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Artículos de revistas sobre el tema "Serial murders – Wales – Fiction"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Lebedeva, Irena V. "Review of the Book “Monsters and Monarchs: Serial Killers in Classical Myths and History”." Corpus Mundi 4, no. 1 (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 publ

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2

Wattis, Louise. "Revisiting the Yorkshire Ripper Murders." Feminist Criminology 12, no. 1 (2016): 3–21. http://dx.doi.org/10.1177/1557085115602960.

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Between 1975 and 1980, 13 women, 7 of whom were sex workers, were murdered in the North of England. Aside from the femicide itself, the case was infamous for police failings, misogyny, and victim blaming. The article begins with a discussion of the serial murder of women as a gendered structural phenomenon within the wider context of violence, gender, and arbitrary justice. In support of this, the article revisits the above case to interrogate police reform in England and Wales in the wake of the murders, arguing that despite procedural reform, gendered cultural practices continue to shape jus

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3

Smith, Melanie Kay, and Titanilla Virág Tevely. "Blurring the boundaries between fact and fiction: serial killers in the context of dark tourism." Tourism and Heritage Journal 4 (January 9, 2023): 53–75. http://dx.doi.org/10.1344/thj.2022.4.4.

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Serial killers fascinate people and books, films, TV series and other types of entertainment increasingly cater to this interest providing sensationalized media coverage. The theory suggests that the boundaries are blurred considerably between fact and fiction, even for the serial killers themselves. For many people, serial killers are both frightening and attractive enough to motivate them to go on tours and visit sites, museums and other attractions that are associated with them. This paper explores the motivation for consuming true and fictional crime including murders and serial killing wi

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4

Sooryah, N., and Dr K. R. Soundarya. "Erraticism in the Cannibal – A Study of the Work of Thomas Harris." International Journal of Early Childhood Special Education 12, no. 2 (2020): 18–23. http://dx.doi.org/10.9756/int-jecse/v12i2.201052.

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Literature is the key to human life that resurrects and gives space for introspection, retrospection and various remembrances which are hued by overjoy, pain and trauma. Nowadays crime literature became one of the most popular genres in this era which centers mostly on murder and violence. It started from Edgar Allen Poe’s most famous fictional character Auguste Dupin, whose first appearance was on The Murders in the Rue Mogue, considered to be the first crime fiction, followed by Dr. John Watson, Sherlock Holmes and the like. The genre crime fiction has contributed innumerable number of works

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5

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 (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

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6

SHARMA, EKTA. "A Literary and Psycological Study of Saurabh Mukherjee’s “The Highway Murders”." International Journal For Multidisciplinary Research 7, no. 4 (2025). https://doi.org/10.36948/ijfmr.2025.v07i04.50015.

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Saurabh Mukherjee's "The Highway Murders" deftly transcends the boundaries of traditional crime thrillers, masterfully intertwining psychological realism, incisive social commentary, and groundbreaking genre elements. This paper examines the complex psychological profiles of the characters, particularly the killer, and the symbolic importance of the highway as a liminal space. It also critiques institutional failures, such as those found within the police and media, while situating the novel within the broader context of Indian English literature. Using a multidisciplinary approach that incorp

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7

Strong, Jeremy. "Character Adaptations: Recurrence and Return." Adaptation, August 21, 2020. http://dx.doi.org/10.1093/adaptation/apaa028.

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Abstract This paper examines recurring character storytelling as the most prodigiously successful tradition in fiction of the last two hundred years. James Fenimore Cooper’s Leatherstocking Tales and Honoré de Balzac’s La Comédie humaine are proposed as significant precursors that embody two dominant trends within recurring character storytelling: the central protagonist series and the populous storyworld. The foundations of recurring character storytelling are traced in a range of determinants including: increasing literacy and the rise of popular genres; modes of serial publication; and the

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8

Redford, Jasmine. "A Foundation of Serial Murder and Appreciation of the Male Voice: Historical and Feminist Considerations in The Handmaid's Tale." USURJ: University of Saskatchewan Undergraduate Research Journal 6, no. 3 (2020). http://dx.doi.org/10.32396/usurj.v6i3.527.

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Violent crime, and the impulse to temper it, fuel cycles of utopian and dystopian discourse in North American literature. Dystopian fiction operates as a social document that highlight the anxieties of the time in which authoring takes place, and in Margaret Atwood's The Handmaid's Tale, America's violent history/(his)story is legalized and gendered. The principal narrator, Offred, manages her perspective—the only thing she can claim personal ownership over—under the pressure of a strict monotheocracy. This paper examines Atwood's novel with a historical-critical lens and posits that groundwor

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9

Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of

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10

Irwin, Hannah. "Not of This Earth: Jack the Ripper and the Development of Gothic Whitechapel." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.845.

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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 Ri

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11

Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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12

Campanioni, Chris. "How Bizarre: The Glitch of the Nineties as a Fantasy of New Authorship." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1463.

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As the ball dropped on 1999, is it any wonder that No Doubt played, “It’s the End of the World as We Know It” by R.E.M. live on MTV? Any discussion of the Nineties—and its pinnacle moment, Y2K—requires a discussion of both the cover and the glitch, two performative and technological enactments that fomented the collapse between author-reader and user-machine that has, twenty years later, become normalised in today’s Post Internet culture. By staging failure and inviting the audience to participate, the glitch and the cover call into question the original and the origin story. This breakdown of

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13

Phillips, Jennifer Anne. "Closure through Mock-Disclosure in Bret Easton Ellis’s Lunar Park." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.190.

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In a 1999 interview with the online magazine The AV Club, a subsidiary of satirical news website, The Onion, Bret Easton Ellis claimed: “I’ve never written a single scene that I can say took place, I’ve never written a line of dialogue that I’ve heard someone say or that I have said” (qtd. in Klein). Ten years later, in the same magazine, Ellis was reminded of this quote and asked why most of his novels have been perceived as veiled autobiographies. Ellis responded:Well, they are autobiographical in the sense that they reflect who I was at a particular moment in my life. There was talk of a me

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14

Nichols, L. Dugan. "Generational Detectives." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3136.

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Introduction This article examines American Conspiracy: The Octopus Murders (2024), a four-part documentary released on Netflix. Directed by Zachary Treitz, the documentary follows young photojournalist Christian Hansen as he tries to solve the mysterious death of Danny Casolaro. In 1991, Casolaro was found deceased in a hotel room while tracking officials in the CIA and former Reagan White House. He had planned to write an explosive book about what he termed “The Octopus”, an octuplet of overlapping conspiracies that transpired in the 1980s. At the time, local officials ruled Casolaro’s death

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15

Brammer, Rebekah. "Dark Laughs." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3152.

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Introduction: From Classic Noir Parody to Aussie Comedy Noir However you choose to identify noir – as a genre, style, or cycle – over its 80 years from classic American film noir to neo-noir, neon-noir, national noirs, and television noir, it has undeniably seeped into popular culture. Exemplary of this is the way noir has hybridised with other genres and styles, true of comedy as much as its more serious pairings with science fiction, Western, and Gothic. This is not a new phenomenon: Sue Short points out that pastiche noir began appearing at the end of the classic cycle, citing Kiss Me Deadl

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16

Lambert, Anthony, and Catherine Simpson. "Jindabyne’s Haunted Alpine Country: Producing (an) Australian Badland." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.81.

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“People live here, they die here so they must leave traces.” (Read 140) “Whatever colonialism was and is, it has made this place unsettling and unsettled.” (Gibson, Badland 2) Introduction What does it mean for [a] country to be haunted? In much theoretical work in film and Cultural Studies since the 1990s, the Australian continent, more often than not, bears traces of long suppressed traumas which inevitably resurface to haunt the present (Gelder and Jacobs; Gibson; Read; Collins and Davis). Felicity Collins and Therese Davis illuminate the ways Australian cinema acts as a public sphere, or “

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