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This book explores a neglected topic in criminology women and white-collar crime. Taking a case study approach, it examines how women and crime has changed and why women have become more involved in corporate, political, and professional offenses. Fully exploring the topic, it discusses all issues including perpetrators, victims and whistle-blowers and incorporates interviews with female scholars and professionals. From insider trading to medical malpractice, it includes contemporary examples that engage the reader and promote discussion in a controversial area of study. Criminologists, anyone with an interest in criminal practices."
A Badge of Injury is a contribution to both the fields of queer and global history. It analyses gay and lesbian transregional cultural communication networks from the 1970s to the 2000s, focusing on the importance of National Socialism, visual culture, and memory in the queer Atlantic. Provincializing Euro-American queer history, it illustrates how a history of concepts which encompasses the visual offers a greater depth of analysis of the transfer of ideas across regions than texts alone would offer. It also underlines how gay and lesbian history needs to be reframed under a queer lens and understood in a global perspective. Following the journey of the Pink Triangle and its many iterations, A Badge of Injury pinpoints the roles of cultural memory and power in the creation of gay and lesbian transregional narratives of pride or the construction of the historical queer subject. Beyond a success story, the book dives into some of the shortcomings of Euro-American queer history and the power of the negative, writing an emancipatory yet critical story of the era.
How do we practice hope after trauma? What shape does hope take after abuse? In grappling with these questions, Ashley E. Theuring implicates the entire church and advocates changing our theologies of hope and our understanding of resurrection. Reimagining the Empty Tomb narrative from the Gospel of Mark in light of the experiences of domestic violence survivors, Fragile Resurrection reveals the possibility for everyday practices and relationships to mediate hope and resurrection. Theuring constructs an embodied imaginative hope found in the wake of trauma, which can speak to our current context of trauma and uncertainty.
Focusing on understanding business offenders through an exploration of workplace deviance and crime, this book closely examines a number of illustrative contemporary case studies and underpins the analysis of original comparative fieldwork, with an interdisciplinary approach, which informs, develops, and augments the existing literature on white-collar criminology. The book contends, inter alia, that the traditional centrality of the individual actor within narratives of white-collar offending has receded somewhat in recent years despite being a founding artifact within its late twentieth- century discourse, and that therefore a detailed reassessment is overdue.
Domestic abuse is a national emergency: one in four Australian women has experienced violence from a man she was intimate with. But too often we ask the wrong question: why didn’t she leave? We should be asking: why did he do it? Investigative journalist Jess Hill puts perpetrators – and the systems that enable them – in the spotlight. See What You Made Me Do is a deep dive into the abuse so many women and children experience – abuse that is often reinforced by the justice system they trust to protect them. Critically, it shows that we can drastically reduce domestic violence – not in generations to come, but today. Combining forensic research with riveting storytelling, See What You Made Me Do radically rethinks how to confront the national crisis of fear and abuse in our homes. ‘A shattering book: clear-headed and meticulous, driving always at the truth’—Helen Garner ‘One Australian a week is dying as a result of domestic abuse. If that was terrorism, we’d have armed guards on every corner.’ —Jimmy Barnes ‘Confronting in its honesty this book challenges you to keep reading no matter how uncomfortable it is to face the profound rawness of people’s stories. Such a well written book and so well researched. See What You Made Me Do sheds new light on this complex issue that affects so many of us.’—Rosie Batty
A groundbreaking volume surveying the contributions that gay and lesbian Americans have made to the democratic process. In 1969, when lesbian, gay, bisexual, and transgender (LGBT) people first participated as a group in the political process, they faced an imposing array of obstacles. Everything from personal rejection and violence; state anti-sodomy laws; exclusion from the armed forces; and legal discrimination in employment, housing, credit, consumer service, and public accommodations. Nevertheless, by the end of the millennium, LGBT people had transformed themselves into a well-organized and begrudgingly respected political force. In the process, they dramatically changed laws and attitudes across the nation. This new volume tells the story of the rapid growth and remarkable successes of the LGBT movement—a record that makes it one of the most successful social movements in U.S. history and, ironically, the least studied.
For decades, history ignored the Nazi persecution of gay people. Only with the rise of the gay movement in the 1970s did historians finally recognize that gay people, like Jews and others deemed “undesirable,” suffered enormously at the hands of the Nazi regime. Of the few who survived the concentration camps, even fewer ever came forward to tell their stories. This heart wrenchingly vivid account of one man's arrest and imprisonment by the Nazis for the crime of homosexuality, now with a new preface by Sarah Schulman, remains an essential contribution to gay history and our understanding of historical fascism, as well as a remarkable and complex story of survival and identity.
Marieke Smit is a researcher at the Center for Prison Pastoral Care at the University of Tilburg. The Netherlands. Her research concerns the role of forgiveness in detention. She is also working as a prison chaplain in Dutch prisons. --
Reckonings documents how Holocaust victims have sought justice over the decades and the haunting disparity between crime and punishment.
Perpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. While past films documenting the Holocaust and genocides in Yugoslavia, Rwanda, and elsewhere have focused on collecting and foregrounding the testimony of survivors and victims, the intimate horror of the autogenocide enables post–Khmer Rouge Cambodian documentarians to propose a direct confrontation between the first-generation survivor and the perpetrator of genocide. These films break with Western tradition and disrupt the political view that reconciliation is the only legitimate response to atrocities of the past. Rather, transcending the perpetrator’s typical denial or partial confession, this extraordinary form of “duel” documentary creates confrontational tension and opens up the possibility of a transformation in power relations, allowing viewers to access feelings of moral resentment. Raya Morag examines works by Rithy Panh, Rob Lemkin and Thet Sambath, and Lida Chan and Guillaume Suon, among others, to uncover the ways in which filmmakers endeavor to allow the survivors’ moral status and courage to guide viewers to a new, more complete understanding of the processes of coming to terms with the past. These documentaries show how moral resentment becomes a way to experience, symbolize, judge, and finally incorporate evil into a system of ethics. Morag’s analysis reveals how perpetrator cinema provides new epistemic tools and propels the recent social-cultural-psychological shift from the era of the witness to the era of the perpetrator.