Motive, organizer, killer are coded in angles, distances, London names. The crime seems to be cleared up. A second serial killer caused damage in and around Chicago. He lived only 5 miles away from the possible Jack the Ripper, whose life from 1841 to 1896 can be well traced on the basis of many documents. Causes for the murders are possibly two conflicts at the beginning of 1888 in southwest Germany.
January 1889, six women die in Managua in a similar way to five in London in autumn 1888. Number „6“ and word „Agua“ are traces. There are bodies of water at distances of 6, 60, 600 and 6000 km, with „knife“ coded twice. Code name Carl Feigenbaum (Carlos, Charles) should possibly lead to the name, place and product of a German company. A group photo of the workers in 1892 shows a man with a knife and a sailor‘s cap, elegantly shabbily dressed, left-handed, around 55 years old, who could match the drawing of Anton Zahn in 1896. He is probably Jack the Ripper.
"The Ripper Code" is a fascinating combination of literary and conventional detective work, which is as original as it is enthralling. After showing that the official Ripper files contain little of forensic interest, the author approaches the subject of the killer's identity from an entirely different angle - the life and works of Oscar Wilde. He suggests that the Ripper was a 'friend' of Oscar Wilde, and that Wilde dropped clear hints about this in several of his works, most notably "The Picture of Dorian Gray", which he wrote in 1889, the year after the Ripper murders took place. The author also claims that Jack the Ripper was placed in an asylum after the last murder in order to keep secret a royal indiscretion, and that Marie Belloc Lowndes based her famous novel The Lodger on what she had learned about the Ripper from her friend Wilde. This paperback edition contains a brand-new chapter on Montague John Druitt, the police's prime suspect, in which the author explains the significance of his Rosetta Stone-like discovery that Druitt was barred from the prestigious Oxford Union, and uses that breakthrough to decipher the mysteries surrounding him which have defied students of this case since his name first came to light fifty years ago.
Jack the Ripper is a gothic tale of Victorian conspiracies, the supernatural, secret societies and the police. Scotland Yard hunted a serial killer shrouded in politics as the mutilator of East End prostitutes. This book uses historic sources and rare official reports to reveal dark and supernatural aspects of the Ripper case.
This book offers evidence, for the first time, that those responsible for the Whitechapel murders were members of a hit team associated with a centuries-old European occult confederacy dedicated to human sacrifice. This was first mooted by Jim Keith in his 1993 book Secret and Suppressed, and then corroborated in the private papers of a Monsignor who carried out intelligence work for Pope Pius X in the run-up to the outbreak of global conflict in 1914. The priest told of the existence of a Vatican-based cabal of assassins (known to its members by the maxim “Dead Men Carry No Tales”) formed by the infamous Borgias that is in alliance with a Teuton occult group formed in the 9th century. It was from within this unholy alliance that assassins travelled to London to carry out the Ripper murders to “solve a sticky problem for the British Royal Family” (Keith’s Vatican informant). Part of the substantiation for this evidence derives from Joseph Farrell in his recent Hess and the Penguins book for AUP. The evidence also substantiates Keith’s informant’s astonishing claim that the assassins came together in a conference in Basle in 1897 to put the building blocks together for National Socialism and to prepare the blueprint for the Holocaust. For the first time also, the book substantiates a new line of research that suggests that the work of key figures from America and Britain within the nineteenth-century’s highly influential and richly funded Bible Revision movement was associated with the grisly events in London’s East End during 1888’s Autumn of Terror. Topics include: “Mr. Splitfoot”; Whitechapel; Martha; HPB; “Polly”; The Occult Underground; “Dark Annie”; The Occult Establishment; “Long Liz”; The Lady with the Lilacs; From Lilacs to Violets—Mary Kelly; Baconalia; “Rothschild’s” Bible; Basle, 1897; Through the Looking Glass; more.
Was Jack the Ripper an artist called Frank Miles? Toughill suggests that this former 'friend' of Oscar Wilde was indeed the killer, and that Wilde dropped hints about this in several of his works, most notably The Picture of Dorian Gray, which Wilde wrote in 1889, the year after the Ripper murders took place. In fascinating detail, the author argues that Wilde's story, that of a privileged man whose life of vice in the East End of London turns him into a murderer, is in fact a coded message about the Ripper's identity. However, The Ripper Code is not just a fascinating voyage through the writings of Oscar Wilde and others. It is also a striking example of original detective work. Here, as in his previous books, Toughill unveils stunning evidence from a hitherto untapped source and uses it to devastating effect in arguing his case. The result is a book which is as original as it is enthralling.
In a book that confronts our society's obsession with sexual violence, Maria Tatar seeks the meaning behind one of the most disturbing images of twentieth-century Western culture: the violated female corpse. This image is so prevalent in painting, literature, film, and, most recently, in mass media, that we rarely question what is at stake in its representation. Tatar, however, challenges us to consider what is taking place--both artistically and socially--in the construction and circulation of scenes depicting sexual murder. In examining images of sexual murder (Lustmord), she produces a riveting study of how art and murder have intersected in the sexual politics of culture from Weimar Germany to the present. Tatar focuses attention on the politically turbulent Weimar Republic, often viewed as the birthplace of a transgressive avant-garde modernism, where representations of female sexual mutilation abound. Here a revealing episode in the gender politics of cultural production unfolds as male artists and writers, working in a society consumed by fear of outside threats, envision women as enemies that can be contained and mastered through transcendent artistic expression. Not only does Tatar show that male artists openly identified with real-life sexual murderers--George Grosz posed as Jack the Ripper in a photograph where his model and future wife was the target of his knife--but she also reveals the ways in which victims were disavowed and erased. Tatar first analyzes actual cases of sexual murder that aroused wide public interest in Weimar Germany. She then considers how the representation of murdered women in visual and literary works functions as a strategy for managing social and sexual anxieties, and shows how violence against women can be linked to the war trauma, to urban pathologies, and to the politics of cultural production and biological reproduction. In exploring the complex relationship between victim and agent in cases of sexual murder, Tatar explains how the roles came to be destabilized and reversed, turning the perpetrator of criminal deeds into a defenseless victim of seductive evil. Throughout the West today, the creation of similar ideological constructions still occurs in societies that have only recently begun to validate the voices of its victims. Maria Tatar's book opens up an important discussion for readers seeking to understand the forces behind sexual violence and its portrayal in the cultural media throughout this century.
Mummies, Cannibals and Vampires charts in vivid detail the largely forgotten history of European corpse medicine, when kings, ladies, gentlemen, priests and scientists prescribed, swallowed or wore human blood, flesh, bone, fat, brains and skin against epilepsy, bruising, wounds, sores, plague, cancer, gout and depression. One thing we are rarely taught at school is this: James I refused corpse medicine; Charles II made his own corpse medicine; and Charles I was made into corpse medicine. Ranging from the execution scaffolds of Germany and Scandinavia, through the courts and laboratories of Italy, France and Britain, to the battlefields of Holland and Ireland, and on to the tribal man-eating of the Americas, Mummies, Cannibals and Vampires argues that the real cannibals were in fact the Europeans. Medicinal cannibalism utilised the formidable weight of European science, publishing, trade networks and educated theory. For many, it was also an emphatically Christian phenomenon. And, whilst corpse medicine has sometimes been presented as a medieval therapy, it was at its height during the social and scientific revolutions of early-modern Britain. It survived well into the eighteenth century, and amongst the poor it lingered stubbornly on into the time of Queen Victoria. This innovative book brings to life a little known and often disturbing part of human history.
Edgar Award Winner: This lively account of the director’s battles with the Code Office is “an essential addition to any Hitchcock shelf” (Mystery Scene Magazine). From 1934 to 1968, the Motion Picture Production Code Office controlled the content and final cut on all films made and distributed in the United States. Code officials protected sensitive ears from standard four-letter words, as well as a few five-letter words like tramp and six-letter words like cripes. They also scrubbed “excessively lustful” kissing from the screen and ensured that no criminal went unpunished. Thus, throughout his career, Alfred Hitchcock had to deal with a wide variety of censors attuned to the slightest suggestion of sexual innuendo, undue violence, toilet humor, religious disrespect, and all forms of indecency, real or imagined. During their review of Hitchcock’s films, the censors demanded an average of 22.5 changes, ranging from the mundane to the mind-boggling, on each of his American films. Code reviewers dictated the ending of Rebecca, absolved Cary Grant of guilt in Suspicion, edited Cole Porter’s lyrics in Stage Fright, decided which shades should be drawn in Rear Window, and shortened the shower scene in Psycho. In Hitchcock and the Censors, John Billheimer traces the forces that led to the Production Code and describes Hitchcock’s interactions with code officials on a film-by-film basis as he fought to protect his creations, bargaining with code reviewers and sidestepping censorship to produce a lifetime of memorable films. Despite the often-arbitrary decisions of the code board, Hitchcock still managed to push the boundaries of sex and violence permitted in films by charming—and occasionally tricking—the censors and by swapping off bits of dialogue, plot points, and individual shots (some of which had been deliberately inserted as trading chips) to protect cherished scenes and images. By examining Hitchcock’s priorities in dealing with the censors, this work highlights the director’s theories of suspense as well as his magician-like touch when negotiating with code officials.
Two Time Scout series novels in one volume! Ripping Time: When terrorists gun down Jenna Caddrick's fiancee, the only daughter of Senator John Caddrick is trapped in a desperate struggle to stay alive. With a pack of killers on her trail, Jenna plunges through Shangri-La Station's time touring gates-and lands in London of 1888, just in time to meet Jack the Ripper. And Skeeter Jackson, newly reformed con artist, finds himself caught up in the biggest mystery of the century. All Skeeter has to do is find the Senator's missing daughter, track down lanira Cassandra's kidnappers, stop a cult of killers and survive Ripping Time. The House That Jack Built: Jack the Ripper's killing spree spreads from Victorian London to Time Terminal Eighty-Six in this breath stopping sequel to Ripping Time, retired time scout Kit Carson and ex-con man Skeeter Jackson enter an unholy alliance that surprises everyone—including Skeeter and Kit. All they have to do is track down Senator Caddrick's missing heiress, lost somewhere in history, rescue Ianira Cassandra from the clutches of a madman, and keep the most famous time-touring station in the world open for business while avoiding death in The House that Jack (the Ripper) Built. At the publisher's request, this title is sold without DRM (Digital Rights Management). About the Time Scout series: “Engaging, fast moving, historically literate, and filled with Asprin's expertise on the techniques and philosophy of personal combat, this is first-class action sf.” —Booklist "The storytelling is as solid as one would expect from this team of writers . . . "—Dragon "Shows tremendous research and brings the past alive. You actually feel you're walking down the streets of ancient Rome and Victorian England. . . . I'm waiting for more."—Philadelphia Weekly Press "Engaging, fast moving, historically literate, and filled with Asprin's expertise on the techniques and philosophy of personal combat, this is first-class action sf." —Booklist "The characters ... are appealing and their adventures exciting and plausible." —Science Fiction Chronicle
