Martin Glynn – författare

Invisible Voices explores the intersection of criminology and history as a way of contextualizing the historical black presence in crime and punishment in the UK. Through case studies, court transcripts, and biographical accounts it reimagines the understanding/s of the role of history in shaping contemporary perceptions. The book: Moves beyond the confines of presenting ‘criminological history’ as monocultural Demonstrates how ‘mainstream criminology’ is complicit in obscuring ‘hidden criminological histories' Critically assesses the implications regarding the positioning of ‘the black presence’ within the discipline of criminology Revises current thinking around excluded, marginalized, and muted histories, when looking at ‘crime and punishment’ as a whole. The opening chapters lay the foundation for locating the historical black presence in crime and punishment, whilst offering practical guidance for anyone wanting to pursue the journey of unearthing hidden history. Chapters 5–9 comprise compelling case studies designed to fuel new discussions regarding important excluded voices in crime and punishment history. The following chapters reveal powerful testimonies from those black voices involved in speaking out against slavery during the Georgian and Victorian periods, and highlight the pivotal role played by black activists during significant periods of British history. Chapter 12 explores ‘The Black Rage Defence’, illuminating a moment in British legal history which tied both the UK and US into a struggle for validating mental health and offending, where race was a significant factor. The final chapter focuses on the need to engage criminologists in a critical dialogue regarding a reimagining of the way criminological history is (re)presented. Invisible Voices is crucial reading for students not just of Criminology and History, but also Sociology, Cultural Studies, Black Studies and Law, as well as criminal justice practitioners. It also aims to provide scope for A-Level students contemplating going to university, community educational programmes, and prison education departments, as well as anyone wanting to learn more about the black presence in UK history.

Invisible Voices explores the intersection of criminology and history as a way of contextualizing the historical black presence in crime and punishment in the UK. Through case studies, court transcripts, and biographical accounts it reimagines the understanding/s of the role of history in shaping contemporary perceptions. The book: Moves beyond the confines of presenting ‘criminological history’ as monocultural Demonstrates how ‘mainstream criminology’ is complicit in obscuring ‘hidden criminological histories' Critically assesses the implications regarding the positioning of ‘the black presence’ within the discipline of criminology Revises current thinking around excluded, marginalized, and muted histories, when looking at ‘crime and punishment’ as a whole. The opening chapters lay the foundation for locating the historical black presence in crime and punishment, whilst offering practical guidance for anyone wanting to pursue the journey of unearthing hidden history. Chapters 5–9 comprise compelling case studies designed to fuel new discussions regarding important excluded voices in crime and punishment history. The following chapters reveal powerful testimonies from those black voices involved in speaking out against slavery during the Georgian and Victorian periods, and highlight the pivotal role played by black activists during significant periods of British history. Chapter 12 explores ‘The Black Rage Defence’, illuminating a moment in British legal history which tied both the UK and US into a struggle for validating mental health and offending, where race was a significant factor. The final chapter focuses on the need to engage criminologists in a critical dialogue regarding a reimagining of the way criminological history is (re)presented. Invisible Voices is crucial reading for students not just of Criminology and History, but also Sociology, Cultural Studies, Black Studies and Law, as well as criminal justice practitioners. It also aims to provide scope for A-Level students contemplating going to university, community educational programmes, and prison education departments, as well as anyone wanting to learn more about the black presence in UK history.

Past studies have suggested that offenders desist from crime due to a range of factors, such as familial pressures, faith based interventions or financial incentives. To date, little has been written about the relationship between desistance and racialisation. This book seeks to bring much needed attention to this under-researched area of criminological inquiry.Martin Glynn builds on recent empirical research in the UK and the USA and uses Critical Race Theory as a framework for developing a fresh perspective about black men’s desistance. This book posits that the voices and collective narrative of black men offers a unique opportunity to refine current understandings of desistance. It also demonstrates how new insights can be gained by studying the ways in which elements of the desistance trajectory are racialised.This book will be of interest both to criminologists and sociologists engaged with race, racialisation, ethnicity, and criminal justice.

Whether it is doing a TEDx, presenting a podcast, sharing on social media, presenting at a conference, or pitching to a potential funder, engaging with storytelling and performance is now a prerequisite of an academics ‘modus operandi.’ Exploring the relationship between and the key concepts associated with storytelling and performance, crime, and criminology, this book offers practical tips and insights into creative methods for presenting research, disseminating criminological knowledge, giving lectures, and developing pedagogy.The book presents a reflexive account of the author's experiences of using creativity with incarcerated men and women. Drawing on a range of topics including ethical storytelling, presentation literacy, poetic inquiry, staging ethno-drama, crime fiction, and auto-ethnography, it makes a clear and compelling case for a creative criminology and a performative social science.Written by a seasoned criminologist, theatre director, storyteller, and dramatist, this is essential reading for all those interested in using creative methods of knowledge as a tool to explore the complex landscape of crime and justice.

Whether it is doing a TEDx, presenting a podcast, sharing on social media, presenting at a conference, or pitching to a potential funder, engaging with storytelling and performance is now a prerequisite of an academics ‘modus operandi.’ Exploring the relationship between and the key concepts associated with storytelling and performance, crime, and criminology, this book offers practical tips and insights into creative methods for presenting research, disseminating criminological knowledge, giving lectures, and developing pedagogy.The book presents a reflexive account of the author's experiences of using creativity with incarcerated men and women. Drawing on a range of topics including ethical storytelling, presentation literacy, poetic inquiry, staging ethno-drama, crime fiction, and auto-ethnography, it makes a clear and compelling case for a creative criminology and a performative social science.Written by a seasoned criminologist, theatre director, storyteller, and dramatist, this is essential reading for all those interested in using creative methods of knowledge as a tool to explore the complex landscape of crime and justice.

Speaking Data and Telling Stories examines the interdependent relationship between method (Data Verbalization) and practice (performance). Data Verbalization is about communicating and disseminating research data using performance approaches and techniques such as; spoken word, jazz, hip-hop, and reggae theatrics.Martin Glynn calls for the development of performance-driven research dissemination that seeks to bring urgent attention to minority, excluded, and marginalized perspectives within research dissemination as a whole. Employing the data verbalization method creates an exciting new proposition that can give progressive researchers a unique and distinct voice, alongside generating significant reach and impact beyond the academy, conference, and peer reviewed journal.The book will be an invaluable resource for researchers, scholars, and related practitioners who want to strengthen their ability to communicate and disseminate research data using live performance / spoken word approaches and techniques. It will also provide guidance for students and researchers wanting to generate wider environmental, social, and cultural impact using research data creatively.

Speaking Data and Telling Stories examines the interdependent relationship between method (Data Verbalization) and practice (performance). Data Verbalization is about communicating and disseminating research data using performance approaches and techniques such as; spoken word, jazz, hip-hop, and reggae theatrics.Martin Glynn calls for the development of performance-driven research dissemination that seeks to bring urgent attention to minority, excluded, and marginalized perspectives within research dissemination as a whole. Employing the data verbalization method creates an exciting new proposition that can give progressive researchers a unique and distinct voice, alongside generating significant reach and impact beyond the academy, conference, and peer reviewed journal.The book will be an invaluable resource for researchers, scholars, and related practitioners who want to strengthen their ability to communicate and disseminate research data using live performance / spoken word approaches and techniques. It will also provide guidance for students and researchers wanting to generate wider environmental, social, and cultural impact using research data creatively.

Past studies have suggested that offenders desist from crime due to a range of factors, such as familial pressures, faith based interventions or financial incentives. To date, little has been written about the relationship between desistance and racialisation. This book seeks to bring much needed attention to this under-researched area of criminological inquiry.Martin Glynn builds on recent empirical research in the UK and the USA and uses Critical Race Theory as a framework for developing a fresh perspective about black men’s desistance. This book posits that the voices and collective narrative of black men offers a unique opportunity to refine current understandings of desistance. It also demonstrates how new insights can be gained by studying the ways in which elements of the desistance trajectory are racialised.This book will be of interest both to criminologists and sociologists engaged with race, racialisation, ethnicity, and criminal justice.

It is time to disrupt current criminological discourses which still exclude the perspectives of black scholars.Through the lens of black art, Martin Glynn explores the relevance black artistic contributions have for understanding crime and justice. Through art forms including black crime fiction, black theatre and black music, this book brings much needed attention to marginalized perspectives within mainstream criminology. Refining academic and professional understandings of race, racialization and intersectional aspects of crime, this text provides a platform for the contributions to criminology which are currently rendered invisible.

It is time to disrupt current criminological discourses which still exclude the perspectives of black scholars.Through the lens of black art, Martin Glynn explores the relevance black artistic contributions have for understanding crime and justice. Through art forms including black crime fiction, black theatre and black music, this book brings much needed attention to marginalized perspectives within mainstream criminology. Refining academic and professional understandings of race, racialization and intersectional aspects of crime, this text provides a platform for the contributions to criminology which are currently rendered invisible.