Why did certain domestic murders fire the Victorian imagination? In her analysis of literary and cultural representations of this phenomenon across genres, Bridget Walsh traces how the perception of the domestic murderer changed across the nineteenth century and suggests ways in which the public appetite for such crimes was representative of wider social concerns. She argues that the portrayal of domestic murder did not signal a consensus of opinion regarding the domestic space, but rather reflected significant discontent with the cultural and social codes of behaviour circulating in society, particularly around issues of gender and class. Examining novels, trial transcripts, medico-legal documents, broadsides, criminal and scientific writing, illustration and, notably, Victorian melodrama, Walsh focuses on the relationship between the domestic sphere, so central to Victorian values, and the desecration of that space by the act of murder. Her book encompasses the gendered representation of domestic murder for both men and women as it tackles crucial questions related to Victorian ideas of nationhood, national health, political and social inequality, newspaper coverage of murder, unstable and contested models of masculinity and the ambivalent portrayal of the female domestic murderer at the fin de siècle.
This edited collection examines gendered representations of "evil" in history, the arts, and literature. Scholars often explore the relationships between gender, sex, and violence through theories of inequality, violence against women, and female victimization, but what happens when women are the perpetrators of violent or harmful behavior? How do we define "evil"? What makes evil men seem different from evil women? When women commit acts of violence or harmful behavior, how are they represented differently from men? How do perceptions of class, race, and age influence these representations? How have these representations changed over time, and why? What purposes have gendered representations of evil served in culture and history? What is the relationship between gender, punishment of evil behavior, and equality?
This is the story of a national obsession. Ever since the Ratcliffe Highway Murders caused a nation-wide panic in Regency England, the British have taken an almost ghoulish pleasure in 'a good murder'. This fascination helped create a whole new world of entertainment, inspiring novels, plays and films, puppet shows, paintings and true-crime journalism - as well as an army of fictional detectives who still enthrall us today. A Very British Murder is Lucy Worsley's captivating account of this curious national obsession. It is a tale of dark deeds and guilty pleasures, a riveting investigation into the British soul by one of our finest historians.
London 1849: the city is filthy, plagued, criminal and filling up with refugees from the Irish Famine and the revolutionary wars on the continent...but it is on the brink of reform as stations are built, rioters pardoned and the Great Exhibition planned. The heaving city is the backdrop for the most sensational crime and trial of the decade: the Manning murder case. Throughout the sticky summer the people of London obsessed over the fate of a dominant mysterious woman and her weak husband as the full detail of their slaughter of her lover unfolded. London 1849 follows the murder, trial and execution of the couple, interweaving the scene that was London at the time: crime, noise, cholera, overpacked slums, prostitution, law and order, prisons, fashion, shopping, finance, transport, Marx and Dickens.
A DAILY EXPRESS BOOK OF THE YEAR REVOLUTIONARY. CONSPIRATOR. JAIL-BREAKER. FUGITIVE. DUELLIST. RADICAL. AND KILLER. ON 8 December 1854, Emmanuel Barthélemy visited 73 Warren Street in the heart of radical London for the very last time. Within half an hour, two men were dead. The newspapers of Victorian England were soon in a frenzy. Who was this foreigner come to British shores to slay two upstanding subjects? But Barthélemy was no ordinary criminal... Marc Mulholland reveals the true story of one of nineteenth-century London's most notorious murderers and revolutionaries. Following in Barthélemy’s footsteps, he leads us from the barricades of the French capital to the English fireside of Karl Marx, and the dangling noose of London's Newgate prison, shining a light into a dark underworld of conspiracy, rebellion and fatal idealism. The Murderer of Warren Street is a thrilling portrait of a troubled man in troubled times - full of resonance for our own terrorised age.