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“Such a Poor Finish”

Illegitimacy, Murder, and War Veterans in England, 1918-1923

Ginger S. Frost

either gender usually still got convicted of some crime, but the charge might be manslaughter rather than murder; alternatively, the Home Office (HO) could reprieve them from the capital sentence, an act that was extremely common with women killers after

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Joel Blatt

Gayle K. Brunelle and Annette Finley-Croswhite, Murder in the Metro: Laetitia Toureaux and the Cagoule in 1930s France (Baton Rouge: Louisiana State University Press, 2010).

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Aaron Petten

Karla Oeler, A Grammar of Murder: Violent Scenes and Film Form

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Angela Aujla

Mythili, Rajiva, and Sheila Batacharya, eds. 2010. Reena Virk: Critical Perspectives on a Canadian Murder. Toronto: Canadian Scholars Press Inc.

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Steve Jones

Both the slasher movie and its more recent counterpart the “torture porn“ film centralize graphic depictions of violence. This article inspects the nature of these portrayals by examining a motif commonly found in the cinema of homicide, dubbed here the “pure moment of murder“: that is, the moment in which two characters' bodies adjoin onscreen in an instance of graphic violence. By exploring a number of these incidents (and their various modes of representation) in American horror films ranging from Psycho (1960) to Saw VI (2009), the article aims to expound how these images of slaughter demonstrate (albeit in an augmented, hyperbolic manner) a number of long-standing problems surrounding selfhood that continue to fuel philosophical discussion. The article argues that the visual adjoining of victim and killer onscreen echoes the conundrum that in order to attain identity, the individual requires and yet simultaneously repudiates the Other.

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'Murdered at the Breast'

Maternal Violence and the Self-Made Man in Popular Victorian Culture

Andrew Mangham

Motherhood, for the Victorians, was seen not just as an organic phase of womanhood, but a responsibility that required a constant system of behavioural actions or inactions to make it a success rather than a danger. In this essay, I explore mid-nineteenth-century formulations of maternity through the ‘work’ of two women: Mary Ann Brough and Mary Elizabeth Braddon. Both women played a significant role within the era’s popular culture. In 1854, Brough notoriously cut the throats of six of her children, killing them all, and then attempted suicide by cutting her own.1 From 1862 until her death in 1915, Braddon was one of Britain’s most popular and prolific novelists. Through analysis of the correlations and inconsistencies between non-fictional reactions to the crimes of Mary Brough and representations of dangerous maternities in the early fiction of Mary Braddon, this piece aims to explore the period’s biological and social ideas of motherhood in relation to emerging ideas on male professionalism and class mobility.

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The Discourse of 'Ritual Murder'

Popular Reaction to Political Leaders in Botswana

Ørnulf Gulbrandsen

In re-engaging the classic theme of sorcery and witchcraft in African anthropology, it is asserted that something new is happening in terms of the manifestation and magnitude of the phenomena that are commonly included in these notions.1 Geschiere, for one, claims that ‘nearly everywhere on the continent the state and politics seem to be true breeding grounds for modern transformations of witchcraft and sorcery’ (1999: 6). And Jean and John Comaroff (1999) speak of escalations of what they label ‘occult economies’ in postapartheid South Africa, escalations they also trace in other parts of the world, including the West and the post-communist East.

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A Tale of the Murdered Shtetl

The Image of the Shtetl in Yiddish Literature in Post-war Poland

Magdalena Ruta

This article discusses an ambivalent portrayal of the shtetl presented in the prose works of five Yiddish writers who were creatively active in the communist Poland: Leyb Olitsky, Mendel Tempel, Shlomo Strauss-Marko, Lili Berger and Kalman Segal. The theme of the shtetl is of a particular importance in Yiddish literature of that time since it makes it possible to realize how difficult Yiddish writers' situation was under communism in the post-Holocaust era. The literary image of shtetl in their prose works is conditioned by two contrasting perspectives: ideological critique and a sense of loss. In comparison to the classic texts there is a substantial shift – the continuity of the shtetl life with the cycle of the holy history of the Jewish people is interrupted, and religion is substituted – at least ostensibly – by the ideology of communism. The writers criticize the traditional way of life, known as Yiddishkayt, the mentality associated with it, as well as the crisis of the moral value system. Nonetheless, as if in opposition to communist literary critics, all of them unanimously emphasize the values of the Jewish world that are worth remembering, such as the language, folklore, customs and traditions, and also domestic religious rituals, and even certain aspects of religion.

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Surviving Hrant Dink

Carnal Mourning under the Specter of Senselessness

Alice von Bieberstein

who had planned and executed his murder, pieces of Hrant’s photographed face kept falling to the floor, requiring members of Nor Zartonk to undertake the Sisyphean labor of guarding Hrant’s facial integrity. The moment captured Hrant’s almost sensuous

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Moral Thresholds of Outrage

The March for Hrant Dink and New Ways of Mobilization in Turkey

Lorenzo D’Orsi

which he was the founder and editor in chief. Though the murderer was arrested, a consistent part of public opinion placed responsibility on state apparatuses, as Dink had not been protected despite the threats he had received. Ten years after the murder