An Introduction to the Jack the Ripper Mystery

Someone in London murdered and mutilated a number of prostitutes during the autumn of 1888; the press went into a frenzy, politicians pointed the finger at each other, hoaxers polluted the investigation, and one of several nicknames stuck: Jack the Ripper. Over a century later, Jacks identity has never been wholly proven (there isnt even a leading suspect), most aspects of the case are still debated, and the Ripper is an infamous cultural bogeyman. The Enduring Mystery The Rippers identity has never been established and people have never stopped looking: the publishing rates average is a new book a year since 1888 (although most of these have come in recent decades). Unfortunately, the wealth of Ripper source material — letters, reports, diaries,  and photographs — provides enough depth for detailed and fascinating research, but too few facts for any incontrovertible conclusions. Just about everything about Jack the Ripper is open to debate and the best you can get is a consensus. People are still finding new suspects  or new ways to reframe old suspects, and books are still flying off the shelves. There is no better mystery. The Crimes Traditionally, Jack the Ripper is considered to have killed five women, all London prostitutes, during 1888: Mary Ann Polly Nichols on August 31, Annie Chapman on September 8, Elizabeth Stride and Catherine Eddowes on September 30 and Mary Jane (Marie Jeanette) Kelly on November 9. In practice, there is no agreed list: the most popular change is to discount Stride and/or Kelly, sometimes adding Martha Tabram, killed August 7th. Authors naming more than eight have achieved very little consensus. At the time Polly Nichols was sometimes considered the second or third person to have been killed by the same person, and plenty of later investigators have searched the world in search of similar killings to see if the Ripper moved on. The Ripper generally killed by strangling his victims, then laying them down and cutting the arteries in their throats; this was followed by a varied process of mutilation, during which parts of the body were removed and kept. Because Jack did this quickly, often in the dark, and because he seemed to have great anatomical knowledge, people have assumed the Ripper had a doctors or surgeons training. As with much of the case, there is no consensus — a contemporary thought him simply a blunderer. There have been accusations that the missing organs werent stolen from the bodies by the Ripper, but by people dealing with them later. Evidence for this is scant. The Letters and Nicknames During the autumn and winter of 1888/89, a number of letters circulated among the police and newspapers, all claiming to be from the Whitechapel murderer; these include the From Hell letter and one accompanied by part of a kidney (which may have matched a kidney taken from one of the victims, but like everything Jack, were not a hundred percent sure). Ripperologists consider most, if not all, of the letters to be hoaxes, but their impact at the time was considerable, if only because one contained the first use of Jack the Ripper, a nickname the papers swiftly adopted and which is now synonymous. Horror, Media, and Culture The Ripper killings were neither obscure nor ignored at the time. There was gossip and fear in the streets, questions at high levels of government,  and offers of rewards and resignations when nobody was caught. Political reformers used the Ripper in arguments and policemen struggled with the limited techniques of the time. Indeed, the Ripper case remained high profile enough for many of the police involved to write private accounts years later. However, it was the media who made Jack the Ripper. By 1888, literacy was common amongst the crowded citizens of London and newspapers reacted to the Whitechapel Murderer, whom they initially christened Leather Apron, with the frenzy we expect from modern tabloids, stirring opinions, fact,  and theory – along with the probably hoaxed Ripper letters – together to create a legend which seeped into popular culture. From the very start, Jack doubled as a figure from the horror genre, a bogeyman to scare your kids. A century later, Jack the Ripper is still hugely famous world over, an unknown criminal at the center of a global manhunt. But he is more than that, hes the focus of novels, films, musicals,  and even a six-inch high model plastic figure. Jack the Ripper was the first serial killer adopted by the modern media age and hes been at the forefront ever since, mirroring the evolution of western culture. Other serial killers who have murdered prostitutes include New Yorks most prolific murderer, Joel Rifkin. Will the Mystery Be Solved? Its extremely unlikely anyone will be able to use the existing evidence to prove, beyond all reasonable doubt, who Jack the Ripper was and, while people are still uncovering material, the discovery of something unarguable has to be regarded as a long-shot. Fortunately, the mystery is so fascinating because you can do your own reading, draw your own conclusions and, with some critical thinking, generally have as much chance of being right as everyone else! Suspects range from people the detectives at the time suspected (such as George Chapman / Klosowski), to a whole gallery of strange suggestions, which include no less than Lewis Carroll, a royal doctor, Inspector Abberline himself, and someone who even blamed their relative decades later after finding some tenuous items.

Coloplast a/S Organization Challenges in Off-Shoring

Coloplast A/S organization challenges in off-shoring Name: Houssam Khawajkyia Date: Friday, July 18, 2009 Executive summary Coloplast, an international company which specializes in developing, manufacturing, and marketing medical devices, implemented an off-shoring strategy in order to be different, stay competitive and meet the dynamic market needs. In implementing this strategy, Coloplast had several issues and the first was the organizational structure. Due to changes in the organizational structure of its Danish and Hungarian production plants, misunderstandings arose between employees which resulted in serious of organizational and managerial challenges. However, the management resolved these differences through†¦show more content†¦An initial plan to train the Hungarians employees in Denmark failed due to complications arising from Danish unions. However, this challenge was solved through Danish employees training their fellow employees at Hungary, Tatabanya (Nielsen, Pedersen, Pyndt, 2008). Knowledge management was also affected by a difference in the organizational culture of t he Hungarian employees and Danish employees. Since Hungarian employees had worked in multinationals which had different organizational cultures, some employees tended to act passively or simplify instructions excessively. This made the Hungarian workers’ skills to be underestimated and it also created some misunderstandings. Danish workers could also not learn useful skills from their Hungarian counterparts due to this challenge. Employee motivation and communication When the management at Coloplast formulated plans to relocate to Hungary, this posed a threat to employee motivation. This is due to the fact that many employees become de-motivated whenever there are imminent changes in an organization due to opposition to organizational change. The Coloplast management recognized this fact and ensured that all employees had access to information about the impending relocation in order to reduce anxiety among them. The management was honest and open about the forthcoming relocation, and it ensured that it obtained feedback from

The Tragedy of Princes Diana - 1120 Words

After her divorce with Prince Charles, Diana continued being photographed as a fashion icon and charity worker. She was a wealthy member of society. Her young life came to a tragic end when she was only 36 years old. She was her chauffeured car sped out of control while trying to escape the paparazzi. On July 1, 1961 at 7:45pm a baby was born. This was the start of a new life of Diana Spencer. Diana was born weighing seven pounds and twelve ounces. She was born at the Park House, in Sandringham, Norfolk, UK. The Park House was property owned by Elizabeth II and situated on the Sandringham Estate. The Spencer family would rent the Park House. Diana was born into a privileged family. She was the daughter of John Spencer. Her mother was Lady Frances Shand Kydd, in Norfolk, England. She is also known as Frances Roche. Diana had three siblings she loved very much. She had one sister, Jane Fellowes, one younger brother, Charles Spencer, and a stepsister, Lady Sarah McCorquodale. 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Interpretation of Byrons Twilight Essay Example For Students

Interpretation of Byrons Twilight Essay 1) Structure According to its structure, the poem is a sonnet. It may be formally divided into three quatrains and a distich, so that it resembles a Shakespearean sonnet. However, Renaissance sonnets were traditionally written in 5 feet iamb, while the Twilight is written in tetrameter. If Byron did draw from that tradition, he must have taken into consideration the sonnet 145, which is the only one to have a 4 feet meter. Those lips that Loves own hand did make, Breathed forth the sound that said I hate, To me that languished for her sake: But when she saw my woeful state, Straight in her heart did mercy come,Chiding that tongue that ever sweet Was used in giving gentle doom; And taught it thus anew to greet; I hate she altered with an end, That followed it as gentle day, Doth follow night, who like a fiend From heaven to hell is flown away. I hate, from hate away she threw, And saved my life, saying not you. Not taking into account the debates about this sonnet, we state that it has to do with lovers vows, which have an unstable nature. It also makes use of the images of day and night, where day is seen as bliss for the lover, and night as a time of misery, a popular Renaissance custom. However, the Twilights structure is more complicated than that. Indeed, the first quatrain is easily distinguished by its rhyming, which is completely different from the other lines. It may even be suggested, that the actions in this quatrain happen some time before the events of all other lines and in another place. It is the hour, when from the boughs The nightingales high note is heard, It is the hour, when lovers vows Seem sweet with every whispered word. The introductory quatrain is positioned like a riddle, asking the reader to name the hour which the poet speaks about. It is full-blooded with an alternating rhyme which binds the lines together and a complete phonetic set of alliterating sounds, where pairs of sonorants are interchanged with pairs of fricatives. It is rather formalistic, having the traditional rhyme and the proper syntactic structure. We must also notice that the parallel images in these lines are both acoustic ones. The next nine lines may be defined as enumeration. They list the events in nature which accompany the mysterious hour, thus giving us some hints as to the answer. They may be further divided into groups of three: And gentle winds, and waters near Make music to the lonely ear, Each flower the dews have lightly wet Two lines with alliterating sonorants, then one line with no alliteration, the images are in the process of changing from acoustic (make music) to visual (the dews have lightly wet), two verbs. And in the sky the stars are met, And on the wave is deeper blue, And on the leaf a browner hue Three short parallel lines, images are visual, verbs are in the process of disappearing (are met two words then is one word then no verbs at all), so as to make not to break the description by actions. And in the heaven that clear obscure, So softly dark, and darkly pure, Which follows the decline of day Inverted copy of lines 4-7: the lines again get seemingly longer, and again there are one line without alliteration and two lines with alliteration this time it is of plosives, a verb (follow) and a verbal noun (decline) appear. The last line is suddenly pentameter, and due to its additional length it may be pronounced with either the slowliness or the rushness of surprise. In any case, it is a conclusion. We finally get the mysterious hour named, and in the same line it vanishes away. .u8d45e7107e152ecbe6b36e7f3d9795e1 , .u8d45e7107e152ecbe6b36e7f3d9795e1 .postImageUrl , .u8d45e7107e152ecbe6b36e7f3d9795e1 .centered-text-area { min-height: 80px; position: relative; } .u8d45e7107e152ecbe6b36e7f3d9795e1 , .u8d45e7107e152ecbe6b36e7f3d9795e1:hover , .u8d45e7107e152ecbe6b36e7f3d9795e1:visited , .u8d45e7107e152ecbe6b36e7f3d9795e1:active { border:0!important; } .u8d45e7107e152ecbe6b36e7f3d9795e1 .clearfix:after { content: ""; display: table; clear: both; } .u8d45e7107e152ecbe6b36e7f3d9795e1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u8d45e7107e152ecbe6b36e7f3d9795e1:active , .u8d45e7107e152ecbe6b36e7f3d9795e1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8d45e7107e152ecbe6b36e7f3d9795e1 .centered-text-area { width: 100%; position: relative ; } .u8d45e7107e152ecbe6b36e7f3d9795e1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8d45e7107e152ecbe6b36e7f3d9795e1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8d45e7107e152ecbe6b36e7f3d9795e1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u8d45e7107e152ecbe6b36e7f3d9795e1:hover .ctaButton { background-color: #34495E!important; } .u8d45e7107e152ecbe6b36e7f3d9795e1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8d45e7107e152ecbe6b36e7f3d9795e1 .u8d45e7107e152ecbe6b36e7f3d9795e1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8d45e7107e152ecbe6b36e7f3d9795e1:after { content: ""; display: block; clear: both; } READ: Poet Compare/contrast Essay2) Motives The Twilight is seemingly a poem about nature, which pictures the harmony of an evening landscape. Yet, some images are rather too persistent to allow this reading. Let us follow the alliteration. Reading the first quatrain, we find that sonorants express the theme of reciprocated and happy love (nightingale the bird of love, its note, the whispered words, which appeal so much to the lyrical hero). The fricatives must refer to the notion of question which is being asked in these lines. Indeed, one may ask, why do the lovers vows only seem sweet? Are they really sweet or are they hurting the hero? This is what the hero himself seems doubtful about. So, the hero has received a vow, maybe a promise of an assignation, from his lover, which has left him thinking. He has now just left the lover, so everything around him still bears the signs of his happiness at seeing the person (winds, waters, make, music the labials again have the gentle nature). The remembrances of being together soothe his now lonely ear. However, it is getting darker, and the lover does not appear. The hero begins to feel doubtful, which is indicated by the fricatives (sky, stars). Sounds, which accompanied his thoughts about the bliss of love (nightingales note, or music), now disappear, leaving the place to the stillness of visual images that increases the feeling of doubt and loneliness. It gets darker (a deeper blue, a browner hue) both in the nature and in the heros heart. The heros doubts are symbolically shown by the oxymoron clear obscure. The oxymoron in itself is an effort to connect two unconnectable notions, so it is well suited to show the double nature of the heros thoughts. The ambiguity is emphasized by the fact, that we cannot be sure which of the two words is the noun and which one is the adjective. Lastly, the words themselves are meaningful: the feeling of the lover to the hero is either clear and evident or obscure and exists only seemingly; the reason behind the heros waiting is clear he waits for his lover, and yet it is obscure as the lover does not come; or the heros mind is in turn clear with his love and obscured by his dark thoughts. Now the plosives appear. Their abundance sounds so harsh and unwelcoming, that we must understand that the heros broodings have reached their heaviest. He continues to meditate on the oxymoronic nature of his lover and of their love: it is at the same time soft (=sweet, gentle) and dark (vicious and hurtful), dark and pure (which may imply that he longs for physical contact with his lover, but cannot experience it because the person is absent). All these doubts come directly after the decline of day. Here at last we may be able to understand the reason of the heros state. The word decline must be read in the meaning of refusal, which the hero has received during the day. Of course, the proper noun is declination, but Byron has just showed us with the clear obscure that one can never be exact about the parts of speech. The day here is not the day of the Renaissance poets. Byrons poetry is characterized by assuming night as a perfect time for making love and day as the time when all love must stop. In the context of the Twilight it may be proved by the fact that the word night starts with a gentle sonorant and alliterates with nightingale and note. So, during the day the hero received a message with a double meaning (possibly, like the Shakespeares lady, his lover said to him the ambiguous I hate not you), and now he is anxious to know if his lover will come at night and reduce all the troubles of the day to nothing or if the message will prove to be hurtful and the lover will not come. The second part of the sonnet ends with line 13, tearing the rhyme in two. .u68b3a91ec905df231583a673466ae503 , .u68b3a91ec905df231583a673466ae503 .postImageUrl , .u68b3a91ec905df231583a673466ae503 .centered-text-area { min-height: 80px; position: relative; } .u68b3a91ec905df231583a673466ae503 , .u68b3a91ec905df231583a673466ae503:hover , .u68b3a91ec905df231583a673466ae503:visited , .u68b3a91ec905df231583a673466ae503:active { border:0!important; } .u68b3a91ec905df231583a673466ae503 .clearfix:after { content: ""; display: table; clear: both; } .u68b3a91ec905df231583a673466ae503 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u68b3a91ec905df231583a673466ae503:active , .u68b3a91ec905df231583a673466ae503:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u68b3a91ec905df231583a673466ae503 .centered-text-area { width: 100%; position: relative ; } .u68b3a91ec905df231583a673466ae503 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u68b3a91ec905df231583a673466ae503 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u68b3a91ec905df231583a673466ae503 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u68b3a91ec905df231583a673466ae503:hover .ctaButton { background-color: #34495E!important; } .u68b3a91ec905df231583a673466ae503 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u68b3a91ec905df231583a673466ae503 .u68b3a91ec905df231583a673466ae503-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u68b3a91ec905df231583a673466ae503:after { content: ""; display: block; clear: both; } READ: World War I: The Overthrow of the Romantic EssayThe half-rhyme is thrown forward like a hook for the lover to grasp. The hero comes to an abrupt stop in his meditations. At last the mood changes. Probably the hero sees his lover coming. He receives his answer, and it is a positive one. The twilight of his doubts vanishes, and the gentle sonorants again make their appearance (melt, moon, away). On the whole, although the images of nature are overall used to illustrate the heros feelings and correspond to his mood, the Twilight is not only a landscape poem. It tells us a story of love and of a lovers fears.