Criminal Law And The Modernist Novel

"The realist novel and the modern criminal trial both came to fruition in the nineteenth century. Each places a premium on the author's or trial lawyer's ability to reconstruct reality, reflecting modernity's preoccupation with firsthand experience as the basis of epistemological authority. But by the early twentieth century experience had, as Walter Benjamin put it, 'fallen in value'. The modernist novel and the criminal trial of the period began taking cues from a kind of non-experience--one that nullifies identity, subverts repetition and supplants presence with absence. Rex Ferguson examines how such non-experience colours the overlapping relationship between law and literary modernism. Chapters on E.M. Forster's A Passage to India, Ford Madox Ford's The Good Soldier and Marcel Proust's In Search of Lost Time detail the development of a uniquely modern subjectivity, offering new critical insights to scholars and students of twentieth-century literature, cultural studies and the history of law and philosophy."--Jacket.

This book offers an interdisciplinary account of the relationship between criminal trials and novels in the modernist period.

The cultural forms of modernity become truly modern only when specific experience, as opposed to tradition or faith, is made the basis of epistemological authority. By taking the primary examples of law and literature, this thesis argues that the criminal trial and realist novel of the eighteenth and nineteenth-centuries perfectly conform to this statement. But by the early twentieth-century, experience had, as Walter Benjamin put it, 'fallen in value'. As such, the modernist novel and trial come to have foundations in a non-experience which nullifies identity, subverts repetition and supplants presence with absence. The philosophical basis of experience, its fundamental basis within the novel and trial, and the theoretical manifestations of its dissolving, are outlined in the substantial Introduction to this thesis. Chapter One then specifically examines E.M. Forster's A Passage to India (1924) within the context of the administration of justice in British India. Adela Quested's supposed assault within the Marabar cave is argued to be a non-event which in no way conforms to the modern sense of experience outlined in the Introduction. This resonates with the state of the trial in British India, in which many magistrates became convinced of the rampant perjury of the natives, turning their decisions into a matter of deciding between the less untrue of two false accounts. Like the non-event in the Marabar cave, the crime that was supposedly at the heart of the trial, the experience at its core, was thus slipping from view. In the second part of Chapter One, it is argued that in his theoretical work, Aspects of the Novel (1927), Forster, responding to anxieties about the novel's experiential loss, attempted to codify the laws of the realism. This project had much in common with the Acts of legal codification that took place in British India in the 1860s and '70s, particularly that of Sir James Fitzjames Stephen's Indian Evidence Act 1872, which sought to retain a form of representation that was congruent with a traditional conception of experience, thus safeguarding judgment. In Chapter Two, Ford Madox Ford's The Good Soldier (1915) is analysed in the light of legal developments in expert witnessing and criminal identification. One of the specific issues of Ford's novel is the kind of identity it portrays. Without commensurable experiences that can be reasonably assimilated and communicated, the identities of The Good Soldier resist the common recognition of a realist character. Legal developments in the attribution of responsibility and the identification of criminals are argued to parallel the methods by which Ford's 'Literary Impressionism', by contrast, provides the image of his actors. In many ways, these issues were matters for expert witnesses, a growing number of whom were taking the stand in British courts. By taking judgment out of the hand of the layman, expertise was supplanting experience. But this was not limited to the legal forum - in the final part of Chapter Two it is suggested that Ford's novel, itself, responds to a sense of expert reading. Chapter Three discusses Marcel Proust's In Search of Lost Time (1913-1927) in connection to two points of legal interest. Firstly, the Dreyfus case, which, in its reliance upon absent evidence parallels the denigration of presence that exists in Proust's novel. Secondly, Dreyfus' supporters, in calling for a re-trial, asked for a certain form of repetition to take place. The repetitious legal forms of review, appeal, and precedent are then examined in relation to the various forms of repetition that exist within Proust's work. By utilising Platonic, Nietzschean, and Freudian theories of repetition, it is argued that experience has truly fallen in value when the origins of repetition can be only obliquely discerned. In the Conclusion, the continuity of a realist tradition, and a modernist impulse of non-experience, will be traced in contemporary works - Ian McEwan's Atonement (2001) and The Staircase (2005), a documentary film by Jean-Xavier De Lestrade about a real murder trial in North Carolina. Finally, a view is offered of the future of experience in the novel and courtroom: one which, based upon John D. Caputo's reading of Jacques Derrida's work, stresses the ethical nature of doing truth and making reality in the very act of allowing experience to slip away.

Levay analyzes representations of the criminal in British and American modernism from the late nineteenth century to the 1950s.

The Oxford Handbook of Criminal Law reflects the continued transformation of criminal law into a global discipline, providing scholars with a comprehensive international resource, a common point of entry into cutting edge contemporary research and a snapshot of the state and scope of the field. To this end, the Handbook takes a broad approach to its subject matter, disciplinarily, geographically, and systematically. Its contributors include current and future research leaders representing a variety of legal systems, methodologies, areas of expertise, and research agendas. The Handbook is divided into four parts: Approaches & Methods (I), Systems & Methods (II), Aspects & Issues (III), and Contexts & Comparisons (IV). Part I includes essays exploring various methodological approaches to criminal law (such as criminology, feminist studies, and history). Part II provides an overview of systems or models of criminal law, laying the foundation for further inquiry into specific conceptions of criminal law as well as for comparative analysis (such as Islamic, Marxist, and military law). Part III covers the three aspects of the penal process: the definition of norms and principles of liability (substantive criminal law), along with a less detailed treatment of the imposition of norms (criminal procedure) and the infliction of sanctions (prison or corrections law). Contributors consider the basic topics traditionally addressed in scholarship on the general and special parts of the substantive criminal law (such as jurisdiction, mens rea, justifications, and excuses). Part IV places criminal law in context, both domestically and transnationally, by exploring the contrasts between criminal law and other species of law and state power and by investigating criminal law's place in the projects of comparative law, transnational, and international law.

This work explores the relationship between law and literature in canonical texts from Victorian and Modernist periods.

In Staging the Trials of Modernism, Dale Barleben explores the interactions among literature, cultural studies, and the law through detailed analyses of select British modern writers including Oscar Wilde, Joseph Conrad, Ford Madox Ford, and James Joyce. By tracing the relationships between the literature, authors, media, and judicial procedure of the time, Barleben illuminates the somewhat macabre element of modern British trial process, which still enacts and re-enacts itself throughout contemporary judicial systems of the British Commonwealth. Using little seen legal documents, like Ford's contempt trial decision, Staging the Trials of Modernism uncovers the conversations between the interior style of British Modern authors and the ways in which law began rethinking concepts like intent and the subconscious. Barleben’s fresh insights offer a nuanced look into the ways in which law influences literary production.

Considering a range of neglected material, this book provides a richer view of how crime and criminality were understood between the wars.