Swedish crime fiction became an international phenomenon in the first decade of the twenty-first century, starting with novels but then percolating through Swedish-language television serials and films into English-language BBC productions and Hollywood remakes. This book looks at the rich history of Nordic noir, examines the appeal of this particular genre, and attempt to reveal why it is distinct from the plethora of other crime fictions.
This is the first definitive examination of the practice of corporate regulation and enforcement from the foundation of the Irish State to the present day. It analyses the transition in Ireland from a sanctioning, ‘command and control’ model of corporate enforcement to the compliance-orientated, responsive regulatory model. It is also unique in locating this shift in its broader sociological and jurisprudential context. It provides a definitive account of a State at a critical stage of its economic development, having moved from an agrarian and protected society to a free-market globalised economy which is trying to cope with the negative aspects of increased corporate activity, having experienced an economic boom and depression in a remarkably condensed period of time. Traditionally, corporate wrongdoing was often criminalised using conventional criminal justice methods and the ordinary police were often charged with the responsibility of enforcing the law. Since the 1990s, however, the conventional crime monopoly on corporate deviancy has become fragmented because a variety of specialist, interdisciplinary agencies with enhanced powers now address corporate wrongdoing. The exclusive dominance of conventional crime methods has also faded because corporate wrongdoing is now specifically addressed by a responsive enforcement architecture, taking compliance orientated and sanctioning approaches, using both civil and criminal enforcement mechanisms, where criminal law is now the sanction of last resort.
Tattoos in crime and detective narratives: Marking and remarking examines
representations of the tattoo and tattooing in literature, television and film,
from two periods of tattoo renaissance (1851–1914, and around 1955 to the
present). The collection reads tattoos and associated scarification, such as
branding, as mimetic devices that mark and remark crime and detective narratives
in complex ways. The chapters utilise a variety of critical perspectives drawn
from posthumanism, spatiality, postcolonialism, embodiment and gender studies to
read the tattoo as individual and community bodily narratives. The collection
develops its focus from the first tattoo renaissance and considers the rebirth
of the tattoo in contemporary culture through literature, children's
literature, film and television. This book has a broad appeal and will be of
interest to all literature and media scholars and, in particular, those with an
interest in crime and detective narratives and skin studies.
Defining crime: the ‘real’ crime obsession
In December 1985, the Revenue Commissioners commissioned billboards
which stated that ‘[t]ax fiddlers are going to have to face the music’. Rottman
and Tormley (1986) observed that the purpose of these billboards was to
remind the general public that tax evasion was a criminal offence, a reminder
that would not have been necessary for more conventional wrongdoing.
Similarly, Box (1983: 1) argued that the public conception of criminality was
driven by a fear of conventional or so-called ‘real’ crimes, like
This book tells the story of the emergence of the concept of crimes against humanity. It examines its origins, the ethical assumptions underpinning it, its legal and philosophical boundaries and some of the controversies connected with it. A brief historical introduction is followed by an exploration of the various meanings of the term ‘crimes against humanity’ that have been suggested; a definition is proposed linking it to the idea of basic human rights. The book looks at some problems with the boundaries of the concept, the threshold for its proper application and the related issue of humanitarian intervention. It concludes with a discussion of the prospects for the further development of crimes-against-humanity law.
Representing Jewish wartime experience in French crime fiction of the 1950s and 1960s
Forgotten crimes: representing Jewish
wartime experience in French crime fiction
of the 1950s and 1960s
The 1950s and early 1960s in France have been discussed as years given
over to a repression of the multiple histories and memories of the occupation. In her study of crises of memory and the Second World War,
Susan Rubin Suleiman encapsulates these dominant perceptions when
she refers to a ‘forced amnesia’, reinforced in the legal sphere by a series of amnesties which freed the majority of French men and women
French crime fiction and the Second World War explores France's preoccupation with memories of the Second World War through an examination of crime fiction, one of popular culture's most enduring literary forms. The study analyses representations of the war years in a selection of French crime novels from the late 1940s to the 2000s. All the crime novels discussed grapple with the challenges of what it means for generations past and present to live in the shadow of the war: from memories of French resistance and collaboration to Jewish persecution and the legacies of the concentration camps. The book argues that crime fiction offers novel ways for charting the two-way traffic between official discourses and popular reconstructions of such a contested conflict in French cultural memory.
Conventional crime methods
The previous chapter showed that political apathy in the field of corporate
and white-collar crime informed the generative structure of company law in
twentieth-century Ireland. Addressing corporate deviancy was not a significant priority in a closed, agrarian State with relatively low levels of corporate
activity. This way of thinking resulted in the use of criminal law sanctions
to address corporate wrongdoing, without adequate reflection as to whether
those sanctions were the most appropriate enforcement tools in the
Background to crimes against humanity
The origins of crimes against humanity are less clear than those of war crimes, but the concept was first invoked in the early nineteenth century in order to condemn brutal treatment by a State of its own citizens. 1 The concept of crimes against humanity was also referred to in the preambular paragraphs of the 1868 St Petersburg Declaration and the 1907 Hague Convention, which alluded to limits imposed by the ‘laws of humanity’ during armed conflicts, but the notion
Background to war crimes 1
While the origins of the laws of war stretch back centuries, 2 the nineteenth and twentieth centuries were the first to see multilateral conventions on the law of armed conflict, 3 and the twentieth century was the first to see significant prosecutions for breaches of this law. 4 Following the prosecution of a small number of Germans after the First World War by the Supreme Court of the Reich in Leipzig, 5 the aftermath of the Second World War saw the prosecution by the Allies of