Добірка наукової літератури з теми "Serial murderers – Great Britain"

In the children’s literature of Great Britain in the late 19th – early 20th centuries, during its greatest heyday, also known as the “golden age of children’s literature,” is forming a negative myth about Russia. Initially, Russia appears to be a country of barbarians, murderers and thugs, later – as a “police state”, a country of jails, cold dungeons, political prisoners, where injustice rules, a tyrant triumphs, and truth is trampled and suppressed. In our article we will try to trace the genesis of this myth, the history of its development, the main works in which it appears – and the possible tendencies of its further existence. It is obvious, that the children’s literature forms the reader’s consciousness in its early stages, and therefore the emergence of a pronounced – and even more negative – myth can have significant consequences and a colossal impact on the further way of thinking and perception of the reading audience.

The article discusses the problem of psychoanalytical discourse of teenagersin a foreign youth serial. The main task is to find and study the meaning of psychoanalytical discourse in the life of a modern teenager – a character of « Sex education». The results of purposeful culturological analysis of psychoanalytical discourse is shown as the basis of artistic world of « Sex education»(2019)(USA, Great Britain, Netflix, directors – K. Herron and B. Tailor) on the material of 8 series of the first season. The main attention is given to the study of therapy sessions which the teenagerthe main character – gives to other teenagers. The scientific value of the article is defined both by culturological algorithm of psychoanalytical discourse analysis as the essence of the serial and by the introduction in the scientific use of modern culturalogically new and topical empirical material. A key angle of the research is studying of the psychoanalytical discourse realization as the plot essence of the serial, as for psychotherapy – as a method of teenage problems solving by teenagers themselves. The article also reflects shown in the serial psychoanalysis method, a circle of main problems which teenagers- serial characters face, as well as key meanings of psychoanalytical discourse realization in the serial. The authors give a classification psychotherapy sessions from the viewpoint of their effectiveness: unsuccessful, controversial, successful sessions. The research concludes that some principles of psychoanalysis and age teenage-youth psychology are seen in the artistic world of a serial and a complex of problems shown by the characters has variegated base and hides under the format of sexuality.

Traditional scholarship in social film history views groups of films from a certain time period as encapsulations of the overriding national mindset of that time. However, film scholarship has challenged this notion of what sociologists term ‘collective memory’, insisting instead that a wider range of films be included and several ‘collective memories’ be formulated in order to broaden the understanding of time-specific societal beliefs. In addition, research in memory studies has challenged the insistence on ‘national memories’, preferring instead the exploration of ‘transnational memories’. Most prominent among transnational memory scholarship is the work being done on the Holocaust. This article examines four films produced in three different national cinemas from the early post-war period (1946–49), all of which deal with the aftermath of the Holocaust in some way. Analysing these four films (The Murderers Are among Us, Rotation, The Stranger and The Third Man) and these three national cinemas (East Germany, America and Great Britain) shows how a specific transnational event such as the Holocaust can produce several aesthetic and narrative signifiers internationally while also being specifically formulated to meet local, national sensibilities.

An ultra-slow motion serial whose episodes appear at intervals of twelve months needs a recapitulation of the story so far, however excellent the retentive capacity of scholars in comparison with soap opera audiences. The characters in question are the landowners, great and not so great, and the landed families who were already wellestablished on their estates and in their country houses in late Victorian Britain: and also the newcomers who have continued, throughout the twentieth century, to purchase landed estates and country houses. The main plot concerns the structure and distribution of landownership, and I have suggested that reports of the virtual disappearance of great estates in the last hundred years have been greatly exaggerated. There have been great changes, but while some individuals or entire families have fallen off the boat others have clambered aboard, so that in the 1990s perhaps one-third or more of the land of Britain is held in sizeable estates of 1,000 acres and upwards, compared with radier over one-half in the 1890s. The changing composition of the cast of landowners, and the wildly fluctuating fortunes of particular members of the cast, have fascinated many observers of the social and political scene, and these features provide the sub-plots. The undoubted decline of landed and aristocratic political and social predominance, leading to the virtual elimination of their influence on public life, and the equally undoubted decline, impoverishment, and extinction of some once great and famous landed families, have tended to become confused as cause and effect in some accounts.

ABSTRACTTuberculosis (TB) in South American camelids (SAC) is caused byMycobacterium bovisorMycobacterium microti. Two serological methods, rapid testing (RT) and the dual-path platform (DPP) assay, were evaluated using naturally infected SAC. The study population included 156 alpacas and 175 llamas in Great Britain, Switzerland, and the United States. TB due toM. bovis(n= 44) orM. microti(n= 8) in 35 alpacas and 17 llamas was diagnosed by gross pathology examination and culture. Control animals were from herds with no TB history. The RT and the DPP assay showed sensitivities of 71% and 74%, respectively, for alpacas, while the sensitivity for llamas was 77% for both assays. The specificity of the DPP assay (98%) was higher than that of RT (94%) for llamas; the specificities of the two assays were identical (98%) for alpacas. When the two antibody tests were combined, the parallel-testing interpretation (applied when either assay produced a positive result) enhanced the sensitivities of antibody detection to 89% for alpacas and 88% for llamas but at the cost of lower specificities (97% and 93%, respectively), whereas the serial-testing interpretation (applied when both assays produced a positive result) maximized the specificity to 100% for both SAC species, although the sensitivities were 57% for alpacas and 65% for llamas. Over 95% of the animals with evidence of TB failed to produce skin test reactions, thus confirming concerns about the validity of this method for testing SAC. The findings suggest that serological assays may offer a more accurate and practical alternative for antemortem detection of camelid TB.

The results of experimental studies of the static strength, fatigue and crack resistance of modern improved aluminum alloys 1163ATV, 1163RDTV, 1441RT1, 1163T, 1163T7, 1161T, V95ochT2, B96-3pchT12., 1973T2 developed at the All-Russian Scientific Research Institute for Aviation Materials (VIAM, Russia); and 2524-T3, 6013-T6 HDT, 2324-T39, C433-T351, 7055-T7751 developed at ALCOA (USA) are presented. Those materials are used in the construction of modern operated and designed aircraft. The experimental data were obtained in testing standard specimens on electro-hydraulic machines MTS (USA), Instron (Great Britain) and Schenk (FRG). The tested specimens were cut from semi-products manufactured according to serial technologies. The mechanical properties of materials under tension (σb, σ0.2, δ), fatigue characteristics, fatigue crack growth rate, stress crack propagation curves under static loading (R-curves), conditionally critical stress intensity factors are determined according to domestic standards. To ensure high weight efficiency combined with a high resource and high performance characteristics of the aircraft structures, aluminum alloys must have the following set of necessary characteristics: high resistance to variable loads, low rate of fatigue cracks growth, required residual strength, and good corrosion resistance. The obtained results of experimental studies clearly demonstrate the advantages and disadvantages of the strength properties of the materials under study. The results of experimental studies provide the possibility to compare the strength properties of the materials under study to optimize their use for the specific zone of the structure and thus increase the life and safety of the aircraft design.

From 1999 to 2010, withering of white willow was observed on trees growing along roads or irrigation canals in Torino, Alessandria, and Vercelli provinces of Italy, with incidence varying from 15, 25, and 30%, respectively. In spring and autumn 2008, six samples from withering branches with bark cankers were collected. On the bark surface near the cankers, iridescent traces of dried ooze were found. Tissues immediately below the cankers were dark with water-soaked, olive-colored edges. In some cases, the xylem appeared affected. Small fragments taken from the affected tissue on both edges of bark alterations and darkened vessels were crushed into mortars with sterile saline. Ten-fold serial dilutions (10–1, 10–2) were also performed. Aliquots of 0.1 ml were plated on nutrient agar and incubated at 25°C for 4 days. Bacterial colonies were ivory to white, circular, and bright, with a diameter of ~2 mm. Isolates were negative for Gram staining, presence of arginine dehydrolase, oxidase, phenylalanine deaminase, urease, hydrolysis of gelatin and starch, nitrate reduction, acidity from d-arabinose, cellobiose, lactose, maltose, trehalose, xylose, and pectinolytic activity on potato slices; positive for the presence of catalase and levan, fermentative metabolism of glucose, acid production from aesculin, l-arabinose, dextrose, d-galactose, inositol, d-mannitol, α-methylglucoside, raffinose, salicin and sucrose, H2S production from cysteine, and bright yellow pigment production on autoclaved potato tissue. They were not fluorescent on King's medium B and did not induce hypersensitivity reaction on tobacco leaf. Similar results were obtained with Brenneria salicis control strain, LMG 6089, except for acid production from α-methylglucoside (negative) and l-arabinose (negative). Acid production from α-methylglucoside has been reported for the Japanese strains of B. salicis, which do not produce acidity from inositol (4). Genomic DNA was extracted (1) from three isolates, and PCR reactions were performed with Es1A and Es4B primers (2) that amplify a 553-bp fragment from the 16S rDNA of B. salicis. The isolates showed a PCR product of expected size, like the positive control LMB 6089. On the basis of colony features, biochemical tests, and the PCR assay, we conclude that the isolates belong to B. salicis, a pathogen reported in Belgium, Germany, Great Britain, the Netherlands, Hungary, Japan, and New Zealand (2,3) but, as well as watermark disease symptoms, never previously reported in Italy. In summer 2009, pathogenicity tests were performed by inoculating young, white willow plants with B. salicis suspensions of ~1 to 2 × 109 CFU/ml placed with a syringe at the intersection of 1-year-old branches on the trunk. However, a year later, no symptoms of disease have been noted on the inoculated plants. According to the literature, pathogenicity tests rarely lead to the expected results because the bacterium can survive for many years in latent form, breaking out only when proper environmental conditions occur (3). Also the tests with B. salicis LMG 6089 gave negative results. Further investigation is necessary to clarify the relationships between this bacterium and the environment in causing withering of white willows in Piedmont. References: (1) W. P. Chen and T. T. Kuo. Nucleic Acids Res. 21:2260, 1993. (2) L. Hauben et al. Appl. Environ. Microbiol. 64:3966, 1998. (3) M. Maes et al. Environ. Microbiol. 11:1453, 2009. (4) Y. Sakamoto et al. Plant Pathol. 48:613, 1999.

Psychopathy and serial murder have been topics of great public interest and media attention for several decades. Dennis Rader, a serial killer well-known by his pseudonym “BTK,” was responsible for the gruesome torture and murder of ten people between 1974 and 1991. Although some information is known about him through media accounts, little work has been done to synthesize information about his life and crimes, and to examine him as a case study of psychopathy. Through careful literature review and analysis, this study aims to provide insight into Rader’s life and crimes, and to delineate his psychopathology to gain a better understanding of psychopathy. The results of this case study indicate that Dennis Rader exhibited many features of psychopathy, as well as antisocial and narcissistic personality disorders. This case study has important implications for the public perception of psychopathy and serial murderers, and the investigation of individual psychopaths, emphasizing the value of a comprehensive review of an individual’s life factors in relation to their criminal behavior.

On the night of 31 August, 1888, Mary Ann ‘Polly’ Nichols was found murdered in Buck’s Row, her throat slashed and her body mutilated. She was followed by Annie Chapman on 8 September in the year of 29 Hanbury Street, Elizabeth Stride in Dutfield’s Yard and Catherine Eddowes in Mitre Square on 30 September, and finally Mary Jane Kelly in Miller’s Court, on 9 November. These five women, all prostitutes, were victims of an unknown assailant commonly referred to by the epithet ‘Jack the Ripper’, forming an official canon which excludes at least thirteen other cases around the same time. As the Ripper was never identified or caught, he has attained an almost supernatural status in London’s history and literature, immortalised alongside other iconic figures such as Sherlock Holmes. And his killing ground, the East End suburb of Whitechapel, has become notorious in its own right. In this article, I will discuss how Whitechapel developed as a Gothic location through the body of literature devoted to the Whitechapel murders of 1888, known as 'Ripperature'. I will begin by speaking to the turn of Gothic literature towards the idea of the city as a Gothic space, before arguing that Whitechapel's development into a Gothic location may be attributed to the threat of the Ripper and the literature which emerged during and after his crimes. As a working class slum with high rates of crime and poverty, Whitechapel already enjoyed an evil reputation in the London press. However, it was the presence of Jack that would make the suburb infamous into contemporary times. The Gothic Space of the City In the nineteenth century, there was a shift in the representation of space in Gothic literature. From the depiction of the wilderness and ancient buildings such as castles as essentially Gothic, there was a turn towards the idea of the city as a Gothic space. David Punter attributes this turn to Robert Louis Stevenson’s 1886 novel The Strange Case of Dr. Jekyll and Mr. Hyde. The wild landscape is no longer considered as dangerous as the savage city of London, and evil no longer confined only to those of working-class status (Punter 191). However, it has been argued by Lawrence Phillips and Anne Witchard that Charles Dickens may have been the first author to present London as a Gothic city, in particular his description of Seven Dials in Bell’s Life in London, 1837, where the anxiety and unease of the narrator is associated with place (11). Furthermore, Thomas de Quincey uses Gothic imagery in his descriptions of London in his 1821 book Confessions of an English Opium-Eater, calling the city a “vast centre of mystery” (217). This was followed in 1840 with Edgar Allen Poe’s story The Man of the Crowd, in which the narrator follows a stranger through the labyrinthine streets of London, experiencing its poorest and most dangerous areas. At the end of the story, Poe calls the stranger “the type and the genius of deep crime (...) He is the man of the crowd” (n. p). This association of crowds with crime is also used by Jack London in his book The People of the Abyss, published in 1905, where the author spent time living in the slums of the East End. Even William Blake could be considered to have used Gothic imagery in his description of the city in his poem London, written in 1794. The Gothic city became a recognisable and popular trope in the fin-de-siècle, or end-of-century Gothic literature, in the last few decades of the nineteenth century. This fin-de-siècle literature reflected the anxieties inherent in increasing urbanisation, wherein individuals lose their identity through their relationship with the city. Examples of fin-de-siècle Gothic literature include The Beetle by Richard Marsh, published in 1897, and Bram Stoker’s Dracula, published in the same year. Evil is no longer restricted to foreign countries in these stories, but infects familiar city streets with terror, in a technique that is described as ‘everyday Gothic’ (Paulden 245). The Gothic city “is constructed by man, and yet its labyrinthine alleys remain unknowable (...) evil is not externalized elsewhere, but rather literally exists within” (Woodford n.p). The London Press and Whitechapel Prior to the Ripper murders of 1888, Whitechapel had already been given an evil reputation in the London press, heavily influenced by W.T. Stead’s reports for The Pall Mall Gazette, entitled The Maiden Tribute of Modern Babylon, in 1885. In these reports, Stead revealed how women and children were being sold into prostitution in suburbs such as Whitechapel. Stead used extensive Gothic imagery in his writing, one of the most enduring being the image of London as a labyrinth with a monstrous Minotaur at its centre, swallowing up his helpless victims. Counter-narratives about Whitechapel do exist, an example being Henry Mayhew’s London Labour and the London Poor, who attempted to demystify the East End by walking the streets of Whitechapel and interviewing its inhabitants in the 1860’s. Another is Arthur G. Morrison, who in 1889 dismissed the graphic descriptions of Whitechapel by other reporters as amusing to those who actually knew the area as a commercially respectable place. However, the Ripper murders in the autumn of 1888 ensured that the Gothic image of the East End would become the dominant image in journalism and literature for centuries to come. Whitechapel was a working-class slum, associated with poverty and crime, and had a large Jewish and migrant population. Indeed the claim was made that “had Whitechapel not existed, according to the rationalist, then Jack the Ripper would not have marched against civilization” (Phillips 157). Whitechapel was known as London’s “heart of darkness (…) the ultimate threat and the ultimate mystery” (Ackroyd 679). Therefore, the reporters of the London press who visited Whitechapel during and immediately following the murders understandably imbued the suburb with a Gothic atmosphere in their articles. One such newspaper article, An Autumn Evening in Whitechapel, released in November of 1888, demonstrates these characteristics in its description of Whitechapel. The anonymous reporter, writing during the Ripper murders, describes the suburb as a terrible dark ocean in which there are human monsters, where a man might get a sense of what humanity can sink to in areas of poverty. This view was shared by many, including author Margaret Harkness, whose 1889 book In Darkest London described Whitechapel as a monstrous living entity, and as a place of vice and depravity. Gothic literary tropes were also already widely used in print media to describe murders and other crimes that happened in London, such as in the sensationalist newspaper The Illustrated Police News. An example of this is an illustration published in this newspaper after the murder of Mary Kelly, showing the woman letting the Ripper into her lodgings, with the caption ‘Opening the door to admit death’. Jack is depicted as a manifestation of Death itself, with a grinning skull for a head and clutching a doctor’s bag filled with surgical instruments with which to perform his crimes (Johnston n.p.). In the magazine Punch, Jack was depicted as a phantom, the ‘Nemesis of Neglect’, representing the poverty of the East End, floating down an alleyway with his knife looking for more victims. The Ripper murders were explained by London newspapers as “the product of a diseased environment where ‘neglected human refuse’ bred crime” (Walkowitz 194). Whitechapel became a Gothic space upon which civilisation projected their inadequacies and fears, as if “it had become a microcosm of London’s own dark life” (Ackroyd 678). And in the wake of Jack the Ripper, this writing of Whitechapel as a Gothic space would only continue, with the birth of ‘Ripperature’, the body of fictional and non-fiction literature devoted to the murders. The Birth of Ripperature: The Curse upon Mitre Square and Leather Apron John Francis Brewer wrote the first known text about the Ripper murders in October of 1888, a sensational horror monograph entitled The Curse upon Mitre Square. Brewer made use of well-known Gothic tropes, such as the trans-generational curse, the inclusion of a ghost and the setting of an old church for the murder of an innocent woman. Brewer blended fact and fiction, making the Whitechapel murderer the inheritor, or even perhaps the victim of an ancient curse that hung over Mitre Square, where the second murdered prostitute, Catherine Eddowes, had been found the month before. According to Brewer, the curse originated from the murder of a woman in 1530 by her brother, a ‘mad monk’, on the steps of the high altar of the Holy Trinity Church in Aldgate. The monk, Martin, committed suicide, realising what he had done, and his ghost now appears pointing to the place where the murder occurred, promising that other killings will follow. Whitechapel is written as both a cursed and haunted Gothic space in The Curse upon Mitre Square. Brewer’s description of the area reflected the contemporary public opinion, describing the Whitechapel Road as a “portal to the filth and squalor of the East” (66). However, Mitre Square is the former location of a monastery torn down by a corrupt politician; this place, which should have been holy ground, is cursed. Mitre Square’s atmosphere ensures the continuation of violent acts in the vicinity; indeed, it seems to exude a self-aware and malevolent force that results in the death of Catherine Eddowes centuries later. This idea of Whitechapel as somehow complicit in or even directing the acts of the Ripper will later become a popular trope of Ripperature. Brewer’s work was advertised in London on posters splashed with red, a reminder of the blood spilled by the Ripper’s victims only weeks earlier. It was also widely promoted by the media and reissued in New York in 1889. It is likely that a ‘suggestion effect’ took place during the telegraph-hastened, press-driven coverage of the Jack the Ripper story, including Brewer’s monograph, spreading the image of Gothic Whitechapel as fact to the world (Dimolianis 63). Samuel E. Hudson’s account of the Ripper murders differs in style from Brewer’s because of his attempt to engage critically with issues such as the failure of the police force to find the murderer and the true identity of Jack. His book Leather Apron; or, the Horrors of Whitechapel, London, was published in December of 1888. Hudson described the five murders canonically attributed to Jack, wrote an analysis of the police investigation that followed, and speculated as to the Ripper’s motivations. Despite his intention to examine the case objectively, Hudson writes Jack as a Gothic monster, an atavistic and savage creature prowling Whitechapel to satisfy his bloodlust. Jack is associated with several Gothic tropes in Hudson’s work, and described as different types of monsters. He is called: a “fiend bearing a charmed and supernatural existence,” a “human vampire”, an “incarnate monster” and even, like Brewer, the perpetrator of “ghoulish butchery” (Hudson 40). Hudson describes Whitechapel as “the worst place in London (...) with innumerable foul and pest-ridden alleys” (9). Whitechapel becomes implicated in the Ripper murders because of its previously established reputation as a crime-ridden slum. Poverty forced women into prostitution, meaning they were often out alone late at night, and its many courts and alleyways allowed the Ripper an easy escape from his pursuers after each murder (Warwick 560). The aspect of Whitechapel that Hudson emphasises the most is its darkness; “off the boulevard, away from the streaming gas-jets (...) the knave ran but slight chance of interruption” (40). Whitechapel is a place of shadows, its darkest places negotiated only by ‘fallen women’ and their clients, and Jack himself. Hudson’s casting of Jack as a vampire makes his preference for the night, and his ability to skilfully disembowel prostitutes and disappear without a trace, intelligible to his readers as the attributes of a Gothic monster. Significantly, Hudson’s London is personified as female, the same sex as the Ripper victims, evoking a sense of passive vulnerability against the acts of the masculine and predatory Jack, Hudson writing that “it was not until four Whitechapel women had perished (...) that London awoke to the startling fact that a monster was at work upon her streets” (8). The Complicity of Gothic Whitechapel in the Ripper Murders This seeming complicity of Whitechapel as a Gothic space in the Ripper murders, which Brewer and Hudson suggest in their work, can be seen to have influenced subsequent representations of Whitechapel in Ripperature. Whitechapel is no longer simply the location in which these terrible events take place; they happen because of Whitechapel itself, the space exerting a self-conscious malevolence and kinship with Jack. Historically, the murders forced Queen Victoria to call for redevelopment in Spitalfields, the improvement of living conditions for the working class, and for a better police force to patrol the East End to prevent similar crimes (Sugden 2). The fact that Jack was never captured “seemed only to confirm the impression that the bloodshed was created by the foul streets themselves: that the East End was the true Ripper,” (Ackroyd 678) using the murderer as a way to emerge into the public consciousness. In Ripperature, this idea was further developed by the now popular image of Jack “stalking the black alleyways [in] thick swirling fog” (Jones 15). This otherworldly fog seems to imply a mystical relationship between Jack and Whitechapel, shielding him from view and disorientating his victims. Whitechapel shares the guilt of the murders as a malevolent and essentially pagan space. The notion of Whitechapel as being inscribed with paganism and magic has become an enduring and popular trope of Ripperature. It relates to an obscure theory that drawing lines between the locations of the first four Ripper murders created Satanic and profane religious symbols, suggesting that they were predetermined locations for a black magic ritual (Odell 217). This theory was expanded upon most extensively in Alan Moore’s graphic novel From Hell, published in 1999. In From Hell, Jack connects several important historical and religious sites around London by drawing a pentacle on a map of the city. He explains the murders as a reinforcement of the pentacle’s “lines of power and meaning (...) this pentacle of sun gods, obelisks and rational male fire, within unconsciousness, the moon and womanhood are chained” (Moore 4.37). London becomes a ‘textbook’, a “literature of stone, of place-names and associations,” stretching back to the Romans and their pagan gods (Moore 4.9). Buck’s Row, the real location of the murder of Mary Ann Nichols, is pagan in origin; named for the deer that were sacrificed on the goddess Diana’s altars. However, Moore’s Whitechapel is also Hell itself, the result of Jack slipping further into insanity as the murders continue. From Hell is illustrated in black and white, which emphasises the shadows and darkness of Whitechapel. The buildings are indistinct scrawls of shadow, Jack often nothing more than a silhouette, forcing the reader to occupy the same “murky moral and spiritual darkness” that the Ripper does (Ferguson 58). Artist Eddie Campbell’s use of shade and shadow in his illustrations also contribute to the image of Whitechapel-as-Hell as a subterranean place. Therefore, in tracing the representations of Whitechapel in the London press and in Ripperature from 1888 onwards, the development of Whitechapel as a Gothic location becomes clear. From the geographical setting of the Ripper murders, Whitechapel has become a Gothic space, complicit in Jack’s work if not actively inspiring the murders. Whitechapel, although known to the public before the Ripper as a crime-ridden slum, developed into a Gothic space because of the murders, and continues to be associated with the Gothic in contemporary Ripperature as an uncanny and malevolent space “which seems to compel recognition as not of this earth" (Ackroyd 581). References Anonymous. “An Autumn Evening in Whitechapel.” Littell’s Living Age, 3 Nov. 1888. Anonymous. “The Nemesis of Neglect.” Punch, or the London Charivari, 29 Sep. 1888. Ackroyd, Peter. London: The Biography. Great Britain: Vintage, 2001. Brewer, John Francis. The Curse upon Mitre Square. London: Simpkin, Marshall and Co, 1888. De Quincey, Thomas. Confessions of an English Opium-Eater. Boston: Ticknor, Reed and Fields, 1850. Dimolianis, Spiro. Jack the Ripper and Black Magic: Victorian Conspiracy Theories, Secret Societies and the Supernatural Mystique of the Whitechapel Murders. North Carolina: McFarland and Co, 2011. Ferguson, Christine. “Victoria-Arcana and the Misogynistic Poetics of Resistance in Iain Sinclair’s White Chappell, Scarlet Tracings and Alan Moore’s From Hell.” Lit: Literature Interpretation Theory 20.1-2 (2009): 58. Harkness, Mary, In Darkest London. London: Hodder and Staughton, 1889. Hudson, Samuel E. Leather Apron; or, the Horrors of Whitechapel. London, Philadelphia, 1888. Johnstone, Lisa. “Rippercussions: Public Reactions to the Ripper Murders in the Victorian Press.” Casebook 15 July 2012. 18 Aug. 2014 ‹http://www.casebook.org/dissertations/rippercussions.html›. London, Jack. The People of the Abyss. New York: Lawrence Hill, 1905. Mayhew, Henry. London Labour and the London Poor, Volume 1. London: Griffin, Bohn and Co, 1861. Moore, Alan, Campbell, Eddie. From Hell: Being a Melodrama in Sixteen Parts. London: Knockabout Limited, 1999. Morrison, Arthur G. “Whitechapel.” The Palace Journal. 24 Apr. 1889. Odell, Robin. Ripperology: A Study of the World’s First Serial Killer and a Literary Phenomenon. Michigan: Sheridan Books, 2006. Paulden, Arthur. “Sensationalism and the City: An Explanation of the Ways in Which Locality Is Defined and Represented through Sensationalist Techniques in the Gothic Novels The Beetle and Dracula.” Innervate: Leading Undergraduate Work in English Studies 1 (2008-2009): 245. Phillips, Lawrence, and Anne Witchard. London Gothic: Place, Space and the Gothic Imagination. London: Continuum International, 2010. Poe, Edgar Allen. “The Man of the Crowd.” The Works of Edgar Allen Poe. Vol. 5. Raven ed. 15 July 2012. 18 Aug. 2014 ‹http://www.gutenberg.org/files/2151/2151-h/2151-h.htm›. Punter, David. A New Companion to the Gothic. Sussex: Blackwell Publishing, 2012. Stead, William Thomas. “The Maiden Tribute of Modern Babylon.” The Pall Mall Gazette, 6 July 1885. Sugden, Peter. The Complete History of Jack the Ripper. London: Robinson Publishing, 2002. Walkowitz, Judith R. City of Dreadful Delight: Narratives of Sexual Danger in Late-Victorian London, London: Virago, 1998. Woodford, Elizabeth. “Gothic City.” 15 July 2012. 18 Aug. 2014 ‹http://courses.nus.edu.au/sg/ellgohbh/gothickeywords.html›.

Abstract Background Most studies on secular trends in body mass index (BMI) are cross-sectional and the few longitudinal studies have typically only investigated changes over time in mean BMI trajectories. We aimed to describe how the evolution of the obesity epidemic in Great Britain reflects shifts in the proportion of the population demonstrating different latent patterns of childhood-to-adulthood BMI development. Methods We used pooled serial BMI data from 25,655 participants in three British cohorts: the 1946 National Survey of Health and Development (NSHD), 1958 National Child Development Study (NCDS), and 1970 British Cohort Study (BCS). Sex-specific growth mixture models captured latent patterns of BMI development between 11 and 42 years. The classes were characterised in terms of their birth cohort composition. Results The best models had four classes, broadly similar for both sexes. The ‘lowest’ class (57% of males; 47% of females) represents the normal weight sub-population, the ‘middle’ class (16%; 15%) represents the sub-population who likely develop overweight in early/mid-adulthood, and the ‘highest’ class (6%; 9%) represents those who likely develop obesity in early/mid-adulthood. The remaining class (21%; 29%) reflects a sub-population with rapidly ‘increasing’ BMI between 11 and 42 years. Both sexes in the 1958 NCDS had greater odds of being in the ‘highest’ class compared to their peers in the 1946 NSHD but did not have greater odds of being in the ‘increasing’ class. Conversely, males and females in the 1970 BCS had 2.78 (2.15, 3.60) and 1.87 (1.53, 2.28), respectively, times higher odds of being in the ‘increasing’ class. Conclusions Our results suggest that the obesity epidemic in Great Britain reflects not only an upward shift in BMI trajectories but also a more recent increase in the number of individuals demonstrating more rapid weight gain, from normal weight to overweight, across the second, third, and fourth decades of life.

This chapter explores the enduring myths about the phenomenon of serial murder generally and serial killers in particular, in Britain between 1960 to the present. The Chapter argues that many of these myths have been created and continue to be perpetuated by the print and broadcast media. It is suggested that this process was ignited by American popular culture about serial murder, to the extent that many British students engaged on university courses do so because they want to emulate the heroine of the popular novel The Silence of the Lambs and become the fictional character, Clarice Starling. This observation is used to explore other myths about offender profiling, the role of the profiler in police investigations and the idea that this involves entering the mind of the serial killer by the profiler. Based on his own applied work with serial murderers and on police investigations and after their conviction, the chapter reveals the realities of the phenomenon of serial murder, serial killers and the limits of offender profiling. The chapter uses a number of situations encountered during police investigations and with serial killers to illustrate its arguments. It concludes that we need to harness, rather than dismiss, student interests in this territory in more productive ways. It adopts a structural/victim perspective about serial murder, as opposed to a relentless focus on what might motivate the serial killer to kill. The chapter suggests how this might be done both within the academy and, more broadly in public policy.

This chapter examines the 1979 BBC 2 serialised adaptation of John Le Carré’s Tinker Tailor Solider Spy, positioning this as the first instance of the BBC seizing the initiative over ITV in the spy genre. It explores how this was produced within the BBC classic serial tradition, most traditionally reserved for adapting canonical 19th century novels, whilst the casting of acclaimed actor Alec Guinness in central role of George Smiley imparted further prestige from film and theatre. It argues that the serial achieved its popular impact through embracing the complex narrative pleasures of the long-form serial, whilst countering this with the simple through line of a whodunit (or mole-hunt) storyline, offering multiple possibilities for audience engagement. Finally, it argues that through extensive location filming the serial was able it to effectively visualise some of the elegiac themes of the novel through landscape and architecture.

This describes the making in 1915 of Pearl's next great serial, The Exploits of Elaine, including a full account of the filming of the series at the studio in Ithaca, New York. Also discussed are Pearl's first ventures into feature films, her often mysterious personal life, and the international impact of the "Elaine" serial in Britain, France, and Russia.

In 1912, Bulgaria, Greece, Serbia, and Montenegro attacked and defeated the Ottoman Army. Muslim civilians were murdered and forced to flee. Grey orchestrated a conference in which the Ottomans were forced to cede all but a small portion of their European possessions (the Treaty of London). When the Balkan Allies fought out over the spoils, the Ottomans retook Edirne and Western Thrace, Grey demanded that the Ottomans relinquish their gains; the Ottomans refused. Great Power politics stopped Britain and Russia from intervening. Greece had taken Aegean Islands close to the Anatolia shore. For reasons of security the Ottomans refused British demands that they relinquish them to Greece, threatening further war to retake those closest to Anatolia. Grey wanted military coercion to force the Ottomans to accept Greek retention of the Islands, but Germany opposed him, and Grey feared European war. Throughout the Balkan Wars, British public, press, and governmental sympathies were with the Balkan Christian nations. At every turn, Grey opposed the Ottomans. Greater sympathy for the plight of the Balkan Muslims would surely have been shown if the facts were known, but Grey refused to release damning consular reports to parliament and simply lied about the atrocities.

The paper discusses the development of the aircraft industry and the military organization in Russia, France, Great Britain, the USA, Germany, Austria-Hungary, the Ottoman Empire with the primary attention to the Caucasus’s army, the Black Sea Fleet and to the Southern-Western front. It is proved that the Turkish aviation took the active part in the genocide of Armenians, that the Turks made secret test-flights of the newest German aircraft’s types before their starting up in the serial production. It is established, when and in which place in the Asia Minor the Turks used the chemical weapon. The comparative analysis of the development of the foreign and of the Russian aircraft firms is made with the primary attention to the fates of the organizers of the Russian aircraft industry – Major-General M.V. Shidlovsky and S.S. Schetinin. Firstly, with the help of the government of Paraguay, the date of Schetinin’s birth and death is established. The Guerra del Chaco (1932–1935) is studied as the direct continuation of the WWI. Its analysis is based on the works of W. Churchill, Marshal F. Foch, Infantry’s General Yu.N. Danilov, military historian A.A. Kersnovsky. The making of the aircraft’s technological structure in the WWI is considered according to theory of the social clasterism of V.L. Makarov and to the theory of long waves of V.E. Dementiev.