Domestic Murder In Nineteenth Century England

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.

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 book shows how interpretations of suicidal motives were guided by gendered expectations of behaviour, and that these expectations were constructed to create meaning and understanding for family, friends and witnesses. Providing an insight into how people of this era understood suicidal behaviour and motives, it challenges the assertion that suicide was seen as a distinctly feminine act, and that men who took their own lives were feminized as a result. Instead, it shows that masculinity was understood in a more nuanced way than gender binaries allow, and that a man's masculinity was measured against other men. Focusing on four common narrative types; the love-suicide, the unemployed suicide, the suicide of the fraudster or speculator, and the suicide of the dishonoured solider, it provides historical context to modern discussions about the crisis of masculinity and rising male suicide rates. It reveals that narratives around male suicides are not so different today as they were then, and that our modern model of masculinity can be traced back to the 19th century.

 In 1855, Glasgow socialite Madeleine Smith began a flirtation with Pierre L'Angelier, a handsome clerk--for her a mere diversion. But L'Angelier sought social mobility. Their class disparity gave her control of the intrigue but when the relationship turned sexual, the power imbalance shifted. The Scots recognized irregular unions in certain cases. L'Angelier considered Smith his wife, a part she at first discreetly played. When he refused to step aside and allow her a more socially acceptable marriage, his removal became necessary. Smith's sensational murder trial captivated both Britain and America. Despite compelling evidence of guilt, various factors led to her acquittal--her class and gender, the peculiarities of Scottish law--and many believed the case went to trial only because the Crown feared blatant confirmation that justice was not blind.

Modern Murders is the first comprehensive study of murder representations during the turn of the century, drawing on previously neglected archival material to explore the intellectual, cultural, and artistic contexts of the period. Most studies view the abundance of murder representations throughout the nineteenth century as an indicator of a supposedly typical Victorian appetite for sensation and melodrama. Modern Murders, however, demonstrates the turn of the century's backlash against melodramatic and sensational representations of murder and reads them as an important component in the struggles for better aesthetic standards in art and entertainment, and as a dominant feature in the debates on mass culture. Through a plethora of visual and written texts, representations of fictional and actual "real life" murders, and "high" and "popular" forms of writing, the volume considers the importance of murder in the elite claim to cultural authority versus its perception of plebian taste, in the context of the democratization of culture. This book will be of value to scholars and graduate students in a variety of research areas, as well as general readers interested in the role of murder as a central trope in modern art and culture.

CHOICE Outstanding Academic Title 2017 Law, Crime and Deviance since 1700 explores the potential for the 'micro-study' approach to the history of crime and legal history. A selection of in-depth narrative micro-studies are featured to illustrate specific issues associated with the theme of crime and the law in historical context. The methodology used unpacks the wider historiographical and contextual issues related to each thematic area and facilitates discussion of the wider implications for the history of crime and social relations. The case studies in the volume cover a range of incidents relating to crime, law and deviant behaviour since 1700, from policing vice in Victorian London to chain gang narratives from the southern United States. The book concludes by demonstrating how these narratives can be brought together to produce a more nuanced history of the area and suggests avenues for future research and study.

Nineteenth-Century Female Poisoners investigates the Essex poisoning trials of 1846 to 1851 where three women were charged with using arsenic to kill children, their husbands and brothers. Using newspapers, archival sources (including petitions and witness depositions), and records from parliamentary debates, the focus is not on whether the women were guilty or innocent, but rather on what English society during this period made of their trials and what stereotypes and stock-stories were used to describe women who used arsenic to kill. All three women were initially presented as 'bad' women but as the book illustrates there was no clear consensus on what exactly constituted bad womanhood.

In pursuing the sources for late-eighteenth and nineteenth-century “demonization” of racial and cultural difference, this book moves back and forth between the imagined world of literature and the “real” world of historical experience, between fictional romance and what has been called the “parallel fictions” of the human sciences of anthropology and biology. The author argues that the gothic genre and its various permutations offered a language that could be appropriated, consciously or not, by racists in a powerful and obsessively reiterated evocation of terror, disgust, and alienation. But he shows that the gothic itself also evolved in the context of the brutal progress of European nationalism and imperialism, and absorbed much from them. This book explores both the gothicization of race and the racialization of the gothic as inseparable processes.