Xavier Rousseaux – författare

Authorities often fear societal change as it implies finding a new balance to live together within society. Whether it is defined by economic, political, social or cultural factors, the transformation of life in society is considered by authorities as a 'risk' that needs to be framed and controlled. The state's response to this situation of transformation can be analysed through the prism of the police. Informally or not, police systems adapt their regulatory frameworks, their structures and their practices in order to respond risks, new threats and new rules. This process, which is mostly of a contemporary nature, is also deeply historic. Analysing it on the long run is therefore particularly relevant. From the late nineteenth-century until the second half of the twentieth-century, Policing New Risks in Modern European History provides a panorama of political and police reactions to the 'risks' of societal change in a Western European perspective, focusing on Belgium, France, and The Netherlands, but also colonial perspectives.

The contributions to this volume were written by historians, legal historians and art historians, each using his or her own methods and sources, but all concentrating on topics from the broad subject of historical legal iconography. How have the concepts of law and justice been represented in (public) art from the Late Middle Ages onwards? Justices and rulers had their courtrooms, but also churches, decorated with inspiring images. At first, the religious influence was enormous, but starting with the Early Modern Era, new symbols and allegories began appearing. Throughout history, art has been used to legitimise the act of judging, but artists have also satirised the law and the lawyers; architects and artisans have engaged in juridical and judicial projects and, in some criminal cases, convicts have even been sentenced to produce works of art. The book illustrates and contextualises the various interactions between law and justice on the one hand, and their artistic representations inpaintings, statues, drawings, tapestries, prints and books on the other.

This book focuses on one part of the judicial system: the criminal justice chain. This involves all the activities and actors dealing with policing, prosecution, judgment, and sanctioning of crimes. In the last decades, reforms have been implemented in several European countries. In Belgium, for example, there was the so-called Octopus reform in 1998. The police was restructured, leading to an integration of the police forces on a national and local level.  New steering instruments were introduced, such as regional security plans. With regard to the sanctioning of crimes, a new institution was installed, called the sentence implementation court. This book evaluates these reforms and discusses the current reform on the reorganization of the judicial landscape. In addition, it examines the relation between trust and distrust and the application to the judicial system. It discusses the human capital aspect of the system, by means of a study on the prosopography of the Belgian magistrates that analyses the Magistracy as socio-professional group, and focuses on situations of system building, transformations under constraint (occupations), and transfers (colonial experience). Lastly, the book presents a comparative study of Belgium and France regarding the new techniques and instruments that are needed to accelerate the judicial response time and to ensure that the judicial system delivers its services on time.

Despite the fact that new perspectives, such as restorative justice, have emerged, the debates have largely focused on issues that bring us back to the inception of juvenile justice: namely whether youth justice ought to be more akin to punitive adult criminal justice, or more sensitive to the welfare of youths.

Despite the fact that new perspectives, such as restorative justice, have emerged, the debates have largely focused on issues that bring us back to the inception of juvenile justice: namely whether youth justice ought to be more akin to punitive adult criminal justice, or more sensitive to the welfare of youths.

The contributions to this volume were written by historians, legal historians and art historians, each using his or her own methods and sources, but all concentrating on topics from the broad subject of historical legal iconography. How have the concepts of law and justice been represented in (public) art from the Late Middle Ages onwards?