Academic literature on the topic 'Murder – Great Britain – Fiction'
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Journal articles on the topic "Murder – Great Britain – Fiction"
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Studniarz, Sławomir. "Spuścizna literacka Edgara Allana Poego w dwudziestym pierwszym wieku a nowe paradygmaty badawcze." Papers in Literature, `10 (July 30, 2022): 153–69. http://dx.doi.org/10.31648/pl.7861.
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The aim of the article is to re-examine the literary legacy of Edgar Allan Poe from the perspective of the third decade of the 21st century. The starting point is a brief discussion of its complicated reception in the USA and Great Britain as well as its strikingly vivid presence in the contemporary culture. However, the main argument centres on how some of the fiction written by Poe reveals a striking convergence with the present-day environmental concerns engendered by an imminent man-wrought ecological catastrophe, and with the insights offered by zoocriticism. First, I analyse the selected stories by Poe from the perspective of ecocriticism. I wish to argue that at least some portion of his fiction could be included in “American environmentalist discourse”. I undertake to demonstrate that The Conversation of Eiros and Charmion and The Colloquy of Monos and Una carry a clear ecological message, The Domain of Arnheim features the artistic elevation of the natural world, while The Island of the Fay reveals the prefigurings of the modern Gaia Hypothesis. I also take a look at the stories Metzengerstein, The Black Cat, and The Murders in the Rue Morgue within the framework offered by zoocriticism, which studies the dynamics of the relation between Homo sapiens and other species. In this context I briefly refer to The Raven as well. The presented considerations may help understand why Poe’s fiction appeals to us so much now, in the age of Anthropocene, and at the same time try to counterbalance the image of Poe enshrined in the popular imagination – as the author of dark, terrifying, escapist stories, who has little to say about the world we live in.
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Alobaidi, Shaimaa. "The World of Mystery and Crime: Agatha Christie Techniques." European Journal of Theoretical and Applied Sciences 2, no. 3 (May 1, 2024): 208–14. http://dx.doi.org/10.59324/ejtas.2024.2(3).17.
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And Then There Were None and A Murder is Announced are two prominent works written by the “Queen of Crime” Agatha Christie. While both novels belong to the genre of the murder mystery and detective fiction, the writer employs different literary techniques to build suspense and keep the readers’ engagement until the final scene. Moreover, Agatha Christie also pays great attention to the details of the crime. Providing the audience with certain clues, the writer succeeds to manipulate the reader’s thoughts. Thereby, And Then There Were None and A Murder is Announced are remarkable examples of the murder mystery that is achieved by different literary means making the stories topical literary works.
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Coulson, John, and Nigel Odin. "Continental Great Spotted Woodpeckers in mainland Britain ‐ fact or fiction?" Ringing & Migration 23, no. 4 (January 2007): 217–22. http://dx.doi.org/10.1080/03078698.2007.9674367.
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Sandberg, Eric. "Detective Fiction, Nostalgia and Rian Johnson's Knives Out: Making the Golden Age Great Again." Crime Fiction Studies 1, no. 2 (September 2020): 237–53. http://dx.doi.org/10.3366/cfs.2020.0023.
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The Golden Age is back with a vengeance: reprints, re-boots, and adaptations of interwar detective fiction and its off-shoots have proliferated in the twenty-first century, as have works more loosely, but nonetheless substantially, inspired by the clue-puzzle format developed and perfected by authors like Agatha Christie. This resurgence of the ‘whodunnit’ mystery is something of mystery itself, as the centre of gravity of crime writing has long shifted away from this ostensibly dated and aesthetically limited form. This paper explores this unexpected development, looking in particular at the role of nostalgia in relation to new Golden Age mysteries. While nostalgia is frequently, and quite justly, viewed in negative terms as a personally and politically regressive phenomenon, in some cases, as in Rian Johnson’s murder mystery Knives Out (2019), examined here, it can be used not simply as a dubious marketing or aesthetic strategy, but as part of a broader social critique in which one form of nostalgia is used to critique another.
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Vice, Sue. "Howard Jacobson’s J: A Novel and the Counterfactual Imagination." European Judaism 55, no. 2 (September 1, 2022): 81–94. http://dx.doi.org/10.3167/ej.2022.550207.
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This article analyses Howard Jacobson’s 2014 novel J, which depicts the aftermath of an imagined genocide of the Jews in Britain, and explores its connections to other examples of British-set counterfactual Holocaust fiction. The representation of mass murder on British soil in Jacobson’s novel is achieved despite its omission of such crucial words as ‘Jew’, making the task of identifying these events and their victims into one shared by the novel’s protagonists and the reader. This article identifies the varied targets of J’s satire, which include that of increasing British insularity and its basis in assumptions of moral superiority in relation to the commission of wartime atrocities in Europe. Yet the novel also critiques in more general terms those aspects of contemporary life’s dependence on conformity-inducing technologies, to suggest that the figure of the Jew, and responses to the Jewish presence, offer a more vital alternative.
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Adogame, Afe. "Engaging the Rhetoric of Spiritual Warfare: The Public Face of Aladura in Diaspora." Journal of Religion in Africa 34, no. 4 (2004): 493–522. http://dx.doi.org/10.1163/1570066042564392.
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AbstractOne of the most striking examples of African indigenous religious creativity is the Aladura, a group of churches that emerged in Western Nigeria from the 1920s and 1930s. They are so called because of their penchant for prayer, healing, prophecy, exorcism, trances, visions and dreams. The Aladura made inroads into the European religious landscape in the late 1960s and have continued to grow in numbers. This paper examines their historical development, belief patterns and their appropriation of rituals in diaspora. Aladura's public image, particularly in the European media, has been somewhat controversial. Drawing insights from Great Britain, Italy and Germany, especially relating to the recent 'Thames Torso' ritual murder in Great Britain, the transnational sexual labour trafficking in Italy and Germany and their alleged connections with some Aladura churches, the paper shows how media sensationalizing of such allegations further serves to heighten public apprehension of Aladura. An insufficient grasp of Aladura religious worldview and their strong emphasis on ritual re-enactments may often continue to attract public misrepresentation and diabolization.
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MacMillan, Ken, and Melissa Glass. "Murder and Mutilation in Early-Stuart England: A Case Study in Crime Reporting." Journal of the Canadian Historical Association 27, no. 2 (July 20, 2017): 63–91. http://dx.doi.org/10.7202/1040562ar.
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Although historians have long recognized that crime pamphlet authors were not very faithful reporters, it has been difficult for them to establish precisely how much fiction this literature contained because of the limited availability of other sources with which to compare them. Using a case study approach, this essay examines two murder pamphlets, both written in 1606, that describe the murder of a young boy, Anthony James, the mutilation of his sister, Elizabeth, and the conviction and execution of their alleged assailants, Agnes and George Dell. The presence of two pamphlets describing the same series of crimes was unusual, and, through a process of detailed comparison and critical interpretation, provides us with an opportunity to reflect further on the accuracy and purpose of crime reporting in early modern England. The two versions contain a great deal of contradictory information, were seemingly written for very different audiences, served a variety of functions for contemporary readers, and raise the question of whether the authors believed that justice was done in this case.
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Zsámba, Renáta. "Houses as Lieux de Mémoire in Margery Allingham’s Crime Fiction." Crime Fiction Studies 2, no. 2 (September 2021): 218–33. http://dx.doi.org/10.3366/cfs.2021.0048.
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This article discusses the house as a site of memory in the novels of Margery Allingham, where it embodies a tension between the past and the present that turns the domestic milieu into a place of horror. Stemming from Susan Rowland’s claim that Golden Age authors did not write ‘unproblematically conservative country house mysteries’ (43), this paper uses Svetlana Boym’s theory of restorative and reflective nostalgia and Pierre Nora’s concept of lieux de mémoire (sites of memory) to read Allingham’s novels, which critically observe the sustainment of a vision of the past after the Great War. In her work, country houses like the eponymous one in The Crime at Black Dudley (1929), are, despite their aristocratic grandeur, perfect scenes for murder. While the countryside is associated with a nostalgic innocence, it is also contaminated by the intrusion of the present, as in Sweet Danger (1933). Family secrets are also reasons for crime, as we see in Police at the Funeral (1931). Hide My Eyes (1958) relocates the nostalgic atmosphere to a suburban house converted into a museum of ‘curios’, which operates as an ironic allegory of a nation wrapped up in its own history.
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Bastan, Ajda. "The Hagia Sophia and the Other Turkish Locations in Agatha Christie’s “Murder On the Orient Express”." International Journal of Social, Political and Economic Research 8, no. 1 (April 3, 2021): 37–46. http://dx.doi.org/10.46291/ijospervol8iss1pp37-46.
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British author Agatha Christie, who is one of the best-selling novelists in world literature, is the pioneering figure of detective fiction. Christie, the queen of mystery, wrote about eighty novels during her life. A great number of the author’s books were also adapted into movies. Viewed as one of Agatha Christie's most noteworthy accomplishments, the novel Murder on the Orient Express was released in 1934. It is highly believed that Agatha Christie wrote this novel during her long stays in Istanbul. The story is about a Belgian detective investigating a crime that occurred on the train. In Murder on the Orient Express many places and locations related to Turkey are mentioned. These are the Sainte Sophie (Hagia Sophia), the Orient Express, the Taurus Express, Nissibin, the Cilician Gates, Istanbul, Konya, The Bosporus, the Galata Bridge, The Tokatlian Hotel, Smyrna, Taurus and Hayda-passar. The novel starts with the completion of Hercule Poirot's investigation in Syria at the Aleppo train station. Poirot goes to Istanbul via the Taurus Express, where he wants to take the Orient Express to London. In fact, Poirot wants to make a few days’ holiday in Istanbul and visit Hagia Sophia.
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Γκότση, Γεωργία. "Elizabeth Mayhew Edmonds: Greek prose fiction in English dress." Σύγκριση 25 (May 16, 2016): 23. http://dx.doi.org/10.12681/comparison.9064.
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Elizabeth Mayhew Edmonds (1823-1907) played a significant role in the mediation of Modern Greek literature and culture in late nineteenth-century Britain, with her translations forming a vital aspect of her activity as a cultural broker. Focusing on Edmond’s transmission of late nineteenth-century Greek prose fiction, the article discusses her translation practices in the contemporary contexts of the publishing domain and the marketplace as well as of her effort to acquire authority in the literary field. Albeit impressive for a woman who was an autodidact in Modern Greek, the narrow scope of Edmonds’ translations offered a limited image of the developments in Modern Greek fiction. Her correspondence with John Gennadius and Thomas Fisher Unwin sheds light on her sense of superiority regarding male Greek authors such as Drosines and Xenopoulos, whose texts she rendered into English. Against this background, the article seeks to explain her translating choices and examines how a self-conscious translator such as Edmonds tried to shape the reception of Greek fiction in Victorian England by portraying it in terms of an ethnographic study of cultural survivals. Finally, through a parallel reading of the original texts and her somewhat mundane renderings, the article seeks to illuminate her translating craft: although worthy for their contribution to the promotion of Modern Greek literature in Great Britain, Edmond’s translations suffered from her inability to recreate the density of the original texts.
Dissertations / Theses on the topic "Murder – Great Britain – Fiction"
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Sinfield, Laura Nancy. "Use and usefulness of forensic archaeology and forensic anthropology in Great Britain." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/10054.
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This thesis explores the extent to which forensic archaeology and forensic anthropology are utilised within Great Britain and to what extent they aid, or do not aid, medico-legal investigation of death. Chapter One introduces the topic and considers the need for an exploration of these issues. In Chapter Two, the differences between the American and British situations are examined and an explanation for the differences proposed, based on the development of the academic ‘parent’ disciplines during the last century. Chapter Three explores issues around accreditation and registration in the UK. The role of the courts in maintaining standards of expert evidence is examined. National and European schemes are considered. After considering the practitioners in this way, Chapter Four looks at the methods, and how the practitioners’ experience informs their choice of method. One specific topic for each discipline is discussed in depth and the complexity of choice illustrated. The difficulty in assessing the full scope for use of forensic archaeology and forensic anthropology are detailed in Chapter Five, with the marked lack of available research data. The problems inherent in media-derived data are considered. The scope for use of the two disciplines is discussed and illustrated with examples from the Media Derived Case List In Chapter Six, a complex multiple-burial multiple-murder case is discussed; and interviews across one police force area are discussed. These illustrate the use and usefulness of forensic archaeology in practice. Conclusions are drawn in Chapter Seven, and radical recommendations are made.
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Kobritz, Sharon J. "Why Mystery and Detective Fiction was a Natural Outgrowth of the Victorian Period." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/KobritzSJ2002.pdf.
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Gill, Josephine Ceri. "Race, genetics and British fiction since the Human Genome Project." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610822.
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Floyd, William David. "Orphans of British fiction, 1880-1911." Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3601.
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Orphans of British Fiction, 1880-1911 Abstract William David Floyd Orphans of British Fiction, 1880-1911 focuses on the depiction of orphans in genre fiction of the Victorian fin-de-siecle. The overwhelming majority of criticism focusing on orphans centers particularly on the form as an early- to middle-century convention, primarily found in realist and domestic works; in effect, the non-traditional, aberrant, at times Gothic orphan of the fin-de-siecle has been largely overlooked, if not denied outright. This oversight has given rise to the need for a study of this potent cultural figure as it pertains to preoccupations characteristic of the turn of the century. The term “orphan” may typically elicit images of the Dickensian type, such as Oliver Twist, the homeless waif with no family or fortune with which he or she may discern identity and totality of self. The earlier-century portrayals of orphanhood that produced this stereotype dealt almost exclusively with issues arising from industrialization, such as class affiliation, economic disparity and social reform and were often informed by the cult of the ideal Victorian family. Beginning with an overview of orphanhood as presented in earlier fiction of the long nineteenth century, including its metaphorical import and the conventions associated with it, Orphans of British Literature, 1880-1911 goes on to examine the notable variance in literary orphans in genre fiction at the turn of the century. Indicators of the zeitgeist of modernism’s advent, turn-of-the-century orphans functioned as registers of burgeoning cultural anxieties particular to the fin-de-siecle, such as sexual ambiguity, moral and physical degeneration and concerns about the imperial enterprise. Furthermore, toward the century’s end, the notion of the ideal family fell under suspicion and was even criticized as limiting and oppressive rather than reliable and inclusive, casting into doubt the institution to which the orphan historically aspired and through which the orphan state was typically rectified. As a result, in contrast to the sentimental street urchin of early and middle century fiction, fin-de-siecle orphans are often unsettling, irresolute, even monstrous and violent figures.
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Smith, Helen. "The Fire and the Ash." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/1644.
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This thesis comprises two parts. Part One is a novel (The Fire and the Ash), set in the latter half of the nineteenth century. lt chronicles, for the most part, the marriage of a young Irish couple. Part Two is an essay entitled Victorian Women and the Law. This area of research was selected because the life span of the woman in my novel coincides almost precisely with the reign of Queen Victoria. The life of women in Victorian Britain is commonly known to have been difficult. The social dictates of the time required that they be groomed from early childhood for a life of servitude to father and, hopefully, later a husband. There was little room, apart for a small minority of exceptional women, for self-expression, other than through the domestic arts within the home.
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Dredge, Sarah. "Accommodating feminism : Victorian fiction and the nineteenth-century women's movement." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36917.
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The research field of this thesis is framed by the major political and legal women's movement campaigns from the 1840s to the 1870s: the debates over the Married Women's Property Act; over philanthropy and methods of addressing social ills; the campaign for professional opportunities for women, and the arguments surrounding women's suffrage. I address how these issues are considered and contextualised in major works of Victorian fiction: Anne Bronte's The Tenant of Wildfell Hall (1848), Elizabeth Gaskell's North and South (1855), Charlotte Bronte's Villette (1853), and George Eliot's Middlemarch (1871--2).In works of fiction by women, concepts of social justice were not constrained by layers of legal abstraction and the obligatory political vocabulary of "disinterest." Contemporary fiction by women could thus offer some of the most developed articulations of women's changing expectations. This thesis demonstrates that the Victorian novel provides a distinct synthesis of, and contribution to, arguments grouped under the rubric of the "woman question." The novel offers a perspective on feminist politics in which conflicting social interests and demands can be played out, where ethical questions meet everyday life, and human relations have philosophical weight. Given women's traditional exclusion from the domain of legitimate (authoritative) speech, the novels of Gaskell, the Bronte's, and Eliot, traditionally admired for their portrayal of moral character, play a special role in giving voice to the key political issues of women's rights, entitlements, and interests. Evidence for the political content and efficacy of these novels is drawn from archival sources which have been little used in literary studies (including unpublished materials), as well as contemporary periodicals. Central among these is the English Woman's Journal. Conceived as the mouthpiece of the early women's movement, the journal offers a valuable record of the feminist activity of the period. Though it has not been widely exploited, particularly in literary studies, detailed study of the journal reveals close parallels between the ideological commitments and concerns of the women's movement and novels by mid-Victorian women.
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Khulpateea, Veda Laxmi. "State of the union cross cultural marriages in nineteenth century literature and society /." Diss., Online access via UMI:, 2007.
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McKernan, Niall Luke Davis. "'Something more than a mere picture show' : Charles Urban and the early non-fiction film in Great Britain and America, 1897-1925." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412685.
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Chung, Wing-yu, and 鍾詠儒. "British women writers and the city in the early twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2702409X.
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Welstead, Adam. "Dystopia and the divided kingdom : twenty-first century British dystopian fiction and the politics of dissensus." Thesis, University of St Andrews, 2019. http://hdl.handle.net/10023/17104.
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This doctoral thesis examines the ways in which contemporary writers have adopted the critical dystopian mode in order to radically deconstruct the socio-political conditions that preclude equality, inclusion and collective political appearance in twenty-first century Britain. The thesis performs theoretically-informed close readings of contemporary novels from authors J.G. Ballard, Maggie Gee, Sarah Hall and Rupert Thomson in its analysis, and argues that the speculative visions of Kingdom Come (2006), The Flood (2004), The Carhullan Army (2007) and Divided Kingdom (2005) are engaged with a wave of contemporary dystopian writing in which the destructive and divisive forms of consensus that are to be found within Britain's contemporary socio-political moment are identified and challenged. The thesis proposes that, in their politically-engaged extrapolations, contemporary British writers are engaged with specifically dystopian expressions of dissensus. Reflecting key theoretical and political nuances found in Jacques Rancière's concept of 'dissensus', I argue that the novels illustrate dissensual interventions within the imagined political space of British societies in which inequalities, oppressions and exclusions are endemic - often proceeding to present modest, 'minor' utopian arguments for more equal, heterogeneous and democratic possibilities in the process. Contributing new, theoretically-inflected analysis of key speculative fictions from twenty-first century British writers, and locating their critiques within the literary, socio-political and theoretical contexts they are meaningfully engaged with, the thesis ultimately argues that in interrogating and reimagining the socio-political spaces of twenty-first century Britain, contemporary writers of dystopian fiction demonstrate literature working in its most dissensual, political and transformative mode.
Books on the topic "Murder – Great Britain – Fiction"
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Murder in Mind. [Place of publication not identified]: Severn House Paperbacks, 2013.
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Hibbert, Eleanor Alice Burford. Murder most royal. New York: Three Rivers Press, 2006.
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Cleeland, Anne. Murder in Hindsight: A New Scotland Yard mystery. New York: Kensington Pub Corp, 2015.
Find full textBook chapters on the topic "Murder – Great Britain – Fiction"
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Link, Sarah J. "Defining Detective Fiction." In Crime Files, 17–38. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-33227-2_2.
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AbstractThis chapter identifies common features of detective fiction and provides an overview of the history of the genre in order to explain the strong conceptual link between lists and detective fiction. The chapter explains how the idea of lists as an ordering principle is rooted in the genre’s history, and it illustrates the clearly marked reader positions that develop across various subgenres. Particular attention is paid to the Newgate Calendar, to the central role that Edgar Allan Poe and French detective fiction played in establishing the genre in Great Britain, to the genre’s close relation to sensation fiction, and to the role of the police. The chapter also discusses the influence of Arthur Conan Doyle’s Sherlock Holmes stories and the importance of genre rules established during the Golden Age of detective fiction. It concludes with the numerous rule catalogs produced by writers in the Golden Age period that highlights the genre’s affinity to enumerative forms.
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McKeon, Michael. "Prose fiction: Great Britain." In The Cambridge History of Literary Criticism, 238–63. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521300094.009.
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Lehman, David. "The Great British Spymasters." In The Mysterious Romance of Murder, 125–39. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501763625.003.0009.
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This chapter is a brief overview of British espionage fiction. It begins with the works of W. Somerset Maugham, who initiated a more plausible, less flamboyant line of spy fiction compared to writers such as E. Phillips Oppenheim or Ian Fleming. Informed by his experience as an agent in Switzerland and Russia, the linked stories of Ashenden (1928) rank among Maugham's finest. Next, the chapter considers Eric Ambler, who was the most apt of Maugham's pupils. When he read Ashenden, Ambler found the antidote to novels of intrigue and adventure. In the half-dozen novels he wrote in the years leading up to World War II, Ambler injected the dose of seriousness that made the spy novel a politically savvy vehicle for sustained suspense in that decade of threat and appeasement, secret pacts, the persecution and forced exile of whole sectors of the populace, and the intervention of one government into the affairs of another. Finally, the chapter briefly explores espionage fiction during the Cold War.
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Dobash, Russell P., and R. Emerson Dobash. "Sexual Murder of Women Intimate Partners in Great Britain." In Marital Rape, 139–60. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780190238360.003.0010.
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Stewart, Victoria. "Holocaust Survivors and Refugees in 1940s Detective Fiction." In Literature and Justice in Mid-Twentieth-Century Britain, 139–75. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192858238.003.0005.
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Abstract This chapter shows how attempts at incorporating either pre- or post-war refugees into detective narratives often drew on stereotypes, even when the depiction of these individuals was intended to be broadly sympathetic. A comparison between Mitzi, the self-pitying refugee housekeeper in Agatha Christie’s A Murder Is Announced (1950), and Gerd, a refugee who is a model of forbearance and forgiveness in Ellis Peters’s Fallen into the Pit (1951), is instructive here. In many instances, past events in Nazi Germany are alluded to only in passing, with the name of a camp standing for the crimes committed there, and the crimes themselves not described in any detail. This device relates to the economy with which detective fiction generally tends to draw its protagonists, but it also implies that readers would be expected to have some sense of the events alluded to. These novels tend to centre on the closed communities that are typical of interwar detective fiction: the country house, as in G. D. H. and Margaret Cole’s Toper’s End (1942) and Cyril Hare’s An English Murder (1951); the school, in Gladys Mitchell’s Tom Brown’s Body (1949); and even the train compartment, as in Raymond Postgate’s Somebody at the Door (1943). The presence of refugees and survivors in these communities, and their entanglement with the social disturbance that is concomitant with a crime being committed, provides scope for assessing how new understandings of Britain and its relation to Europe were being broached in popular writing at this period.
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Loveless, Janet, Mischa Allen, and Caroline Derry. "6. Homicide 1: murder." In Complete Criminal Law, 227–47. Oxford University Press, 2020. http://dx.doi.org/10.1093/he/9780198848462.003.0006.
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This chapter, which examines homicide law in Great Britain, focusing on murder, explains that the term homicide includes the offences of murder and manslaughter and can also be used to refer to other forms of statutory offences of killing. It clarifies that murder refers to intentional killings while manslaughter concerns unintentional killings, and discusses actus reus and mens rea elements of murder. The chapter discusses the sentence for murder under the Criminal Justice Act 2003 and comments on the justification for mandatory life sentence. It also reviews the most recent proposals for reform of murder and the mandatory sentence, and analyses court decisions in relevant cases.
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Loveless, Janet, Mischa Allen, and Caroline Derry. "6. Homicide 1: murder." In Complete Criminal Law. Oxford University Press, 2018. http://dx.doi.org/10.1093/he/9780198803270.003.0006.
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This chapter, which examines homicide law in Great Britain, focusing on murder, explains that the term homicide includes the offences of murder and manslaughter and can also be used to refer to other forms of statutory offences of killing. It clarifies that murder refers to intentional killings while manslaughter concerns unintentional killings, and discusses actus reus and mens rea elements of murder. The chapter discusses the sentence for murder under the Criminal Justice Act 2003 and comments on the justification for mandatory life sentence. It also reviews the most recent proposals for reform of murder and the mandatory sentence, and analyses court decisions in relevant cases.
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Potter, Jane. "‘A great purifier’: The Great War in Women’s Romances and Memoirs 1914-1918." In Women’s Fiction and the Great War, 85–106. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198182832.003.0005.
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Abstract Romance and memoir are by far the most common forms used by women writers during the First World War. Most of the authors are unknown to us now. The works themselves are not ‘great literature’, but they are of literary and historical interest for what they say about the place of women in, and their attitudes towards, the Great War. The texts I shall examine in this chapter all share a common theme: that of the transformative power of war. They also share the eugenic anxieties about physical, mental, and spiritual deterioration which emerged in Britain towards the end of the nineteenth century. If society was suffering from a ‘degenerative’ disease, ‘a falling-off from original purity, a reversion to less complex forms of structure’, then war was a means of regeneration and purification. It was a eugenic good. The ‘conservative polemic of popular fiction’ had a number of ‘unfit’ targets. Among them were exotic and erotic artistic tastes such as highbrow art, aestheticism, and art nouveau. A further threat to both women and men was the suffrage movement. It was blamed for de-sexing women, encouraging them to become pseudo-men, and causing them to lose all touch with their ‘feminine’ natures. Such were the ideas that abounded in the press and in various sections of society.
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Bartov, Omer. "The European Imagination in the Age of Total War." In Murder in Our Midst, 33–50. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195098471.003.0003.
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Abstract One of the most striking aspects of battlefield descriptions in Great War literature is the extent to which they resemble accounts of the Holocaust. The similarity is rooted in the sense of existing in an unimaginable environment, one that no human mind, not even the most perverse, could have conjured in fiction. The only fictive universe that can claim affinity to these worlds is that of Hell, especially the imaginary Hell of medieval painting.2 Yet Hell enjoys the advantage of accommodating only sinners, and is ruled by strict laws and divine logic. The landscapes of World War One and the Holocaust, on the other hand, are the domain of the innocent, inhabited by souls who never expected to end up in them, and conforming to no rational plan or logic decipherable by their victims (although precisely because they are real, their inhabitants and survivors are often obsessed with figuring out both the responsibility for and the purpose of their ordeal). Indeed, the major difference between a subterranean Hell and these earthly environs is that while the former is, by definition, either a product of the imagination or the creation of superhuman forces, the latter are man-made, and defy any attempt at fictionalization. Neither before, nor during, nor indeed after the event, has any fictive imagination been able to fully capture the reality of the Western Front or of Auschwitz, nor even to approximate the accounts of their survivors.3
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Danson, Lawrence. "The Genres in Theory." In Shakespeare’s Dramatic Genres, 1–29. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198711735.003.0001.
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Abstract IN James Thurber’s story ‘The Macbeth Murder Mystery’, a tourist finds herself in an English Lake District hotel with nothing to read but a paperback copy of The Tragedy if Macbeth. She is a great fan of detective fiction; Macbeth had mistakenly been shelved with the mystery novels: ‘“You can imagine”‘, she tells the narrator, ‘“how mad I was when I found it was Shakespeare.”‘
Conference papers on the topic "Murder – Great Britain – Fiction"
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ZHOROVA, Iryna, Serhiy DANYLYUK, and Olha KHUDENKO. "Civic education of students by means of literature: european experience." In Învățământul superior: tradiţii, valori, perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.29-30-09-2023.p108-122.
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The article reveals the theoretical and methodical aspects of students’ civic education by means of literature. Emphasis is placed on the fact that in the conditions of unstable development of society, escalation of conflicts both between states and between fellow citizens, the issue of students’ civic education is actualized. The authors understand this concept as a form of social education, the formation of a citizen of a specific state, capable of successfully acting for the sake of preserving democracy and peace. Currently, informal education, in addition to the content of “social and civic competencies” that is understandable for Ukrainian educators, uses the term “competencies for the culture of democracy”, which, according to the authors, is a structured concept implemented in the European dimension of civic education. The authors emphasize that fiction affects human feelings and consciousness, it is a powerful means of moral, aesthetic and civic education. Through artistic images, writers provide an opportunity to form their attitude to the events described, to draw certain conclusions, to reflect on universal values, on the actions of one or another character, to see models of civic active/passive behavior. The article analyzes the European experience of civic education, in particular Great Britain and Germany. The authors take into account the literature of these countries and identify aspects that can serve as a basis for students’ civic education, compare them with the Ukrainian realities of civic education. The authors present the main vectors of civic education in Germany, which are determined by the content of literary works and encourage pluralism of opinions, tolerance for the views and judgments of others, motivate students to actively participate in civic life, awareness of the value of freedom, respect for human dignity, the right to self-expression, responsibility for an individual’s moral choice. The works are also the basis for establishing in teenagers such democratic values as the right to life, to fair treatment, dignity, freedom from discrimination, the right to equality, understanding the need to protect one’s rights and the rights of other people.The analysis of content concepts of literature for pupils in Great Britain shows that the priorities of civic education are national patriotism and the education of a law-abiding citizen. The textual material of the works and civic education lessons help pupils to better understand different forms of governance and their impact on citizens; to understand the responsibility and functions of management and the duties of citizens; to acquire socio-cultural experience that gives the opportunity to feel morally, socially, politically, legally competent and protected in society and to take direct part in the activities of civil society institutions. In Finland, the basic democratic values of the national core curriculum are open democracy, equality, responsibility for one’s own choice. An important focus of education in Finnish high school is gaining experience in shaping the future based on joint decisions and interaction.Taking into account the global trends of digitization, the authors considered digital technologies to be educational innovations in students’ civic education (electronic textbooks (not just digitized, but interactive, with virtual 3D materials that teachers can compose at their discretion), textbook scans for download, various materials: interactive laboratories, virtual museums, forums for teachers to communicate, etc.).