Alison Young – författare

First published in 1997, this volume examines questions of legal doctrine which have never been far from the study of crime. It has not always been able to keep the doctrinal aspects of law clearly in sight. There is always the pressure to turn to philosophy for the consideration of questions of moral and legal responsibility and to criminology and psychology for the analysis of action. The essays collected in this book turn again to questions of doctrine and consider the dogmatic order of law as the basis of the understanding of crime. It is the general argument of this book that without an understanding of the dogmatic order of the legal subject of crime, there will only ever be answers to questions that have never been appropriately asked.

Loosely collected around questions of institution, judgement and address, these essays bring modern historical, doctrinal and cultural scholarship to bear on the practices of legal doctrine. Their aim is to offer an account of criminal law as a practice that institutes, judges and addresses the legal subject through a range of practices and knowledges. These range from the disciplinary knowledges of mental health to the cultural knowledges of femininity and female desire. They include the technical demands of law writing and court room procedure as well as symbolic powers of imagining corporate crime. These all are returned to the practical question of the production of knowledge through legal doctrine.

These essays address a set of questions that have lain dormant in legal scholarship for much of the post-1945 era. In a time when the authority of law is being reconsidered at its foundations, it is appropriate too to reconsider the means and manner of the transmission of criminal law. Without an understanding of the formation of criminal law it is hardly surprising that questions of law reform raise such confusion.

First published in 1997, this volume examines questions of legal doctrine which have never been far from the study of crime. It has not always been able to keep the doctrinal aspects of law clearly in sight. There is always the pressure to turn to philosophy for the consideration of questions of moral and legal responsibility and to criminology and psychology for the analysis of action. The essays collected in this book turn again to questions of doctrine and consider the dogmatic order of law as the basis of the understanding of crime. It is the general argument of this book that without an understanding of the dogmatic order of the legal subject of crime, there will only ever be answers to questions that have never been appropriately asked.

Loosely collected around questions of institution, judgement and address, these essays bring modern historical, doctrinal and cultural scholarship to bear on the practices of legal doctrine. Their aim is to offer an account of criminal law as a practice that institutes, judges and addresses the legal subject through a range of practices and knowledges. These range from the disciplinary knowledges of mental health to the cultural knowledges of femininity and female desire. They include the technical demands of law writing and court room procedure as well as symbolic powers of imagining corporate crime. These all are returned to the practical question of the production of knowledge through legal doctrine.

These essays address a set of questions that have lain dormant in legal scholarship for much of the post-1945 era. In a time when the authority of law is being reconsidered at its foundations, it is appropriate too to reconsider the means and manner of the transmission of criminal law. Without an understanding of the formation of criminal law it is hardly surprising that questions of law reform raise such confusion.

Through an exploration of the crisis engendered by the failure of the crimino-legal complex to solve the problems of crime and criminality, Alison Young exposes the cultural dimension of its institutions and practices. She analyzes the far-reaching effects of the cultural value given to crime, showing it to be rooted in a powerful nexus of the body, language, the community and everyday life.

Imagining Crime examines a number of key events and issues which have signalled shifts in the representation of crime. These include: criminology's resistance to feminist intervention; the pleasures of reading detective fiction; ambiguities of victimization and social justice in the city; sacrificial structures in the law's response to conjugal homicide; policing the ethnicity of the `illegal' immigrant; defensive responses to the limits of representation in the Bulger affair; the governmental strategies of campaigns against single mothers; and the fatalism of the spectacle of HIV/AIDS in criminal justice policy.

Through an exploration of the crisis engendered by the failure of the crimino-legal complex to solve the problems of crime and criminality, Alison Young exposes the cultural dimension of its institutions and practices. She analyzes the far-reaching effects of the cultural value given to crime, showing it to be rooted in a powerful nexus of the body, language, the community and everyday life.

Imagining Crime examines a number of key events and issues which have signalled shifts in the representation of crime. These include: criminology's resistance to feminist intervention; the pleasures of reading detective fiction; ambiguities of victimization and social justice in the city; sacrificial structures in the law's response to conjugal homicide; policing the ethnicity of the `illegal' immigrant; defensive responses to the limits of representation in the Bulger affair; the governmental strategies of campaigns against single mothers; and the fatalism of the spectacle of HIV/AIDS in criminal justice policy.

This book, first published in 1990, takes a challenging look at the images constructed by the Press of women''s political protest. Focusing on the peace camp at Greenham Common, Alison Young analyses in detail the way in which women protestors are represented in the press as deviant and criminal. Arguing that the criminal justice system and the media rely on each other''s definitions of deviance, she investigates in detail how those definitions are constructed and encoded. In the course of her analysis she utilizes concepts of narrative structure, metaphor, the body, the cultural unconscious, and mental as well as social instability. The first and only full-length study of its kind, Femininity in Dissent takes an interdisciplinary approach, questioning traditional methods of criminology and sociology of deviance, and drawing on literary theory, women’s studies and social theory. In articulating cultural forms of regulation and social control, the author provides an analysis of discourse and deviance.

This book, first published in 1990, takes a challenging look at the images constructed by the Press of women''s political protest. Focusing on the peace camp at Greenham Common, Alison Young analyses in detail the way in which women protestors are represented in the press as deviant and criminal. Arguing that the criminal justice system and the media rely on each other''s definitions of deviance, she investigates in detail how those definitions are constructed and encoded. In the course of her analysis she utilizes concepts of narrative structure, metaphor, the body, the cultural unconscious, and mental as well as social instability. The first and only full-length study of its kind, Femininity in Dissent takes an interdisciplinary approach, questioning traditional methods of criminology and sociology of deviance, and drawing on literary theory, women’s studies and social theory. In articulating cultural forms of regulation and social control, the author provides an analysis of discourse and deviance.

In the contemporary fascination with images of crime, violence gets under our skin and keeps us enthralled. The Scene of Violence explores the spectator’s encounter with the cinematic scene of violence – rape and revenge, homicide and serial killing, torture and terrorism. Providing a detailed reading of both classical and contemporary films – for example, Kill Bill, Blue Velvet, Reservoir Dogs, The Matrix, Psycho, The Accused, Elephant, Seven, Thelma & Louise, United 93, Zodiac, and No Country for Old Men – Alison Young returns the affective processes of the cinematic image to the study of law, crime and violence. Engaging with legal theory, cultural criminology and film studies, the book unfolds both our attachment to the authority of law and our identification with the illicit. Its original contribution is to bring together the cultural fascination of crime with a nuanced account of what it means to watch cinema. The Scene of Violence shows how the spectator is bound by the laws of film to the judgment of the crime-image.

In the contemporary fascination with images of crime, violence gets under our skin and keeps us enthralled. The Scene of Violence explores the spectator’s encounter with the cinematic scene of violence – rape and revenge, homicide and serial killing, torture and terrorism. Providing a detailed reading of both classical and contemporary films – for example, Kill Bill, Blue Velvet, Reservoir Dogs, The Matrix, Psycho, The Accused, Elephant, Seven, Thelma & Louise, United 93, Zodiac, and No Country for Old Men – Alison Young returns the affective processes of the cinematic image to the study of law, crime and violence. Engaging with legal theory, cultural criminology and film studies, the book unfolds both our attachment to the authority of law and our identification with the illicit. Its original contribution is to bring together the cultural fascination of crime with a nuanced account of what it means to watch cinema. The Scene of Violence shows how the spectator is bound by the laws of film to the judgment of the crime-image.

Art, value, law - the links between these three terms mark a history of struggle in the cultural scene. Studies of contemporary culture have thus increasingly turned to the image as central to the production of legitimacy, aesthetics and order. Judging the Image extends the cultural turn in legal and criminological studies by interrogating our responses to the image. This book provides a space to think through problems of ethics, social authority and the legal imagination. Concepts of memory and interpretation, violence and aesthetic, authority and legitimacy are considered in a diverse range of sites, including:* body, performance and regulation * judgment, censorship and controversial artworks* graffiti and the aesthetics of public space* HIV and the art of the disappearing body* witnessing, ethics and the performance of suffering* memorial images - art in the wake of disaster.

Art, value, law - the links between these three terms mark a history of struggle in the cultural scene. Studies of contemporary culture have thus increasingly turned to the image as central to the production of legitimacy, aesthetics and order. Judging the Image extends the cultural turn in legal and criminological studies by interrogating our responses to the image. This book provides a space to think through problems of ethics, social authority and the legal imagination. Concepts of memory and interpretation, violence and aesthetic, authority and legitimacy are considered in a diverse range of sites, including:* body, performance and regulation * judgment, censorship and controversial artworks* graffiti and the aesthetics of public space* HIV and the art of the disappearing body* witnessing, ethics and the performance of suffering* memorial images - art in the wake of disaster.

What is street art? Who is the street artist? Why is street art a crime?

Since the late 1990s, a distinctive cultural practice has emerged in many cities: street art, involving the placement of uncommissioned artworks in public places. Sometimes regarded as a variant of graffiti, sometimes called a new art movement, its practitioners engage in illicit activities while at the same time the resulting artworks can command high prices at auction and have become collectable aesthetic commodities. Such paradoxical responses show that street art challenges conventional understandings of culture, law, crime and art.

Street Art, Public City: Law, Crime and the Urban Imagination engages with those paradoxes in order to understand how street art reveals new modes of citizenship in the contemporary city. It examines the histories of street art and the motivations of street artists, and the experiences both of making street art and looking at street art in public space. It considers the ways in which street art has become an integral part of the identity of cities such as London, New York, Berlin, and Melbourne, at the same time as street art has become increasingly criminalised. It investigates the implications of street art for conceptions of property and authority, and suggests that street art and the urban imagination can point us towards a different kind of city: the public city.

Street Art, Public City will be of interest to readers concerned with art, culture, law, cities and urban space, and also to readers in the fields of legal studies, cultural criminology, urban geography, cultural studies and art more generally.

What is street art? Who is the street artist? Why is street art a crime?

Since the late 1990s, a distinctive cultural practice has emerged in many cities: street art, involving the placement of uncommissioned artworks in public places. Sometimes regarded as a variant of graffiti, sometimes called a new art movement, its practitioners engage in illicit activities while at the same time the resulting artworks can command high prices at auction and have become collectable aesthetic commodities. Such paradoxical responses show that street art challenges conventional understandings of culture, law, crime and art.

Street Art, Public City: Law, Crime and the Urban Imagination engages with those paradoxes in order to understand how street art reveals new modes of citizenship in the contemporary city. It examines the histories of street art and the motivations of street artists, and the experiences both of making street art and looking at street art in public space. It considers the ways in which street art has become an integral part of the identity of cities such as London, New York, Berlin, and Melbourne, at the same time as street art has become increasingly criminalised. It investigates the implications of street art for conceptions of property and authority, and suggests that street art and the urban imagination can point us towards a different kind of city: the public city.

Street Art, Public City will be of interest to readers concerned with art, culture, law, cities and urban space, and also to readers in the fields of legal studies, cultural criminology, urban geography, cultural studies and art more generally.