Bücher von Philipp Röttgers

London 1888. Die Whitechapel-Morde erschüttern die ganze Stadt und sorgen weltweit für Schlagzeilen. Was passierte wirklich? Eine spannende Reise ins ¿dunkelste London.¿ ¿Ich bekomme mein Geld schon zusammen. Sieh nur, was für eine hübsche Haube ich habe.¿ Wenige Stunden, nachdem Mary Ann ¿Polly¿ Nichols sich mit diesen Worten von ihrem Hausverwalter verabschiedet hat, wird sie ermordet in der Buck¿s Row in Whitechapel aufgefunden. Es ist der 31. August 1888 und der Beginn des sogenannten ¿Herbst des Schreckens¿¿ Im Herbst 1888 erschüttert eine Mordserie das viktorianische London. Der Mörder wird nie gefasst, sein Name ¿Jack the Ripper¿ geht um die ganze Welt. Philipp Röttgers und Dorothee Schröder werfen einen Blick auf das Leben der Frauen, die dem Mörder zum Opfer fielen. Sie berichten über die Polizeiarbeit, stellen Verdächtige der damaligen Ermittler vor und beschreiben anhand von Zeugenaussagen, Polizeidokumenten und Zeitungsartikeln detailliert, was sich in den Mordnächten zugetragen hat. Eine umfangreiche und faktenbasierte Chronologie der Ereignisse im ¿Herbst des Schreckens¿. Begleiten Sie die Autoren in ¿den Abgrund¿, die Straßen von Whitechapel! Mit 118 Abbildungen "Philipp Röttgers has taken upon himself the difficult task of writing a well-researched and serious account of the Whitechapel murders, and I have little doubt that this book will prove to be a must-have on the bookshelf of anyone interested in this perennial mystery." Paul Begg, einer der weltweit führenden Experten im Fall "Jack the Ripper", Autor u.a. von "Jack the Ripper ¿ The Facts"

Seminar paper from the year 2012 in the subject English Language and Literature Studies - Linguistics, grade: 2,3, University of Bonn (Institut für Anglistik, Amerikanistik und Keltologie), course: Issues in Linguistics: Macrolinguistics "Sociolinguistics", language: English, abstract: In this term paper I will look for the relationship between language and status or language and power in the episode "A Friend in Deed" from the Lieutenant Columbo series. In this episode, the Lieutenant has to investigate against his own boss, Commissioner Mark Halperin, who covered up one murder and commits one himself. I have chosen this episode, because I am a big fan of the Columbo series and because I think it is very interesting to see how both of them act during the investigations. Halperin wants to cover the truth by blaming a burglar, while Columbo finds out that something is wrong and his boss may be suspicious.Through the hierarchical background they try to manipulate each other. Halperin stops Columbo every time he finds out new traces that lead to the Commissioner as the murderer by telling him to look for a burglar. This again leads Columbo to the conclusion that his boss might be involved in the murder cases. But still, he has to follow his orders, because he is the subordinate and Halperin is the superior of the two. So he uses his possibilities of "using power" in a very subliminal, careful way, by telling the Commissioner his new developments every time he finds out something new, which again makes the Commissioner use his power to give him orders to stop investigating into that direction. But nevertheless, Columbo manipulates him this way and in the end he can arrest him as a murderer. The plot of the episode can be found in the appendix.For research I have looked up some books concerning "power and language" or "status and language", explaining the linguistic background between language and power and giving definitions of the relationship between it.First of all, I will give some short background information about the Columbo series, and then I will give some explanations concerning the relationship between language and power with the background of the chosen literature. After that I will describe how I use the results from the theoretical part for the analysis of two chosen dialogues between the Lieutenant and the Commissioner, which can be found in the appendix. This leads to the discussion of the results of the analysis and in the conclusion I will have a look on how language and power work together in this context and if the theories from the literature work in dialogues between superior and subordinate.

Seminar paper from the year 2016 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Bonn (Institut für Anglistik, Amerikanistik und Keltologie), course: Mapping the Romances, language: English, abstract: This analysis looks at the similarities between Shakespeare's play "Cymbeline" and George R. R. Martin's "A Song of Ice and Fire" books and tries to find out if Martin has been influenced by Shakespeare's play and if the fantasy genre has been influenced by Shakespeare's romances in general.Fans and scholars have long argued if "Game of Thrones" has been inspired by the works of William Shakespeare. Especially Macbeth is mentioned quite often, though Othello, Hamlet and King Lear are also mentioned from time to time. However, something that rarely comes up are the so-called "romances", the plays (presumably) from Shakespeare's last period. This might not seem odd, since the romances themselves are quite difficult to categorize in Shakespeare's body of work. But when one looks at them, some similarities to the fantasy genre spring to the eye. There are wicked kings and queens, magic, apparitions of gods and fairy-tale-like figures, battles, fights, and much more that nowadays seems to be stereotypical of fantasy fiction. Since "A Song of Ice and Fire" uses many of these stereotypes, it can be seen as prototypical for the high fantasy genre.

Seminar paper from the year 2015 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Bonn (Institut für Anglistik, Amerikanistik und Keltologie), course: Country Houses and Landscape Gardens, language: English, abstract: Haunted houses have become an own genre in literature. "The Haunting of Lamb House" seems a classical 'haunted house'-story. It is a novel, written in 1991 by British author Joan Aiken, and it deals with the real-existing Lamb House in Rye, Sussex.First, I will give a short overview over the real existing Lamb House in Rye (in the neighbourhood of Aiken's birthplace) and some information about its inhabitants, which might be important for the story. In the analysis I will give a definition of the 'haunted house' and the whole genre that deals with haunted houses. Then I will go through the story of the novel and point out the impact Lamb House has on its inhabitants and the way the house is presented. Afterwards, I will have a look at the historic background of the story Aiken has written. In the conclusion, I will also try to find out if Lamb House (in the story) represents a haunted house and if the novel fulfils the criteria for being a novel which fits into the genre of the 'haunted house'.

Seminar paper from the year 2016 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 2,3, University of Bonn (Institut für Anglistik, Amerikanistik und Keltologie), course: Poverty, language: English, abstract: This analysis looks at how Genesis and their singers portray poverty and Africa in their songs. Is the portrayal appropriate or is it full of clichés and prejudices? And did these songs do anything to help the poor or were they merely there for commercial success and artistic pleasure? For that, I will give a short biography of the band, and then I will select some songs and see how the band Genesis has dealt with the topic of poverty in their music.The representation of poverty or of poverty in Africa has always been a big topic in popular music, especially combined with the idea of fighting poverty or helping the poor people in Africa. One of the most famous examples is probably the Live Aid concert in 1985. It was the continuation of the Band Aid single "Do They Know It's Christmas?" from 1984, in which musician Bob Geldof had gathered many famous pop stars to raise money for the poor starving population in Ethiopia. The concept worked and half a year later, the Live Aid performances were celebrated with the same intention. There were two parallel concerts, one in London, one in Philadelphia, and the whole 80s pop world seemed to participate in the event. One man stuck out: Genesis lead vocalist Phil Collins, who was at that time becoming increasingly famous with his solo career, was the only one who played on both concerts. This was made possible when he crossed the Atlantic with a Concorde. He made it into the Guinness Book, and helped Live Aid to become an even more memorable event.Collins has done charity work throughout his whole career, and he wrote some outstanding songs that deal with the critical topic of homelessness or the apartheid. These include songs from his solo career as well as from his time with rock band Genesis. Genesis was founded in 1967 and included Peter Gabriel on vocals, Tony Banks on keyboards and Mike Rutherford on guitars. Later, Phil Collins joined them as a drummer, and when Gabriel left in 1975, he became the new lead singer. Genesis launched a successful career full of hits and chart-topping albums, and all its members had more or less successful solo careers. Especially Collins rose to stardom, but also former singer Peter Gabriel became a certified superstar. He too, like Collins, has done a lot of charity work and wrote a couple of songs that deal with the crises and catastrophes in the world.