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How much do we truly know and understand about our own mortality? Enter Encyclopedia of the End, a compulsively readable and beautifully illustrated compendium that explores this most taboo of topics. Entries present a kaleidoscopic mix of topics from afterlife to assassination, forensic science to funeral foods, rigor mortis to reincarnation and more. With an appreciation for the profound and profane, Deborah Noyes helps lift the shroud of secrecy surrounding one of the most fascinating--and ordinary--phenomena of life. After all, who says that a book about death can't be lively?
The East End is an iconic area of London, from the transient street art of Banksy and Pablo Delgado to the exhibitions of Doreen Fletcher and Gilbert and George. Located east of the Tower of London and north of the River Thames, it has experienced a number of developmental stages in its four-hundred-year history. Originating as a series of scattered villages, the area has been home to Europe's worst slums and served as an affluent nodal point of the British Empire. Through its evolution, the East End has been the birthplace of radical political and social movements and the social center for a variety of diasporic communities. This reference work, with its alphabetically organized cross-referenced entries and its original and historical photography, serves as a comprehensive guide to the social and cultural history of this global hub.
How the urban spectator became the archetypal modern viewer and a central subject in late nineteenth-century French art Gawkers explores how artists and writers in late nineteenth-century Paris represented the seductions, horrors, and banalities of street life through the eyes of curious viewers known as badauds. In contrast to the singular and aloof bourgeois flâneur, badauds were passive, collective, instinctive, and highly impressionable. Above all, they were visual, captivated by the sights of everyday life. Beautifully illustrated and drawing on a wealth of new research, Gawkers excavates badauds as a subject of deep significance in late nineteenth-century French culture, as a motif in works of art, and as a conflicted model of the modern viewer. Bridget Alsdorf examines the work of painters, printmakers, and filmmakers who made badauds their artistic subject, including Félix Vallotton, Pierre Bonnard, Henri de Toulouse-Lautrec, Honoré Daumier, Edgar Degas, Jean-Léon Gérôme, Eugène Carrière, Charles Angrand, and Auguste and Louise Lumière. From morally and intellectually empty to sensitive, empathetic, and humane, the gawkers these artists portrayed cut across social categories. They invite the viewer’s identification, even as they appear to threaten social responsibility and the integrity of art. Delving into the ubiquity of a figure that has largely eluded attention, idling on the margins of culture and current events, Gawkers traces the emergence of social and aesthetic problems that are still with us today.
Neil R. Storey has drawn on a vast array of originial sources - among them witness statements, coroners' reports and court records - to produce a revealing insight into the East End's darkest moments. As well as the murders of Jack the Ripper, perhaps the most infamous in history, he looks at nine other cases in detail: the still mysterious Ratcliffe Highway Murders of 1811; Henry Wainwright, who dismembered his mistress and rolled up her remains in a carpet in 1874; Israel Lipski, whose name became a term of derision and abuse against Jews in East London for years following his conviction for ther murder of a young woman in 1887; the unsolved murder of Frances Coles in 1891; the Whitechapel High Street Newspaper Shop Murder in 1904; the Houndsditch Murders and the Siege of Sydney Street in 1910, in which a robbery potted by Russian anarchists went badly wrong; the throat-cutting William Cronin in 1925; the Bow Road Cinema Murder in 934; and finally the shooting of George Cornell by Ronnie Kray at the Blind Begger pub in 1966. East End Murders is a unique re-examination of the darker side of the capital's past
The nineteenth century was a time of 'movements' - political, social, moral reform causes - which drew on the energies of men and women across Britain. This book studies radical reform at the margins of early Victorian society, focusing on decades of particular social, political and technological ferment: when foreign and British promoters of extravagant technologically assisted utopias could attract many hundreds of supporters of limited means, persuaded to escape grim conditions by emigration to South America; when pioneers of vegetarianism joined the ranks of the temperance movement; and when working-class Chartists, reviving a struggle for political reform, seemed to threaten the State for a brief moment in April 1848. Through the forgotten figure of James Elmslie Duncan, 'shabby genteel' poet and self-proclaimed 'Apostle of the Messiahdom', The Poetry and the Politics considers themes including poetry's place in radical culture, the response of pantomime to the Chartist challenge to law and order, and associations between madness and revolution.Duncan became a promoter of the technological fantasies of John Adolphus Etzler, a poet of science who prophesied a future free from drudgery, through machinery powered by natural forces. Etzler dreamed of crystal palaces: Duncan's public freedom was to end dramatically in 1851 just as a real crystal palace opened to an astonished world. In addition to Duncan, James Gregory also introduces a cast of other poets, earnest reformers and agitators, such as William Thom the weaver poet of Inverury, whose metropolitan feting would end in tragedy; John Goodwyn Barmby, bearded Pontiffarch of the Communist Church; a lunatic 'Invisible Poet' of Cremorne pleasure gardens; the hatter from Reading who challenged the 'feudal' restrictions of the Game Laws by tract, trespass and stuffed jay birds; and foreign exotics such as the German-born Conrad Stollmeyer, escaping the sinking of an experimental Naval Automaton in Margate to build a fortune as theAsphalt King of Trinidad.Combining these figures with the biography of a man whose literary career was eccentric and whose public antics were capitalised upon by critics of Chartist agitation, this book is essential reading for anyone interested in radical reform and popular political movements in Victorian Britain.
The Trial of Woman examines the impact of the nineteenth-century 'Occult Revival' on the Victorian Women's Movement, both in the lives of individual women and in the literature surrounding 'the Woman Question'. The book explores the Victorian Myth of Occult Womanhood and argues that the notion of female occult power was deeply influenced by the advent of Mesmerism, Spiritualism and Theosophy. This myth was itself a determining factor in women's struggle for legal and political rights.
Crossings in Text and Textile explores the diverse range of transatlantic representations of clothing in nineteenth- and early twentieth-century literature. This collection of essays demonstrates that fashion history and literary history, when examined together, prompt fresh understandings of the complexities of race, class, and sexual identity. By bridging material culture and discourse, Crossings establishes the significance of fashionÑwhile neglecting none of its aesthetic appealÑto offer historicized readings on a variety of topics, from Jane AustenÕs nuanced display of social interactions through the economics of muslin to the 1871 Park and Boulton cross-dressing trial and Jessie FausetÕs selection of apparel to express racial power. The geographic span of textiles from different economic areas around the globe includes Asia, Africa, Europe, and North America. By making use of transatlantic texts to consider the political and social positioning of both workers and consumers, the collection further expands upon the emerging cross-disciplinary study of reading dress. A true Òstate of the fieldÓ work, Crossings in Text and Textiles charts new scholarly ground at the nexus between fashion, textiles, and literature, appealing to a broad interdisciplinary audience of scholars and students.