In this wide-ranging analysis, Marie-Christine Leps traces the production and circulation of knowledge about the criminal in nineteenth-century discourse, and shows how the delineation of deviance served to construct cultural norms. She demonstrates how the apprehension of crime and criminals was an important factor in the establishment of such key institutions as national systems of education, a cheap daily press, and various welfare measures designed to fight the spread of criminality.
Leps focuses on three discursive practices: the emergence of criminology, the development of a mass-produced press, and the proliferation of crime fiction, in both England and France. Beginning where Foucault's work Discipline and Punish ends, Leps analyzes intertextual modes of knowledge production and shows how the elaboration of hegemonic truths about the criminal is related to the exercise of power.
The scope of her investigation includes scientific treatises such as Criminal Man by Cesare Lombroso and The English Convict by Charles Goring, reports on the Jack the Ripper murders in The Times and Le Petit Parisien, the Sherlock Holmes stories, Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde, and novels by Zola and Bourget.

O. J. Simpson. The Central Park jogger. Bensonhurst. William Kennedy Smith. Rodney King. These are more than crimes and criminals, more than court cases. They are cultural events that, for better or worse, gave concrete expression to latent social conflicts in American society. In High-Profile Crimes, Lynn Chancer explores how these cases became conflated with larger social causes on a collective level and how this phenomenon has affected the law, the media, and social movements.

An astute and incisive chronicle of some of the most polarizing cases of the 1980s and 1990s, High-Profile Crimes shows that their landmark status results from the overlapping interaction of diverse participants. The merging of legal cases and social causes, Chancer argues, has wrought ambivalent effects on both social movements and the law. On the one hand, high-profile crimes offer important opportunities for emotional expression and raise awareness of social issues. But on the other hand, social problems cannot be resolved through the either/or determinations that are the goals of the legal system, creating frustration for those who look to the outcome of these cases for social progress. Guilt or innocence through the lens of the media leads to either defeat or victory for a social cause-a confounding situation that made the O. J. Simpson case, for example, unable to resolve the issues of domestic violence and police racism that it had come to symbolize.

Based on nearly two hundred interviews, Chancer's discussions of the infamous Central Park jogger and Bensonhurst cases-as well as the rape trials of William Kennedy Smith and Mike Tyson, the assault cases of Rodney King and Reginald Denny, and, finally, the O. J. Simpson murder trial-provide a convincing, multidimensional and innovative analysis of the most charged public dramas of the last two decades.

In his virtuosic new book noted cultural critic Mark Seltzer shows how suspense, as art form and form of life, depicts and shapes the social systems that organize our modern world. Modernity's predicament, Seltzer writes, is a society so hungry for reality that it cannot stop describing itself, and that makes for a world that continuously establishes itself by staging its own conditions. Employing the social theories of Georg Simmel, Erving Goffman, Niklas Luhmann, and Peter Sloterdijk, Seltzer shows how suspense novels, films, and performance art by Patricia Highsmith, Tom McCarthy, Cormac McCarthy, J. G. Ballard, Karl Ove Knausgaard, and others outline how we currently live and reveal the stress-points and mood-systems of the modern epoch.  In its focus on social games, depictions of violent and explosive persons, along with its cast of artists, reporters, detectives, and others who observe and report and reenact, the suspense mode creates and recreates modern systems of action and autonomy, and defines the self-turned world's practices and aesthetics. By epitomizing a reflexive, self-legislating, and autonomous world, a suspense art with humans in the systems epoch provides the models and sets the rules for our modern, official world.

 

Though numerous studies have been conducted regarding perceived racial bias in newspaper reporting of violent crimes, few studies have focused on the intersections of race and gender in determining the extent and prominence of this coverage, and more specifically how the lack of attention to violence against women of color reinforces their invisibility in the social structure. This book provides an empirical study of media and law enforcement bias in reporting and investigating homicides of African American women compared with their white counterparts. The author discusses the symbiotic relationship between media coverage and the response from law enforcement to victims of color, particularly when these victims are reported missing and presumed to be in danger by their loved ones. Just as the media are effective in helping to increase police response, law enforcement officials reach out to news outlets to solicit help from the public in locating a missing person or solving a murder. However, a deeply troubling disparity in reporting the disappearance and homicides of female victims reflects racial inequality and institutionalized racism in the social structure that need to be addressed. It is this disparity this important study seeks to solve.