Academic literature on the topic 'Serial murderers – history'
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Journal articles on the topic "Serial murderers – history"
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Kaplan, Robert. "The Clinicide Phenomenon: An Exploration Of Medical Murder." Australasian Psychiatry 15, no. 4 (August 2007): 299–304. http://dx.doi.org/10.1080/10398560701383236.
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Objective: The aim of this paper is to explore the phenomenon of clinicide. Conclusions: The study of medical killers is barely in its infancy. Clinicide is the unnatural death of multiple patients in the course of treatment by a doctor. Serial medical killing is a relatively new phenomenon. The role model is Dr Marcel Petiot, the worst serial killer in French history. More recently, Dr Harold Shipman was Britain's worst serial killer and in the United States and Zimbabwe, Dr Michael Swango killed 60 patients. A number of doctors have such high patient death rates that it cannot be ignored. At some level, these doctors have an awareness of what they are doing, countered by an overweening refusal to acknowledge the implications or desist from further treatment. Treatment killer offences usually occur on the basis of serial mental illness, but may include the contentious area of euthanasia killing. Doctors have frequently been accomplices in state repression, brutality and genocide in direct contravention to their sanctioned role to relieve suffering and save life. They have become mass murderers on an exponential scale, making any comparison with a doctor killing his own patients almost risible. Many clinicidal doctors have extreme narcissistic personalities, a grandiose view of their own capability and inability to accept that they could be criticized or need assistance from other doctors. Such doctors develop a God-complex, getting a vicarious thrill out of ending suffering and by determining when a person dies.
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Lebedeva, Irena V. "Review of the Book “Monsters and Monarchs: Serial Killers in Classical Myths and History”." Corpus Mundi 4, no. 1 (July 10, 2023): 110–16. http://dx.doi.org/10.46539/cmj.v4i1.80.
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Serial killers have been a popular topic in literature for centuries, appearing in works of fiction, non-fiction, and even poetry. In literature, serial killers often represent the dark side of human nature, and their stories often explore the depths of depravity and the psychological motivations behind their heinous acts. Examples of serial killers can be found throughout history and mythology. With all that the public’s attention is usually focused on the serial murders of the latest decades, with the historical cases still generally remaining in the obscure. The reason for that lack of publicity is that serial killers in antiquity are difficult to identify, because the concept of serial killing is a relatively modern one. One of the pleasant exceptions is a book by Debbie Felton “Monsters and Monarchs: Serial Killers in Classical Myths and History” published by University of Texas Press, 2021, 235 pp., ISBN: 978-1-4773-2357-1 (paperback edition). This article reviews the book and comments on its contents and style.
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Cora, N. İpek Hüner. "Serial Murder and Honor: Rereading the Story of an Ottoman Murderess." International Journal of Middle East Studies 54, no. 1 (February 2022): 135–40. http://dx.doi.org/10.1017/s0020743822000046.
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Murderesses are not among the stock characters of Ottoman prose stories, but they give us a rare opportunity to discuss how being a woman and committing a crime is represented in literary fiction. They also give us the opportunity to discuss how these stories might have been perceived by their audiences. With that in mind, I suggest a close reading of a story that I will summarize here. The story raises questions regarding narratives, gender, and honor as represented and perceived in fiction.
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Sørensen, Anders Dræby. "Den umenneskeligt menneskelige ondskab - Seriemorderen som paradoksal grænsefigur." Slagmark - Tidsskrift for idéhistorie, no. 65 (March 9, 2018): 91–116. http://dx.doi.org/10.7146/sl.v0i65.104131.
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The article discusses the paradoxical role that the serial killer has taken in our present socio-cultural order as a limit figure which at once represents the villain and the hero. In a historical perspective the article examines why the serial killer has been given this role through 5 tracks: First, it is argued that the historical condition of the modern idea of the serial killer is a particular kind of historicalmythologizing of the serial murders. Then it is shown how the idea of serial killer is made widely known because a new type of criminal is introduced by the FBI as an internal enemy of the state. In the third dimension it is shown how this introduction is linked to the conceptualization of the serial killer in criminology and forensic science. The fourth dimension in the history of the idea of the serial killer is the story of how the serial killer is identified as a modern version of a monster by forensic psychiatry and popular culture and is associated with a revitalization of the concept of evil. In the final dimension the spread of the idea of the serial killer is connected to our existential dealing with ourselves.
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Schayegh, Cyrus. "Serial Murder in Tehran: Crime, Science, and the Formation of Modern State and Society in Interwar Iran." Comparative Studies in Society and History 47, no. 4 (September 8, 2005): 836–62. http://dx.doi.org/10.1017/s001041750500037x.
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Tehran, 1934. Introducing his newest book, Mental Diseases, Dr. Muhammad-עAli Tutiyā hits a raw nerve. Iran's capital is abuzz with news about עAli Asghar Borujerdi. Earlier on that year, the man soon dubbed Asghar Qātel (the murderer) confessed to having had sexual intercourse and subsequently killed thirty-three adolescent boys. Born in 1893 in the Western Iranian town of Borujerd, at the age of eight he left with his mother and siblings for Karbalā, Iraq. Six years later, he moved on to Baghdad, and began to sexually abuse adolescents. Eventually, he began to murder them, according to his initial testimony in order to trick the police that were observing him. In 1933, after having taken twenty-five lives, he only escaped Baghdad and arrest by the skin of his teeth. Arriving in Tehran, he worked as porter and vegetable-seller, and took up residence in Bāgh-e Ferdous, a neighborhood in Tehran's poor popular south. He carried on with his deeds, killing eight boys, most of them homeless vagrants. The first bodies, heads severed, were found on 31 December 1933. Borujerdi was arrested once and released for lack of evidence, but in early March of 1934, the police detained him again, and this time he confessed. He was tried, convicted, and, after an unsuccessful appeal, was hung in front of an immense crowd in Tehran's Sepah Square on 26 June.
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Dr. Simon, Gabriella Ürmösné. "Portrayal and Attributes of Serial kKllers and Some of the Most Notorious Ones." Internal Security 12, no. 2 (December 30, 2020): 46–47. http://dx.doi.org/10.5604/01.3001.0014.6699.
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Serial killers have always been in the centre of interest for the reason why they murder umpteen victims without self-control, remorse or a sense of guilt. They stalk stealthily and have the capacity to continue their massacre for ages via diverse countries and states. In this study, I intend to widen my previous study on serial killers with more cases and more background information about the roots of their amok from both the psychological aspect and from the aspect of the damage to the frontal lobe, the role of the hypothalamus, the limbic system, and the ventromedial prefrontal cortex as well as the size of the amygdala which enhance the aggressive behaviour and contribute to uncontrolled sadism. I highlight the vital impact of childhood traumas, humiliation, neglect and the principal elements of family history. I comprise some of the most notorious psychopaths and cluster the common traits of these perpetrators. The role of superiority, maintaining power, manipulation, disability in physical characteristics, profit-making, sensation-seeking, deficiencies in empathy, pathological need to control others and attention-seeking are crucial factors as well. According to psychologists, having a grandiose sense of their own self-worth, narcissistic attitude, and addictive personalities may all contribute to murders.
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Takla, Nefertiti. "Barbaric Women: Race and the Colonization of Gender in Interwar Egypt." International Journal of Middle East Studies 53, no. 3 (August 2021): 387–405. http://dx.doi.org/10.1017/s0020743821000349.
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AbstractThis article analyzes the sensationalized media coverage of a serial murder case during the Egyptian revolution of the early interwar era. Despite conflicting evidence, the media blamed the murders on two sisters from southern Egypt named Raya and Sakina. Through a close reading of Egyptian editorials and news reports, I argue that middle-class nationalists constructed Raya and Sakina as barbaric women who threatened to pull the nation back in time in order to legitimize their claim to power. Borrowing from Ann Stoler's analysis of the relationship between race and sexuality and Maria Lugones's concept of the modern/colonial gender system, this article maintains that race was as central to nationalist conceptions of female barbarism as gender, sexuality, and class. The enduring depiction of Raya and Sakina as the quintessential barbaric Egyptian women symbolizes the way in which the modern woman was constructed at the intersection of race and sexuality.
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Santos, Cássia Dos. "Escatologia e mito cosmogônico na obra romanesca de Lúcio Cardoso// Escathology and cosmogonic myth in the novel by Lúcio Cardoso." O Eixo e a Roda: Revista de Literatura Brasileira 32, no. 1 (October 20, 2023): 7. http://dx.doi.org/10.17851/2358-9787.32.1.7-31.
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Resumo: Tomando um conjunto considerável de textos de Lúcio Cardoso e reproduzindo trechos de seus artigos, dos Diários (2012), da Crônica da casa assassinada (1959), de manuscritos inéditos, de cartas, assim como fragmentos de entrevistas e depoimentos que concedeu, este artigo pretende apresentar o projeto ficcional do escritor mineiro em torno de uma cidade imaginária. A hipótese defendida é a de que o romance de 1959 integraria um grande ciclo que recebeu o nome de Crônica da cidade assassinada nos manuscritos dos Diários e cujo propósito seria narrar a história de decadência e destruição de uma pequena cidade, situada pelo romancista na Zona da Mata Mineira. O título do ciclo tem sido associado ao do romance, como se designasse a mesma obra, ideia que é contestada no texto.Palavras-chave: Cardoso, Lúcio (1912-1968); romance brasileiro; criação (literária, artística etc.)Abstract: Observing a considerable collection of Lúcio Cardoso’s texts and citing excerpts from his articles, from Diários (Diaries), 2012, from Crônica da casa assassinada (Chronicle of the Murdered House), 1959, from unpublished manuscripts, from letters, as well as from fragments of magazines and the author’s testimonials, this paper aims at presenting the author’s fictional project regarding an imaginary city. The hypothesis defended is that the 1959 novel would integrate a significant cycle titled Crônica da cidade assassinada (Chronicle of the Murdered Town) in the manuscripts from Diários (Diaries), whose purpose would be to narrate the history of the decay and destruction of a small town, placed by the novelist in the Zona da Mata Mineira. The title of the cycle has been associated to the one of the novel, as if it refers to the same work, an idea that is questioned in the text.Keywords: Cardoso, Lúcio (1912-1968); Brazilian novel; creation (literary, artistic etc.)
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Takla, Nefertiti. "Women and Crime: Exploring the Role of Gender, Sexuality, and Race in Constructions of Female Criminality." International Journal of Middle East Studies 54, no. 1 (February 2022): 124–27. http://dx.doi.org/10.1017/s0020743822000022.
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This roundtable on women and crime was inspired by a discussion at a CUNY Dissections Seminar in April 2021, where Gülhan Balsoy presented her work in progress on Ottoman crime fiction in the early 20th century. The focus of her paper was a popular murder mystery series called The National Collection of Murders, which had been published in Istanbul in 1914. The protagonists of this fictional crime series were a mother and daughter known as the Dark Witch and the Bloody Fairy, who led an underground criminal gang living in a secret subterranean world beneath the city of Istanbul. While reading her paper the night before the seminar, I could not help but notice striking parallels between this fictional Ottoman murder mystery and the sensationalized media coverage of a 1921 Egyptian serial murder case, popularly known by the name of its alleged perpetrators, Raya and Sakina. In both the fictive Ottoman story and the Egyptian media coverage of a real crime, two sets of female relatives were presented as the respective leaders of a criminal gang that stole luxury goods from respectable families and turned their homes into human slaughterhouses. In both cases, the female gang leaders used “superstition” to deceive and trap their victims while continually outwitting the police, all against a backdrop of illicit sex.
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DeLisi, Matt. "Superhomicide offenders: Nosology, empirical features, and linkages to sexual and multiple murder typologies." Behavioral Sciences & the Law, April 28, 2024. http://dx.doi.org/10.1002/bsl.2662.
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AbstractThe nosology for criminals who murder multiple victims is at once well‐established and controversial, perhaps because theorists have largely segregated such offenders from the broader criminal population. The current study introduces the superhomicide offender, an individual convicted of at least five murders, to locate multiple homicide offenders within the criminological and epidemiological science pertaining to the most pathological offenders, and statistically place them with other conceptualizations of severe offenders at the 95th percentile of the offending distribution. Relative to other capital murderers, superhomicide offenders have lengthier criminal history, greater conviction history, and coextensive psychopathology characterized by psychopathy, sexual sadism, homicidal ideation, cluster A and B personality disorders, and major depressive disorder. Superhomicide offenders are profoundly psychopathic with 20 of the 39 offenders reaching the clinical threshold of 30 or more on the PCL‐R, and 19 of the 39 are sexually sadistic. Regarding extant typologies of sexual and multiple homicide offenders, 15 are serial murderers, 17 are sexual homicide offenders, 17 are mass murderers, and 17 are spree murderers. Twenty‐four of the 39 superhomicide offenders (61.5%) met criteria for multiple typologies, suggesting the new prototype can help unify the study of those who perpetrate multicide and embed them within criminological and epidemiological models that specify pathological antisocial outcomes.
Dissertations / Theses on the topic "Serial murderers – history"
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Tyrrell, Kimberley English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "???The monsters next door???: representations of whiteness and monstrosity in contemporary culture." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/35639.
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The focus of this thesis is the examination of whiteness as a dominant identity and subject position. Whiteness has conventionally assumed a normative, monolithic status as the template of humanity. Recent theorising has attempted to specify and denaturalise whiteness. In order to participate in this fracturing of whiteness, I analyse examples in which it functions as a site of contested and ambiguous contradiction. To this end, I use contemporary monstrosity to examine whiteness. Monstrosity is a malleable and culturally specific category of difference that measures alterity, and by displaying discursive functions in an extreme form offers insight into the ways in which deviance and normativity operate. I argue that the conjunction of whiteness and monstrosity, through displaying whiteness in a negative register, depicts some of the discursive operations that enable whiteness to attain such hegemonic dominance. I deploy theories of marginalisation and subjectivation drawn from a variety of feminist, critical race, and philosophical perspectives in order to further an understanding of the discursive operations of hegemonic and normative subject positions. I offer a brief history and overview of both the history and prior conceptualisations of monstrosity and whiteness, and then focus on two particular examples of contemporary white monstrosity. I closely examine the representation of monstrosity in serial killer films. The figure of the serial killer is typically a white, heterosexual, middle class male whose monstrosity is implicitly reliant upon these elements. In my discussion of the recent phenomenon of fatal shootings at high schools in North America, I investigate the way the massacre at Columbine High School functions as the public face of the phenomenon and for the unique interest it generated in the mass media. I focus on a Time magazine cover that featured a photograph of the adolescent perpetrators under the heading The Monsters Next Door, which condensed and emblematised the tension that they generated. It is through the perpetrators uneasy occupation of dual subject positions???namely the unassuming all American boy and the contemporary face of evil???that their simultaneous representation as average and alien undermines the notion of whiteness as neutral and invisible.
Books on the topic "Serial murderers – history"
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Deconstructing Jack: The secret history of the Whitechapel murders. California?]: Simon Daryl Wood, 2016.
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Zornetta, Monica. Ludwig: Storie di fuoco, sangue, follia. Milano: Dalai, 2011.
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Zornetta, Monica. Ludwig: Storie di fuoco, sangue, follia. Milano: Dalai, 2011.
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Stephen, Wright. Jack the Ripper: An American view. New York: Mystery Notebook Editions, 1999.
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Jack the Ripper: An encyclopaedia. London: Metro, 2010.
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Rivett, Miriam. Jack the Ripper. New York: Barnes & Noble, 2006.
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I serial killer della Serenissima. Spinea (VE) [i.e. Venice, Italy]: Helvetia, 2012.
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Bourgoin, Stéphane. 100 ans de serial killers. Paris: Méréal, 2000.
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Gekoski, Anna. Murder by numbers: British serial sex killers since 1950 : their childhoods, their lives, their crimes. London: Andre Deutsch, 2000.
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McDonald, Deborah. The prince, his tutor, and the Ripper: The evidence linking James Kenneth Stephen to the Whitechapel murders. Jefferson, N.C: McFarland & Co., 2007.
Find full textBook chapters on the topic "Serial murderers – history"
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Cummins, Ian, Marian Foley, and Martin King. "The Moors Murders: A Brief History." In Serial Killers and the Media, 15–30. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04876-1_2.
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Black, Donald W. "The Antisocial Murderer." In Bad Boys, Bad Men 3rd edition, 201–30. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780197616918.003.0009.
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This chapter focuses on serial killer and study subject John Wayne Gacy, exploring what can happen when antisocial personality disorder (ASPD) reaches its worst potential. At the time of his arrest and conviction, Gacy was the most prolific serial killer in American history, and he remains one of the best-known members of a hideous fraternity—men who kill again and again, often for no apparent motive. Despite differences, their biographies often read like textbook studies of ASPD manifested in a most deadly way. Not all serial killers are antisocial and, certainly, few antisocial persons rise to the heights of violence reached by men like Gacy, Jeffrey Dahmer, Ted Bundy, Henry Lee Lucas, and David Berkowitz. However, ASPD symptoms—unruly childhoods, failures at school and work, legal skirmishes, instability, impulsiveness, and the like—are common themes in their lives.
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Stoyle, Mark. "Introduction." In A Murderous Midsummer, 1–8. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300266320.003.0001.
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This chapter sets out to provide a new history of the Western Rising, and to consider the disturbances afresh: beginning with the preliminary tremors which may be seen, in retrospect, to have provided a series of ominous warnings — or ‘fore-halsenings’, as the expressive contemporary dialect term had it — of the great explosion of popular anger that was soon to come. It discusses the series of major political aftershocks that occurred in London after the protests had been suppressed. The chapter also examines the impulses that destabilised West Country society during the early years of the sixteenth century. It then looks at the ordinary people who rose up in protest in the West Country — in both 1548 and 1549 — who were fully aware of the currents of political and religious opposition to the Edwardine regime that existed in other parts of the kingdom. Ultimately, the chapter hopes to show that the Tudor world was a world that the West Country insurgents of 1549 came much closer than is generally realised to turning upside down.
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Ransel, David L. "Pre-Reform Russia 1801–1855." In Russia A History, 168–98. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199560417.003.0006.
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Abstract If the murder of Tsar Paul in 1801 brought instant relief to the political élite of Russia, it did not have the same healthy effect on the new ruler, Alexander I, son of the murdered tsar. Alexander was himself a conspirator, for he had authorized the overthrow of his father, if not his assassination, and the new tsar initially expressed despair about the killing, feelings of incompetence about ruling, and stark fear that he too might be killed. The recent series of executions and overturns of European rulers had made royalty insecure everywhere in Europe.
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Erkan, Gökhan Hüseyin, and Ahmet Antmen. "Behind Every Serial Killer, There is Perfect Spatial Reasoning (The Devil in the White City)." In Architecture in Contemporary Literature, 148–54. BENTHAM SCIENCE PUBLISHERS, 2023. http://dx.doi.org/10.2174/9789815165166123010019.
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The Devil in the White City is a nonfiction novel based on true events set in Chicago, Illinois, United States, in the late 19th century. Author Erik Larson, drawing from his background in journalism, transforms the findings of his historical research into a literary work without breaking the connection of events with reality. The plot of the novel proceeds with non-linear time oscillations on two main axes. The first of the axes follows the struggle of Daniel Hudson Burnham, appointed in 1890, when the events began, as the chief architect of the World's Fair to be held in Chicago three years later. His dramatic struggle is full of ambition and competition in the areas of architecture, engineering, economy, and politics. The other axis, to the extent, permitted by the evidence and testified to by witnesses, traces the murders committed by Henry Howard Holmes, the first known serial killer in the history of the United States, who took advantage of the construction of the World’s Fair to plan and execute his nefarious deeds in the same place and in the same time frame. The sections presenting the design and construction process of The White City by Burnham are, to a large extent, technical in themselves and will potentially attract those readers who are particularly interested in the history of architecture. The chapters where the spatial reasoning underlying the design of the World's Fair Hotel, known as “The Murder Castle of Holmes”, designed and modified by Holmes specifically to facilitate the murders he had planned and committed, are also quite interesting. The non-linear narrative of the novel between parallel lives is dominated by the direct narrative technique based on documents, instead of indirect narration, which gives weight to the literary style. The author does not aim to create a connotation in the mind of the reader through images, but to make the reader connect with reality through uninterrupted descriptions throughout the novel. Thus, the novel, The Devil in the White City, documents the historical background of “The City Beautiful” movement, which is among the theories of architecture and urbanism, where Burnham's Chicago is its very first example. On the other hand, it documents a distinct historical event by focusing on the first known representative of the serial killer phenomenon that has inspired many horror-thriller novels even to this day.
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Marrone, Gaetana. "Disorder and Chaos." In The Cinema of Francesco Rosi, 89–120. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190885632.003.0003.
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Le mani sulla città (Hands over the City, 1963), Rosi’s indictment of local civic corruption, maps the labyrinthine spaces and power hierarchies of Naples, the city that exemplified for him scandalous urban developments in postwar Italy. The film, which exposes the rapacity of land speculators operating in collusion with local government, features spectacular collapse and eviction scenes that reflect Rosi’s rapport with Neapolitan theater and his aesthetic ties to Cartier-Bresson. Cadaveri eccellenti (Illustrious Corpses, 1976), adapted from Leonardo Sciascia’s Il contesto, is Rosi’s noir on the Mafia’s ascendancy to a de facto partner in national government. The film, which unfolds around a series of unsolved murders of distinguished jurists, reflects Rosi’s political unease with the “historic compromise.” To capture these political maneuverings, Rosi breaks with “documented” realism and devises a neobaroque view of the South as an iconic site of corruption, doubt, conspiracy, suspicion, and visual theatricality.
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Jordan, Randolph. "The Schizophonographic Imagination." In Acoustic Profiles, 127—C4P120. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190226077.003.0005.
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Abstract This chapter focuses on one particular sound technology, the phonograph, as a highly visual marker of the myth of vanishing mediation at the crux of the fidelity thesis, ideal for cinematic evocations of the schizophonic condition. With David Lynch and Mark Frost’s Twin Peaks saga as a case study, the author uses the term schizophonographics to refer to cinema’s capacity to represent the split between sound and source through graphic representation of the materiality of phonographic processes. Lynch’s career-long interest in phonography inverts the fidelity thesis by fetishizing the materiality of the medium as the basis for its capacity to vanish. With reference to scholarship on early twentieth century anxieties surrounding sound and image recording technologies, and late twentieth century anxieties around the shift to digital processes, this chapter demonstrates where Twin Peaks sits in the context of Lynch’s history of schizophonographics to bind alternate modes of perception to medium-specific materiality. Twin Peaks ties its schizophonographics to questions of neurodivergence in its narrative focal point: the figure of Laura Palmer, the high school senior found murdered in the opening minutes of the pilot episode, and whose troubled life unfolds through the police investigation that follows. Her character’s psychological instability drives much of the formal experimentation with sound and image in the series, but through it we find a more productive way to engage with Schafer’s negative evocation of schizophrenia in articulating the presence of sound technologies in our daily lives that moves beyond aging critiques of the postmodern condition.