Illuminating The Afterlife Easyread Super Large 18pt Edition

In this exceptional book, Kucich reveals through his readings of literary and historical accounts that spiritualism helped shape the terms by which Native American, European, and African cultures interacted in America from the earliest days of contact through the present. Beginning his study with a provocative juxtaposition of the Pueblo Indian Revolt and the Salem Witchcraft trials of the seventeenth century, Kucich examin[e]s how both events forged "contact zones" - spaces of intense cultural conflict and negotiation - mediated by spiritualism. Kucich goes on to chronicle how a diverse group of writers used spiritualism to reshape a range of such contact zones. These include Rochester, New York, where Harriet Jacobs adapted the spirit rappings of the Fox Sisters and the abolitionist writings of Frederick Douglass as she crafted her own story of escape from slavery; mid-century periodicals from the Atlantic Monthly to the Cherokee Advocate to the Anglo-African Magazine; post-bellum representations of the afterlife by Elizabeth Stuart Phelps, Mark Twain and the Native Americans who developed the Ghost Dance; turn-of-the-century local color fiction by writers like Sarah Orne Jewett, Charles Chesnutt and Maria Cristina Mena; and the New England reformist circles traced in Henry James's The Bostonians and Pauline Hopkins's Of One Blood. Kucich's conclusion looks briefly at New Age spiritualism, then considers the implications of a cross-cultural scholarship that draws on a variety of critical methodologies, from border and ethnic studies to feminism to post-colonialism and the public sphere. The implications of this study, which brings well-known, canonical writers and lesser-known writers into conversation with one another, are broadly relevant to the resurgent interest in religious studies and American cultural studies in general.

In this pioneering work, Bill McClanahan provides a concise overview of visual criminology. With examples of the most prominent methods at work in visual criminology, this book explores the visual perspective in relation to prisons, police, the environment, and drugs, while noting the complex ethical implications embedded in visual research.

This book investigates what happens to criminal evidence after the conclusion of legal proceedings. During the criminal trial, evidentiary material is tightly regulated; it is formally regarded as part of the court record, and subject to the rules of evidence and criminal procedure. However, these rules and procedures cannot govern or control this material after proceedings have ended. In its ‘afterlife’, criminal evidence continues to proliferate in cultural contexts. It might be photographic or video evidence, private diaries and correspondence, weapons, physical objects or forensic data, and it arouses the interest of journalists, scholars, curators, writers or artists. Building on a growing cultural interest in criminal archival materials, this book shows how in its afterlife, criminal evidence gives rise to new uses and interpretations, new concepts and questions, many of which are creative and transformative of crime and evidence, and some of which are transgressive, dangerous or insensitive. It takes the judicial principle of open justice – the assumption that justice must be seen to be done – and investigates instances in which we might see too much, too little or from a distorted angle. It centres upon a series of case studies, including those of Lindy Chamberlain and, more recently, Oscar Pistorius, in which criminal evidence has re-appeared outside of the criminal process. Traversing museums, libraries, galleries and other repositories, and drawing on extensive interviews with cultural practitioners and legal professionals, this book probes the legal, ethical, affective and aesthetic implications of the cultural afterlife of evidence.

The infusion of digital technology into contemporary society has had significant effects for everyday life and for everyday crimes. Digital Criminology: Crime and Justice in Digital Society is the first interdisciplinary scholarly investigation extending beyond traditional topics of cybercrime, policing and the law to consider the implications of digital society for public engagement with crime and justice movements. This book seeks to connect the disparate fields of criminology, sociology, legal studies, politics, media and cultural studies in the study of crime and justice. Drawing together intersecting conceptual frameworks, Digital Criminology examines conceptual, legal, political and cultural framings of crime, formal justice responses and informal citizen-led justice movements in our increasingly connected global and digital society. Building on case study examples from across Australia, Canada, Europe, China, the UK and the United States, Digital Criminology explores key questions including: What are the implications of an increasingly digital society for crime and justice? What effects will emergent technologies have for how we respond to crime and participate in crime debates? What will be the foundational shifts in criminological research and frameworks for understanding crime and justice in this technologically mediated context? What does it mean to be a ‘just’ digital citizen? How will digital communications and social networks enable new forms of justice and justice movements? Ultimately, the book advances the case for an emerging digital criminology: extending the practical and conceptual analyses of ‘cyber’ or ‘e’ crime beyond a focus foremost on the novelty, pathology and illegality of technology-enabled crimes, to understandings of online crime as inherently social.

Dynamically written and richly illustrated, the Routledge International Handbook of Visual Criminology offers the first foundational primer on visual criminology. Spanning a variety of media and visual modes, this volume assembles established researchers whose work is essential to understanding the role of the visual in criminology and emergent thinkers whose work is taking visual criminology in new directions. This book is divided into five parts that each highlight a key aspect of visual criminology, exploring the diversity of methods, techniques and theoretical approaches currently shaping the field: • Part I introduces formative positions in the developments of visual criminology and explores the different disciplines that have contributed to analysing images. • Part II explores visual representations of crime across film, graphic art, documentary, police photography, press coverage and graffiti and urban aesthetics. • Part III discusses the relationship of visual criminology to criminal justice institutions like policing, punishment and law. • Part IV focuses on the distinctive ethical problems posed by the image, reflecting on the historical development, theoretical disputes and methodological issues involved. • Part V identifies new frameworks and emergent perspectives and reflects upon the distinctive challenges and limits that can be seen in this emerging field. This book includes a vibrant colour plate section and over a hundred black and white images, breaking down the barriers between original photography and artwork, historic paintings and illustrations and modern comics and films. This interdisciplinary book will be of interest to criminologists, sociologists, visual ethnographers, art historians and those engaged with media studies.