.8.1 2. Zotero 1.8.2 3. Exercises 1.8.3 9. Cyborg Readers 1.9 1. How Computers Read Texts 1.9.1 2. Voyant Part One 1.9.2 3. Exercises 1.9.3 10. Reading at Scale 1.10 1. Distant Reading 1.10.1 2. Voyant Part Two 1.10.2 3. Exercises 1.10.3 11. Topic Modeling 1.11 1. Bags of Words 1.11.1 2. Topic Modeling Case Study 1.11.2 3. Exercises 1.11.3 12. Classifiers 1.12 1. Supervised Classifiers 1.12.1 2. Classifying Texts 1.12.2 3. Exercises 1.12.3 13. Sentiment Analysis 1.13 1. Sentiment Analysis 1.13.1 2. -
Lublin Studies in Modern Languages and Literature
Lublin Studies in Modern Languages and Literature VOL. 43 No 2 (2019) ii e-ISSN: 2450-4580 Publisher: Maria Curie-Skłodowska University Lublin, Poland Maria Curie-Skłodowska University Press MCSU Library building, 3rd floor ul. Idziego Radziszewskiego 11, 20-031 Lublin, Poland phone: (081) 537 53 04 e-mail: [email protected] www.wydawnictwo.umcs.lublin.pl Editorial Board Editor-in-Chief Jolanta Knieja, Maria Curie-Skłodowska University, Lublin, Poland Deputy Editors-in-Chief Jarosław Krajka, Maria Curie-Skłodowska University, Lublin, Poland Anna Maziarczyk, Maria Curie-Skłodowska University, Lublin, Poland Statistical Editor Tomasz Krajka, Lublin University of Technology, Poland International Advisory Board Anikó Ádám, Pázmány Péter Catholic University, Hungary Monika Adamczyk-Garbowska, Maria Curie-Sklodowska University, Poland Ruba Fahmi Bataineh, Yarmouk University, Jordan Alejandro Curado, University of Extramadura, Spain Saadiyah Darus, National University of Malaysia, Malaysia Janusz Golec, Maria Curie-Sklodowska University, Poland Margot Heinemann, Leipzig University, Germany Christophe Ippolito, Georgia Institute of Technology, United States of America Vita Kalnberzina, University of Riga, Latvia Henryk Kardela, Maria Curie-Sklodowska University, Poland Ferit Kilickaya, Mehmet Akif Ersoy University, Turkey Laure Lévêque, University of Toulon, France Heinz-Helmut Lüger, University of Koblenz-Landau, Germany Peter Schnyder, University of Upper Alsace, France Alain Vuillemin, Artois University, France v Indexing Peer Review Process 1. Each article is reviewed by two independent reviewers not affiliated to the place of work of the author of the article or the publisher. 2. For publications in foreign languages, at least one reviewer’s affiliation should be in a different country than the country of the author of the article. -
Doug Goheen Big Dog Publishing
Doug Goheen Adapted from the 1846-47 serialized penny dreadful, The String of Pearls: A Romance Big Dog Publishing Sweeney Todd 2 Copyright © 2010, Doug Goheen ALL RIGHTS RESERVED Sweeney Todd and the String of Pearls is fully protected under the copyright laws of the United States of America, and all of the countries covered by the Universal Copyright Convention and countries with which the United States has bilateral copyright relations including Canada, Mexico, Australia, and all nations of the United Kingdom. Copying or reproducing all or any part of this book in any manner is strictly forbidden by law. No part of this book may be stored in a retrieval system or transmitted in any form by any means including mechanical, electronic, photocopying, recording, or videotaping without written permission from the publisher. A royalty is due for every performance of this play whether admission is charged or not. A “performance” is any presentation in which an audience of any size is admitted. The name of the author must appear on all programs, printing, and advertising for the play. The program must also contain the following notice: “Produced by special arrangement with Big Dog Publishing Company, Sarasota, FL.” All rights including professional, amateur, radio broadcasting, television, motion picture, recitation, lecturing, public reading, and the rights of translation into foreign languages are strictly reserved by Big Dog Publishing Company, www.BigDogPlays.com, to whom all inquiries should be addressed. Big Dog Publishing P.O. Box 1400 Tallevast, FL 34270 Sweeney Todd 3 For Nathan and Jacob Sweeney Todd 4 Sweeney Todd and the String of Pearls CLASSIC HORROR. -
Film Reviews
Page 104 FILM REVIEWS “Is this another attack?”: Imagining Disaster in C loverfield, Diary of the Dead and [ Rec] Cloverfield (Dir. Matt Reeves) USA 2007 Paramount Home Entertainment Diary of the Dead (Dir. George A. Romero) USA 2007 Optimum Home Entertainment [Rec] (Dir. Jaume Balagueró & Paco Plaza) S pain 2007 Odeon Sky Filmworks In 1965, at the height of the Cold War, Susan Sontag declared in her famous essay ‘The Imagination of Disaster’ that the world had entered an “age of extremity” in which it had become clear that from now until the end of human history, every person on earth would “spend his individual life under the threat not only of individual death, which is certain, but of something almost insupportable psychologically – collective incineration which could come at any time”. Sontag went on to claim that narratives in which this fate was dramatised for the mass audience in fantastical form – like the monster movies of the 1950s – helped society deal with this stress by distracting people from their fate and normalising what was psychologically unbearable: a kind of vaccination of the imagination, if you will. If this is the case, then Cloverfield, in which Manhattan is destroyed by an immensely powerful sea monster, George A. Romero’s latest zombie movie, Diary of the Dead, and claustrophobic Spanish hit [Rec] are not so much preemptive vaccinations against probable catastrophe, but intermittently powerful, if flawed, reminders of actual calamity. In all three films some of the most destabilising events and anxieties of the past decade – including 9/11 (and the fear of terrorist attacks striking at the heart of American and European cities), Hurricane Katrina, the 2004 Tsunami, and the SARS virus– are reconfigured as genrebased mass market entertainment. -
Undead Empire: How Folklore Animates the Human Corpse in Nineteenth-Century British Literature
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 6-1-2015 Undead Empire: How Folklore Animates the Human Corpse in Nineteenth-Century British Literature Charles Hoge University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Literature in English, British Isles Commons Recommended Citation Hoge, Charles, "Undead Empire: How Folklore Animates the Human Corpse in Nineteenth-Century British Literature" (2015). Electronic Theses and Dissertations. 292. https://digitalcommons.du.edu/etd/292 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. “Undead Empire: How Folklore Animates the Human Corpse in Nineteenth-Century British Literature” A Dissertation Presented to The Faculty of Arts and Humanities University of Denver In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy By Charles Hoge June 2015 Advisor: Dr. Eleanor McNees Author: Charles Hoge Title: “Undead Empire: How Folklore Animates the Human Corpse in Nineteenth- Century British Literature” Advisor: Dr. Eleanor McNees Degree Date: June 2015 ABSTRACT This dissertation explores representations of the human corpse in nineteenth- century British literature and ephemeral culture as a dynamic, multidirectional vehicle used by writers and readers to help articulate emerging anxieties that were complicating the very idea of death. Using cultural criticism as its primary critical heuristic filter, this project analyzes how the lingering influence of folklore animates the human corpses that populate canonical and extra-canonical nineteenth-century British literature. -
Table of Contents
Journal of Working-Class Studies Volume 5 Issue 1, June 2020 Table of Contents Editorial Sarah Attfield and Matthew Sparkes Articles On Government, Agency, and the Violence of Inaction Lawrence M. Eppard with Noam Chomsky Raise the Wage LA: Campaigning for Living Wages in Los Angeles and an Emergent Working-Class Repertoire Paul Doughty Post-Industrial Industrial Gemeinschaft: Northern Brexit and the Future Possible Andrew Dawson, Bryonny Goodwin-Hawkins Differential Opportunity for Men from Low-Income Backgrounds across Pennsylvania Lawrence M. Eppard, Troy S. Okum, Lucas Everidge Mentoring for Faculty from Working-Class Backgrounds George W. Towers, Joan R. Poulsen, Darrin L. Carr, Aimee N. Zoeller Class, Crime, and Cannibalism in The String of Pearls; or, The Demon Barber as Bourgeois Bogeyman Leah Richards Nationalizing Realism in Dermot Bolger’s The Journey Home Erika Meyers Are We All ‘BBC Dad’ Now? What Covid-19 Restrictions Reveal About Comedy, Class, Paid Work, Parenting and Gender Liz Giuffre Review Essays Anti-Union Clichés float On the Waterfront: Rhetorical Analysis of the Film; Citizen Kane and How Green was My Valley: Have We Sold Ourselves Short? Gloria McMillan Student Work Confronting COVID-19 in ‘Social Class in America’: Research and Reflections by Working-Class Student-Scholars 1 Journal of Working-Class Studies Volume 5 Issue 1, June 2020 Essays by Jezza Hutto, Ashleen Smith, Georgia Langer, Josie Graydon Edited by Sara Appel Book Reviews de Waal, Kit, ed. (2019) Common People: An Anthology of Working Class Writers, Unbound, London, UK. Connolly, Nathan, ed. (2017) Know Your Place: Essays on the Working Class by the Working Class, Dead Ink, St Ives, UK. -
Sweeney Todd Educational Resource Pack
1 Contents 1. Synopsis 2. Context: Victorian London 3. Interviews - Walter Sutcliffe, Director - Sinead Hayes, Conductor - Dorota Karolczak, Designer - Jessica Hackett, Singer 4. Costume Sketches 5. A Sweeney Todd Chronology 6. Set design drafts 7. Biographies Stephen Sondheim and Hugh Wheeler 8. Rehearsal exercises 9. Production shots 2 Synopsis ACT I Years after his transportation to Australia, Benjamin Barker returns to Victorian London under the name of Sweeney Todd, seeking revenge for the loss of his family at the hands of the “honourable” Judge Turpin. His companion is young sailor Anthony, who rescued Sweeney at sea. Upon their arrival, the men are greeted by a beggar woman. “Don’t I know you”, she asks Sweeney as he shoves her out of his way. Back on his old stomping ground on Fleet Street, he meets hardy pie shop owner Mrs Lovett. She recognises him as the barber Benjamin Barker who was convicted under wrong charges, his helpless wife Lucy lured to the Judge Turpin’s house by his assistant Beadle, and there, abused by the guardian of the law. To his inquiry about the whereabouts of Lucy and his daughter Johanna, Mrs Lovett professes that Lucy poisoned herself and Johanna has since been in the care of the Judge. Sweeney swears to seek justice and Mrs Lovett persuades him to take up his old trade. She has kept his knives. The pair make an ingenious plan: while waiting for the Judge, Sweeney will practice "on less honourable throats". Mrs Lovett delights at the unexpected meat supply for her pie shop.” ACT II Business is flourishing at Mrs Lovett’s pie shop, and Sweeney is busy disposing of his customers. -
Download Sweeney Todd
SWEENEY TODD - THE STRING OF PEARLS DOWNLOAD FREE BOOK James Malcolm Rymer, Dick Collins, David Stuart Davies | 304 pages | 05 Jul 2010 | Wordsworth Editions Ltd | 9781840226324 | English | Herts, United Kingdom A String of Pearls Get A Sweeney Todd - The String of Pearls. Mark Ingestrie, who has been imprisoned in the cellars beneath the pie shop and put to work as the cook, escapes via the lift used to bring the pies up from the cellar Sweeney Todd - The String of Pearls the pie-shop. I was, however, familiar with the story as most are. Tobias, you said you saw the man who owned that fiend of a cur looking at St Dunstan's church. The main antagonist of the story is the infamous Sweeney Todd, "the Demon Barber of Fleet Street", who here makes his literary debut. Prest also spoke to his reader in away that felt lazy. Lovett creates her meat pies from the leftover flesh. I love this story. He wrote under several pseudonyms including Bos, a takeoff of Charles Dickens' own pen name, Boz. Johanna entered into Todd's shop posing as a boy and learned of Todd's activities. Feb 22, Philipe Saroyan rated it really liked it. She is even horrified to learn that her missing lover Mark Ingestrie was taken prisoner by Todd and forced to cook the corpses. I get it, you're eating. Not a bad read but not that great. The musical parts are charming and well-spaced, Sweeney Todd - The String of Pearls an all-round engaging experience. View 2 comments. -
NVS 2-1-4 S-Freer
The Victorian Criminal Underworld and the Musical Carnivalesque Scott Freer (University of Leicester, England, UK) Abstract: This article sets out to explore how a neo-Victorian fascination for re-imagining the grotesque ‘Other’ of a Victorian criminal underworld is framed by the dual nature of the carnivalesque. I argue that, as utopian and dystopian musical screen adaptations of Victorian urban gothic realism, Lionel Bart’s Oliver! and Tim Burton’s Sweeney Todd demonstrate a shift in the cultural evaluation of a carnival aesthetic that is inter-dependent on conflicting ideas of communal integration and social inequality. I explore why post-war celebrations of Dickensian carnival joy and communal harmony are challenged by dark parodies that amplify a horrific excess symbolising the return of the repressed, as well as a hybrid excess, signalling the gluttony of neo-Victorian indulgence. Keywords: adaptation, carnivalesque, Charles Dickens, ‘gothical’, hyper-realism, musical, Oliver Twist , postmodern, Sweeney Todd, urban gothic. ***** As a literary mode, the carnivalesque is invariably integral to a Victorian perspective of the criminal underworld conveyed in nineteenth-century urban realism and its latter-day revisions in neo-Victorian artistic mediums. Because screen musicals naturally lend themselves to the textual and generic richness of the Rabelaisian carnivalesque, they rekindle or foreground its multivalent principles. As John Galvin points out, conventional adaptations frequently fetishise only mimesis, imitating the original text’s imitation of life (Galvin 1999: 28). This article will examine how the musical as a screen genre is particularly apposite for amplifying a ‘performative’ rather than mimetic quality that resides within the grotesque realism/carnivalesque of Charles Dickens’ Oliver Twist (1837-8) and the penny dreadful serial, The String of Pearls: A Romance (1846-7), which became the enduring narrative of Sweeney Todd. -
Sharon Weltman CV
Sharon Aronofsky Weltman William E. “Bud” Davis Alumni Professor Co-Editor of Nineteenth-Century Theatre & Film Department of English Louisiana State University Baton Rouge, LA 70803-5001 (225) 578-3123 (office) [email protected] https://www.lsu.edu/hss/english/faculty/faculty/sweltman.php EDUCATION 1992 PhD in English, Rutgers University 1989 MPhil in English, Rutgers University 1989 MA in English, Rutgers University 1984 MAT in Humanities, University of Texas at Dallas 1979 BA in English and Anthropology, University of Texas (Austin) UNIVERSITY EMPLOYMENT (See Administration below) Louisiana State University, Department of English, 1992-present (Graduate Faculty, Comparative Literature Affiliate Faculty, Film and Media Arts Affiliate Faculty, Jewish Studies Affiliate Faculty, and Women’s, Gender, & Sexuality Studies Affiliate Faculty) • William E. “Bud” Davis Alumni Professor, 2014-present • Professor of English, 2007-present • Associate Professor of English, 1998-2007 • Assistant Professor of English, 1992-1998 PUBLICATIONS (72+ published, forthcoming, or under contract) Authored Books (3): 1. Victorians on Broadway: Literature, Adaptation, and the Modern American Musical. University of Virginia Press, 2020 2. Performing the Victorian: John Ruskin and Identity in Theater, Science, and Education. Ohio State University Press, 2007 3. Ruskin’s Mythic Queen: Gender Subversion in Victorian Culture, Ohio University Press. 1999 (Outstanding Academic Book, Choice magazine, 1999) Edited Book and Special Issues (3): 4. Dramatists, the Drama, Genres and Repertoire. Volume 4 of British Theatre in the Nineteenth Century Theatre: A Documentary History. 4 vols. Jim Davis, series editor. Routledge (under contract, expected 2022). 5. Sweeney Todd: The String of Pearls, or The Fiend of Fleet Street by George Dibdin Pitt (1847). -
Pribyl-Mastersreport-2013
Copyright by Ashley Marian Pribyl 2013 The Report Committee for Ashley Marian Pribyl Certifies that this is the approved version of the following report: “Pretty Women”: Urban Crisis and Female Objectification in Stephen Sondheim’s Sweeney Todd APPROVED BY SUPERVISING COMMITTEE: Supervisor: Andrew Dell’Antonio Caroline O’Meara “Pretty Women”: Urban Crisis and Female Objectification in Stephen Sondheim’s Sweeney Todd by Ashley Marian Pribyl B. A. Music Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of Texas at Austin May 2013 Dedication To my parents, for all of their support, and in loving memory of my grandmothers, Peggy Fritz and Marian Pribyl, whose stories of strength continue to inspire me. Abstract “Pretty Women”: Urban Crisis and Female Objectification in Stephen Sondheim’s Sweeney Todd Ashley Marian Pribyl, M. Music The University of Texas at Austin, 2013 Supervisor: Andrew Dell’Antonio Stephen Sondheim’s 1979 award-winning musical Sweeney Todd: The Demon Barber of Fleet Street was produced during a time of great political and economic uncertainty in New York City. Although not overtly political, the themes of urban crisis and class inequality that birthed the original legend of Sweeney Todd in Industrial Revolution London continued to play a large role within the modern musical, reflecting leftist political concerns at large. The main political argument within the work is the critique of class hierarchies created by capitalism and how the upper classes abuse the lower classes, ie.