The Poetics Of Crime

The Poetics of Crime is an invitation to reconsider and reimagine how criminological knowledge may be creatively and poetically constructed, obtained, corroborated and applied. Departing from the conventional understanding of criminology as a discipline concerned with refined statistical analyses, survey methods and quantitative measurements, this book shows that criminology can - and indeed should - move beyond such confines to seek sources of insight, information and knowledge in the unexplored corners of poetically and creatively inspired approaches and methodologies.

The Poetics of Crime provides an invitation to reconsider and reimagine how criminological knowledge may be creatively and poetically constructed, obtained, corroborated and applied. Departing from the conventional understanding of criminology as a discipline concerned with refined statistical analyses, survey methods and quantitative measurements, this book shows that criminology can - and indeed should - move beyond such confines to seek sources of insight, information and knowledge in the unexplored corners of poetically and creatively inspired approaches and methodologies. With chapters illustrating the ways in which criminologists and other researchers or practitioners working on crime-related questions can find inspiration in a variety of unconventional materials, writing styles and analytical strategies, The Poetics of Crime offers studies of police photography, classic and contemporary literature, silver screen movies, performative dance enactments and media images. As such, this volume opens up the field of criminological research to alternative and novel sources of knowledge about crime, its perpetrators and victims, authorities, motives and justice. It will therefore appeal not only to sociologists, social theorists and criminologists, but to scholars across disciplines with interests in crime, deviance and innovative approaches to social research.

The Poetics of Crime provides an invitation to reconsider and reimagine how criminological knowledge may be creatively and poetically constructed, obtained, corroborated and applied. Departing from the conventional understanding of criminology as a discipline concerned with refined statistical analyses, survey methods and quantitative measurements, this book shows that criminology can - and indeed should - move beyond such confines to seek sources of insight, information and knowledge in the unexplored corners of poetically and creatively inspired approaches and methodologies. With chapters illustrating the ways in which criminologists and other researchers or practitioners working on crime-related questions can find inspiration in a variety of unconventional materials, writing styles and analytical strategies, The Poetics of Crime offers studies of police photography, classic and contemporary literature, silver screen movies, performative dance enactments and media images. As such, this volume opens up the field of criminological research to alternative and novel sources of knowledge about crime, its perpetrators and victims, authorities, motives and justice. It will therefore appeal not only to sociologists, social theorists and criminologists, but to scholars across disciplines with interests in crime, deviance and innovative approaches to social research.

"A final chapter addresses Schillerian intertextuality in the twentieth century, and the survival of Schillerian ideals of freedom and aesthetic education in modern mutations. Foremost among these texts are Anthony Burgess's A Clockwork Orange and Stanley Kubrick's film of that novel."--Jacket.

Essays explore the reasons for the popularity of murder mysteries and discuss the literary techniques and social aspects of detective novels.

Oltre a un'appendice di documenti, il volume contiene un'introduzione che vuole essere, ad un tempo, una riflessione e un ricordo relativi al conferimento - in data 17 marzo 1990 - della Laurea ad honorem di Giurisprudenza al Cardinale Agostino Casaroli presso l'Università di arma.

Over the last few decades, Victorian scholars have produced many nuanced studies connecting the politics of crime to the generic developments of the novel--and vice versa. Ellen L. O'Brien's Crime in Verse grants the same attention and status to poetic representations of crime. Considering the literary achievements and cultural engagements of poetry while historicizing murder's entanglement in legal fictions, punitive practices, medical theories, class conflicts, and gender codes, O'Brien argues that shifting approaches to poetry and conflicted understandings of murder allowed poets to align problems of legal and literary interpretation in provocative, disruptive, and innovative ways. Developing focused analyses of generic and discursive meanings, individual chapters examine the classed politics of crime and punishment in the broadside ballad, the epistemological tensions of homicidal lunacy and criminal responsibility in the dramatic monologue, and the legal and ideological frictions of domestic violence in the verse novel and verse drama. Their juxtaposition of the rhymes of anonymous street balladeers, the underexamined verse of "minor" poets, and the familiar poems of canonical figures suggests the interactive and intertextual relationships informing poetic agendas and political arguments. As it simultaneously reconsiders the institutional and ideological status of murder and the aesthetic and political interests of poetry, Crime in Verse offers new ways of thinking about Victorian poetry's contents and contexts.

Poe is frequently portrayed as an isolated idiosyncratic genius who was unwilling or unable to adapt himself to the cultural conditions of his time. Eliza Richards revises this portrayal through an exploration of his collaborations and rivalries with his female contemporaries. Richards demonstrates that he staged his performance of tortured isolation in the salons and ephemeral publications of New York City in conjunction with prominent women poets whose work sought to surpass. She introduces and interprets the work of three important and largely forgotten women poets: Frances Sargent Osgood, Sarah Helen Whitman, and Elizabeth Oakes Smith. Richards re-evaluates the work of these writers, and of nineteenth-century lyric practices more generally, by examining poems in the context of their circulation and reception within nineteenth-century print culture. This book will be of interest to scholars of American print culture as well as specialists of nineteenth-century literature and poetry.