Mary Ann Nicholls: “Polly”
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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. -
Natália Cristina De Aquino Gomes
UNIVERSIDADE FEDERAL DE SÃO PAULO ESCOLA DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA DA ARTE NATÁLIA CRISTINA DE AQUINO GOMES RETRATO DE ARTISTA NO ATELIÊ: a representação de pintores e escultores pelos pincéis de seus contemporâneos no Brasil (1878-1919) Guarulhos 2019 NATÁLIA CRISTINA DE AQUINO GOMES RETRATO DE ARTISTA NO ATELIÊ: a representação de pintores e escultores pelos pincéis de seus contemporâneos no Brasil (1878-1919) Dissertação de Mestrado apresentada ao Programa de Pós-Graduação em História da Arte da Universidade Federal de São Paulo para obtenção do título de Mestre em História da Arte. Orientadora: Profª. Drª. Elaine Cristina Dias. Guarulhos 2019 2 AQUINO GOMES, Natália Cristina de. Retrato de artista no ateliê: a representação de pintores e escultores pelos pincéis de seus contemporâneos no Brasil (1878-1919)/ Natália Cristina de Aquino Gomes. – Guarulhos, 2019. 250 f. Dissertação (mestrado em História da Arte) – Universidade Federal de São Paulo, Escola de Filosofia, Letras e Ciências Humanas, Programa de Pós-Graduação em História da Arte, 2019. Orientadora: Profª. Drª. Elaine Cristina Dias. Título em inglês: Portrait of artist in the studio: the representation of painters and sculptors by the brushes of their contemporaries in Brazil (1878-1919). 1. Retrato. 2. Ateliê. 3. Arte Brasileira. 4. Século XIX. 5. Início do século XX. I. Dias, Elaine Cristina. II. Universidade Federal de São Paulo, Escola de Filosofia, Letras e Ciências Humanas, Programa de Pós-Graduação em História da Arte. III. Título. 3 NATÁLIA CRISTINA DE AQUINO GOMES RETRATO DE ARTISTA NO ATELIÊ: a representação de pintores e escultores pelos pincéis de seus contemporâneos no Brasil (1878-1919) DISSERTAÇÃO apresentada ao Programa de Pós- Graduação em História da Arte da Universidade Federal de São Paulo para obtenção do título de MESTRE EM HISTÓRIA DA ARTE. -
The Welshman Who Knew Mary Kelly
February/March 2018 No. 160 PAUL WILLIAMS on The Welshman Who Knew Mary Kelly STEPHEN SENISE JAN BONDESON HEATHER TWEED NINA and HOW BROWN VICTORIAN FICTION THE LATEST BOOK REVIEWS Ripperologist 118 January 2011 1 Ripperologist 160 February / March 2018 EDITORIAL: CHANGING FASTER NOT BETTER? Adam Wood THE WELSHMAN WHO KNEW MARY KELLY Paul Williams GEORGE WILLIAM TOPPING HUTCHINSON: ‘TOPPY’ Stephen Senise FROM RIPPER SUSPECT TO HYPERPEDESTRIAN: THE STRANGE CAREER OF BERESFORD GREATHEAD Jan Bondeson LULU - THE EIGHTH WONDER OF THE WORLD Heather Tweed WOMAN’S WORK: AN ALTERNATIVE METHOD OF CAPTURING THE WHITECHAPEL MURDERER PART TWO Nina and Howard Brown VICTORIAN FICTION: THE WITHERED ARM By THOMAS HARDY Eduardo Zinna BOOK REVIEWS Paul Begg and David Green Ripperologist magazine is published by Mango Books (www.mangobooks.co.uk). The views, conclusions and opinions expressed in signed articles, essays, letters and other items published in Ripperologist Ripperologist, its editors or the publisher. The views, conclusions and opinions expressed in unsigned articles, essays, news reports, reviews and other items published in Ripperologist are the responsibility of Ripperologist and its editorial team, but are those of the authors and do not necessarily reflect the views, conclusions and opinions of doWe not occasionally necessarily use reflect material the weopinions believe of has the been publisher. placed in the public domain. It is not always possible to identify and contact the copyright holder; if you claim ownership of something we have published we will be pleased to make a proper acknowledgement. The contents of Ripperologist No. 160, February / March 2018, including the compilation of all materials and the unsigned articles, essays, news reports, reviews and other items are copyright © 2018 Ripperologist/Mango Books. -
Mitre Square Revisited News Reports, Reviews and Other Items Are Copyright © 2009 Ripperologist
RIPPEROLOGIST MAGAZINE Issue 104, July 2009 QUOTE FOR JULY: Andre the Giant. Jack the Ripper. Dennis the Menace. Each has left a unique mark in his respective field, whether it be wrestling, serial killing or neighborhood mischief-making. Mr. The Entertainer has similarly ridden his own mid-moniker demonstrative adjective to the top of the eponymous entertainment field. Cedric the Entertainer at the Ryman - King of Comedy Julie Seabaugh, Nashville Scene , 30 May 2009. We would like to acknowledge the valuable assistance given by Features the following people in the production of this issue of Ripperologist: John Bennett — Thank you! Editorial E- Reading The views, conclusions and opinions expressed in signed Paul Begg articles, essays, letters and other items published in Ripperologist are those of the authors and do not necessarily Suede and the Ripper reflect the views, conclusions and opinions of Ripperologist or Don Souden its editors. The views, conclusions and opinions expressed in unsigned articles, essays, news reports, reviews and other items published in Ripperologist are the responsibility of Hell on Earth: The Murder of Marie Suchánková - Ripperologist and its editorial team. Michaela Kořistová We occasionally use material we believe has been placed in the public domain. It is not always possible to identify and contact the copyright holder; if you claim ownership of some - City Beat: PC Harvey thing we have published we will be pleased to make a prop - Neil Bell and Robert Clack er acknowledgement. The contents of Ripperologist No. 104 July 2009, including the co mpilation of al l materials and the unsigned articles, essays, Mitre Square Revisited news reports, reviews and other items are copyright © 2009 Ripperologist. -
Acari: Oribatida) of Canada and Alaska
Zootaxa 4666 (1): 001–180 ISSN 1175-5326 (print edition) https://www.mapress.com/j/zt/ Monograph ZOOTAXA Copyright © 2019 Magnolia Press ISSN 1175-5334 (online edition) https://doi.org/10.11646/zootaxa.4666.1.1 http://zoobank.org/urn:lsid:zoobank.org:pub:BA01E30E-7F64-49AB-910A-7EE6E597A4A4 ZOOTAXA 4666 Checklist of oribatid mites (Acari: Oribatida) of Canada and Alaska VALERIE M. BEHAN-PELLETIER1,3 & ZOË LINDO1 1Agriculture and Agri-Food Canada, Canadian National Collection of Insects, Arachnids and Nematodes, Ottawa, Ontario, K1A0C6, Canada. 2Department of Biology, University of Western Ontario, London, Canada 3Corresponding author. E-mail: [email protected] Magnolia Press Auckland, New Zealand Accepted by T. Pfingstl: 26 Jul. 2019; published: 6 Sept. 2019 Licensed under a Creative Commons Attribution License http://creativecommons.org/licenses/by/3.0 VALERIE M. BEHAN-PELLETIER & ZOË LINDO Checklist of oribatid mites (Acari: Oribatida) of Canada and Alaska (Zootaxa 4666) 180 pp.; 30 cm. 6 Sept. 2019 ISBN 978-1-77670-761-4 (paperback) ISBN 978-1-77670-762-1 (Online edition) FIRST PUBLISHED IN 2019 BY Magnolia Press P.O. Box 41-383 Auckland 1346 New Zealand e-mail: [email protected] https://www.mapress.com/j/zt © 2019 Magnolia Press ISSN 1175-5326 (Print edition) ISSN 1175-5334 (Online edition) 2 · Zootaxa 4666 (1) © 2019 Magnolia Press BEHAN-PELLETIER & LINDO Table of Contents Abstract ...................................................................................................4 Introduction ................................................................................................5 -
Paper 1: Historic Environment Whitechapel, C1870 – C1900: Crime
Paper 1: Historic environment Whitechapel, c1870 – c1900: Crime, policing and the inner city Name: Teacher: Form: Sources Questions 1 and 2 of Paper 1 will focus on your ability to use source materials with questions 2 (a) and 2 (b) asking specifically about the utility and usefulness of source materials. When handling a source you must consider the following: Content – Nature – Origins – Purpose – Then once you’ve considered all of those things you must do a CAT test! The CAT (or the Pandora test) Is it Comprehensive? Is it Accurate? Is it Typical? When you give a CAT test score the score is out of nine because…. Types of source You will handle sources which tell you lots of different things but the types of sources have lots of commonalities, think about the strengths and weaknesses for each source type. Source Strengths Weaknesses National newspaper Police records Surveys Cartoons Local newspapers Government records Census records Photographs Crime statistics Diaries Individuals reports e.g. Charles Booth Maps Which type of source would be the most useful when looking into people’s opinions? Following up sources Not only will you be asked to consider the value of a source but you will also be asked to think about how an historian would use a source. How does an historian know What questions do historians ask? they’re right? What types of sources do Why would a CAT be useful to historians use? an historian? What does an historian always know? What makes a source useful? Sort the words into the bags, which relate to a source that is useful or limited? When is a source is limited does it mean you can’t use it? What was Whitechapel like? Whitechapel is an area of London’s East End, just outside the City of London. -
Jack the Ripper in Film and Culture
Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith General Editor: Clive Bloom Crime Files Series Editor Clive Bloom Emeritus Professor of English and American Studies Middlesex University London Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/[14927] Clare Smith Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith University of Wales: Trinity St. David United Kingdom Crime Files ISBN 978-1-137-59998-8 ISBN 978-1-137-59999-5 (eBook) DOI 10.1057/978-1-137-59999-5 Library of Congress Control Number: 2016938047 © The Editor(s) (if applicable) and The Author(s) 2016 The author has/have asserted their right to be identifi ed as the author of this work in accor- dance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. -
Jack the Ripper
Year 8 Home Learning, January 2021 (Jack the Ripper) th Lesson 2: What was Whitechapel like in the 19 Century? LO: To be able to explain what the conditions of Whitechapel, London were like at the time of the Ripper murders. Success criteria: ❑ I can describe the events of the Jack the Ripper case. ❑ I can explain what it was like in Whitechapel in the 1800s ❑ I can analyse why these conditions might have had an impact on the Jack the Ripper case. Suggested video links: ● (Jack the Ripper story): https://www.youtube.com/watch?v=Ofnp-zucJxE th ● (18 Century Whitechapel): https://www.youtube.com/watch?v=YQQCBZdnkdY Key takeaway knowledge: • East end London was poor • Whitechapel in the east end was extremely poor • People lived in cramped housing • There was lots of crime • Life was extremely difficult Year 8 Home Learning, January 2021 (Jack the Ripper) Main activity Summarise the story of the murders by summarising each paragraph in 1-2 bullet points on the right-hand side, then give each paragraph a title on the left-hand side. Paragraph The story of Jack the Ripper from the BBC Summarise in 1 title or 2 bullet points. The identity of the killer of five - or possibly six - women in the East End of London in 1888 has remained a mystery, but the case has continued to horrify and fascinate. Between August and November 1888,the Whitechapel area of London was the scene of five brutal murders. The killer was dubbed 'Jack the Ripper'. All the women murdered were prostitutes, and all except for one - Elizabeth Stride - were horribly mutilated. -
Whitechapel's Wax Chamber of Horrors, 1888
Whitechapel’s Wax Chamber of Horrors, 1888 By MIKE HAWLEY A waxwork ‘chamber of horrors’1 museum exhibiting ‘vilely executed waxen figures’2 of the most notorious homicides of Victorian times operated in 1888 at just a few minutes’ walking distance from the location of the Mary Ann Nichols murder scene. The museum’s main attraction were images of the Ripper victims which were added to the display as they were murdered! By February 1889, the museum displayed a total of six images of the murdered women,3 beginning with the unfortunate Martha Tabram, who had met her death on 7 August 1888. In his 1892 memoirs, Worship Street Police Court Magistrate Montague Williams recalled his walk through this chamber of horrors in early September 1888: There lay a horrible presentment in wax of Matilda Turner [Martha Tabram], the first victim, as well as one of Mary Ann Nichols, whose body was found in Buck’s Row. The heads were represented as being nearly severed from the bodies, and in each case there were shown, in red paint, three terrible gashes reaching from the abdomen to the ribs.4 Not only did the proprietor of the waxwork museum operate a chamber of horrors, but he also offered live entertainment nightly in the adjacent building.5 Ever cognizant of the money-making formula consisting of, first, satisfying the public’s desire for vice - in this case violence against women – and, secondly, adding a pinch of sex, the proprietor had as the main attraction of the show a tough young lady named Miss Juanita. -
Dalley Quinci Jack the Ripper
Jack the Ripper BY: QUINCI DALLEY Who was Jack the Ripper u Was an unidentified serial killer u He terrorized the impoverished towns of London in1888 u Nicknamed the Whitechapel Murderer and the Leather Apron When u Terrorized the streets of London in 1888 u First Murder: August 7th u Last: September 10th Victims u Typically female prostitutes from the slums of London u Young to middle age women u At least five women Victims u Mary Ann Nichols u Annie Chapman u Elizabeth Stride u Catherine Eddowes u Mary Jane Kelly u Known as the Canonical 5 How Women Were Killed Slit their throats Removed the internal organs from at least three women Murders u Conducted late at night u Typically close to the end of each month u Murders became more brutal as time went on Investigation u A large team of policemen went from house to house to investigate throughout Whitechapel u They followed the same steps as modern police work u More than 2,000 people were interviewed u About 300 people were investigated u 80 people were detained u But they never found the perpetrator Suspects Since 1888 100 suspects have been named Making Jack the Ripper and his legacy live on Walter Sickert u Many different theories about Jack the Ripper’s identity were brought forth u One being Victorian Painter Walter Sickert u Polish Migrant u Grandson to Queen Victoria Letters u Letters were allegedly sent from the killer to the London Police u These were to taunt the officers u Talked of gruesome actions and more murders to come Letters u The name “Jack the Ripper” came from the -
AMEER BEN ALI NINA and HOWARD BROWN with the Face of ‘Frenchy’
June 2020 No. 167 AMEER BEN ALI NINA AND HOWARD BROWN with the face of ‘Frenchy’ sheilLa JONES AND JIM BURNS MICHAEL HAWLEY • ADAM WOOD • BRUCE COLLIE SPOTLIGHT ON RIPPERCAST VICTORIAN FICTION • PRESS TRAWL the latest book reviewsRipperologist 118 January 2011 1 Ripperologist 167 JUNE 2020 EDITORIAL: CONTEXT IS KING Adam Wood FRANCIS TUMBLETY AND JOHN WILKES BOOTH’S ERRAND BOY Michael L. Hawley THE SWANSON MARGINALIA: MORE SCRIBBLINGS Adam Wood MRS. BOOTH’S MOST UNUSUAL ENQUIRY BUREAU Sheilla Jones and Jim Burns CENTRAL NEWS Bruce Collie Spotlight on Rippercast: THE ROYAL CONSPIRACY A-GO-GO Part One AMEER BEN ALI AND AN ACTOR’S TALE Nina and Howard Brown Press Trawl THE SHORT REIGN OF LEATHER APRON VICTORIAN FICTION Eduardo Zinna BOOK REVIEWS Paul Begg and David Green Ripperologist magazine is published by Mango Books (www.MangoBooks.co.uk). The views, conclusions and opinions expressed in signed articles, essays, letters and other items published in Ripperologist Ripperologist, its editors or the publisher. The views, conclusions and opinions expressed in unsigned articles, essays, news reports, reviews and other items published in Ripperologist are the responsibility of Ripperologist and its editorial team, but are those of the authors and do not necessarily reflect the views, conclusions and opinions of doWe not occasionally necessarily use reflect material the weopinions believe of has the been publisher. placed in the public domain. It is not always possible to identify and contact the copyright holder; if you claim ownership of something we have published we will be pleased to make a proper acknowledgement. The contents of Ripperologist No. -
A PDF of the Meeting Point and Catch up Directions
MEETING POINT DETAILS FOR THE JACK THE RIPPER TOUR Exit One of Aldgate East Station is located directly outside Aldgate Tower THE TOUR DEPARTS AT 7PM FROM EXIT ONE OF ALDGATE EAST UNDERGROUND STATION at the Junction of Whitechapel High Street and Leman Street. E1 8FA Aldgate East is in zone one of the underground and is on the District (green) and Hammersmith and City (pink) Lines. To ensure that you do not miss the tour, when planning your journey we suggest you allow 3 minutes for each underground station you will be passing through on your journey to Aldgate East Underground Station and then add a safety net of 10 minutes to allow for any tube delays. IMPORTANT Please do not go to Aldgate Station by mistake. This is a totally different station and our tour does not meet there. Make sure that you go to Aldgate East Underground Station. PLEASE ARRIVE BY 6.50PM To ensure that you do not miss the start time (7pm) please aim to arrive outside Exit One of Aldgate East Underground Station by 6.50pm. We are unable to wait for latecomers. PLEASE BE SURE TO GO OUT OF THE CORRECT EXIT - DIRECTIONS TO EXIT ONE When you arrive at Aldgate East Station, to reach Exit One you will need turn left off the train, if you are coming from Central London. If you are coming from the East of London you will need to turn right off the train. Having done so, walk along the platform, go up the stairs and through the ticket barrier and Exit One is the exit on the left.