1. Clare Clarke: Reading the city and identity in fin de siecle crime fiction. In Crimeculture, leider ohne Publikationsdatum:
“I want to study in more detail representations of space, class, and identity in two key fin de siecle crime texts; The Strange Case of Dr Jekyll and Mr Hyde [and] The Picture of Dorian Gray. [...] Reading contemporary journalism and theory alongside these texts I plan to examine: firstly, how the recurring theme of duality reflects a genuinely fractured city in terms of class, looking closely at the perceived divisions of the city along a high/low, East/West geographical axis. I also want to look at how the gothic modality in particular was appropriated and resituated in urban fin de siecle London in these novels. Finally, I want to examine the practice of gentlemen ‘going native’ in seedy parts of London, interrogating the concept of the flaneur.
2: Hans-Peter Söder: Disease and Health as Contexts of Modernity: Max Nordau as a Critic of Fin-de-Siecle Modernism. German Studies Review, Vol. 14, No. 3 (Oct., 1991), pp. 473-487. (JStor, 1. Seite.)
Der Ripper wird als ein Zeichen für die ‘Entartung’1 verstanden, die Nordau diagnostiziert. Im Ripper verbinden sich biologische, soziale und kulturelle Erscheinungen der Degeneration.
3. Dr. Matthew Cook (Department of History, Keele University): “Sex and Society, c. 1860 – c.1928″ (Hist-301 & Hist-302), Seminarprogramm und Lektüreliste (ausgesprochen hilfreich).
4. Ann Heilmann and Mark Llewellyn: What Kitty Knew: George Moore’s John Norton, Multiple Personality, and the Psychopathology of Late-Victorian Sex Crime. In: Nineteenth-Century Literature 59, no. 3 (December 2004), pp. 372–403.
Abstract: Framed by sensational Ripper stories that turned fact into fiction and lurid murder into gripping reading matter, the extraordinary popularity of Robert Louis Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde (1886), George du Maurier’s Trilby (1894), and Bram Stoker’s Dracula (1897) clearly indicate that the fin de siècle was a time enthralled by the concept of split selves and sadistic impulses, of insidious male desires metaphorically and literally inscribed on the body of unconscious, hysterical, or hypnotized women.
“In the strange cultural industry devoted to popular representations of serial killing and serial killers, no product is more durable than what its aficionados call ‘Ripperology,’ the lore of Jack the Ripper”: Deborah Cameron: St-i-i-i-ll Going.. The Quest for Jack the Ripper. In: Social Text 40 (1994), pp 147–154. (JStor Stable). Viele kluge Beobachtungen in einer Rezension von The Diary of Jack the Ripper (1993). Cameron ist Co-Authorin von Deborah Cameron and Elizabeth Frazer: The Lust to Kill: A Feminist Investigation of Sexual Murder. New York: New York University Press 1987. Sie schließt ihren Text mit der folgenden Phantasie, die noch nicht Wirklichkeit geworden ist — aber man soll die Hoffnung nicht aufgeben:
“Though admittedly I have a rich fantasy life, which at limes I find preferable to certain aspects of reality, I like to think the publication of this diary might be the first stage of a plot to discredit not only pop Ripperology but the experts whose pompous drivelings are elicited to give it a veneer of scientific respectability. Perhaps the clever hoaxer—a disgruntled former Ripperologist?—will step out of the shadows and lead the chorus of mocking laughter.”
___________________________
- Max Nordau: Entartung. 2 Bde., 1892 f. [↩]
Verwandte Artikel: