Language, Ideology and Identity in Serial Killer Narratives

Gregoriou, Christiana

doi:10.4324/9780203832653

Cited by 28 publications

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“…Her drunkenness, flirting, vulgarity and association with the tawdry pub (in which Peter seems out of place) echoes the depiction of the victimised prostitutes of The Ripper (Meyers 1997) and From Hell (Hughes Brothers 2001), and Walkowitz (1982: 552) finds similar stereotyping of the women killed in 1888 Whitechapel. Jan's portrayal also recalls more recent journalistic/true crime depictions of serial killer cases which shift agency from the killer to the victims' addictions (Gregoriou, 2011). In one scene, which has no obvious real-world referent, Jan injects drugs in the toilet before returning to dance wildly and become embroiled in a fight with another woman whose partner has been eyeing her up.…”

Section: The Use Of Richard Mccann In Promoting the Film Is Also Wortmentioning

confidence: 99%

“…As such, the serial killer was, from the outset, understood intertextually, in relation to other (factual and fictional) killers and through serialised narrative forms with their own generic conventions. This has created an interesting tension in popular discourse, for whilst the serial killer is widely constructed as a unique individual (Cameron and Frazer 1987), this has itself become formulaic through its repetition in both factual and fictional accounts whether in film, television, novels, true crime literature, press reporting or even serial killers' own accounts of their crimes (Cameron and Frazer, 1987;Biressi, 2001;Gregoriou, 2011;Bartels and Parsons, 2009;Brady, 2001). It is this tension between the individual and generic or formulaic---and, specifically, what that means for feminist understandings of serial murder---which is at the heart of this article.…”

Section: Portrait Of a Serial Killer: Intertextuality And Gender In Tmentioning

confidence: 99%

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Portrait of A Serial Killer

Boyle

Reburn

2014

Feminist Media Studies

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This version is available at https://strathprints.strath.ac.uk/63824/ Strathprints is designed to allow users to access the research output of the University of Strathclyde. Unless otherwise explicitly stated on the manuscript, Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Please check the manuscript for details of any other licences that may have been applied. You may not engage in further distribution of the material for any profitmaking activities or any commercial gain. You may freely distribute both the url (https://strathprints.strath.ac.uk/) and the content of this paper for research or private study, educational, or not-for-profit purposes without prior permission or charge.Any correspondence concerning this service should be sent to the Portrait of a serial killer: Intertextuality and gender in the portrait filmThe serial killer has always been understood in and through popular culture, emerging as a figure of historical, criminological and popular significance not with the first instance of multiple killings, but with the first widespread narrativisation of an ongoing case of serial murder in the popular press. We refer, of course, to the 1888 femicides in Whitechapel, attributed to "Jack the Ripper". In contemporaneous press accounts of these murders, fictional antecedents provided a compelling hook on which to hang the story as well as a ready-made narrative structure for its telling. As such, the serial killer was, from the outset, understood intertextually, in relation to other (factual and fictional) killers and through serialised narrative forms with their own generic conventions. This has created an interesting tension in popular discourse, for whilst the serial killer is widely constructed as a unique individual (Cameron and Frazer 1987), this has itself become formulaic through its repetition in both factual and fictional accounts whether in film, television, novels, true crime literature, press reporting or even serial killers' own accounts of their crimes (Cameron and Frazer, 1987;Biressi, 2001;Gregoriou, 2011;Bartels and Parsons, 2009;Brady, 2001). It is this tension between the individual and generic or formulaic---and, specifically, what that means for feminist understandings of serial murder---which is at the heart of this article.Our specific focus here is what Jenny Reburn (2012) has called the serial killer portrait film: a cycle of contemporary low-budget films which focus on real-life (male) serial killers with the claim to offer insight into the killer and his crimes.Typically low-budget, featuring actors who are relatively unknown outside of the cycle, often exhibiting poor production values and usually released straight to DVD, these films are unusual among serial killer narratives in that they demonstrate little interest in seriality: murders are out of sequence; there is little attention to patterning (victim type or method of killing); and they are almost completely lacking in suspense. The crime...

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Section: The Use Of Richard Mccann In Promoting the Film Is Also Wortmentioning

confidence: 99%

Section: Portrait Of a Serial Killer: Intertextuality And Gender In Tmentioning

confidence: 99%

Portrait of A Serial Killer

Boyle

Reburn

2014

Feminist Media Studies

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“…Gregoriou's (2011) monograph is a continuation of her work on crime fiction, for which she is developing a clear reputation.…”

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confidence: 97%

The year’s work in stylistics 2011

McIntyre

2012

Language and Literature: International Journal of Stylistics

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At the heart of stylistics is creativity. Certainly most research in stylistics focuses on the analysis of creative work but it is also the case that stylistic analysis requires creative thought. Doing good stylistics means balancing the rigour of the linguist with the sensitivity of the literary critic. It involves shifting deictically between the minds of readers, writers, narrators and characters. And it can mean crossing disciplinary boundaries if that is what the analysis requires. A good place to start this year's review, then, is with Swann et al.'s (2011) edited volume, Creativity in Language and Literature: The State of the Art. This is a book that is certainly not bound by disciplinary conventions. This much is clear from Rob Pope's 'Prologue' (2011) which takes the form of something akin to free verse, using a creative form to make some erudite points about what creativity actually is. Following on from this, Pope and Swann's introduction (2011) outlines the remit of the book, which is to bring together a wide range of opinions about and attitudes to creativity, linked by a common concern with language. Thus, the chapter authors include linguists, literary critics, creative writers, storytellers and filmmakers. Some of the chapters are conventionally academic while others take the form of interviews, discussions of practical educational projects, reflective commentaries and creative writing. What you are likely to get out of the book depends very much on your disciplinary sensibilities. Hence, I appreciated Semino's (2011a) and Stockwell's (2011a) characteristically detailed analyses of, respectively, creative metaphors for pain and sympathy and empathy in literary reading. I was less convinced of the value of some of the less obviously academic contributions. For example, Wandor's (2011) discussion of her own creative processes is an entirely subjective account that raises only questions. This is true of many of the contributions from creative writers. And while it may well be interesting to hear about the creative process from writers themselves, as a linguist I find myself frustrated; not so much by the lack of answers, but by the seeming

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“…Second, translation has been perceived as a secondary activity, as a "mechanical" rather than a "creative" process, within the competence of anyone with a basic grounding in a language other than his/her own (Bassnett, 1996). Folk notions might still at times claim that proficiency in two languages along with a couple of dictionaries are all that one needs to produce a translation (Edwards, 2009;Gregorious, 2011). Beyond the notion stressed by the narrowly linguistic approach, that translation involves the transfer of "meaning" contained in one set of language signs into another set of language signs through competent use of the dictionary and grammar, the process involves a whole set of extra-linguistic criteria.…”

Section: Preliminaries Misconceptions Regarding Translationmentioning

confidence: 99%

Paradigm Shifts in Translation Studies: Focus on Linguistic, Cultural, Social and Psychological Turns

El-daly¹

2015

SUET

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Translation has been the subject of a variety of research and conflicts among theorists. This fact that gives Thomas Samuel Kuhn's paradigm theory is pertinent to the present study. Kuhn is an American philosopher of Science. In his book The Structure of Scientific Revolutions, he proposes his paradigm theory which plays a great role in the development of sociology and philosophy of Science. According to Kuhn (1970), paradigm originates from one or some famous people's achievements, and for these achievements to be considered as paradigms, two major characteristics must be met as will be clarified in this paper. This study is an attempt to outline the scope of the disciplines of Translation Studies (TS), to give some indication of the kind of work that has been done so far. It is an attempt to demonstrate that TS is a discipline in its own right. It is a vastly complex field with many far-reaching ramifications. This study discusses the relationships between the changing definitions of translation and the turns of translation studies.

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Language, Ideology and Identity in Serial Killer Narratives

Cited by 28 publications

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Portrait of A Serial Killer

Portrait of A Serial Killer

The year’s work in stylistics 2011

Paradigm Shifts in Translation Studies: Focus on Linguistic, Cultural, Social and Psychological Turns

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